Figure A-9: A Summary of Consonant Names from a Common Heritage
Appendix B:
Before-1000 BCE Boats
Figure B-1: Many boat types from stone carvings
Figure B-2: Multiple “solar” ships on trade routes to Ireland
Figure B-3: “Byblos” Boats with cabins, high stern and bow, and model of Noah’s Ark
Figure B-4: Boat with a Chi Rho symbol and zigzag line for trip counting
Figure B-1: Many boat types from stone carvings (Reference 61)
Figure B-2: Multiple “solar” ships on trade routes to Ireland (Reference 61)
Figure B-3: “Byblos” Boats with cabins, high stern and bow, and model of Noah’s Ark (Reference 61)
Figure B-4: Boat with a Chi Rho symbol and zigzag line for trip counting (Reference 61)
Appendix C:
Maps
Figure C-1: Navigation Map from USA to the Azores and then the Strait of Gibraltar
Figure C-2: Mappa Mundi, 1270 CE, with east as up
Figure C-3: Ancient gold map in the Nubian Desert
Figure C-4: World Ocean Floor Map: ONR
Figure C-5: Map of Deneb and the navigation triangle throughout the year
Figure C-6: Map of Callanish megalithic Sites
Figure C-7: Map of Languedoc showing various towns
Figure C-1: Navigation Map from USA to the Azores and then the Strait of Gibraltar
Figure C-2: Mappa Mundi, 1270 CE, with east as up
Figure C-3 Ancient gold map in the Nubian Desert (Reference 61)
Figure C-4: World Ocean Floor Map: ONR
Figure C-5: Map of Deneb and the navigation triangle throughout the year (Courtesy of Bill Maney, author’s annotations)
C-6: Map of Callanish megalithic sites (Reference 14)
C-7: Map of Languedoc showing various towns (Reference 32)
Appendix D:
Math and Geometry
D-1: The Golden Ratio for Calculating Latitude
D-2: The Golden Ratio for the Pentagram
D-3: The Golden Rectangle Using the Golden Ratio for Generating a Spiral
D-4: Multiplying Using the Nile River Dynasties’ Counting
D-5: Nautical Mile versus the Nile River Dynasty Mile
D-6: Connecting the Dots Creating Geometry
D-7: Moon’s Metonic Cycle
Table D-1: Summary of Studied Megalithic Locations, Calculations, and Predictions
http://www.megalithic.co.uk/article.php?sid=22092
D-1: The Golden Ratio for Calculating Latitude
The latitude for Rosslyn Chapel is 55.86 degrees north, and it has a sun-shadow latitude of forty-five degrees from the east-west axis based on the winter solstice.
The latitude for Jerusalem is 31.78 degrees north, and it has a sun-shadow latitude of thirty degrees from the east-west axis based on the winter solstice.
The following calculation can now be made:
The sun shadow difference is 45 minus 30, which equals 15 sun-shadow degrees.
The actual latitude difference is 55.86 minus 31.78, which equals 24.08 actual degrees.
The ratio is 24.08 divided by 15, which equals 1.61 actual degrees for each sun-shadow degree. The actual golden ratio is 1.618.
To use the golden ratio, the actual latitude is calculated by multiplying 1.6 with the difference between the evening sun shadow angle on the winter solstice and the base of thirty sun-shadow degrees. The result is then added to the actual latitude base of 31.78 to determine the actual latitude for the location being studied. This may be the original basis for calculus.
We now have the amazing result that the sun-shadow latitude from the winter solstice can be converted to the actual latitude by using the golden ratio. It works!
The golden ratio conversion was used throughout this book on fourteen different stone circles where the winter solstice angles ranged from twenty to sixty degrees. The actual latitude using the golden ratio conversion predicted a sun-shadow latitude within less than a one-degree difference in twelve out of fourteen locations; the other two locations were within two degrees of latitude. Table D-1 summarizes the predicted latitudes using the golden ratio conversion.
