 The age that went before the great Aurora event is lost to history. Apparently obliterated by plasma bombarding the Earth from other solar system bodies. The Grand Canyon's on Earth and Mars, possibly bearing scars from this prehistoric event, that would separate this wave of existence from the Golden Epic, when life was long and the Earth was plentiful to all people. When the light of the sky shone down on the people as a god-like figure worshiped by the Earthlings who would come to fear great events as the figures in the sky waged war against other sky gods. This was the manifestation of the greatest event in human memory. David Talbot explains in the Saturn myth that if our generation dismisses the possibility of fact in the language of myth, then it is because we are aware of major discrepancies between myth and the modern world view. And we therefore ascribe it to the blindness or superstition of the ancients an ignorant assumption from an apparently intelligent people. There is hardly an ancient tale which fails to speak of world-destroying upheavals and shifting cosmic orders. Indeed, we are so accustomed to the catastrophic character of these stories that we hardly give it a second thought. When the myths tell us of sons which have come and gone or of planetary gods whose wars threaten to destroy mankind, we are likely to take them as absurdly exaggerated accounts of localized events or write them off altogether as expressions of unconstrained fancy. How many scholars seeking to unravel the astronomical legends and symbols of antiquity have questioned whether the heavenly bodies have always coerced on the same paths they follow today? William Whiston published in 1696 a new theory of the earth arguing that the biblical deluge resulted from a comet impact. The book produced a storm of scientific objections and had no lasting impact outside Christian orthodox belief. However, in 1882 and 1883, two books by author Ignatius Donnelly appeared. Atlantis, the anti-Diluvian world and Ragnaruc, the Age of Fire and Gravel. Relying on global myths, the author claimed that a massive continent called Atlantis once harbored a fantastic civilization, but the entire land sank beneath the sea when a comet rained destruction on the earth. Both of these publications became bestsellers and are still available today, yet conventional theories of earth and the solar system remain unaffected by these works. Around the turn of the century, Isaac Vail argued in a series of brief papers that myths of cosmic upheaval relate to the collapse of ice bands surrounding our planet. Three-quarters of a century after his death, his work is familiar only to the esoteric few. In 1913, Hans Holbege published his glacial cosmogony contending that the great catastrophes described in ancient myths occurred when the earth captured another planet, which became known as Earth's moon. The relatively small interest in this thesis vanished within a couple of decades, but this was the extent of noteworthy research into myth and catastrophe. When Immanuel Velikovsky in early 1940 first wondered whether a cosmic disturbance may have accompanied the exodus of the Israelites from Egypt. According to the Biblical account, massive plagues occurred, Mount Sinai erupted, and the pillar of cloud and fire moved in the sky. His quest for a solution led Velikovsky through a systematic survey of world mythology and eventually to the conclusion that ancient myths constitute a collective memory of celestial disorder. The great guides, as suspiciously observed by Velikovsky, appear explicitly as planets. In the Titanic wars vividly depicted by ancient chronologists, the planets moved on erratic courses, appearing to wage battle in the sky, exchanging electrical discharges and more than once menacing the earth. Velikovsky sets forth his claim of celestial catastrophe in his book Worlds in Collision. Proposing that 1st Venus and then Mars in the period between 1500 and 686 BC so disturbed the Earth's axis as to produce worldwide destruction. The book became the focus of one of the greatest scientific controversies of the 20th century. Velikovsky first directs our attention toward Saturn, proposing that the now distant gas planet was once the dominant heavenly body and he identifies Saturn's epit with the legendary Golden Age. A brief outline of his idea inspired the present inquiry, was Saturn once the preeminent light in the heavens? While expecting to find at best only faint echoes of Saturn or no hint at all, we instead discover that the ancients looking back at our so-called beginning to the petroglyph record, where we discover that at the beginning of this wave of existence, that the ancients were obsessed with the planet God and strove in a thousand different ways to relive Saturn's glorious epic. The most common symbols of antiquity, which our age universally regards as solar emblems, were originally unrelated to our Sun, despite the force fitting of the Sun as the dominant celestial star. We can theorize that these symbols are not relating to the Sun. In fact, the descriptions are of the unmoved mover, the celestial light of the heavens, a polar light emanating the radiance of the Golden Age. The symbols that are universally associated with the Sun are in fact literal