Bartlett full plate 15 jewel ; 16 size 25 year open face Royal 17 jewel adjusted ; 6 size 20 years hunting case 7 jewels ; 12 size octagonal 20 years 17 jewels adjusted ; 6 size hunting case lever set 7 jewel CONDITION: none running but staffs are okay. Good dials. The smallest is missing its mainspring barrel and arbor. Pocket watches- 7 Seven including one travel clock: Waltham open face 18 size silverode full plate 7 jewel ; Rockford open face 18 size coin silver key wind key set jewel Model 1 ; Elgin open face 18 size base metal 15 jewel full plate ; Knickerbocker open face 16 size 10 year gold filled 7 jewel with dial for "Richardson Lubricating Co.
The 3 Walthams are 15 jewel and they tick. The New Columbus also is 15 jewel; the Elgins are 7 jewel. Three are smaller lady's sizes. Three will tick. Pocket watches- 9 Nine open face: 2 Illinois gold filled 12 size 17 jewel adjusted, and ; Waltham 18 size nickel P. Cane watch, ebonized wood with nickel top, rim wind with direct setting by a crown attached to the center arbor, Swiss movement with cylinder escapement, white enamel Roman numeral dial marked "Brevete" with XII in red, blued steel hands, c CONDITION: Cane good with some scrapes and abrasions to ebonizing, watch case good with minor dings and scratches, dial with faint hairlines and a narrow flake at the center arbor, movement running, 36".
DIAL: Dial poorly restored, staining around edge. Watch Bureau of Ships U. Navy N", contained in a mahogany box with name plate on front, serial 2F, c CONDITION: Box with scuffs and scrapes, Dial with minor scuffs and perimeter scrape from bezel hidden by bezel , but very good overall, hands very good, clock case and gimbals very good, movement with minor scratches, a cluster of small scratches, dings and marks at stem release screw, running.
Waltham Watch Co. The tub fits perfectly in the modern cushioned box, but could easily be refit into a more correct period gimbaled box. Movement is Dial is 2. Outer box, with hinged cover, for deck watch or small boxed chronometer, hardwood with padded felt interior, 20th century CONDITION: touching up a few small scratches and applying a coat of varnish would make this even better, but overall condition inside and out is very good.
The inside accommodates a 5"-square box; overall height when closed is 7. The dark stained wood box appears to be original. Bezel diameter 3. Tokyo Keiki Seizosho Co. Shipping not recommended. Bezel diameter 9. The wine thermometer has a fitted wood box with suggested temperatures. Kirk's Patent shelf clock, tools, parts, Timetrax, telegraph key, E. Howard radio controlled wristwatch in box, etc. Also included is a Tillotson telegraph key patented , a Welch cut glass pendulum, a hinged wood box of Howard? All for one money. The scene is exceedingly charming and well executed.
Diameter 9". The felt display board retains 8 original price tags, and the consignor includes a nice assortment of Ingersoll, Ingraham, Westclox and Waterbury watches. Ht 11". Swiss watchmakers mandrel, of steel and brass construction and with cast base, with faceplate, T rest, carriage, and tailstock, c CONDITION: Brass with scattered spotting, minor dings and scratches, steel with minor oxidation, T screw for fastening tailstock with rust, all parts free and functional, base later, L 15".
Cleaning machine is complete but not tested. CONDITION: these boxes are full of hundreds of historic and useful references costing a total of at least a few thousand dollars to initial subscribers and purchasers. The expanding file of ephemera from various important watch companies are a bonus of hard-to-find material. Books- 10 Ten clock reference books including a thick 3-ring binder of collected E. Howard ephemera, five Ly, and Ball. The Howard binder is a treasure trove of small catalogs, articles, and material about the reissues and recent history of the company.
Books- 23 Twenty-three classic references on clock and watch history, makers, repair and technology. Books- 24 Twenty-four reference and repair classics: 9 hardcover 8 with dust jackets including special Bicentennial numbered edition of Bailey in a slipcover; 15 paperbacks including three Ly and 8 booklets CONDITION: very good overall condition with just minor wear and dust jacket tears on some volumes. Booklets include reproductions of Welch and New Haven catalogs, and a treatise on the clock collection at Greenfield Village. Abiel Chandler, Concord, NH, New Hampshire mirror clock no dial nor hands , 8 days, time and alarm, weight driven "rat trap" movement in a mahogany veneer case with reverse painted upper glass and lower mirror tablet, c CONDITION: the original upper tablet and mirror are cracked.
The dial and alarm weight are absent. The time weight is original. This would make a great restoration project. Ht 30". American Clock Co. The paper dial as age darkened a little and looks to be original. Clean label inside case. Hands are original. Ht Anglo American burl and inlaid walnut 8 days, time and strike, wall clock with E.
The original finish is dry, and there are some minor age separations. A bonus is the large early photo mounted on the bottom bracket. The arched painted metal dial now has a later paper dial attached to it. The movement has the Welch stamps. The hands are too thick and short, and one bottom finial is absent. Ht 40". The patterned lower glass, and the convex upper glass in its brass bezel, both are fine.
The painted metal unsigned dial has some minor flaking at the edges and near the center hole. Ansonia Brass and Copper Co. The curved veneered area on the door is a slightly rough compared to the rest of the molding. The molding on top of the case has been replaced. Original painted dial with some small patches of loss. Tablet is original. The tips on the drop finials are missing. Ansonia Brass Co. There is an old crazed finish and some veneer loses, but the case still looks good with its floral tablet and painted metal dial which has been touched up.
The alarm works are absent. Ansonia Clock Co, New York, "Turin" enameled iron shelf clock, 8 days, time and strike, spring driven movement, and with Ansonia patent hard rubber dial, c CONDITION: there is a fresh coat of glossy black paint on the iron, and new green paint on the flat columns, but an older surface on the intricate cast brass ornaments. Thereis wear to the gold numerals on the rubber dial; also an old added floral transfer..
The beaded bezel and thick beveled glass are fine. The movement looks dark and dusty, and needs a pendulum Proper replacements are available from Timesavers in Arizona. A nearly complete rear paper label confirms the model name. Ansonia Clock Co. Original porcelain dial is perfect and the hands and pendulum are original. Beveled glass panels are fine. The multicolor bezel and patterned glass tablet are fine, the bottom drawer is intact, the paper dial has darkened a bit and has a stain by the 6, the two-barrel pendulum has one dent, and the rear label indicates both Ansonia and Brooklyn manufacturing.
Original porcelain dial is perfect and the hands are original. Movement is signed. Muller No. The original paper dial is somewhat worn. The Connecticut movement needs a pendulum. Ht 21". Original painted dial with some minor loss. Hands and tablet are original. Label notes Brooklyn Factory.
Ht 12". The paper dial is somewhat faded and stained. The bezel and convex glass are new, as are the pendulum and rear case door. They show an original old patina with some wear, and both sword blades are absent. Their bases are unlike the round bases shown in Ly, more like fancier bases shown with some larger Ansonia figures. Ht 20". The statues are detailed and complete, identified with fancy plates. Their bases are unlike the round bases shown in Ly, more like fancier bases shown under some larger figures. The top finial has lost its little top ball. The patterned glass, signed gong base, fancy pendulum, and slightly worn paper dial all are original.
Ht 23". The beveled glasses are good except for a small corner break in the front door. The porcelain dial has a few hairlines by the winding holes; the pallet pins are steel; the front door knob is absent; the simulated mercury pendulum is bright with some cloudiness inside the glass tubes. A small bottom wood piece has detached but can be easily glued in place. No label. Ht 32". The inner paper dial is old and toned; the outer is whiter and perhaps newer. Inside is a good beat scale and black label still readable. The patterned glass, double-barrel pendulum, large beat scale, and worn paper dial all appear original, but the rear partial label is totally dark.
The signed dial and beveled glass are fine. The small round movement needs a pendulum. Ht of clock The original paper dial, with its fancy brass center, is very good. The flat glass and its beaded brass bezel also are fine. The hour hand does not advance with the minute hand, so some attention is needed. Ht 14". The cast top and bottom have an old worn patina, and there is paint loss from the interior of the glass jar.
The movement is an alarm clock style pin pallet unit, and does not tick. Ht 22". The gold numbers are a bit worn, and one has detached but is still in the case. The little finger that holds the cards in place appears to be broken. Ht to top of handle 6". Atkins Clock Co. Original painted dial with some loss at the winding arbor, on the edges and at the mounting screws.
