Despite a small archipelago in the Mediterranean, the history of the islands of Malta reaches back into the midst of antiquity, into such an ancient period that some of its monuments have been considered the oldest freestanding structures in Europe and even in the world second only to the recently excavated Gobekli Tepe. The landscape is dotted with megaliths - see a map - that collectively date from what is known as the Temple Period, believed to have lasted from 4000 BC to 2500 BC. (ref I, ref II) Today the ’temples’ are in ruins and are notably eroded after having been exposed to the forces for many decades. Once, however, they used to have just as sharply cut edges and smooth faces as some of their megalithic counterparts around the world (see the photo comparison of one of the temple walls some 100 years apart here).

During my 2015 trip to the island I was hoping to find evidence that the Maltese master builders, like others in the ancient past, had sophisticated knowledge of not only how to build megalithic wonders but also actual spiritual practices that go beyond our current understanding and the knowledge of a very real ancient star map celebrated by various cultures and civilizations known from the work of author and researcher Wayne Herschel.


If one is to uncover apparent proof of archaeoastronomy, it is best to start at the megalithic monuments of Mnajdra - Hagar Qim, a temple pair to the southeast of Malta. It was there where I unexpectedly came across a huge info board right at the entryway of the exhibition that had a marked question written on it „Why the Pleiades?”. I instantly knew something great has been uncovered at the site about the star cluster. It turns out that the Lower section of Mnajdra, the scenic temple at the edge of the cliffs functioned as a solar calendar, built in a way to allow the rising sun to dart its beams through the complex projecting rays onto select stones at the equinoxes and solstices, much like it happened at Newgrange in Ireland. (ref)

However, scholars noticed something important. At the supposed founding date of the solar unit of the temple, around 3000 BC, the Pleiades rose at the same spot where the equinox sun does, only the stars shifted position thanks to precession. (ref I, ref II - page 8) During the autumn equinox, the sun along the Pleiades would have cast light at the very center of the temple, possibly to ’fertilize’ it in context of the Pleiades, something I will hint at later. I concur that it was a deliberate act - In fact, much more is found at the site that supports it, well beyond what historians ventured to consider.


At the first-built, even older unit of Mnajdra called ‘Primitive temple’ and dated to 3600 BC, there is a well-preserved altar of sorts with curious dotted lines on its two vertical stones known as tally stones. The eastern one has a peculiar grouping of dots on its central bottom part in the shape of the Pleiades. It’s hidden from eyes both due to restricted access and because it appears to be ’protected’ by stone slabs in front, part of the altar. Whether the blocking was done by the people of old to seal it from front OR by archaeologists either thanks to wrong reconstruction (ref) or even as a deliberate attempt to make it less known remains unknown, however I have reasons to believe that something is not quite right here. I’m going to reveal a great secret of the pattern in the following but it is important to take a look at the series of dotted lines beforehand.

The row of dots in the upper portion of the vertical stones are believed to have served a calendar function to measure something important. I agree and there is a mainstream researcher who, I believe, cracked just what was being measured by the ancients based on the carving of the star cluster at the bottom section - the annual rise and reappearance of the Pleiades (ref). What he and his colleagues remained unaware of is what I think is a second, unrecognized depiction of the Pleiades on the upper part of the eastern tally stone, placed at the end of an empty row as a simplified 7-dot version of the 7 brightest stars of the cluster. It even has a pointer shape just like in real life and this is how Sumerians depicted it on their clay tablets too (ref). Decently, at the other end of the row are three dots in a line, with one dot slightly off the line. They were placed at a distance from the seven dots and fit Orion’s belt, the third star of which truly is slightly off the line. The use of the belt to locate the Pleiades in the night sky was a common teaching around the globe and the most important cosmic connection revered by the ancients. A similar scene is found on the front section of the western tally stone. On that one, a vertical line of four dots was carved and they seem to align with a single dot in the middle, once painted red and another one high up the stone. Wayne previously had identified cases of a four-star Orion’s belt that hints at a lost star - such is the 17,000 year old painting found at Lascaux in France that replicates the Orion-Pleiades theme along the stars of Taurus the bull and more (see here). As on the cave painting, the four dots probably first align with the prominent star of Aldebaran in Taurus (1st dot) and the tiny patch-looking Pleiades above (2nd dot).