The ancient seafarers used the sun-shadow latitudes, and this was one of the purposes for constructing the stone circles. The seafarers also used the North Star to calculate the latitudes. To calculate accurate latitudes, a level horizon was a necessity. That is why the level of the horizon window boxes were built into the mounds of Ireland.
All sextants need an artificial level horizon for measuring angles.
D-2: The Golden Ratio for the Pentagram
This ratio can be found in many places: in art, architecture, and mathematics. The “ratio” has become known as the golden ratio or golden section.
Consider the construction of the regular pentagon. If the side AB of a regular pentagon (see figure to the right) has unit length, then any diagonal, such as AC, has a length of 1.618 (e.g., the golden ratio).
The following angles can be calculated:
Angle ADB is 36 degrees.
Angle A centerpoint B is 72 degrees.
Angle A corner B is 110 degrees.
These angles are built within many of the mound passageways and mound configurations in Ireland.
Venus has the same angles. That is why, when one finds these angles in the designs, they represent Venus.
D-3: The Golden Rectangle Using the Golden Ratio for Generating a Spiral
A spiral is formed from what is called the golden rectangle.
The spiral is easily formed from a square, and the rotation of the one side of a square is an arc. The squares become smaller as the length of the square is reduced based on the golden ratio of 1.618.
The Fibonacci sequence, 1,1, 2, 3, 5, 8, 13,…converges to the golden ratio. The spiral is found throughout nature.
On a side note, the simple ratio 5:8 is built into music as a “sixth” interval. The string is divided into five units and eight units.
Five Venus cycles have the same number of days, 584, as eight sun years.
The spiral is found in 27 percent of all Irish kerbstones. A double spiral is the pattern for the sun’s shadow at noon. This double spiral can act as a calendar, and the alpha is a representation of a segment of the sun-shadow year.
If the major axes are inserted into each square, the dotted lines, a thirty-/forty-degree triangle is formed by the square corner, the square center, and the intersection of the axis with the arc—amazing.
D-4: Multiplying Using the Nile River Dynasties’ Counting
Twenty is two tens.
Eighty is eight tens or four twenties.
Ninety is four twenties plus a ten.
The above multiplying scheme was critical in decoding the longitude values found in the Nile River Dynasty’s pyramids. When one observes four horns of Venus, it is important to know what value is to be multiplied by four! This simple form of multiplying was used in the Nile River glyphs. The Nile River dynasties knew how to add, subtract, multiply, and divide.
The French language still uses the four twenties for eighty, quatre vingt.
D-5: Nautical Mile versus the Nile River Dynasty Mile
The nautical mile is a unit of length that is about one minute of arc of latitude measured along any meridian, or about one minute of arc of longitude at the equator (both at sea level). By international agreement, it has been set at 1,852 meters exactly (about 6,076 feet).
The nautical mile remains in use by sea and air navigators worldwide because of its convenience when working with charts. The nautical mile is nearly equal to a minute of latitude on a chart, so a distance measured with a chart divider can be roughly converted to nautical miles using the chart’s latitude scale.
One latitude degree is sixty nautical miles. One sun-shadow degree of latitude is about one hundred nautical miles.
The Nile River Dynasty mile was approximately equal to the nautical mile. Calculations by Jim Al
ison (Reference 61) estimate an Egyptian mile to be 6,046 feet. The calculations assume certain relationships between a foot, a cubit, and an Egyptian measure called an atur.
So, the nautical mile is almost equal to the Egyptian mile. An English mile times 1.145 is a nautical mile.
One sun-shadow degree of latitude is about one hundred (actually ninety-seven) nautical (Egyptian) miles because one sun-shadow degree is 1.618 actual degrees of latitude. This would be consistent with the metric-based measuring system used by the Nile River dynasties.