Original tablet with minor background loss. Case design patented by Soloman Spring. Ht 10". Atkins Porter and Co. CONDITION: Mahogany veneered clock in nice condition with what appears to be a new shellac finish over an old one with some veneer loss on the sides and in a couple on the flat outer edge. Original painted dial with loss and poor inpainting at the mounting pins and the bottom edge.
Very clean label inside case. Ht 26". Attleboro Clock Co. This was a firm that had clocks made and retailed by them. Original paper dial has age darkened. Hands, tablet and pendulum are original. An unusual feature for the movement is the use of steel plates rather than brass. Nice clean label on back of case. This clock probably made for Attleboro by E.
The unusual solid wood case is well made and in good condition, with "C" carved into the crest. The brass dial has some polish residue in the engraved numbers and corners. The shaped front glass is heavy and beveled, but its door is hinged strangely and needs caution when opening. Nice beat scale below the open well where the brass pendulum bob swings. Ht 29". Bradley Mfg. Paper dial has age darkened with stains. Hands appear to be later replacements. Fairly clean label inside case.
Ht 19". A couple of veneer chips on the base and a small area on the back edge near the top. Some age cracks to the wood door bezel. Original painted dial with some minor loss at the center hole and at the winding arbors. Tablet is a replacement. Key escutcheon is cracked. The paper dial has been replaced as well. Hands are period and most likely original. Clean label inside the case. A very interesting patriotic theme in this Muller design topped by an American eagle with spread wings.
Jerome, Bristol, Conn. Original upper glass with some loss. Original dial with wear to some of the numbers. Hands and weights are original. Bottom tablet looks to be original with some wear. Original blue backboard paper and card label. Chauncey Goodrich, Bristol, Conn. There is some damage to the top front molding. Original dial pan repainted. One of the hands maybe a replacement as they do not match. Original tablet of the Mt. Carmel area in Hamden, Conn. Ht 13". Chauncey Jerome, New Haven, Conn.
Paint on the original dial pan appears to be original with some loss at the mounting screws. Original tablet with loss. Original painted dial with loss at the mounting pins and winding arbor. Minute hand maybe a replacement. Most of the gilding on the columns remains intact under a dark shellac. Original painted dial with some loss at the mounting screws and some small scattered chipped areas. Ht 25". Original painted wood dial is in good condition with some loss at the mounting points.
Hands and " Old Connecticut State House" tablet are original. The original painted dial has some paint loss around the mounting screws and the winding holes. The fusee movement is properly signed. The minute hand is short. There is a repair sticker inside the door. Original painted dial with minor loss at the winding arbors and the mounting pins. Hands appear to be original.
Tablet is original with some wear. Columns look to have been gold painted. Original painted dial with Arabic numbers which is unusual has some minor loss at the mounting screws and a small flake in the center. Frosted tablets looks to be a later replacement. Chelsea Clock Co.
The original finish is in good condition, the signed silvered dial has yellowed and faded a bit, and the hands have lost some gold color. The convex beveled glass is fine, but one top side molding is loose and there are some minor shrinkage cracks. The movement is Seth Thomas Clock Co. There is a nicely figured back panel. Ht 33". Colonial Clock Co. The German movement strikes on a large coil gong and swings a gridiron pendulum. The lacquered brass weights have small scratches. Connecticut Clock Co. Original painted dial is very clean with some minor loss and inpainting at the bottom mounting pins.
It is also stamped on the dial: "Conn. Clock Co. Tablet is original with some minor loss. Movement is stamped "Morse No. Miles Morse, Jr. A very ornate label inside with an image of a steam locomotive. Examples from this company are uncommon. The lacquer surface is worn and somewhat darkened. Dials have applied bass numbers; one side very good, the other dial has some scratches.
Gumbiner was a small prestigious Madison Avenue jewelry retailer. Daniel Pratt, Jr. The right chimney top has a small piece missing. Original painted dial is very clean with some minor loss at the mounting pins. Mirror in the door is a replacement. Ht 28". Ingraham, Bristol, Conn. Original painted dial with some wear and loss along the edges and at the mounting screws. Gilt door looks to have been painted with gold paint a long time ago and mellowed. Original tablet with loss along the border area. Hands maybe a replacement as the minute looks a little short. Ht 17". Original painted dial with some loss at the mounting pins and at the winding arbors Hands are original.
Bottom tablet is original. Readable but stained label inside case Ht 17". Bartholomew, Bristol, Conn. Stenciling on the columns and splat looks to be original. Original painted dial is very nice for its age with some very minor loss. Nice set of original eagle hands.
Ht 36". Original painted dial has darkened over time with loss at the winding arbors. Replaced tablet is by Moberg. Ht 24". Dial has been repainted. Bottom tablet is original with restoration of the border. The top border surrounding the dial has been restored. Hour hand is original. Minute is a replacement. Nice card label inside case.
Brass bezel, balls, eagle finial and sidearms have an old patina.
Glasses are very good, the silvered dial is a bit worn and tarnished. Ht 39". Original paper dial has age darkened with the center area having a newer piece replaced. Door glass is a replacement. Pendulum bob looks to have been gold painted. Original paper has darkened a little with some light wear. Gold highlights in the incised lines in the case have faded away. Nice label inside case. Ht 16". Most of the gilding in the incised decoration on the case has faded away.
Original paper dial has age darkened with some loss at six o'clock. Original tablet with some wear. Nice label on back of case. Original tablet and hands. The gilding on the columns has been restored. Ingraham and Co. There are minor age cracks, but very good overall condition, with a decent worn paper dial and old peacock tablet. Almost best of all are the three labels: the factory one inside and then two for Samuel Simpson of Philadelphia. The original green bottom glass is nice, as is the painted metal dial.
The inside label mostly is present but nearly illegible. Ingraham Co. The original surface and elaborate Asian decoration are in good condition with minor scratches and darkening. The dial, glass and bezel also are good originals. The movement needs a pendulum, easily obtained from Timesavers in Arizona. The dial is a paper replacement. The original gold ornamentation in the incised decorative lines of the case has faded out from age but still visible. Good rear label. The hour hand is too big. Original paper dial has turn slightly gray but is in otherwise nice condition. Tablet and hands are original.
Welch Mfg. The fancy pendulum, with its glass center, is nice; the rear labels now are difficult to decipher. Original painted dial is very clean for its age with some very minor wear. The movement is signed but the label is worn away; the pendulum is too long and the incorrect style.
This was one of the commemorative series produced by Welch. Original paper dial is very clean with some very minor staining. Hands, pendulum and tablet are original. Original painted dial with flaking at the winding arbor, in the center area and at the mounting screws. Original painted dial with some loss at the winding arbors and along the edges. Original tablet with some loss in the center area.
Goodwin, Bristol, Conn. Dial looks to be original, but has been repainted. Hands are period and look to be original. The background on the glass in the bottom door has been restored. Label is a little dark, but readable. Ht 15". Edward E. Jones, Bristol, Conn. The wood looks to birch or butternut. The dial is clean with some wear. Nice period mirror. Clean Label. Jones [perhaps his father] worked English skeleton clock, 8 days, fusee spring driven movement with pendulum and passing strike on the hour, mounted on oval marble base set on wooden base no dome , c CONDITION: the dial has been repainted.
The passing strike needs attention. There is no dome. Nice quality heavy plate cable drive movement that looks to have serviced recently. The dial was originally painted, but now has a paper dial. Original painted dial with general wear and some loss and scratches. Tablet is original, but cracked and the only original part is the gold leaf border. Movement is original to the case. One of the pineapple finials has a little damage. There is a set of feet with this clock that can be made to fit.
The back turned feet look to be original as they fit the existing holes. The front paw feet are too short which means that you will have to shorten the rear feet to match the height. Ht 27". Eureka Clock Co. Gilbert Clock Co. Paper dial looks to have been replaced. Eureka name on the door glass is very nice for its age. Dial pan could possibly be a replacement, but it does not have any extra screw holes and matches the existing holes in the case.