pictures of the planet Saturn, before a supernova event sent out a shockwave of catastrophic proportions. This is the light of whom the entire ancient world invokes as the Sun, the celestial Sun, the unmoved mover, the planet Saturn. In the original age to which the myth refer, Saturn was no remote speck faintly discerned by terrestrial observers. The planet loomed as an awesome and terrifying light, and if we were to believe the widespread accounts of Saturn's age, the planet God's home was the unmoving celestial pole, the apparent pivot of the heavens, far removed from the visible path of Saturn today. At first glance, David Talbot's theory of the Saturn myths seemed to present an entanglement of bizarre images in the earliest most venerated religious text, depicting the great God sailing in a celestial ship, consorting with winged goddesses, fashioning revolving islands, cities, and temples, or abiding upon the shoulders of a cosmic giant. It is impossible to pursue Saturn's ancient image without encountering the paradise of Eden, the lost Atlantis, the fountain of youth, the one-wheeled chariot of the gods, the all-seeing eye of heaven, or the serpent dragon of the deep. Though celebrated as living visible powers, none of Saturn's personifications or mythical habitats conforms to anything in our familiar world. Yet once one seeks out the concrete nature of these images, it becomes clear that each referred to the same celestial form. This subject is a Saturn configuration of startling simplicity, whose appearance, transformation, and eventual disappearance became the focus of all ancient rites. There now is little doubt that if Velikovsky had pursued the Saturn question to the end, he would have perceived a vastly greater influence of the planet than he originally recognized. He would have discovered also that the full story of Saturn adds a new perspective to much of the mythological material gathered in worlds in collision. Nothing comes as a greater surprise to the would-be researcher than the sheer quantity of material bearing directly on the Saturn tradition. The scope of the subject matter will eventually have the most dramatic of consequences in the understanding of why our people into our past events that have been completely lost to history. Our understanding is evolving, but the assembly of the gods and what went before the Saturnian aurora event should be the biggest of questions in the minds of earthlings today. How were the megalithic structures constructed? What was the technology that was lost? How long did the Plasmic Events last? What world did the survivors leave behind as they sought shelter in the earth before re-emerging to a world overwhelmingly influenced by what they perceived as the great assembly in the sky? They re-emerged in Egypt and Mesopotamia and began to describe in no uncertain terms what they perceived, a perception that we have classed as mythology. When the greatest event unfolded in human memory, when the prehistoric aurora of the perceived gods seemed angered, the ancient American population exploded with cultural rituals and worship of the event that they thought could be controlled with worship and sacrifice. Structures arise above the tree canopy, their stairway to the apparent abode of the gods. They wondered what it was and they tried to reach the cosmic place of the squatter man who would kill, torment and destroy humans in their habitat. The destruction came after a period of prosperity as the plasma manifested through the discrete phases and this overwhelmingly influenced the desperation felt by the ancients. The apparent god they thought could be appeased with further sacrifice, worship and dedication. But this was the event of cosmic disorder that would see earthlings everywhere scrambled for answers as utter desperation took hold onto the society they had known for generations. This was the manifestation of a preconception that would blind us for centuries to come, the worldwide cataclysm of the prehistoric aurora. Meso-American cultural belief tells us that at the beginning of time the first god created himself and eventually gave birth to four other children who then presided over the four cardinal points. This was the manifestation in the sky and immortalized in the legend of the Five Sons which tells us of a time of the One God a time of prosperity before the four other gods manifested and destroyed the world before civilization emerged from the ashes they had created. The source of the ancient golden age was also where a manifestation of destruction emerged. It can be hypothesized that a planet like Saturn could shine as a failing sun or something like that before going through an end cycle similar to that of what the sun will go through as its fuel renders to an end. Electrically exchanging plasma with other planets including the earth the intensity of the plasma hitting the earth would seem like an attack from the once giver of light and an effort to appease the event spawned religious belief everywhere. In Meso-America a great squatter man type deity emerges in the form of telateculti exactly representative of the form of the squatter man in the petroglyph record. During the age of the fifth son her eventually dismembered body would give rise to the