Another lifetime, by Petur Halldorsson

Research into the conceptual background of the sagas in Icelandic manu-

scripts has revealed a prehistoric Cosmic Image marked in the land by Icelandâ&#x20AC;&#x2122;s settlers with exquisite mathematical precision. The principal reference points of the measure involved were the motions of the heavenly bodies and the cardinal directions. In fact, mans image of creation was a projection of the zodiac on the terrain, anchored to nine prominent landmarks and the Sunâ&#x20AC;&#x2122;s annual path around it.

ICELAND 216000 feet, around 66.6 km

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9 77 88

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10 km

Cosmic Image was at once sacred and a practical sun watch, an esoteric

knowledge of another lifetime. The ancient approach is akin to a yardstick, which applies not only to the ancient sun watch in Iceland, the like reference frame was used in antiquity in all parts of the globe. Now we can see it was early manâ&#x20AC;&#x2122;s method to implement a divice to orient him self on planet earth. In this paper we attempt to compare the Cosmic Image on the Thames delta to the Icelandic one.

LONDON ENGLAND 216000 feet, around 66.6 km

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Caesar’s Camp

The abundance of megalithic sides on the Thames delta spoke in a unified voice to the decendants of Ice Age hunters of Britain during the time when they evolved from following herds to settling down. The Cosmic Image of the Thames delta extends from Windsor, or Runnimede, to Abbes Roding and from Stone Castle to Berkhamsted, with the paths of the sun and stars marked in the land with great precision. The result is a remarkable geodetic survey achievement, which took many generations to perfect. Surveyors had to travel back and forth across the fields and hills of the London area to determine where they might best observe their attributes and to find the points on the horizon where they disappeared before reappearing at nightfall. Lines of sight had to be defined with respect to a trough, a hill, or rock and anchored to a fore reference marker. It demanded disciplined thought and well organized working methods to establish and mark the proper alignments required so that the Cosmic Image might be in perfect harmony with the phenomena of nature. Thousands of years later, hamlets around where the Cosmic Image’s Tripple rock have changed names numerous times; Hawthorn Hill, called Bras in the Domesday Book in 1086, was later called Cruchfield, stemming from a roadside boundary cross. Scholars agree however that the name comes from the Celtic word, Crug meaning “Hill”, referring to a burial mound. Legend says a Crock of Gold was dug up there, and that was the real meaning behind the name. Old tales say “it was where the inquisitive curate of Cranbourne was found wandering in a daze after he had tried to investigate a coven of local witches. No one ever discovered what had happened to him, an apparent conspiracy forced him to leave the area, like many hamlets that now have disappeared. On top of Bill Hill in Easthampstead just north of Caesar’s Camp, is the Point Royal tower with a large Bronze Age round barrow, circling the hill itself. The Iron Age hill fort was once an important parish in Windsor Forest, with its manor house at Easthampstead Park being a popular hunting lodge with the royal family.” The edifice may be one of many contenders for a hill that was used as a for-sight to assertain the summer solstice alignement within the prehistoric Cosmic Image measured around where London now stands. In the vicinity of the Ascot race track about 2 km south of Bill Hill in the estate of Windsor castle is a more conspicious place, an elavated hillock in Bracknell forest called Cesars Camp. It is an encampment partly encirceled by rock formations protruding over the trees offering good visibility over the immediate area and the Thames estuary. A fortres on a hill was usually a military implement, but recent research indicates that this place was a religious place of some sort, erected for some symbolic purpose and despide the name, much older than the Roman era. Some remnants of structures inside the camp are over 2600 years old. There are suggestions that we may expect to find relics of similar age as Stonehenge under the soil which now covers the floor of Cesar’s Camp. It appeares to have served as a Tripple rock in archaic time. Chiseled nitches into its rocks are believed to have been for harnesing wooden structure built adjecent to the cliff wall. Perhaps used by chiefs during a ritual of sunrise at mid summer with the line of sight running through Coopers Hill in Runnimede, braking on Coppets Wood in north London, and extending to the Solar edifice in Hattfield Forest, or nearby Abbes Roding. Markin the ever important alignement of the 216000 feet south west -north east line of sight – the diameter of the pioneer’s Cosmic Image between sunup at summer solstice and sundown at winter solstice.

