 The accumulation of an event so dramatic in the Earth's atmosphere would see the birth of sky worship emerge from the cosmic cataclysm. Prehistoric people perceived what they saw as giant humanoid figures, waging battle in the sky, and, at the end of the cycle, as the apparent gods disassembled, an overall figure emerges. The Greeks and the Hindus tell us of the gods in the sky. Seemingly visible for ages and, of course, the Hindus show us different representations of the many gods, visible over time as the great spectacle in the sky morphed throughout millennia. The Greeks tell us the different generations of the gods of the sky, Zeus, for example, being God of the sky, lightning and thunder, ruler of all the gods, as inherited from his father, Kronos, king of the gods and widely understood to be the planet Saturn, from which the great sky event of prehistory may have manifested to Earth observers and overwhelmingly influenced the very being of ancient Earthlings. The iconography spread all over the planet of the sky god and emerged into art all over the Mediterranean region and ancient Near East. The ancient Greeks tell us the iconography comes from very ancient times. Times referred to as archaic times, even by the earliest Greek writers, and this does suggest a populous explosion in prehistoric times that relates to the sky spectacle directly. When the first of our kind re-emerged from the shelter of the caves and begin to again claw back civilization from the brink, they re-emerge with a thinking of appeasing gods of the sky. Cultures emerge from this way of thinking and the squatter man of the petroglyph, the representation of the Z-Pinch aurora, begins to be brought to life by ancient artists who remembered in the oral traditions. At first there must be a visual remembrance and this goes from petroglyph patterns to works of art in pottery, coins and other materials capable of holding a striking resemblance of the prevailing figure witnessed all across the world. Known to the Greeks as the Potnia Theron, a humanoid figure which is always being flanked by animals on either side emerges into ancient cultures all across the earth. This widespread motif is recognized as a precursor of worship, the cosmic entity of the lost age of humanity from the time when our skies went electric, when planet Saturn went supernova. The figure of the Potnia Theron is a representation of the manifested aurora and the animals flanking either side. Sometimes snakes as seen in Greece and other regions is actually immense plasmatic discharges radiating down on our planet. The ancient earthlings witnessed this. They believed this was a winged deity and they recorded this in petroglyphs and later on they would stylize their entire reemergence of this event and to the Greeks and the Hindus, they were gods and the so-called mythological episode in humanity's cavitus upbringing were literal events as perceived by prehistoric people. The emergence into art of the squatter man can be traced to the very earliest of times. For example artifacts from the times of the ancient Scythians relate to an underground goddess who had presented herself to the people, daughter of a river god and seemingly dwelling above the mountains. In some accounts she is half snake and of course the snake has been identified as being representative of the plasmatic thunderbolts of the gods. Ambiguous by their nature these images are a category of representations that are frequently associated with rituals or transitions and limitation with the intermediate stages of creation when the world is in neither its primal nor its finished state. At this transitional stage when the country of Scythia already existed but was only an infancy, the sky goddess gave birth to the reemergence of the Scythian people because this is what they saw. They believed this to be a great being. Similarly in Greek belief in the primordial world before people learned the laws of civilization, these great beings of the sky flourished in all their might and wonder, inspiring worship, implementing fear and faith. Confounding the earthlings who had lost prosperity and who had long sat in awe of the spectacle radiating above them, long they waited for a return to the time of old and they were comforted by this unimaginable widespread phenomena from which the mythological stories would emerge, it actually happened. Snakes of course are creatures of ambiguous character, gliding between the worlds above and below the earth, capable of bringing death and prosperousness representing the electrical plasma discharging. Plants grow from the depths of the earth where the dead depart and they evoke fertility and renewal. Accordingly, both snakes and plants embody the idea of death and revival. The combination of human and vegetable or serpentine elements in a divine image implies a deity's power of life and death, relating to the aurora being both beautiful and dangerous to human beings. With the duality inherent in the combination of human and animal or vegetable elements being enhanced by the neutrality of feminine and masculinity in the snake. Thoughts awaken, curiosity stirs. Regardless of culture or origin, we use the great term patnia thereon to identify this widespread phenomena and we say it's a phenomena because this is exactly what had happened in prehistory for this wave of understanding to even begin to unfold. The Mycenaeans, heavily influenced by Minoan culture, presented the symbol in a Minoan manner and with her usual sacred symbols. However, by the late Mycenaean period, the old type of deity flanked by animals was forgotten, assimilating into cultural beliefs as the ages slipped by, as the memory of the event slipped into mythological status. The sky goddess is usually described as a human deity, but some authors associate her not only with wild animals, snakes and birds, but further with a sacred tree and pillar with poppy and some lily, and eventually she looked like a mistress of trees and mountains. The Mycenaeans adopted the iconographical type of mistress of animals and applied it to the goddess of nature, who was represented with vegetation, mainly palms and papyrus flowers. Archaic Greeks, following the tradition used by the old iconographical scheme with their own aesthetic program, but over time the name of patnian thereon and her attributes and functions were eventually assimilated into the Greek religion, the goddess of hunting, Artemis. The earliest representations of the sky goddess are thought to be in the various strange venuses found throughout Europe. Dating to the earliest of times with the seeded woman found in Turkey in 1961, thought to date to 6000 years before Christ, thought to be precursors of more advanced artistic renderings, assimilating into the master of animals which emerged in Mesopotamia in the 4th millennia before Christ. This is one of the most inspiring representations of human animal hybrids in the ancient Near East and dynastic times of Egypt, where a representation from 3500 BC known as the Gible El Arc Knife shows a figure in a Mesopotamian dress who grapples with two lions. It has been connected to the famous Pasupati Seal from the Indus Valley civilization, showing a figure seated in a yoga-like posture with a horn headdress and surrounded by animals. The second turn is related to the figure on the gondestrip cauldron who sits with legs part crossed, has antlers, is surrounded by animals and grasped a snake in one hand and a torque in the other. And even in ancient Britain we see the continued cultural explosion of the great representation of the immense aurora event in prehistory in the form of the Sutton who pursed lid, which has two plaques with a man between two wolves. And the motif is common in Anglo-Saxon art and related early medieval styles where the animals generally remain aggressive. The understanding of the past is a minefield because we attempt to explain a happening in a comparison. By comparing what we see to what it looks like and this is all related one way or another to the events recorded in the petroglyph record, the story of the events survived in the minds of the people for ages and what they saw became godlike in nature to their thoughts. The evidence assembled over the past decades by David Talbot indicates that within human memory extraordinary changes in the planetary system occurred. In the earliest age to recall by human beings, the planet Saturn was the most spectacular light in the heavens and its impact on the ancient world was so overwhelming that it triggered a certain thought process all throughout the entire prehistoric world before the emergence of the first civilizations in Mesopotamia and the reoccupation by the dynasties of Egypt who then felt compelled to scroll hieroglyphs all over the place describing the time of the gods in the sky. These were in fact representations of events that had passed through the thoughts of people in sheltered conditions for ages. A manifestation of thoughts from a visual scene that would eventually be lost to history. But what do you guys think about this anyway? Comments below and as always, thank you for watching.