civilization known to the world as Aztecs. And from these facts it can be assumed that the misinvolving this deity are representative of the electrical activity taking place in the sky. Influencing the cultures who witnessed it beyond recognition as the trauma inflicted over the millennia long event separated this time from the age of the golden epic. Telateculti to the Aztecs was a source of life and because of this they constantly wanted to appease her mostly doing this by sacrifice of blood involving the human heart being torn from the body in an effort to ensure the continued stability in world order as the previous cataclysm sparked by a great solar manifestation which was perceived as gods was still in memory when the planets were literally the gods exchanging highly charged plasma vaporizing earthlings the apparent anger of the gods. The idea of a creation myth involving a squatter deity goes back to the classic Mayan and the fifth century before Christ a figure which is based on similar deities in the even earlier Ulmik remembrance. In the creation mythology of the Aztecs however and other Meso-American cultures of the late post-classic period the gods Ketsu Kuato and Tezcalitipoca taking the form of gigantic snakes descended from the heavens one day and found Telateculti sitting astride the ocean. Snakes descending to the earth are also depicted at Gobekli Tepe events that seem impossible to us today where very common throughout the ancient world and the entire planet saw it as one. The two gods in the forms of snake-like manifestations seem to encounter the creator roaming the earth and so they took it upon themselves to destroy her a mighty tussle ensued in which Tezcalitipoca lost his left foot. They eventually ripped Telateculti in two from the upper half came the sky and the other lower half became the earth. The shockwave evaporating into cosmic dust as balance returned to our world. The other gods were not best pleased to hear of Telateculti's treatment and so decreed that the various parts of her dismembered body should give rise to features of the new world and her skin became grasses, her freckles, the flowers her hair became the trees, sunflowers and herbs her eyes became springs and wells her nose became the small mountains and valleys her shoulders the large mountains and her mouth became the caves and rivers. Despite being ripped to pieces and transformed into geographical features the Mesoamericans still continue to think that Telateculti as an earth goddess and they attribute any strange sounds coming from such features as either the screams of Telateculti and her dismembered agony or her calls for human blood to feed her. Indeed the goddess gained a reputation for having an insatiable appetite for the hearts of sacrificial victims. This appetite had to be satisfied or the goddess would cease her nourishment of the earth and crops would fail. This is how the ancients perceived the end of the electrical bombardment of the earth during the Saturnium supernova event. Their paranoia was so intense of their perceptions that they literally played out scenes as they thought they saw it in the heavens. The cultural rituals of sacrifice are appeasement events of a time they would do anything to not return to. Perhaps the key is in what they saw during the last struggles of Saturn as cosmic order evolved to what it is today. Another aspect of the goddess was that Telateculti was thought to swallow the sun every evening and regurgitated the next morning at dawn. Echoing the Egyptian tradition and this solar connection ensured she was part of the prayer offered to Tezcaritipoca before an Aztec military campaign, for example. In various forms she is an ancient Mesoamerican deity but the earliest representations in sculpture are found at the Mayan city of Mayapan in Yucatan. This dates to the late post-classic period. More common in Aztec art the goddess is often represented as a spread-eagled figure representing the hawker or squatterman which is misjudged in the process of childbirth. The deity's mouth usually gapes with fangs or teeth or flint blades showing tremendous plasma showering from her presence in every radial way possible. The most famous representation of this deity is on the colossal stone slab found near the base of the templo mayor of the Aztec capital Tenochitlan now central Mexico City. The pink and desired stone was broken into four pieces by the weight of a colonial building once above it. Put back together it weighed around 12 tons carved in high relief on the stone is the familiar squatter figure of Telatecuti wearing a skull and bones dress and with a river of blood flowing into her gaping mouth representative of the prehistoric Aurora event. Another representation of the goddess is found on all four sides of the coronation stone of the Aztec ruler Montezuma II and with her the glyphs for water and fire traditional symbols of war. The historian M. E. Miller is of the opinion that the face in the center of the celebrated Aztec Sun Stone is in fact Telatecuti and she there symbolizes the demise of the fifth and final son of the Aztec cosmos literally representing what they saw in the sky. The goddess was often carved onto the bottom of sculptures where the base touched the earth and on the