Forestville Clock Co. Original dial has been repainted. Brass movement was made by E. Welch and so stamped. Original tablet with some restoration. An article that appeared in the Oct NAWCC bulletin describes this clock and suggests this label was used during the bankruptcy and the takeover by Welch. Forestville Manf'g Co. The silvered glass tablet, upper wavy glass, painted metal dial, and inside paper label all look original. The maker name also is visibly stamped onto the brass movement front plate. Forestville Manufacturing Co. Original painted dial with some loss across the center area.
Original bottom tablet with loss. Center glass is original, but has lost whatever design or scene was there. The carved top elements are from looks to be a piece of furniture. This case most likely had cornice top originally. Fairly nice label inside case. There are no weights with this clock. The glasses have substantial paint losses, and the lower tablet is cracked. The painted wood dial also has losses, as does the inside paper label. This would be an impressive clock after careful restoration. French alabaster and gilt metal figural 8 days, time only, mantel clock, c CONDITION: the solid stone case has the usual minor edge chips, and the top lion appears to have been gold-painted.
The bear figure with the wavy spear on the upper edge of the left hand corner of the hammer may be symbolic of something sacrificed and may be connected to the snake as in a life force. These hammer stones are in fact Neolithic hand hammers, which may or may not have been known when this brooch was created.
Most of these stones are oval shaped some are round and may have also been associated with eggs possibly something to do with solar worship. Coincidentally, both lightning and eggs were primary symbols of fertility. The right side of the hammer with the dog-like rodent creature may have represented the fetcher and the snake hammer stone thunder bolt the thrower. If so then this is where the ancient Northern Germanics and Scandinavians would have conducted their sacrifices which are thought to have included war captives, slaves, tribal undesirables, and in at least one instance a Scandinavian King.
The Second A Plate shows a center square with a panel on each side similar to the later Byzantine icons. The center square shows a squinting face, it looks very similar to a vexillum a square flag centered on a staff under a finial. There is a humped creature with three heads that appears to be a dragon. Behind the dragon is a bear with a horizontal rectangular arm holding a bird eagle? If the brooch is viewed at a distance then the art will change to show the dragon looking more like a horse with a rider from the curved palm or dragon's tail shape holding to its rear a head in one hand and a sword which is pointed down.
This sword may have inlaid paste; if so it is connected to the creature in the First A Plate. From another perspective, the rider's head appears to be a wolf head the wolf head emerges from a different perspective of the bird shape. If these two rider images are correct then it would suggest a warrior god of the dead. The pheasant is a symbol of the dawn, and the peacock is a symbol of resurrection.
On the left panel it shows a horse, which when turned to its side it changes into a dragon. With this dragon horse symbolism one could speculate that the White Horse of Uffington was known on the continent. This second plate in summary displays a bear man hero as a three headed dragon slayer or dragon conqueror , but also perhaps a war god or a god of the dead. This shows a bear man as a charioteer the outer curved edge of the humped creature is perforated, suggesting a chariot wheel's spokes. The three headed dragon may in fact be a three headed horse or dragon horse , possibly representing three horses.
This suggests that the plate is of an Indo European people. The Curved finger half loop Third A Plate has a top square where the gilding has been worn off hence there is little or no engraving to to be seen. The top square has a raised border a metal smith's firing pit? This has miniature scratch work engravings and punch dot. The right side of the bevel of the rectangle shows engraved flames. These flames go around to the bottom bevel. If the brooch is turned to its side with the top to the right, the top of the rectangle on the finger half loop portion shows a scratch engraved upright sword's top half at an angle there are several lines connected to the sword's handle, which appear to be connected to the flames on the bottom bevel.
Half way up the sword top there is a horizontal javelin or arrow at a slight angle, this may be symbolic of a magnetic needle it is likely that this brooch's art and top are oriented to the north. This javelin possibly represents the sword's cross guard, but it is also connected to the square punch dot.
This longer type of cross guard is not thought to have been in use until the Medieval era, although cross guards with swords of Euro Asiatics Huns, Alanic Sarmatians, etc. Next to this is a punch dot square much like a vexillum , which has two punch dot faces in it. On the left border of the square there is an engraved vertical line with a wave on top much like an eagle or a dragon standard. On the two faces there is an engraved V. Next to this is a bind letter V with a Greek A.
Under the punch dot square there is a bind letter E with an X. This could not be a reference to the Medieval French word "Excalibur", but it could be of several Latin words that are put together to make the word Excalibur. This speculation is according to Brewer's Dictionary of Phrase and Fable first published in by Rev. Ebenezer Cobham Brewer. In this dictionary Brewer states that the word Excalibur is Latin for "Ex calce liberatus," which translates as "to free from the stone.
On top of the square border there is a Latin letter L. When the brooch is turned on its right side, the sword's top half is shown downward with its lower portion slightly on the bottom bevel. The sword top's lower portion on the bottom bevel is in between two A's. Back on the rectangle the sword which now takes the shape of a "sword in the stone" type image has next to it a large square face possibly wearing a faint two diamond shaped eye mask with a triangular point on top; this is done in scratch engraving and punch dot.
The bottom square has scratch engravings that have yet to be analyzed. In summary, this Plate shows that the sword top seen in the scratch engraving is of a celestial fiery nature. It is cast in a mold, perhaps symbolizing a metal ore that is liquid? It should be noted that although this symbolism may be of a legendary sword's casting but also possibly it's forging, and hammering the sword top still appears as a sword top at an angle, thus suggesting that it is also of the Scythian or Sarmatian "sword in the stone" but more like a "sword in the anvil, or both the "sword in the stone" and the "sword in the anvil" as the ancient Norse did in fact have rectangle shaped stone anvils theme.
The bear perspective with the wolf rider figure shows an arm that in fact does look like some type of casting mold. A couple of the figure's primary symbolic functions may be as a bear metal smith god and a wolf warrior hero. Most likely this is from some type of Jute myth or mythic legend that has a "sword in the stone" or a "sword in the anvil" as its central theme.
The fact that the rectangle and its art are horizontal is significant, as it implies a grave, a casting mold, an anvil, or all of these. The rectangle area is where the thumb most likely the right thumb would have been used to attach the brooch; this shows that this area has primary symbols of importance. The two faces in the square-type vexillum could be of the constellation Gemini, or they could represent two legendary twins such as the legendary Jute war lords Hengest and Horsa , or male and female energies.
However, both the faces look feminine, so they could be two aspects of an unknown goddess, perhaps similar to the Ethiopian Queen Cassiopeia in Greek myth. The constellation of Cassiopeia looks like a W or two V's when this unique constellation turns upside down it changes into an M and is with the northern constellations. If so then this may hint that there was a Jute belief in a hero's or god's origin from two mythical mothers perhaps similar to the Roman war god Mars.
The Fourth A Plate shows a highly abstract square face, this also looks very similar to a vexillum. There is a center square but with a rectangle in the center square that has a beaded border around the bottom and the sides but not the top. On the bottom there is a distinct key which is placed horizontally.
This all suggests an Indo Iranian fire worshipping people. Overall it looks like a stick figure that represents an animal headed warrior mounted? There is more scratch work which appears to have letters and symbols, but also shows a slanted head in profile that is made of flames this may hint at something associated with a tribe of fire worshipping Asiatic Steppe Nomads, the Sarmatians worshipped fire and some Late Sarmatians practiced artificial sloped skull deformation. This rectangle appears to be associated with the Curved Third A Plate, if so then this could lead to further speculations with the art of both rectangles.
The Fifth A Plate is independent and has a center design that looks like the front hull of a ship the overall shape of the brooch looks like the stylized front of a ship with a sail. Part of the rope is in the shape of a dragon ship facing inboard. Again part of the rope also appears as a dragon ship facing inboard. The Second B Plate shows a square with a center square that has a beaded border on the top and on the sides but not the bottom , another vexillum? On top of this is what looks like a horizontal lightning bolt. On the right it looks like a fire altar.
On the left it looks like the top half of a sword or a sword with a short blade and long handle and suggests some type of sword in the stone symbolism. The bottom script once again looks either Persian or Middle Eastern. If so then this would suggest the god Woden Wodin? Also to be taken into consideration is the fact that the word "Din" in Old Welsh means "fort. Most of the symbolism seen on this plate implies influences from an Indo Iranian people. The Third B Plate shows a rectangle in a square, which has miniature engravings and punch dot and is described and explained in the caption for the Curved Third A Plate.