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Windsor – Coopers Hill, Runnimede

Tribes that settled the Thames prairie construed their sun watch according to their diverse background. Their calendar adjusted to the behaviour of earth, moon, sun and stars which never moved in a uniform way on their respective trajectories. The English national park Runnimede is in the south sector of the Windsor estate. Its Germanic-Nordic name, Runic-mede was the name of the brew “Rúnamjöður”, Nordic warriors of Valhöll drank when they rested during Creation. Between interludes in the War for Light, their army went out in groups of 800 through the 540 gates of Valhöll making for the sacred number of Creation, 432000 (2 x 216000), to fight darkness, as evident in Grímnismál. In the center of Runnimede park is the historic Coopers Hill with its gently rolling grounds down to the banks of the river Thames. In an enclosure situated on its slopes is a memorial erected by the American Bar Association. Inside the memorial there is a pillar of English granite where this phrase is chiseled: “To commemorate Magna Carta, symbol of Freedom under Law.” Near the conclusion of the French royal line in England, king John emphasized Coopers Hill as the Primeval Hill of the London area (the second marker of the prehistoric Cosmic Image) when he summoned English chieftains to the hill to sign the famous treaty, Magna Carta, a charter so thoroughly crafted that it is still refered to as a basic document for constitutions of contemporary Parliaments. Thus the fundemental law of a Cosmic Image is still a major factor in modern Parliamentary institutions. What may be the basis of the common sense that produced English Common Law was estblishing the four corners of the world, within the Cosmic Image and fastening man’s law to the logic of nature which stemmed from the Primeval hill of London’s Cosmic Image.

Coppets Wood, the Center

The ancient sacred Center of the London Cosmic Image is the Coppets Wood hill in St Pancaras-Islington Cemetery. It is the largest cemetery in England. In all Cosmic Images of the World, their center was a sacred place and a prominent burial ground. In prehistoric time Coppets Wood hill, was a major beacon for the first explorers of this land. From its top there are 108000 feet to the end of the world in all directions. There, in truce with the Pole star and the corners of the World, is where orintation was gathered and chiefs were buried. As a boy, St Pancras preached Christianity in the streets of Rome. He was arrested in the Jewish uprising and brought before the magistrate. After persistently denying to abticate his religion, he was executed on the Via Aurelia square in the year 303 on May 12, which is his veneration day. A century after the Romans left England, pope Gregory the Great sent Augustine to England carrying the relics of St Pancras which were placed in a crypt in a church near London’s sacred Center.

Abbes Roding

A county in Essex north of London bears the name, Rodings. It is a county where there are numerous hamlets with “Rodings” in the end of their name. The word, Rod, in the Icelandic language, is Stöng. Stöng is the name of the same spot within the Icelandic Cosmic Image as Roding is in the English one, both are located 216000 feet northeast of each respective Primeval hill (2), marking where sun rises during summer solstice in each respective Cosmic Image. The name, Roding, is believed to be construed from the words, Rod, and the word Ing as in Ingvaeones, or Inglings, which was the name of a tribe that immigrated to England. The Inglings were one of three great tribes who lived in North Germany and the Danish islands off-shore before our era. Iceland’s first settler was named Ingólfur Arnarson, he was of the Ingling tribe. The Ing root of the name Ingólfur may mirror the rune Ing in an ancient English rune poem, meaning the first, or patriarch. Abbes Roding was one of the main temporalities of the Abbey of Barking, a house of Bendictine nuns, dedicated to Saints Mary and Ethelburga, founded by Saint Erkenwald, Bishop of London for his sister Saint Ethelburga in the conspicious year 666. Ethelburga and Saint Erkenwald were the children of Offa, a king of the Ingvaeones tribe.

