Scientia Press

One of the world’s most famous monuments, Stonehenge abounds in mysteries and anomalies.

Why was Stonehenge built in the first place?  Why was it radically transformed shortly before 2500 BC into a masterpiece of megalithic architecture?  What explains the intricate, changing patterns of the stones over time?   Why the extraordinary effort?

We now have answers to these and other questions, but to get to them we need to set aside preconceptions and come to terms with something that isn’t simple.

The civilizations of Mesoamerica abounded in mysteries.  What caused their fixation on Venus?  What led them to develop their intricate, highly precise calendars?  What can explain the little pecked-cross circles embedded in the landscape?  Why were these peoples so keenly bent on human sacrifice?  What were the Aztecs referring to when they said that this was the age of the Fifth Sun?

We have a skeleton key that can unlock these old secrets.

Sometimes we just need to listen carefully.  Definitely in regard to Karnak.

Egyptian priests told Herodotus, a careful listener, that four times since Egypt had become a kingdom “the Sun rose contrary to his wont; twice he rose where he now sets, and twice he set where he now rises.”

This evidence, and much else, was interpreted by

Among the deepest mysteries of ancient Egypt is the Great Sphinx of Giza.  Researchers, both professional and amateur, have painstakingly investigated its every aspect.1  Yet key puzzles remain, above all the question of why this colossal structure, the ancient world’s largest monument, was built in the first place.

It’s not that serious researchers and free-ranging speculators have not proposed explanations.  But every theory put forward falls well short of true persuasiveness or stumbles over inconvenient facts.  Here are three anomalies a correct theory should explain.

Karahunj (Zorats Karer) is an ancient site in southern Armenia that contains more than 230 large stones, some 37 still standing, arranged in a fashion that has suggested to many observers that it was used for archaeoastronomy.  But defining how it was used has remained elusive.  Complicating the situation, Karahunj is located near a complex of ancient graves; we do not know who built it; it is difficult to ascertain exactly when the stones were set up; and some 85 of them have holes drilled through them that researchers have suggested might be used for sighting celestial objects, but other researchers think this unlikely because they would have been too imprecise.1

Nonetheless, there is a rather simple explanation of the stones of Karahunj.  But to grasp it, one must become aware of the compelling new evidence for and reinterpretation of

When Venus first appeared in the skies around 2525 BC, ancient peoples worldwide strove to come to terms with this brilliant and awesome new comet-planet (the best account is in Immanuel Velikovsky, Worlds in Collision, though it has been corrected in a Revised Venus Theory).  That meant assigning the deity a gender and a name.

In the Near East, they tried both genders.  In its masculine incarnation, Venus became the Bull of Heaven (as Velikovsky pointed out, the comet-planet’s body blocked the sun’s rays from the central portion of its tail and thus it was seen as having two horns).  In its feminine version, Venus was called Ishtar or Astarte; and in the Levant Astarte was depicted with serpents in her hands—the twin tails of the comet.

In Greece, according to Velikovsky, planet Venus was originally named Athena.

New evidence and interpretation at the intersection of planetary science and religion can help us better understand the history of the Ancient Near East and of the origins of Islam.

A Revised Venus Theory corrects Immanuel Velikovsky’s original theory that the planet Venus first entered the inner solar system as a comet with a bifurcated tail around 1500 BC (new evidence indicates around 2525 BC).  Now we have a much better explanation of the origin of Venus (rather than fissioning off of Jupiter, it was pulled from the outer solar system by Jupiter’s gravity and, via tidal heating, became a comet with a long tail).  Venus interacted with the Earth on a 52-year cycle during the Late Bronze Age, causing catastrophes worldwide.  And we now have a framework theory of the terrestrial planets into which these phenomena neatly fit and for which there is telling evidence.  For Comet Venus, there is also newly interpreted, compelling iconographic and linguistic evidence.  The names of both Athena (A Fena, the Phoenician) and Poseidon (Bos eidon, the Bull of Heaven), for instance, referred to the double-tailed Venus.

So with new-found confidence that the Ancients and Velikovsky were right about Venus, we can ask how can we use this to decipher aspects of the culture of the Ancient Near East and of the background of Islam.

411-meter long Great Serpent Mound in Ohio is the world’s longest effigy monument.  Archaeological investigations have yielded conflicting results about its initial construction date, and various theories regarding its meaning have failed to gain traction.  But a Revised Venus Theory–one that modifies Immanuel Velikovsky’s theory that the planet Venus was originally a comet that approached the Earth and caused great devastation–neatly matches key characteristics of the Great Serpent Mound.

Recently, this Revised Venus Theory has gained additional credibility from a commonsensical explanation of how a comet-like Venus could have seemed to emerge from Jupiter as in ancient Hindu and Greek myths (Jupiter’s gravity pulled it from the outer solar system), including a simple, obvious reinterpretation of the Metis myth.  Much new evidence has also emerged.  And the theory has found powerful substantiation from a reinterpretation of the headdress of Queen Nefertari of Egypt, consort of Pharaoh Ramses II, in this image from Abu Simbel (Ramses II’s headdress appears to contain Mars with two moons and a tail, either borrowed from Venus in an encounter or from Martian dust stirred up by an encounter).

The famous Snake Goddess of ancient Crete has long attracted students of history and art. Elegant, risquée, enigmatic, she embodies the mystery and allure of Minoan civilization.