As Shamash matured to take command of the Fiery Rockets, and in time also to become the God of Justice, he was assigned the constellations Scorpio and Libra (the Scales).
Completing the list of the first seven Cities of the Gods and the correspondence with the twelve zodiac constellations was Larak, where Enlil put his son Ninurta an command. The city lists call him PA.BIL.SAG ("great protector"); it is the same name by which the constellation Sagittarius was called.
It would be unrealistic to assume that the first seven Cities of the Gods were established haphazardly. These "gods," who were capable of space travel, located the first settlements in accordance with a definite plan, serving a vital need: to be able to land on Earth and to leave Earth for their own planet. What was the master plan?
As we searched for an answer, we asked ourselves a question: What is the origin of Earth's astronomical and astrological symbol, a circle bisected by a right-angled cross - the symbol we use to signify "target"?
The symbol goes back to the origins of astronomy and f astrology in Sumer and is identical with the Egyptian -hieroglyphic sign for "place":'
Is this coincidence, or significant evidence? Did the Nefilim land on Earth by superimposing on its image or map some kind of "target"?
The Nefilim were strangers to Earth. As they scanned its surface from space, they must have paid special attention to the mountains and mountain ranges. These could present hazards during landings and takeoffs, but they could also serve as navigational landmarks.
If the Nefilim, as they hovered over the Indian Ocean, looked toward the Land Between the Rivers, which they had selected for their earliest colonizing efforts, one landmark stood out unchallenged: Mount Ararat.
An extinct volcanic massif, Ararat dominates the Armenian plateau where the present-day borders of Turkey, Iran, and Soviet Armenia meet. It rises on the eastern and northern sides to some 3,000 feet above sea level, and on the northwestern side to 5,000 feet. The whole massif is some twenty-five miles in diameter, a towering dome sticking out from the surface of Earth, Other features make it stand out not only from the horizon but also from high in the skies. First, it is located almost midway between two lakes, Lake Van and Lake Se-Van. Second, two peaks rise from the high massif: Little Ararat (12,900 feet) and Great Ararat (17,000 feet - well over 5 kilometers). No other mountains rival the solitary heights of the two peaks, which are permanently snow-covered. They are like two shining beacons between the two lakes that, in daylight, act as giant reflectors. We have reason to believe that the Nefilim selected their landing site by coordinating a north - south meridian with an unmistakable landmark and a convenient river location. North of Mesopotamia, the easily identifiable twin-peaked Ararat would have been the obvious landmark. A meridian drawn through the center of the twin-peaked Ararat bisected the Euphrates. That was the target - the site selected for the spaceport. Could one easily land and take off there?
The answer was Yes. The selected side lay in a plain; the mountain ranges surrounding Mesopotamia were a substantial distance away. The highest ones (to the east, northeast, and north) would not interfere with a space shuttle gliding in from the southeast.
Was the place accessible - could astronauts and materials be brought there without too much difficulty?
Again, the answer was Yes. The site could be reached overland and, via the Euphrates River, by waterborne craft.
And one more crucial question: Was there a nearby source of energy, of fuel for light and power? The answer was an emphatic
Yes. The bend in the Euphrates River where Sippar was to be established was one of the richest known sources in antiquity of
surface bitumens, petroleum products that seeped up through natural wells and could be collected from the surface without any
deep digging or drilling.
We can imagine Enlil, surrounded by his lieutenants at the spacecraft's command post, drawing the cross within a circle on the map. "What shall we call the place?" he may have asked. "Why not 'Sippar'?" someone might have suggested.
In Near Eastern languages, the name means "bird." Sippar was the place where the Eagles would come to nest. How would the space shuttles glide down to Sippar?
We can visualize one of the space navigators pointing out the best route. On the left they had the Euphrates and the mountainous plateau west of it; on the right, the Tigris and the Zagros range east of it. If the craft were to approach Sippar at the easily set angle of 45 degrees to the Ararat meridian, its path would take it safely between these two hazardous areas. Moreover, coming in to land at such an angle, it would cross in the south over the rocky tip of Arabia while at a high altitude, and start its glide over the waters of the Persian Gulf. Coming and going, the craft would have an unobstructed field of vision and of communication with Mission Control at Nippur.