The Fourth B Plate shows a center square with a panel on each side, and another vexillum? The center panel shows a one-eyed face squinting. On top of this face it looks like a drape, suggesting that this is a hidden face that is being revealed or a face that is being hidden? On each side there are stylized figures that are reaching up, as if controlling the drape. This may be a god or goddess of the dawn or dusk reveling or disappearing , but it also suggests the Northern Germanic earth goddess Nerthus mentioned by Tacitus.
This goddess was worshipped by seven different Germanic tribes, one of these tribes was named the Angli thought by many historians to be the same or the forerunner of the later Angles. He mentions a ritual in which this goddess thought to be an inanimate image of some kind was brought in a cart pulled by oxen to a lake on an island thought by some to be on an island off the coast of Denmark.
The sacrifice of the slave attendants was to cover up some secret that Tacitus had no knowledge of. If this is that goddess then it could be the female counterpart or muse to the dragon slaying hero or conquering hero, or hero god. The one eye symbolism may have later been manifested in the Norse god Odin there are some speculations that Odin was a bi sexual god. In fact the god Odin gave up an eye to gain wisdom at Mimir's Well this suggests the Greek hags with one eye in the story of Ulysses in the Odyssey. Any one eyed symbolism is also thought to be associated with an unknown solar cult of ancient metal smiths.
The Fifth B Plate is independent and has a center design that looks like the front hull of a ship. The left design looks like a human sloped head entwined in rope. The left design looks like a grotesque head and a small amount of vertical rope forming its body. There is also rope which appears as a dragon ship that is facing inboard.
This brooch appears to give credence to my theory that a primary aspect of the god of the Saxons hence the Jutes and Angles at the time of Gildas was a thundering war god, very possibly named Arthor. This theory is explained in the caption for the "Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god" the next artifact listed with this collection under the section titled "The possible Saxon and Arthurian meaning of this ring.
This two god group identity within a pantheon shows up later with the later myths and legends of the Norse of the Viking Age. The Norse of that age made a clear distinction between their gods and goddesses of the Vanir European gods and goddesses and their gods and goddesses of the Aesir Asiatic gods and goddesses. Most of the British Saxons are thought to have dedicated their worship to their god Woden The Saxons of Exeter are thought to have been dedicated to the sword god Saxnot, although I am of the opinion that Saxnot was just another aspect of Woden and Thunar gods of a triad god.
It is thought that the Jutes and Angles had similar Wodenic worship, but they also may have had their own distinctions with that worship. The Saxon nobles and their later Royals made claim that they were directly descended from their god Woden. According to the art on this brooch the Jute nobility may have had this same belief. This claim of a royal linage from a god was made by later writers, any such belief in the 5th C. AD has never been verified early Saxon artifact finds are very scarce, Jute and Angle artifact finds are even scarcer.
According to the 8th C. AD English writer St. Bede, the first Germanic mercenaries were the Jutes, whose war bands appeared in three ships and were led by two brothers named Hengest and Horsa. There is a theory that the name's Hengest and Horsa were either noble titles or twin horse gods.
There are some who theorize that the first Jutes arriving in Britain were in fact a ruling class and the other classes were made up of Saxons or a mixture of Saxons, Franks, Angles, and Frisians. In my opinion this brooch shows influences from all three of the main groups mentioned Jutes, Saxons, and Angles but the Jute influence is most prominent.
It is interesting to speculate that this brooch may have belonged to one of the original members of the "Jute nobility of the three ships". In fact the three ships may have been symbolic; they actually may be represented on the brooch as three horses drawing a chariot thunder hammer that is led by a hound, with the charioteer being a bear man hero god. In essence, this may represent a 5th C. AD in his "The Ruin Of Britain" written in Latin mentions the wickedness of a charioteer from the "receptacle of the bear" named "Cuneglasus. Yet this name is not Latin, it is Old Welsh.
The name in Modern Welsh is Cynlas, coming from the root word "cwn" which means hound or wolf. Posted on Sept It appears that there were two processes in the making of that sacred drink. The first process is shown with the ring upside down, it shows that it is a drink of the gods that possibly had been made as a votive , there are indication that it would have been poisonous to humans. The second process is shown with the ring right side up shows, the symbolism shows that the actual effect of that drink was as an energizer and fertility enhancer.
yuzu-washoku.com/components/2020-02-22/99.php Along with this it could be speculated that the first stages of the making of that drink gave it hallucinogenic properties, therefore it can be assumed that this may have been for lower level initiates or to trick those who had stumbled on the ingredients and process. The art with this is even more abstract and hidden, although it is exact. Other art and inscriptions identify various Saxon or other Germanic gods and goddesses.
A separate category with other information and pictures is posted after this picture group and information. New information will be added as research continues with this artifact. Current information concerning this Saxon ring is divided into four sections as follows:. Description of this ring and its connection and meaning to the Scythians. This is a 4th to 5th C. AD Saxon silver and iron ring done in a Celtic Saxon abstract style.
New information suggests that this ring may also be of the Heruls Heruli and, or the Ostrogoths, or a descendant of those peoples. The square shape of the bezel is typical of the various Germanic tribes of the Migration era, but most particularly of the Goths and the Saxons. This motif is seen on artifacts of the Germanic tribes of the Migration Period and also with the cultures that they were in contact with , but none so much as the Saxons. Interestingly, some of the engravings show influence from the Alans a nomadic Iranian speaking Steppe tribe associated with the Scythians and Sarmatians , the Zoroastrian Sassanids aka the 3rd Persian Empire , but also a bit from the Byzantines.
Therefore it can be suggested that this ring had a connection to someone associated with the Silk Road, possibly a merchant or a mercenary. The fact that the ring is made of silver does not suggest that the owner could not afford gold. If gold had been used, only a fraction of the detail of the engravings would be visible. An example of a 7th to 8th C. Much of the detail of the miniature art seen on this ring indicates that it had to have been done with the aid of a magnifying lens although not completely proven, there are artifacts and ancient writings that attest that magnifying lenses were in use in ancient times.
Due to the high level of miniature detail on this ring, photographs will be updated periodically as my photographic technique progresses. BC, but existing as scattered tribes up until the 3rd C. AD, some under Sarmatian rule , as well as with other even more ancient peoples. Much of this may have been absorbed by the Celts, the Germanic tribes, and the later Norse. At least certain aspects of the mythology represented appear to be Arthurian. Many of the themes that can be seen here may be in line with the theories of Linda A.
The first aspect can be seen in an abstract depiction of a god kneeling in his chariot; the chariot may in fact be a sea shell and the back appears to be a drum top. The god is wearing a wide band as if fur? Directly on top of this hat is a horizontal arrow head much like a Scythian triangular arrow head pointing to the front. If this is viewed closer it will show horizontal lines that look like fingers and a diagonal vertical line.
Facing in the same direction is a cutout of a square faced bear head with a long neck. The square head is similar to Europe's extinct cave bear speculated to have become extinct circa 11, BC. The long neck resembles that of a polar bear. This may be a created image or it may be of an unknown ancient hybrid that became extinct. This hints of a theme of navigation, as the polar bear is known to have an usually good sense of direction both on land and in the water. There are circle dots that form a triangle near the lower front portion of the bear's head, this represents a fang that is also a female bear sow or bear cub's face, although it may not be related it should be mentioned that the polar bear is the only bear known that will hunt humans.
The line with the fingers is on top of this; the finger motif and the diagonal line shows that this is where the bear's eye would be. Therefore the fingers which form the bear's eye, the diagonal line, the top of the god's head, and the bear's tooth are all connected. In front of this tree type motif is a long upside down L staff. In this instance the fingers with the diagonal line that represent the bear's eye and are on top of the god's head will appear as a water spurt coming from the whale's blow hole. Under this at the same area as the god's face is where the sperm whale would carry its spermaceti.
If I am correct, the diagonal line with the fingers should represent a needle; this would mean that the needle comes from the top of the god's head, the bear's eye, or the whale's blow hole, but is also connected to the bear's fang. It should be mentioned that the whale is in the direction of what appears to be the pole star.
This suggest a knowledge of an actual sea journey to reach the Arctic land mass or an island that was perceived as the same that may have been thought to be the connected to the pole star, or was the pole star there are a few of parallels with the theme seen on this ring's bezel and Melville's "Moby Dick" classic. The god is clutching in his hand a smoking pipe a type of pipe that would be used while lying down on one side.