D-6: Connecting the Dots Creating Geometry
Connecting the dots led to triangles, diamonds, and other shapes and patterns, which is beyond the scope of this book. The importance of these geometries to this book, however, is that the ancient seafarers created the shapes, and they became symbols for latitudes, longitudes, and celestial bodies. The knowledge of the objects, which were represented as symbols, was a “language.” The meaning was known by the seafarers and, over time, was passed on in myths, math, and metaphors.
D-7: Moon’s Metonic Cycle
The moon’s Metonic cycle is a period of very close to nineteen (18.6) sun years that is remarkable for being nearly a common multiple of the solar year and the synodic (lunar) month. A period of nineteen years is almost exactly equal to 235 synodic months and, rounded to full days, counts 6,940 days.
The Metonic cycle was used in the Babylonian, Chinese, and Hebrew calendars. This cycle, which can be used to predict eclipses, forms the basis of the Greek and Hebrew calendars. The cycle is also used to compute the date of Easter for each year. Most interesting is that the Metonic cycle can be observed in the Irish kerbstones around 3000 BCE.
Appendix E:
Seafaring Poems and Lyrics Related to Ireland
E-1: A Seafarers Arrival
E-2. Amerigin Poem: “The Mystery”: Oldest Irish Poem
E-3: Somewhere over the Rainbow
E-4:Oh, Shamrock
E-5: Deer’s Cry
E-6: Poem Rose of Tralee
E-7: Tea Tephi Poem 1
E-8: Song of Osiris’s Harpest
E-9: Song of Harp, Ships
E-10: The Celts Poem
E-11: Oh, Danny Boy
E-12: Ancient Celtic Hymn to the Sun, from Yoghan, older form of MacEwans
E-1: A Seafarers Arrival, translation R.A.S. MacAllister, 1937 (Reference 34)
A poem in the Lebor Gabála Érenn says of their arrival:
It is God who suffered them, though He restrained them
they landed with horror, with lofty deed,
in their cloud of mighty combat of spectres,
upon a mountain of Conmaicne of Connacht.
Without distinction to discerning Ireland,
Without ships, a ruthless course
the truth was not known beneath the sky of stars,
whether they were of heaven or of Earth
E-2: Amerigin Poem: “The Mystery”: Oldest Irish Poem, translation, R.A.S. MacAllister, 1937 (Reference 34)
I am a wind of the sea,
I am a wave of the sea,
I am a sound of the sea,
I am an ox of seven fights,
I am a stag of seven tines,
I am a hawk on a cliff,
I am a tear of the sun,
I am fair among flowers,
I am a boar,
I am a salmon in a pool,
I am a lake on a plain,
I am a hill of poetry,
I am a battle-waging spear,
I am a god who forms fire for a head.
Who makes clear the ruggedness of the mountains?
Who but myself knows where the sun shall set?
Who foretells the ages of the moon?
Who brings the cattle from the House of Tethra and segregates them?
For whom but me will the fish of the laughing ocean be making welcome?
Who shapes the weapons from hill to hill?
Invoke, People of the Sea, invoke the poet, that he may compose a spell for you.
For I, the druid, who set out letters in Ogham,
I, who part combatants,
E-3: Somewhere over the Rainbow, lyrics E.Y. Harburg, 1939
Somewhere over the rainbow, blue birds fly
Birds fly over the rainbow
Why then, oh why can’t I?
If happy little bluebirds fly beyond the rainbow
Why, oh why can’t I?
Somewhere over the rainbow, way up high
There’s a land that I’ve heard of once in a lullaby.
Somewhere over the rainbow, skies are blue
And the dreams that you dare to dream
Really do come true.
E-4: Oh, Shamrock (Reference 61)
Oh The Shamrock-
Through Erin’s Isle,
To sport awhile,
As Love and Valor wander’d
With Wit, the sprite,
Whose quiver bright
A thousand arrows squander’d.
Where’er they pass,
A triple grass
Shoots up, with dew-drops streaming,
As softly green
As emeralds seen
Through purest crystal gleaming.
Oh the Shamrock, the green immortal Shamrock!