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Stone and Swanley

The layline from Berkhamsted (6) through Coppets Wood (3) exstends 216000 feet to Stone in Swanscombe. It is an area of some of the earliest traces of man made constructs within the Cosmic Image on the Thames delta. Perhaps it was the mythical destination of the swan that pulled the chariot of the Sun over the sky from darkness to light in Celtic tales. An invisible line with elusive markers where epochs of many cults are encountered, some representing settlements of Neolithic times. The sun allways sets in the west and rises in the east, but does not always rise or set at the same spot on the horizon. Instead like a needle on a giant gauge it slowly sweeps along the horizon during the solar year, passing a little further each successive dawn from the observers right, south of east, to observers left, north of east. On the Thames delta a complete cycle from Stone, during winter solstice, to Abbey Roding (4) during summer solstice, and back again is a whole year. The same goes for the other half of the hemisphere, where sunset dictates the same phenomena. The cyclic dissolution and manifestation of the powers invested in the movement of the sun were expressed through symbols of worship at each respective end of her movement, Berkhamsted and Windsor in the west, and Abbes Roding and Stone en the east. When the last resistance of the English to William the Conqueror’s invasion of the British isles was crushed, in a symbolic fashion, William chose to sign a treaty with the last stubborn men of Kent in Stone Castle. – at place of winter solstice. In close vicinity is Eynsford castle, the oldest structure of chiseled stone in England. This 11th century Saxon fortress was built over what is believed to be a man made hill, much older than the castle. Of particular interest for the context of this book is a specific construction inside the castle. In its center an observatory was designed on a floor erected over the man made hill to observe the movement of the stars. A similar cosmic observatory is allso symbolized on the walls of a Roman villa located close to Eynsford castle. On its walls it appeares in the form of a swastica, the archaic symbol representing an evolving Universe. Yet again the symbols encountered in this sector of the Cosmic Image refer to worship rides evocative of wisdom and the knowledge of the turning of the Universe. In this sector of a Cosmic Image it was important to know that after a dark period, a bright one follows and the fields on the great delta will be set to bear fruit once again. Óðins powers of creating a new World with his five-fold power, symbolizing that the sun’s seed had survived in the ground during the cold period and would reach its full potential as the sun attained its highest elevation in the sky on the opposite edge of the sun watch, was associated with this sector of a Cosmic Image. Its poles of winter and summer solstice were connected by an axis paced 216000 feet long. Consequently the south east sector of the Cosmic Image was the abode of this major god in Norse mythology, Óðin the Creator of the World, and the ruler of Asgard. The principal member of the Æsir, was associated with war, battle, victory and death, but also wisdom, magic, poetry, prophecy and Creation. At winter solstice no wisdom was more pressing to have than to know that the evolution of the Universe would turn cold winter into warm summer.

Berkhamsted

The layline from Stone Castle back through Coppetts Wood (3), to Berkhamsted (6), registers just over 216000 feet. At summer solistice in Stone castle (5), sunset over the hills at Berkhamsted heralds the brightness of a new summer ahead. After William the Conqueror defeated the English at Hastings he wasted no time to subject England under his rule. He marched his army toward London, –took a long arch around the town, crossing the Thames at Wallingford, and headed to Berkhamsted (6) where he constructed the royal residence of the French kings who ruled England the next two centuries. King William wasted no time in rearanging the Cosmic Image around London, converting the Saxon Ram star-alignement to a Normann Capricorn alignement. He was coronated in Westminster at noon on Christmas day, 1066 and the English cosmologie was anchored to Christmas of the new Christian religion. The ancient Celtic stronghold, and its Primeval hill, Windsor (2), was renovaded and just like Gissur Hvíti had done 66 years before at the same spot within the Icelandic Cosmic Image, Berkhamsted took up its former symbol heralding Summer on the Thames estuary. Thus king William conquered Winter exactly like the pope did three centuries before when he constructed the first Christian church in Sutri (6), – the same symbolic place within the exact same Cosmic Image around Rome, because this spot within the Cosmic Image’ sun watch was the most sacred spot of all, it heralded summer in Rome. Concequently Sutri became the world’s first episcopal seat. Having played into the hands of the pope as the new religion gained ever bigger foothold in Europe, William restored many holy relics of the ancient Earth religion of the Cassivelaunus tribe; Windsor castle (2), Berkhamsted (6) and the Tower (8) and subsequently ordered his accountands to ensample the Doomsday book. Another source of the concept of “White” in this sector is Luton Castle located by the source of the river Lea, north east of Berkhamsted, 108000 feet from the Cosmic Image center on the hill of Coppets Wood. River Lea, the river of Light, decends down from Luton into River Thames. In Medieval times, river Thames was named, Tamesa, which means “the Dark River”. In the old Celtish language the word Luton, stemmed from the words, Loki, the god of Light in Nordic myth, and the word, Tun, which still means, field, in the Icelandic language. These concepts of Light, and “Field”, are evident in many countries at this spot within Cosmic Images as can be seen in Levka in Greece, meaning “The White Gate”, and “Hvítá” in Iceland where this sector is attached to the concept of White, in many respects. Sun down at Berkhamsted and Luton is where the start of summer is heralded in white light, the place of White Sun or Whitesun in London.