In front of the bottom stem of this pipe is a poppy flower a narcotic extract from the poppy flower is thought by some to have been used by ancient Steppe Shamans. This poppy flower may also be a forge bellows, which may connect this more to the Indic Fire god Agni. There is a horizontal V on the horse's rump part of the rump as a bellows? This may have a fertility meaning, or it may be related to the first step of the process of milking mares that the Scythians practiced this is mentioned by Herodotus in his Book IV of "The History, aka Melpomene". If this depicts this milking process then it suggests that the Scythians may have used an actual mare to filter the effects of the poppy flower's extract.
The resulting milk may be the Soma drink, or something like the Soma drink; there will be more on the subject of Soma later. The god is holding his arm which is twisted suggesting a rope, as in a hemp rope, perhaps for measuring? In the exact spot where the wrist of the rope-like arm meets the scratch engraved hand there is an upward line which gives the impression of blood spurting up.
The hand is shown as if holding a scratch engraved claw as if connected to the bear cutout , fang, or tooth or a horn tip type cup , but with a configuration of other lines. The claw cup also has a line running to a Y which is shaped like a fork; this Y shaped symbol appears throughout the art on this ring; it is evident that it represents the direction of a magnetic force, and that the direction of the two ends of the Y is the pulling force that continues to a circle with a cross and four dots a solar symbol?
In my opinion the claw cup, the needle, and the spoon show the making of a water compass. This needle having originated from the god's head, the bear's eye and fang, and the whale's blow hole, thus showing that the god has the ability of that type of bear with a powerful sense of direction similar to the polar bear , and the sperm whale who also has a powerful sense of direction, these both speculated to be connected to the magnetic.
As the scratch engraving alludes to what is not physical, then the fact that the god appears to be giving up his hand to accomplish this making should represent a sacrificial form of giving up one thing in order to obtain or to give another. To view a possible 12th C. AD version of this concept: Click Here. The Scythians had an oath-taking ritual in which they would put weapons this included arrows in a large clay bowl of wine mixed with their blood note that this blood was obtained from the oath takers cutting their hands. They would then in turn collectively drink from this bowl.
The other arm raised diagonally in front is actually formed from a wavy seax sword or knife shape perhaps a pattern welded blade, but also possibly symbolizing smoke ; this arm appears to also symbolize a poppy leaf. Between the arm and the sword there is a lightly engraved tooth that looks to a be a narwhal horn, or a whale's tooth. There is an indentation in the tree symbol in the background that is the same shape, suggesting that this is where the seax came from. The body of the god with the elongated abstract arms suggests a highly stylized shape of the Ursa Major constellation.
On the rear top edge of the seax is a vertical line with a circle on top; this may depict a round type of hammer the Egyptians had such hammers but more likely it has something to do with measuring. The fact that the flat edge of the seax blade is at eye level with the god suggests that the seax was originally used as a primitive type of sextant or astrolabe. It is interesting that this aspect of the god also reminds one of symbols of Christianity but absolutely not its meaning ; as well as Santa Claus chariot, hat with ball, pipe, magnetic north.
Another aspect of the god can be seen when noticing that in front of the seax is a horizontally placed Y shaped fork which represents a magnet or tongs, but also serves to give the helmet an eye guard type mask something typical of a helmet of the early Migration Period , that suggests a one-eyed god.
On top of this fork is a cutout depicting a flat topped, bell-shaped helmet with a point on the top front the top of a nose guard? In front to the right of this helmet is a cutout of a spearhead that has a scratch engraving trail. The intention is to give the impression that the spearhead has arrived to an indentation of the same form in front of the fork; the lines show that it is arriving from the upper left hand corner of the piece. The spear head shooting towards the fork or tongs may have something to do with the Norse story of a mythic battle between the god Thor and the giant Geirrod.
It should be mentioned that due to the Trickster god Loki's treachery, Thor arrives for this battle without his hammer and belt, but prior to the battle a sympathetic giantess gives Thor her magic belt, iron gloves, and magic staff. As this battle begins Geirrod grabs a pair of tongs, picks up a glowing molten iron piece and hurls it at Thor.
The god catches this with the iron gloves given to him by the giantess, and hurls it back at the giant who is hiding behind an iron pillar. The iron piece pierces the pillar and hits Geirrod in the stomach. This tale may symbolize a metal smithing process, an unknown weapon, a celestial event, or perhaps all of these. Under this is a cutout that is a semicircle suggesting a cloak but also someone of immense size; this should be another aspect of this god.
The Germanic god Woten was a god of the spear, and in fact his later Norse equivalent the god Odin had a magic spear which when thrown always returned to his hand therefore the god and spear were magnetic. If the ring is tilted slightly to the right, a third aspect of the god can be seen.
A large Phrygian cap appears on the head of the god, and lines slanting backward show the god to be connected to the rear legs of the horse. In essence the figure at that angle looks like a centaur with a very large Phrygian hat. It should be noted that this is the only image of this god that has a more realistic physical form this physical image factor is important when I get to the Scythian connection to the art on this ring bezel. The horse has a cutout on its belly that appears to be in the shape of an anvil; this may suggest that an anvil was referred to as a horse or an iron horse by some people of the Migration Era aka Dark Ages.
A photo example of a Germanic Frankish? Axe Brooch that is in this upside down fashion is included with the Artifact Group Pictures as Artifact Group picture 2. If the axe is a utility device then this horse may have been considered three legged a three legged horse fits in with Celtic, Germanic, and Norse Wild Hunt myths. Behind the back tip of the curved axe handle or horse leg is a small round indentation. The top scratch lines on this suggest that it has arrived from the horse's chest area. On the lower left hand corner edge there is a reclining figure with a tall conical hat that is similar to what would be associated with the Sarmatians of the 1st and 2nd C.
This reclining figure appears to have something in his hand such as a cup and a cauldron in front; the cauldron may have something to do with the small round indentation behind the curved axe handle or horse's leg. On top of the axe head under the running horse handle there is another small horizontal bolt that should represent a thunder bolt. Under this cutout there are two egg-shaped motifs with scratch engraved trails which appear to move diagonally as meteors or comets hereafter referred to as meteors.
It should also be noted that the Phrygian hatted centaur aspect of the god appears to be at the same diagonal angle as the meteors, which suggests that this is the aspect of the god that is controlling this event. If the meteorites are viewed upside down, they take on the form of two human reptilian figures seen in Bezel pictures 14 and These figures may also represent either plant or flower shoots.
The mare's cut out lower chest and belly area when viewed from the side does hint of a flower symbol, perhaps a rose. The first reptilian figure appears to be a male and the second figure appears to be a female the axe head and horse belly in this position hint that these figures are in between a bull's horns. The symbolism suggests that these human dragonesque figures are created from a celestial navigator chariot god of the poppy flower among other things and a celestial mare goddess of the axe and the cup. It is interesting to note that these figures resemble almost exactly, the modern images associated with aliens from another planet.
The charioteer creator god and mare goddess of these dragonesque figures may represent actual Scythian founders of another people or peoples of the dragon Sarmatians or Alans? If the two meteorite figures are in fact human dragons, then the two gold dragons of King Arthur's father Uther made for him after he had witnessed a dragon comet and the red and white dragon fight of the Celtic British Welsh and the Saxons could possibly be associated with these two figures.
She complies and wins the race, then immediately gives birth to twins a male and a female. She then curses the King and the Ulstermen and dies. Macha is also the name of an Irish fertility war goddess and a legendary Queen. It should also be mentioned that according to a 12th C. Welsh writer, the Irish High King of Tara had relations with a white mare thought to be a form of consummated marriage of the land and the king.
The mare was then sacrificed, cut up, and made into a soup in a huge cauldron. The king then got into the cauldron while he and his people consumed the soup. The reclining figure holding what is possibly a cup in his hand with the cauldron in front and the small round indentation behind the curved axe handle or horse's leg on this ring's bezel may symbolize something similar to this Royal Irish fertility ritual.
The iconography with this Saxon ring and my suggested ancient Scythian connection may give credence to claims that a group of legendary Scythians were at some point in Northern Ireland if so then they were most likely legionary Scythic auxiliary deserters from Roman Britannia, or perhaps retired legionary Scythic veterans from Italica, Hispania. Along the bottom of the bezel there appears to be a staff which has a split about midway. Out in front of this staff is a shape which resembles a cauldron, which looks as if it is being shot forward from the staff.