Enlil's lieutenant would then make a rough sketch - a triangle of waters and mountains on each side, pointing like an arrow toward Sippar. An "X" would mark Nippur, in the center
Incredible as it may seem, this sketch was not made by us; the design was drawn on a ceramic object unearthed at Susa, in a stratum dated to about 3200 B.C. It brings to mind the planisphere that described the flight path and procedures, which was based on 45-degree segments.
The establishment of settlements on Earth by the Nefilim was not a hit-or-miss effort. All the alternatives were studied, all the resources evaluated, all the hazards taken into account; moreover, the settlement plan itself was carefully mapped out so that each site fit into the final pattern, whose purpose was to outline the landing path to Sippar.
No one has previously attempted to see a master plan in the scattered Sumerian settlements. But if we look at the first seven cities ever established, we find that Bad-Tibira, Shuruppak, and Nippur lay on a line running precisely at a 45-degree angle to the Ararat meridian, and that line crossed the meridian exactly at Sippar! The other two cities whose sites are known, Eridu and Larsa, also Iay on another straight line that crossed the first line and theA Ararat meridian, also at Sippar. Taking our cue from the ancient sketch, which made Nippur the center of a circle, and drawing concentric circles from Nippur through the various cities, we find that another ancient Sumerian town, Lagash, was located exactly on one of these circles - on a line equidistant from the 45-degree line, like the Eridu-Larsa-Sippar line. The location of Lagash mirrors that of Larsa. Though the site of LA.RA.AK ("seeing the bright halo") remains unknown, the logical site for it would be at Point 5, since there logically was a City of the Gods there, completing the string of cities on the central flight path at intervals of six beru: Bad-Tibira, Shuruppak, Nippur, Larak, Sippar.
The two outside lines, flanking the central line running through Nippur, lay 6 degrees on each side of it, acting as southwest and northeast outlines of the central flight path. Appropriately, the name LA.AR.SA meant "seeing the red light"; and LA.AG.ASH meant "seeing the halo at six." The cities along each line were indeed six beru (approximately sixty kilometers, or thirty-seven miles) from each other.
This, we believe, was the master plan of the Nefilim. Having selected the best location for their spaceport (Sippar), they laid out the other settlements in a pattern outlining the vital flight path to it. In the center they placed Nippur, where the "bond Heaven- Earth" was located.
Neither the original Cities of the Gods nor their remains can ever be seen by man again - they were all destroyed by the Deluge
that later swept over Earth. But we can learn much about them because it was the sacred duty of Mesopotamian kings
continuously to rebuild the sacred precincts in exactly the same spot and according to the original plans. The rebuilders stressed
their scrupulous adherence to the original plans in their dedication inscriptions, as this one (uncovered by Layard) stated:
The everlasting ground plan,
that which for the future
the construction determined
[I have followed].
It is the one whic
h bears
the drawings from the Olden Times
and the writing of the Upper Heaven.
If Lagash, as we suggest, was one of the cities that served as a landing beacon, then much of the information provided by Gudea in the third millennium B.C. makes sense. He wrote that when Ninurta instructed him to rebuild the sacred precinct, an accompanying god gave him the architectural plans (drawn on a stone tablet), and a goddess (who had "travelled between Heaven and Earth" in her "chamber") showed him a celestial map and instructed him on the astronomical alignments of the structure.
In addition to the "divine black bird," the god's "terrible eye" ("the great beam that subdues the world to its power") and the "world controller" (whose sound could "reverberate all over") were installed in the sacred precinct. Finally, when the structure was complete, the "emblem of Utu" was raised upon it, facing "toward the rising place of Utu" - toward the spaceport at Sippar. All these beaming objects were important to the spaceport's operation, for Utu himself "came forth joyfully" to inspect the installations when completed.
Early Sumerian depictions frequently show massive structures, built in earliest times of reeds and wood, standing in fields among grazing cattle. The current assumption that these were stables for cattle is contradicted by the pillars that are invariably shown protruding from the roofs of such structures.