Marble Arch

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3 36000 feet

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For a thousand years after the Romans left, the English Crown was without a home. Palaces were built for it all over England. It was not until king Georg III bought Buckingham Place in the 18th century, that the Royal Crown had a permanent home. Georg IV had a triumphal arch built over the palace gate in memorial of the English victories at Trafalgar and Waterloo. In the 19th century it was taken down and moved to an ancient sacred side, Marble Arch, where it was erected again stone by stone, facing north. Its new coordinates were 36000 feet, or 6 minutes of a degree south of the sacred Center, Coppets Wood (3). Its geometric coordinates aligned it with Tower Hill (8) and Acton (9), 18000 feet east and 18000 feet to the west, making a squared circle that perfectly contoured the horizon of man in the center of the Thames Cosmic Image. This was a universal surveying method found to be a major survey within every Cosmic Image of the World. On this spot, where now stands Marble Arch, resides a universal notion, the North - South alignment, bisecting the demarkated squared circle area of the center. The length of its radius was equal to the distance to the horizon of a man standing on level ground, a proportion uniting the horizon, the circle 360, and the creation number itself, 216. Marble Arch was a royal edifice, no one was allowed through its gate but the king. Mythic tales involving Helgafell in the Icelandic Cosmic Image underline the notion of how big a part north and south played in prehistoric cultures. On those occasions the northern passage from Helgafell served as conduit to the existence beyond the earthly one. In the context of a measured Cosmic Image this is the spot where one would expect to find the primal symbol for North. Marble Arch became the Helgafell of London. In the pavement across the street from Speakers Corner, three triangular plates are embedded into the cement, marking where a sturdy triangular gallows stood in the Middle Ages, called the Tyburn Tree. The gallows stood there for over 200 years, marking the end of the line for those the king sendenced to die. By a fork in the road that led into old London and a little hamlet that stood by two Brooks, -Tyburn, people had been executed from time immemorial. In the year 1196 the first documented execution took place there. The kings men had cornered the unlucky William Fits Osbern inside the church of the Mary le Bow convent, now known as Marylebone district of London, they draged him to the two brooks and hanged him in the highest tree. Soon after William had been hanged, gallows were erected by the brooks, only to be redesigned as a Triangle and called the Tyburn Tree, made so as 27 men could be hanged at any one time. Their bodies left to hang over the heads of those traveling the road to old London as a warning. An execution at Tyburn soon became a social gathering as citizens of old London gathered under the Tyburn Tree triangle to watch men “do the Tyburn jig.” Close by the Tyburn Tree was a menhir that symbolized where the so called Hundred of London was demarkated, known as the “Ossul Hundred”. The symbolic stone may have been the last earthly edifice condemned men saw before the Byron of Tyburn’s noose snapped assunder their neck and sent them over the great divide. The Ossul Hundred had been there as long as oldest accounts remembered. Because of the ever bigger crowds attending executions, people climbed up on it for better viewing and the stone was slowly trampeled into the ground. For decades it lay unattended by the roadside, after Marble Arch was erected at this location, the stone was propped up against the marble’s side but vanished soon

after someone wrote about its significance in one of the first English journals of archeology and has not been seen since. William Fits Osbern is a mighty intersting persona in the London Cosmic Image Saga. Myth sais he led a revolt against an unfair taxation by the king, thus accounts place him in the mythical rank of some prominent caracters of history ranging from a bishop of the poor in Iceland, to Robin Hood, to Leonardo’s Vetruvian Man, to Jesus Christ himself. Their symbolic meaning attaches them all to an elusive thought that nestles deep within our soul, – the archaic dispute between the divine and the objective. A dispute between the king and William Fits Osbern mirrors the dispute between the king and Robin Hood, which was the same concept as symbolized by the disbute between San Lorenzo and the pope in third century Rome. Lorenzo was a deacon in the first Christian church in Rome when the Pope made him treasurer of the Church, where he chose to distribute the church money to the poor. This ideal is also found in the allegory of the Storm clan of Noale (9) in the Cosmic Image of north Italy, and in the allegory of Þríhyrningur (8) in Njálssaga, where resided Starkad and his unkind sons, Thorgeir and Thorkell, who coveted people’s matterial posessions. The same ideal was symbolized by the dispute between St. Þorlákur and Icelandic chieftains in the 12th century. Tales say St. Þorlákur bishop of the poor, established the church in Iceland by collecting tithings from the rich. In Renaissance Italy, Leonardo da Vinci’s Vitruvian man propped in a cycled square was perhaps the most graphical rendering of these associations of ideas. But the most famous dispute of the divine and the objective at a designated measured Center of a Cosmic Image, was the one personyfied by Jesus, son of god. Jesus was born in Betlehem, -on the Helagfell (7), or Marble Arch, of the Cosmic Image of the Holy land.