The corner of the staff looks like a shoot from a cut plant or tree branch. It is placed immediately over the area out of view where there is the head of a bull and a distorted human face in the East Panel.
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I described this figure in the explanation of East Panel information as possibly being Prometheus of Mt. Elbrus in the Caucasus Mountains. If that is accurate, then the plant shoot or tree branch very well could represent the fennel shoot or another type of plant shoot or branch that Prometheus brought fire to man in.
The cauldron appears in this instance as a projectile. This suggests that there was a fire projectile type of device known from the Caucuses or from the Chinese, at the time this ring was made 6th to 8th C. Fire in a disc type shape moving vertically but also apparently stopping in mid air is also suggestive of an unexplained natural phenomenon known as ball lightning. This lightning can also appear as a ball or oval, which could suggest a connection to the small round indentation behind the curved axe handle or horse's leg. This could have further meaning, which will be explained with the information on the South Panel.
Looking at this detail from another perspective, the reclining figure could also be making a cauldron from a meteorite that has landed, with fire coming from the staff. The art style is unique to the rest of the ring's art and is somewhat similar to that of the Neolithic Hongshan jade artifacts of Northern China.
The ring's bezel and top is made in a square shape. The faces of the bezels on three sides are slanted; however the fourth the top side is relatively flat. These slanted faces are unique and could suggest a square anvil among other things that will be mentioned in a moment. I believe that the bezel shows a triad of Germanic Saxon gods that were in fact inherited from the more ancient Scythians of Russia, and that the maker of this ring was showing these gods with their original Scythian meaning. This is stated keeping in mind that this may not have been known to but a few, such as the individual who made this ring or had it made.
On all four sides there are mini engravings that I think show some of the Scythian beliefs and what the Scythians perceived as the boundaries of their world. It appears that the layout of their temples also projected those boundaries see below. Inside the ring and under the bezel are more engravings that may symbolize the founding figures of the Scythian people. The 5th C. Their war god was also the only god who had an image, which was an ancient iron sword. As mentioned, the art on the bezel of the ring suggests that this war god may have actually represented only one aspect of a god who was part of a triad.
Herodotus may have not understood this, as the Greeks did not have a true concept of a combination triad god. Herodotus stated that in the center of every government district there was a temple to the war god. He said that the temple consisted of a massive pile of wood sticks, and that on this pile of wood was a square platform. One side had a ramp which provided access to the platform. On top of this platform an ancient iron sword was inserted, as this was considered the image of their war god.
Every year when the temple sank due to weather conditions, wagon loads of brush were added to the temple. One out of every hundred prisoners that were taken in battle was sacrificed although he does not specify it appears that these human and animal sacrifices were held once a year.
The vessel was then brought to the top of the temple, and the blood was then poured over the sword. To one side of the temple the right arms and hands of the dead victims were cut and then tossed into the air. The limbs, hands, and bodies were left where they fell. Then the other victims were sacrificed this must mean the horses and cattle. After that those who performed this ritual departed. You're a gift that helps me remember that life is meant to be shared - And I commit myself to that now. More than anything, I want you to know that I love you - Not for who I thought you were or what I could get from you - But for who yuo really are.
Now that I see that so clearly, I know I can never forget. Sister, it feels like I've turned a corner, One that I didn't know existed a moment ago. Were you the one who inspired this movement? Or was it something neither of us could have seen before now, Deeper than our breath or the wounds that have driven us into the shadows Where we hid unannounced?
A seed that was buried breaks through the surface of our lives, And as we stretch toward the sun with our hands and hearts open wide We renew our commitment to love and to each other. It took us this long to finally arrive at this place, And now that we're here, I reach my hand toward yours and we step forward - Into a world we have yet to create. It's as if I've opened my eyes for the first time, And I can see you looking at me, Vulnerable and awake. How could we have understood the changes taking place within us? Who was there to witness the beautiful opening of our lives?
A light begins to expand inside our hearts, Filling us with more energy than we've ever known before. Is it possible that this is what we've been waiting for? Was this the promise we sensed even when we stood in the shadows, Waiting for the sudden approach of heaven? All I know is that I can no longer remain where I once stood, As if one door has opened and the other suddenly disappears. I've tried to stand still, hoping to delay the step that appears before me now, But then I remember why I came - Not to vanish, but to forgive; Not to abandon, but to absolve the restless spirit that has claimed me till now.
Thank you for the persistent echo that moves through me still. Thank you for reminding me that yesterday has been abandoned, And tomorrow is nothing more than a mist that fades as the sun rises. I am ready to stand in front of you without running, I am ready to hold you instead of moving. I am ready to hold myself without worrying about who is looking. I am here, present and whole — perhaps for the first time, All because I was willing to look inside both of our hearts, And not recoil when the thunder shook the air around our bodies.
Thank you, dearest Sister, for holding me accountable for everything I am, And everything I might become. It is the only thing that is left of me now, And time won't forget this moment of perfect grace. That Divine Feminine that lives within all people deserves to become known and loved without fears. With blessings and love, Margie Lady Peace Minister. The Sami people have traditionally gathered in Enontekio for hundreds of years, in Hetta Church, to celebrate St. Mary's Day. The first church was built by three devout Lapp brothers at their own expense in the late 16 th century at Rounala.
The next church was built in in Markkina which was an important market place for the Lapps. The present church was rebuilt in after it had been burned down during the Lapland war in This present church is one of most beautiful modern churches in Finland. It is also my favorite church and I consider its altar wall most beautiful.
The magnificant mosaic work manifests the resurrected Christ blessing the people of Lapland and their daily life with reindeer. There are fells in the background where reindeer are going, and one large reindeer and two Sami persons, too. I like to drive to Hetta, up to the North, in the colorful autumn time. I always stay overnight in the Hetta Inn, in its old wooden house, which is full of the feeling of generations of hikers and skiers. The inn is owned by a fourth generation family.
Mother Tuula works in the kitchen and Tiina, the young daughter, works in the office. I have always known that Ailu was a great artist, singer, musician, painter, writer. He was especially famous for his singing of Sami-joiks, which Sami people like to sing in the fells, without words or instruments. When I saw the Aillohas-films on Aiku I realised how great a soul he has been. He gave identity to the Sami people. He showed how great and spiritual this culture of the Sami people is, which the Christian church almost totally ruined.
Forgivng is the power which is the basis for a genuine culture. Ailu understood this and was able to forgive. The young people have clearly found their roots. In Skierri there was an opening of an art exhibition where Maria-Liisa and Nea-Maria Valkeapaa, mother and daughter, relatives of Ailu, had hung their brightly colored magnificent paintings. There was a Sami psalms-concert in Hetta Church on Saturday evening.
It was great and the colorful dresses of theSami people were fantastic. I enjoyed the colorful Sami dresses, the Sami language, and the peaceful atmosphere, very much. Even the priest had on beautiful reindeer skin boots during the service. There were, of course, also reindeer race and lassoing competitions on the frozen Lake Ounasjarvi, skill and speed lassoing competition for women and men. Traditional Sami handicrafts and other local products were for sale in the market place. Many happenings were going on during these days, and many tourists from many countries were present.
At the breakfast table I heard many languages, and especially French, to my great surprise! It is great that young people have found their roots and are proud of their culture. It is a great resource, not only for the Sami people themselves, but for all of us. We all should return to our own roots, closer to nature, humanity, and caring for each other.
Living in the Love. I am deeply grateful for these wonderful days I spent with Sami people and St. Mary within my heart. Sexuality is quite a taboo, even nowadays. It is, however, a normal, natural thing in everyone's life. Why is sexuality then such a delicate matter for us?
The marriage of Maria Magdalena and Jesus was a big threat to the Church. She had to be eliminated. Even many of the male disciples condemned and humiliated Maria Magdalena into tears. Very soon, as early as the fourth century, the Church systematically started to remove Maria Magdalena from the sacred writings. And it was Pope Gregory I, in the year of , who declared that real believers must consider Maria Magdalena a whore.