The pillars' purpose, as one can see, was to support one or more pairs of "rings," whose function is unstated. But although these structures were erected in the fields, one must question whether they were built to shelter cattle. The Sumerian pictographs depict the word DUR, or TUR (meaning "abode," "gathering place"), by drawings that undoubtedly represent the same structures shown on the cylinder seals; but they make clear that the main feature of the structure was not the "huts" but the antenna tower. Similar pillars with "rings" were posted at temple entrances, within the sacred precincts of the gods, and not only out in the countryside.
Were these objects antennas attached to broadcasting equipment? Were the pairs of rings radar emitters, placed in the fields to guide the incoming shuttlecraft? Were the eyelike pillars scanning devices, the "all-seeing eyes" of the gods of which many texts have spoken?
We know that the equipment to which these various devices were connected was portable, for some Sumerian seals depict boxlike "divine objects" being transported by boat or mounted on pack animals, which carried the objects farther inland once the boats had docked.
These "black boxes," when we see what they looked like, bring to mind the Ark of the Covenant built by Moses under God's instructions. The chest was to be made of wood, overlaid with gold both inside and outside - two electricity-conducting surfaces were insulated by the wood between them. A kapporeth, also made of gold, was to be placed above the chest and held up by two cherubim cast of solid gold. The nature of the kapporeth (meaning, scholars speculate, "covering") is not clear; but this verse from Exodus suggests its purpose: "And I will address thee from above the Kapporeth, from between the two Cherubim." The implication that the Ark of the Covenant was principally a communications box, electrically operated, is enhanced by the instructions concerning its portability. It was to be carried by means of wooden staffs passed through four golden rings. No one was to touch the chest proper; and when one Israelite did touch it, he was killed instantly - as if by a charge of high-voltage electricity.
Such apparently supernatural equipment - which made it possible to communicate with a deity though the deity was physically somewhere else - became objects of veneration, "sacred cult symbols." Temples at Lagash, Ur, Mari, and other ancient sites included among their devotional objects "eye idols." The most outstanding example was found at an "eye temple" at Tell Brak, in northwestern Mesopotamia. This fourth-millennium temple was so named not only because hundreds of "eye" symbols were un- earthedA there but mainly because the temple's inner sanctum had only one altar, on which a huge stone "double-eye" symbol was displayed.
In all probability, it was a simulation of the actual divine object - Ninurta's "terrible eye," or the one at Enlil's Mission Control Center at Nippur, about which the ancient scribe reported: "His raised Eye scans the land. . . . His raised Beam searches the land."
The flat plain of Mesopotamia necessitated, it seems, the artificial raising of platforms on which the space-related equipment was to be placed. Texts and pictorial depictions leave no doubt that the structures ranged from the earliest field huts to the later staged platforms, reached by staircases and sloped ramps that led from a broad lower stage to a narrower upper one, and so on. At the top of the ziggurat an actual residence for the god was built, surrounded by a flat, walled courtyard to house his "bird" and "weapons." A ziggurat depicted on a cylinder seal not only shows the customary stage-upon-stage construction, it also has two "ring antennas" whose height appears to have equaled three stages.
Marduk claimed that the ziggurat and temple compound at Babylon (the E.SAG.IL) had been built under his own instructionsA also in accordance with the "writing of Upper Heaven." A tablet (known as the Smith Tablet, after its decipherer), analyzed by Andre Parrot (Ziggurats et Tour de Babel) established that the seven-stage ziggurat was a perfect square, with the first stage or base having sides of 15 gar each. Each successive stage was smaller in area and in height, except the last stage (the god's residence), which was of a greater height. The total height, however, was again equal to 15 gar, so that the complete structure was not only a perfect square but a perfect cube as well.