underside of the special stone boxes which were used to keep the sacrificed hearts in which she was seemingly so partial to. Telatecuti appears as a famed monster in the form of a cornerstone of a pyramid platform at El Tahin and this links the architectural belief of the stone as supporting the pyramid to her mythological function of supporting the earth. The worship of a sky deity and the effort to reach the heavenly abode to actually see what was going on before mayhem was unleashed and agriculture was lost. The deity signifies the end of the greatest event in living memory a longing in the minds of the ancient earthlings of an event that is literally lost to history. The all seeing eye is a dynastic symbol invoking religious meaning to the reemergence of the people of the Egyptian region. This is the most mysterious symbol not only from the time of the Egyptian Empire but also in the today and now as the assimilation of such meanings has seen the modern age adopt such symbols in a secretive and provocative way mocking the general public at large that there are secrets in society far out of the reach of the humble everyday earthling. The all seeing eye may be one of the most famous of all Egyptian symbols but it is also one of the most misunderstood symbols from a time in history when our kind came under threat from the power of the solar system. What was the all seeing eye? What does it mean? Is it the representation of an actual all seeing eye in the celestial sky? To properly address the issue of the eye in the sky then we must theorize that celestial order has changed dramatically today to what it was just a few thousand years ago. We must assume that mythology is based on fact and that answers to our past are in the mythological record classed as fantasy by modern day teachings. The people of the past have laid out for us a record of events that occurred. Their perceptions are some of the most dramatic conclusions of events they witnessed in the sky and we had completely misunderstood these things to the point of ignorance. The vision of the earthlings who witnessed the plasmatic discharges in the sky was one that lasted ages eventually ending up as humanoid figures waging a battle for dominance in the form of the squatter man phenomena. But before the manifestation through the ages in many different forms the Aurora first took on a circular form radiating a curtain of Aurora similar to the Birkeland currents today the all seeing eye manifested evolving to the 56 points of radiation and immortalized not only in the petroglyph record but all over the world from Brazil to Britain and the Stonehenge monument matches to American petroglyph patterns for example but why is it all classed as myth and why do we consider this the opposite of reality today? We at the Lost History Channel firmly believe that the path to the past and truth of our reality lies within these events in the prehistoric past ancient earthlings simply must have seen the heavens differently than we do in modern times because the present order in the sky explains nothing about these times neither the ancient rites of the pharaohs nor the array of astronomical symbols which grew up around the ancient ruler who was conceived as the human incarnation of the ruling divinity in heaven not just in Egypt but all around the world the manifestation of these thoughts occurred in the minds of people everywhere and at great distances they perceived the same events no matter where they were on the earth a vantage changes but the vision remains ritual and symbol always refers to an age different from our own an age when planet Saturn the central sun ruled from the celestial pole encircled by his band of glory the all seeing eye as almost uniformly asserted the solar orb nowhere is the weakness of solar mythology more apparent than in its handling of this confounding and cryptic symbol one Egyptologist after another by following the solar interpretation passes over in silence the many enigmatic particles of eye symbolism ignoring the truth as if it didn't matter the only well-known authority to reject categorically the solar interpretation was Rudolf Antis after devoting extensive research to the eye of Ra Rudolf Antis concludes that the eye apparently never was the sun to the ancient observers never strictly speaking the Egyptian eye is neither the sun nor is it a star but it is the circular or enclosure fashion by the creator and his celestial home the great God resides in the eye as the pupil and one of the most common names of the eye in Egypt is ut hat and the ut hat hieroglyphic combines three closely related signs meaning to see and also to form to fashion to create to encircle and to bind to encircle the all seeing eye is the created enclosure the bond around the primeval sun therefore the God has his home in the ut hat the eye I am in the ut hat I am he who dwelleth in the ut hat enter thou in peace enter the divine ut hat reads the inscriptions of dynastic Egypt a coffin text also gives us a clue and reads that I am Horus in his eye while the Harris magical papyrus states I am shoe under the form of raw seated in the middle of his father's eye in the book of the dead it declares that I am the pure one in his eye I am he who dwelleth in the middle of his