This intentional lie was eventually withdrawn by the Church — in the year of It took time almost years! And many people today don't even know about this truth. Constantine the Great, along with the Church, started to create their own image of Jesus. It was important to lead and control people. These were rooted effectively in the minds of the people. Constantine the Great and the Council of Nicea in started an effective manipulation of people. They created a doctrine of Jesus and man's sinfulness from which only the Church could save the poor person who was doomed to live their lives with sin, guilt and shame.
This led to the fact that the Church had to create more odd doctrines to manage their explanations. In the fourth century, St. Augustinus got a genius idea to create the original sin that starts with Adam and Eve; according to this doctrine even the newborn baby is full of sin. Only the Church can pardon the sinner.
They created also the eternal hell where you were sent if you did not obey the Church. The word hell, in Hebrew, is 'Gehenna'; and apparently the whole idea was taken from the rubbish dump with the eternal fire outside Jerusalem that was named Gehenna in the days of old. In , The Council of Constantinople condemned as heresy the reincarnation that was to Jesus and many living in Palestine a natural understanding in those days.
It denied the sexuality of Jesus, the son of God and Man. Thus, it appeared Jesus did not redeem the sexuality of human beings. And where did this lead us? The priests had to be celibate. This is something that St. Paul had never demanded from his priests, as Nick Bunick former St. And what followed from this impossible requirement? Many priests, especially bishops and even the Popes themselves led obscene lives, secretly of course. And even worse, sexual abuse, which is one of the most terrible things that a religious leader or believer can do.
In all of this, there was no room for Feminine Divinity. The power was masculine, and the Feminine Divinity went underground. Maria Magdalena, who was pregnant, fled to Egypt and from there to southern France. There She declared and taught that Divinity is the balance of the Feminine and Masculine Christ within a person. Maria Magdalena has for many years now manifested this truth. The Divinity is found within, not outside the person. With Blessings and Love.
Margie Lady Peace Minister. I originally planned to spend two weeks sunbathing in Teneriffe, in the Canary Islands, after Christmas, and not here in the bitter cold at home! Once again, I learned a lesson: not to let your mind plan anything too early. Wouldn't it be more convenient to let things flow in their natural rythm, and allow yourself to flow in life without resisting? Isn't flexibility what you are now studying? Yes, I am! I cancelled my holiday trip, one reason being that I did not want to celebrate the New Year by myself far away from home.
And so it happened. My sisters, Riitta and Helena arranged Christmas parties in their homes for our relatives. And the New Year party was arranged by our wonderful youngsters in our old family house where our brother Arvi lives with his family. They told me that they were coming back from the New Year's celebration of their congregation. When they heard me share that I am a peace minister, they started hugging me. And so we hugged each others in the middle of my home street.
We were happy that we had such a cheerful and happy start for the New Year! At home the telephone soon rang. My friends Maaritar and Niilo were returning from their visit to Tampere on their way up to the north in Utsjoki. They had missed the party, but we had a party of our own, celebrating, eating and having fun. Before they left we shared the Peace Prayers around the Emissary Wheel quilt, the first service of this new year. So by no means was I alone in celebrating! While listening to the speech of our President, Sauli Niinisto, I received an inspiration to comment on his speech.
I sent a little article to both of our newspapers, the big one and our city paper. They published it in two days. Someone has asked me where my congregation is, as I am an ordained priest. I share that all people are my congregation. I write to ordinary people. In the ordination of the Beloved Community I committed myself to three wows, the three direct orders of Jesus. Margie with Venla and Ilmari. Now it is time to give Mother Maria to the world.
I am committed to this, and that is the reason why I do this as an instrument of Mother Maria Magdalena. Our President happened to launch a new word. We are spiritual beings that come time after time to this physical level to study what it is to be a human being. Unnatural plodding along under different kinds of tyrannies may raise our character, but in many cases it puts us down, hardens us, and can make one very cruel. It is unpleasant, especially for the noblest and loveliest of persons that do not want to have anything to do with merciless global rulers.
These are people who do not want to contribute to the humiliation of other people, for whom money will not replace God. How has our world improved more today than, let us say, one hundred years ago? Has the wisdom of our time really moved our humankind spiritually forward? Are people in general somehow more noble and spiritually advanced? Do people remember their leaders as gentle persons who loved and who were also loved? Are the developing countries now happier after they have been deprived of their natural ways of living, after their lands have been polluted and their self-esteems have been raped?
Let us allow those noble souls who really want to benefit our mankind and this beautiful planet of ours, make it in their silent beautiful way, with their loving prayers and blessings. Those who love, they will be loved. Those who serve, they will be served, by Angels of Light. This is a legacy worthy to be remembered for. The third reason for cancelling my trip was that I unexpectedly received an invitation to Helsinki to attend the memorial service for Jorma, the son of my deceased husband Jussi.
In the last few years, I have received the ability to communicate with my beloved living in the other levels, and Jussi has often shared with me that he would like me to meet his chilren's families. When Jussi and I got married, I was 33 and Jussi 66 of age. Jussi was a widow with three children, one son and two daughters. I now think of myself being in the same situation.
How would I have taken this? How would I have reacted as the father's daughter when my father would marry a woman of such a young age? It just so happened that this father's daughter and the father's wife never learned to know each other in this life. Annikki died very soon after her father.
Jorma, the son, was loyal to his father and tolerant in his attitude, but the family lived in eastern Finland, and we met only few times when they visited us in Rovaniemi on their summer holidays. Jorma's eldest son, Jari, visited me several times with his friends when travelling to northern Norway and back. I, by then, was a widow myself. I met the children more seldom.
There were also a few small incidents that got too big effects. I also moved to northern Finland where I absorbed in my own soul scenery and my relationships here. I received an invitation from Jorma's children to attend the memorial gathering. After his wife's death, Jorma's health weakened within one year. Jorma was, like his fasther, a philosopher, thinker and a great lover of books.
The memorial meeting turned out to be very warmhearted. I got to be with the family, and a lot of sweet little grandchildren that I had never seen before. I met, once again, Jorma's three sons and their families. Jari's wife, Jian is a Chinese lady, and she brings international color to the family. Jian asked if she could touch my left ear and my nose.
The right ear, too, but not so much. Jin, the left side of the body is feminine, and the right side, yang, is masculine. Why not? We often visited them in their little, beautiful house by the forest. We had a lot of fun together. Jussi's memorial service took place in Helsinki crematory chapel, and the memorial meeting was in the nearby restaurant. There was singing by the Kerava's Men Choir, where Jussi had sung for more than forty years. It happened so nicely that Anna, Jussi's granddaughter, had her 5-year birthday on that same day.
It occurred to me then that the men's choir could sing a serenade for Anna. Grandpa Jussi would like that. Anna stood on a chair surrounded by the choir of many men. Anna smiled sweetly and looked like a little princess in her beautiful white dress. Anna still recalls this, and is very proud of it. She has now herself two sweet daughters, Selma Helena, two years, and Elsa Johanna, 1 year. Anna did not have the girls with her, so I have not seen these darlings yet. What has been the main thread in my three latest articles? I have wondered it. But no more, now I know.
It seems to be death and the children. The whole circle of the life. The continuity of the life. The tender caretaking of our Blessed Mother Maria Magdalena. The bright insight and the beauty of the Being. The sky looks fabulous in its midday beauty. The Sun shines in pastel colors above the peak of Poyliovaara. It is about minus twenty degrees Celsius. I felt quite a sharp frost when I walked to the nearest mailbox to drop in my birthday card to Jaakko. It was the last minute to do it, so that it would reach Turku on time for our Indepedence Day, the sixth of December. My heart longed to have a memorial speech for Eeva, and it happened when I left my flowers to Eeva by her coffin.
We have talked about these matters. There is no death. What we call death is only a transit to a different kind of conscience. The one who loves, is loved. You fulfill both of these features. I thank you and bless you my beloved big sister Eeva Kaisa Maria. The next night was quite extraordinary for me. I was woken up before four o'clock by some odd sound, and it was repeated twelve times, and also a couple of times later at Noon. Eeva was present and talked to me. She seemed to have an urgent need to tell that she lives, and everything feels wonderful on the other side.
She stressed that everything that I had said by her coffin, is true and that I should share this with her children, all relatives and friends. She was very anxious about something. I found out that she was worried about her grandchildren. I didn't sleep all night, but instead prayed and blessed all the relatives. During this same time, Mother Maria Magdalena asked me to read the Bible, and I opened it by chance in the same way as Margaret Starbird tells us in her books. I did this through the night. But I am upheld by thee because of my innocence; thou keepest me for ever in thy sight.