The gar employed in these measurements was equivalent to 12 short cubits - approximately 6 meters, or 20 feet. Two scholars, H. G. Wood and L. C. Stecchini, have shown that the Sumerian sexagesimal base, the number 60, determined all the primary measurements of Mesopotamian ziggurats. Thus each side measured 3 by 60 cubits at its base, and the total was 60 gar. What factor determined the height of each stage? Stecchini discovered that if he multiplied the height of the first stage (5.5 gar) by double cubits, the result was 33, or the approximate latitude of Babylon (32.5 degrees North). Similarly calculated, the second stage raised the angle of observation to 51 degrees, and each of the succeeding four stages raised it by another 6 degrees. The seventh stage thus stood atop a platform raised to 75 degrees above the horizon at Babylon's geographic latitude. This final stage added 15 degrees - letting the observer look straight up, at a 90-degree angle. Stecchini concluded that each stage acted like a stage of an astronomical observatory, with a predetermined elevation relative to the arc of the sky. There may, of course, have been more "hidden" considerations in these measurements. While the elevation of 33 degrees was not too accurate for Babylon, it was precise for Sippar. Was there a relationship between the 6-degree elevation at each of four stages and the 6-beru distances between the Cities of the Gods? Were the seven stages somehow related to the location of the first seven settlements, or to Earth's position as the seventh planet?
G. Martiny (Astronomisches zur babylonischen Turm) showed how these features of the ziggurat suited it for celestial observations, and that the topmost stage of the Esagila was oriented toward the planet Shupa (which we have identified as Pluto) and the constellation Aries.
But were the ziggurats raised solely to observe the stars and planets, or were they also meant to serve the spacecraft of the Nefilim? All the ziggurats were oriented so that their corners pointed exactly north, south, east, and west. As a result, their sides ran precisely at 45-degree angles to the four cardinal directions. This meant that a space shuttle coming in for a landing could follow certain sides of the ziggurat exactly along the flight path - and reach Sippar without difficulty! The Akkadian/Babylonian name for these structures, zukiratu, connoted "tube of divine spirit." The Sumerians called the ziggurats ESH; the term denoted "supreme" or "most high" - as indeed these structures were. It could also denote a numerical entity relating to the "measuring" aspect of the ziggurats. And it also meant "a heat source" ("fire" in Akkadian and Hebrew). Even scholars who have approached the subject without our "space"
interpretation could not escape the conclusion that the ziggurats had some purpose other than to make the god's abode a "high-rise" building. Samuel N. Kramer summed up the scholastic consensus: "The ziggurat, the stagetower, which became the hallmark of Mesopotamian temple architecture . . . was intended to serve as a connecting link, both real and symbolic, between the gods in heaven and the mortals on earth." We have shown, however, that the true function of these structures was to connect the gods in Heaven with the gods - not the mortals - on Earth. MUTINY OF THE ANUNNAKI
AFTER ENLIL ARRIVED on Earth in person, "Earth Command" was transferred out of Enki's hands. It was probably at this point that Enki's epithet or name was changed to E.A ("lord waters") rather than "lord earth."
The Sumerian texts explain that at that early stage in the arrival of the gods on Earth, a separation of powers was agreed upon: Anu was to stay in the heavens and rule over the Twelfth Planet; Enlil was to command the lands; and Enki was put in charge of the AB.ZU (apsu in Akkadian). Guided by the "watery" meaning of the name E.A, scholars have translated AB.zU as "watery deep," assuming that, as in Greek mythology, Enlil represented the thundering Zeus, and Ea was the prototype of Poseidon, God of the Oceans.
In other instances, Enlil's domain was referred to as the Upper World, and Ea's as the Lower World; again, the scholars assumed that the terms meant that Enlil controlled Earth's atmosphere while Ea was ruler of the "subterranean waters" - the Greeklike Hades the Mesopotamians supposedly believed in. Our own term abyss (which derives from apsu) denotes deep, dark, dangerous waters in which one can sink and disappear. Thus, as scholars came upon Mesopotamian texts describing this Lower World, they translated it as Unterwelt ("underworld") or Totenwelt ("world of the dead"). Only in recent years have the Sumerologists mitigated the ominous connotation somewhat by using the term netherworld in translation. The Mesopotamian texts most responsible for this misinterpretation were a series of liturgies lamenting the disappearance of Dumuzi, who is better known from biblical and Canaanite texts as the god Tammuz. It was with him that Inanna/Ishtar had her most celebrated love affair; and when he disappeared, she went to the Lower World to seek him.
The 12th Planet Page 26