own eye questions arise does the great God reside in the enclosure of the eye as the pupil the book of the dead repeats the phrases collectively praise be to thee O raw exalted seek him aged one of the pupil of the ut hat I am in the ut hat I sit in as the pupil of the eye God the pupil of whose eye is terrible is thy name when the text speak of the eye of raw who is in his actin one recognizes the eye as the actin for the Egyptians treat the eye sign and the actin sign as interchangeable symbols just as the actin constituted the protective enclosure so did the eye O Osiris knew the eye of Horus protecteth thee it keepeth thee in safety he is Horus encircled with the protection of his eye my refuge is my eye my protection is my eye I am the dweller in the eye no evil or calamitous things befall me such references surely indicate that the eye is not the sun or the sun god but the goddess and whose protective womb the sun god dwells as a matter of fact though Egyptian ritual presents the goddess under many names all primary figures of the goddess receive the appellation eye of raw this includes among others Isis, Hathar, Nut and of course the goddess ut hat the eye all like meshes of eye symbolism are woven all around the Egyptian goddess and she cannot be understood or compared with other goddesses until they are unraveled yet several interesting associations of the eye and goddess fails to discern the eye's root character as the protective enclosure in 1980 David Talbot beautifully suggests that the only direct identity of the eye as cosmic womb will explain its context in the ritual the child who is the eye of Horus hath presented to thee I am he whose being has been molded in his eye Horus is said to rear and nourish the multitudes through the unique eye mistress of the divine company and lady of the universe the very goddess whom the text depicts as the eye of the primeval sun are also called the house as we should expect as to the identity of the eye and the temple Egyptian sources leave no room for debate they state this as fact the temple of Karnak is the healthy eye of the lord of all a striking parallel to the Sumerian temple as the house eye of the land in the book of the pylons Raul listens back to the remote age when I was in the temple of my eye while the book of the dead speaks of the son of Osiris exciting within the temple of his eye of Anu David Talbot tells us that Saturn's band was the primeval cosmos viewed as the planet god's own consort the womb of the cosmic waters and ancient myths alternatively depict the band as a revolving island in the sky a cord of rope forming the boundary of Saturn's domain a shining egg a shield or the creator's belt Saturn's kingdom possesses the form of a great wheel it was the creator's revolving throne the celestial city the lost naval or middle place where history began to be documented around the border of the heavenly land flowed a circular river or ocean and the same band was Saturn's revolving temple which he wore as a crown and in which he dwelt as the pupil of the all seeing eye as the cosmic vase the band housed Saturn's waters of life and finally Saturn's band appears in the guise of a shiny serpent wrapped around the central sun and denoted by the Egyptian sign separated from the archetypal enclosure the various symbols appear as isolated forms of uncertain origin but if that were the case then why were these forms systematically related in language art ritual and myth it is not a question of later generations recklessly joining unrelated images because the fact remains that the further back we go the greater the unity the best evidence of the harmonious vision comes from the oldest sources of ancient Egypt and Mesopotamia here we find the central sun wearing the cosmic city and temple as a crown taking as his throne the eye of heaven the holy land or the vase of upper waters shining in the center of an egg called the earth and encircled by a river which forms the wall of the temple but also the circle of the gods in case we find that the symbol refers directly to the womb of the mother goddess enclosing the great father Saturn in reviewing this imagery of the enclosure one confronts many dominant motifs of ancient religion whatever the mythological formulation of the band the hymns celebrate its presence at the polar center yet who can locate a source of the imagery in today's tranquil heavens where is this revolving river of splendor and terror where is the city of the white wall the clear and radiant holy land the temple like a dragon gleaming the throne of light, the golden egg or the fiery serpent if the texts present alternative versions of the band they never question its existence in primeval times it is the archaic reality concealed within a massive body of myths and symbols all pointing to the signs and as images of Saturn the polar sun, the unmoved mover the ancient son of the golden age the all-seeing eye isn't an alien symbol in the sense that it was perceived in the minds of earthlings the changes explicitly depicted in the petroglyph record before assimilating into belief in Egypt of an eye in the sky manifesting into other humanoid figures was the beginning of dynastic Egyptian civilization in the wake of a cataclysm instigated by solar chaos