The Tower

18000 feet directly east from Marble Arch (7) is Tower Hill. In the cubic stronghold under its southern slope, is kept the earthly treasure of English Kingdom, the Tower of London. Under the floor of the near by church, All Hallows by the Tower, was a Roman floor of an elegant place. And under the Roman floor still older relics, all believed to have been a place of worship. William The Conqueror renovaded this side. Blocks of chalk stones from Caen were delivered over the Channel and up the river, so that the cubic symbol of the Tower would emanate the sun. William said that the fortress was to secure the castle because of Viking raids from the north. The word on the street was, he rebuilt the old king’s residence to secure his treasure from the English themselves. William was well versed in the archaic symbolism of the Cosmic Image. Within its principles, the Tower stands for “perfect orientation”. Its symbols: East, New day – and Matterial goods, clinch the dramatic play of the divine and the objective. In fact each symbol of the 36000 feet east-west alignement on the banks of the dark river reenforces the other; Acton (9), Marble Arch (7) and Tower Hill (8) together with Coppets Wood (3), stand for orientation east-west-north-south, objectifying the notion of “stableness and persistence” in the world of man. Subsequently, Williams gold was safe in the Tower. Royal treasure is to this day secure within the Cubus Perfectus of The Tower.

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Acton

After a careful geometric measure, settlers of the Thames delta stood on the plains of Hide Park, facing north under a dual hemisphere with the brighter part of it to the right and the one where the sun would set to the left. 36000 feet straight south from the hill in Coppets Wood (3). The wonder, as old as the Universe. The measured image of creation as old as when thought was relayd between two brains. 18000 feet east from Marble Arch is another important spot in the Cosmic Image; its ninth and the last marker – the “corner stone” of the Thames Cosmic Image. The word Acton, is derived from the word, As, meaning the tree genus ash, and Ton, meaning fields. But the root of the first part of this word “As” is uncertain, therefore, so is the meaning of the composite word There is an exact copy of this place on the same spot within the Danish Cosmic Image called Asbanke, the alleged place where chiefs gathered to administrate the affairs of settlers who divided this area between them. Considering the concept buildup of a Cosmic Image, it is more likely for As to mean Ás, referring to the deity or god in both instances. Acton, as the “corner stone” of a paced Cosmic Image, became the residence of men of the church, bishops and members of the ruling class. In cosmic Images around the world this spot is a place of learning and a place of “Law” (www.peturhalldorsson.com). Not far from the 18000 feet geographic measure if Acton, west of Marble Arch, is a mound in the middle of Broomyard Avenue. It is an island in the middle of the street that diverts traffic around it. An appartment building sits on it, but through the centuries a church stood on it. The last in a long line of churches on the mound was deticated to Barnabass, it burned down around the middle of last century. In ecclesiestical meetings through the centuries, Barnabass was a constant topic, his name often mentioned concurrent with Peter and Paul. In the days of Jesus, Branabass was a member of a sect in the Holy Land who were associated with capital and finance. Myth tells of Barnabass selling his earthly belongings to finance the mission of the apostles. In context of the assimilation of the symbols of a Cosmic Image, London seems thorough in its protocol of symbolism regarding prehistoric markers of the Cosmic Image. The four markers around the sacred Center area; 6 x 6 = 36(000): Barnabass’ church, Marble Arch, The Tower, and St. Pancarass under Coppets Wood, firmly guard the elusive play of the divine versus the object, within the Cosmic Image of London. See more : http://www.amazon.co.uk/-/e/B002HU466U