Blessed be the Lord, the God of Israel, from everlasting to everlasting. Amen, Amen. Peoples shall come streaming to it, and many nations shall come and say,. Come, let us climb up on to the mountain of the Lord, to the house of the God of Jacob, that he may teach us his ways and we may walk in his paths. For instruction issues from Zion, and out of Jerusalem comes the word of the Lord; he will be judge between many peoples and arbiter among mighty nations afar. They shall beat their swords into mattocks and their spears into pruning knives; nation shall not lift sword against nation nor ever again be trained for war, and each man shall dwell under his own vine, under his own fig-tree, undisturbed.
For the Lord of Hosts himself has spoken. All peoples may walk, each in the name of his god, but we will walk in the name of the Lord our God for ever and ever.
On that day, says the Lord, I will gather those who are lost; I will assemble the exiles and I will strengthen the weaklings. I will preserve the lost as a remnant nation and turn the derelict into a mighty nation. The Lord shall be there on Mount Zion now and for ever. These Bible texts are very important for me of old. So the Masculine and the Feminine Christ together will redeem the mankind.
Maria Magdalena will get back Her respect that She deserves as the manifestation of the Feminine Christ. In the same morning at 10 o'clock I went to our nearby Lutheran church to attend the First Advent service where the Hosiannah was sung. After returning home I was again asked to open the Bible. Then opened the Second Book of Kings, the chapters telling about Prophet Elisha and his many mirales: curing and reviving people and providing them with their necessities. Next opened Proverbs, the chapter 15 as a whole. A soft answer turns away anger, but a sharp word makes tempers hot.
A wise man's tongue spreads knowledge; stupid men talk nonsense.
The eyes of the Lord are everywhere, surveying evil and good men alike. A smoothing word is a staff of life, but a mischievous tongue breaks the spirit. A fool spurns his father's correction, but to take a reproof to heart shows good sense. In the righteous man's house there is ample wealth; the gains of the wicked bring touble. The lips of a wise man promote knowledge; the hearts of the stupid are dishonest.
The wicked man's sacrifice is abominable to the Lord; the good man's prayer is his delight. What Maria Magdalena told me during those night moments was that She again confirmed for me how to act. Without planning anything, but surrendering, trusting and being grateful.
It was important to share in the church that there exists no death, and it happened naturally beside the coffin of my sister. So it was supposed to happen. I hurried to contact Eeva's children. I called Maarit who told me that the father of her children, her ex-husband, had been taken to the hospital because of brain infarction.
Katariina and Jaakko, of course, were very worried about their father. Also Eeva's many beloved ones were driving in their cars to their homes in southern Finland. The road conditions were quite difficult in the snowing weather. Prayers were needed. Finland's Independence Day, the sixth of December is Jaakko's birthday. It is celebrated in Turku where the family lives. This year it is Jaakko's 16 th anniversary of his birth. Here is something from that story:. In the morning the first thing that we did was to gather by his bed with the tray and our presents.
What an impressive start for the birthday! To honour the celebration I interviewed the birthday boy:. Jaakko, do you know why it is a flag-flying day today? What does Independence Day mean? My birthday. What difference is to be four years of five years old? I don't know the thing. Are you now bigger? Yesterday I reached here, now here on the wall.
Did you grow during the night? No, I didn't grow at night, but in the morning when I was born at 7 o'clock. What makes the birthday fine? When I get a lot of presents at Christmas I get more. What gift do you like now best? It transforms and looks funny. All flags are waving on your birthday. How does it feel? Well, you don't have to like everything. What are you going to be as you grow big? It is a secret, and besides I don't know it yet. So stupid questions! In the evening we all watched the big Independence Day reception in the presidential palace.
I asked Katariina, if she would like to get an invitation to the Reception. She said self-confidently that as a renowed ballet dancer she will get an invitation. She was taking ballet lessons. Jaakko was not a bit interested in those festivities. He presented one man's show of digimons. With love, Margie Lady Peace Minister.
Peppery Breath What combines all this, is Eeva and her grandson. Jaakko is a very special youg man, very smart. It just sounds funny. Prima donna refers to Jaakko's sister Katariina who was fond of ballet dancing; now she is more interested in modern dance. I just wrote the newest article and sent it to Soul's Mirror. Now I know what the main thread for these three articles is.
You may guess! I will tell you in my next story. We all should consider aiming our lives at implementing exactly this: that the purpose of life is Being, not doing. Margie's photo from her study window. The landscape from my study window appears silver grey. The big birch trees are lace-covered, the big firs with their cones are like Christmas trees, and the little lake with its silver snow cover - mysterious. When I had my walk today along the river Kemijoki, the sun suddenly revealed itself above the top of Poylionvaara, the rocky hill on the opposite side of the river.
The river is all but iced over, except for after the big curve around Korvanniemi, where the water runs slowly, taking small ice flows down the river with it. The landscape is alive, even though the picture of it is almost at a standstill. Slow moving has also been the tempo of our family during these past two months. Eeva Kaisa Maria Vainio, who is 81 years of age and the Mother figure of our big family, has been in terminal care. It has been confusing, and also difficult, to say farewell several times. Eeva has looked like she was passing away, and then suddenly she has woken up as if from a deep sleep and has started to talk with us clearly.
In the past she had hurt her head many times, and she had tumors in her head, but nevertheless her brain has worked and she has been able to converse with us as sweet and sunny as always. We have witnessed how beautiful the coming of death makes a person. The cheeks become smooth, the eyes shine as blue violets.
With a pink silken scarf around her head she has looked like a Mother Superior or a Madonna. My beloved sister Eeva was born in Rovaniemi as the oldest in our large family of ten children. The old Myllari farmhouse is situated by the river Kemijoki, about two kilometres from the city center, and is one of the oldest in the district. When the youngest of us, Riitta, was only 6 months old, our mother died. The situation was very difficult. The responsibility of our big sister must have felt heavy for a young woman of about twenty years. Eeva did not give up on her life, and did not start living as a foster mother at the expense of her own life.
She broke away and left for Sweden to work there for some time. After returning home, she found her beloved husband Ernst with whom she married and gave birth to seven children. Eeva and Ernst were a very happy couple who were loving to their children.
It has been moving to see the tender relationship between Eeva and her children, and to witness how how the children have taken turns at Eeva's bedside in the hospital. We, her sisters, have also helped too, of course. We have been forced to think about the possibility that our love might hinder Eeva in leaving this physical world, by not letting her go. I have also pondered myself how the continuous pain medication may affect the Soul that is about to depart in a situation where the life has almost left this world.
I have experienced myself how the beloved ones give energy to a dying person. It happens unconsciously and from love. So it happened between me and my husband Jussi during his last year. I worked as a teacher at the local Business College, and at the same time we were building a new house to make bigger the aunts' little house.
Jussi was in a very fragile condition, and my own life energy was almost as weak. I hardly had strength to stand in front of the class. All the time I gave energy to Jussi, unconsciously, and of course from love. We would probably have both died unless one of the group of healers, led by Unto, quite uninvitedly had visited us. I suddenly got the energy to stand up from the bed and get ready for skiing up on Ounasvaara. I had felt that it was a miracle!
In our new house we had had a housewarming party in March, and Jussi died that following August.
Vendor: Kristi Wright. Ht of case 16". Seth Thomas Watch Co. DIAL: Numerous hairlines in enamel, very light; Chips in enamel greater than the size of a grain of rice, at , repaired; Edge flake at , repaired. Le Phare, Switzerland, man's pocket watch with minute repeater and alarm, 16 jewels, stem wind and set, 5 adjustments gilt plate movement, with lever escapement and cut bimetallic balance, in a gun metal, hinged back and snap bezel open face case, with glazed cuvette, initials "K W C" in applied gold, with Arabic numeral white enamel dial, and blued steel hands, 55mm, c CONDITION: CASE: Minor dent less than the size of a grain of rice, bezel; Scratches on outer surface of case, some loss to finish, minor rust; Plastic crystal; minor scratches on crystal.
I thanked and blessed Unto and his friends. Unto shared with me that he gets an order sometimes to drive in a certain direction, and he then follows the blue arrow. The arrow stopps at the place where help is needed. We all have many different roles in our lives.