E-5: Deer’s Cry
I arise today
Through the strength of heaven:
Light of sun,
Radiance of moon,
Slendour of fire,
Speed of lightning,
Swiftness of wind,
Depth of sea,
Stability of Earth,
Firmness of rock
E-6: Poem: Rose of Tralee, lyrics, Edward Mordaunt Spencer, 1800s
The pale moon was rising above the green mountains.
The sun was declining beneath the blue sea.
When I strayed with my love to the pure crystal fountain
That stands in the beautiful vale of Tralee.
She was lovely and fair as the roses of the summer.
Yet ’twas not her beauty alone the won me.
Oh no was the truth in her eyes ever dawning
That made me love Mary the Rose of Tralee.
E-7: Tea Tephi Poem 1, www.asis.com/jerrytea.html
The praises of Tea Tephi, daughter of Lughaidh (equivalent in Erse of Bethel) are sung as “The Beautiful One with a Royal Prosperous Smile.”
Relate to me O learned Sages,
When was the place called Temor?
Was it in the time of Parthalon of battles?
Or at the first arrival of Caesaire?
Tell me in which of these invasions
Did the place have the name of Tea-mor?
O Tuan, O generous Finchadh,
O Dubhan, Ye venerable Five
Whence was acquired the name of Te-mor?
Until the coming of the agreeable Teah
The wife of Heremon of noble aspect.
A Rampart was raised around her house
For Teah the daughter of Lughaidh (God’s House)
She was buried outside in her mound
And from her it was named Tea-muir.
Cathair, Crofin not inapplicable.
Was its name among the Tuatha-de-Danaan
Until the coming of Tea—the Just
Wife of Heremon of the noble aspect?
A wall was raised around her house
For Tea the daughter of Lughaidh,
(And) she was interred in her wall outside,
So that from her is Tea-mor.
A habitation which was a Dun (Hebrew court) and a fortress
Which was the glory of murs without demolition,
On which the monument of Tea after her death,
So that it was an addition to her dowry.
The humble Heremon had
A woman in beautiful confinement
Who received from him everything she wished for.
He gave her whatever he promised,
Bre
gatea a meritorious abode
(Where lies) The grave, which is the great Mergech (Hebrew burial place)
The burial place which was not violated.
The daughter of Pharaoh of many champions
Tephi, the most beautiful that traversed the Plain.
She gave a name to her fair cahir,
The woman with the prosperous royal smile,
Mur-Tephi where the assembly met.
It is not a mystery to be said
A Mur (was raised) over Tephi I have heard.
Strength this, without contempt,
Which great proud Queen have formed
The length, breadth of the house of Tephi,
Sixty feet without weakness
As Prophets and Druids have seen.
E-8: Song of Osiris’s Harpist, Adapted from M. Lichtheim, 1945, translation Stern, 1873
Harper’s Song: Tomb of Neferhotep
How reposed is this righteous lord
The kindly fate has come to pass
Bodies pass away since the time of the gods
New generations come in their place
Re shows himself at dawn
Atum goes to rest in the western mountains
Men beget, Women conceive
Every nostril breathes the air
Dawn comes and their children have gone to their tombs
Make holiday Oh priest
Put incense and fine oil together to your nostrils
And garlands of lotus and rrmt flowers to your breast
While your sister who you love sits at your side
Put song and music before you
Cast all evil behind you
Think of your joys
Until that day has come of landing
At the land that loves silence
Where the heart of the one whom he loves does not weary
Make holiday, Neferhotep the justified
Good priest, pure of hands
I have heard all that happened
Their buildings have crumbled
Their dwellings are no more
They are as if they had not come into being
Since the time of the God
E-9: Song of Harp, Ships
Harper’s Song: Tomb of Inherkhawy Translation by J. L. Foster in “Echoes of Egyptian Voices” Sung by his Harpist for Osiris, Chief of the Crew in the place of Truth, Inherkhawy, who says,
A Seafarer's Decoding of the Irish Symbols Page 23