 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. In the light of the sky shown down on the people as a god-like figure worshipped 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. On 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 Holberg 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 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. During 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 seem to present an entanglement of bizarre images with 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 refer to the same celestial form. The 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 Vilikovsky 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. Everything 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 by 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? And 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. The all-seeing eye is a dynastic symbol invoking religious meaning to the re-emergence 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 two 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. The 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 and the only well-known authority to reject categorically the solar interpretation was Rudolph Anthus. After devoting extensive research to the eye of Ra, Rudolph Anthus 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 Uthat and the Uthat 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. While the god has his home in the Uthat, the eye, I am in the Uthat, I am he who dwelleth in the Uthat, enter thou in peace into the divine Uthat, reach the inscriptions of dynastic Egypt. A coffin text also gives us a clue and reads that I am Horus in his eye, while the heiress magical papyrus states, I am Shu under the form of Ra 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 Ra, exalted seek him, aged one of the pupil of the Uthat. I am in the Uthat, I sit in as the pupil of the eye, God the pupil of whose eye is terrible is thy name. When the texts speak of the eye of Ra, 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 Appalachian eye of Raul. This includes among others, Isis, Hathar, Nutt, and of course the goddess Uthat, the eye. The complete 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 sun of Osiris residing 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 and the wake of a cataclysm instigated by solar chaos.