Besides the front, the inner side of the western stone displays a tally like its eastern counterpart but interrupted by 3 very prominent dots in a triangle. At that point the smaller tally dots suddenly break up and deviate, forming an X of sorts (close-up seen here), possibly to draw attention to the 3 special dots. I believe this is one of the highlights of the altar.


The key to unlock the secret is that Orion & the Pleiades on the eastern stone, and the three large dots on the western stone lie at the same height and on the same side of the stones and the carvings face each other for a reason. The altar literally conjures us to interpret the two as a whole with the tone placed on the trio of dots. Doing so, the trio appears around the Pleiades.

The complete map is exactly the one star map discovered by Wayne across civilizations, a celebration of 3 stars in a triangulation near the Pleiades to which Orion’s belt points the way. As it turns out in our research considering ancient cultures, the three had been venerated as the Stars of the Gods and there's further evidence of it found in Malta. (ref)


My quest to uncover more about the detailed and seemingly precise carving of the Pleiades found at the bottom center of the eastern tally stone came to a dead end for some time. There was no doubt in my mind that if it indeed represented the star cluster then it had to display traces of the trio of special stars nearby, a marker of sorts as one would expect. After all, the star map is found in a simplified way on the upper part of the same stone. After a month of meticulous search for a decent photo, it turned out that my expectations were met - it was all there. A prominent central hole, probably the biggest one found on the stone or the whole altar for that matter was carved right at the bottom central segment, at the pointer-shaped tip of the Pleiades at a short distance from the cluster. (ref I, ref II and ref III - zoomable photos, ref IV - note the hole at the bottom, ref V - museum replica without the hole) This is the approximate position of the star Wayne identified as the Primary star, the most important member of the trio of sacred stars, the one star from where, according to our theory, a mass arrival of the ‘gods’ took place in the past. It’s also the one star of the three that was celebrated the most across ancient cultures of Europe and the Near East hence its prominence in Malta - and more is to follow in favor of it. Seen from a different angle, the hole has a tiny line like a ribbon or pillar attached to it too - possibly not a coincidence.

It is important to note that there are other, albeit smaller dots too, found in the vicinity of the main cluster. These offset dots may represent another, more extended cluster of stars known as the Hyades, the grouping that forms constellation Taurus the bull that is ‘holding the Pleiades on its back’. (ref) For this very reason, the sacred bull or cow of the sky is a major element of the ancient star map and it takes on a profound role both in Malta and elsewhere in the Mediterranean as it will be revealed.


Before delving further into the mystery, I couldn’t help but notice that official sketches of the tally stones, which are meant to be clear and informative, had glaring errors regarding the distribution of dots. Sketches such as those seen in the article here completely omit details like the 3 prominent dots in a triangle on the western stone (even though they are bigger and more noticeable than the other, regular dots by magnitude) or the central hole in the bottom center of the eastern stone that corresponds to the Primary star. Even if unintentional, the inaccuracy is suspect if one considers that details which matter the most, the larger dots that were meant to correspond to sacred stars, are missing.


Just a few meters away from the altar of Mnajdra one finds another gem which I believe is a third representation of the Pleiades and the same ancient map on the site. The medium-sized stone stands on its own leaning against the wall of the Central section right at the entryway. Even though it bears curious cup marks and patterns, the stone is completely overlooked to such a point that as far as I know my photo is perhaps the only image of it available on the internet to date. Why this is so, I cannot answer considering that every carving was meant to be recorded and displayed in public. It can’t be ruled out that some of the patterns found on the stone date from a later age or even from the era of English explorers who left signature marks on a few excavated stones. However, this seems unlikely in the light of the cup mark design, typical of ancient cultures. The stone very much appears to be a true part of the complex and its stand-alone stance and decoration implies it was a sort of sacred message stone - an identical piece with large cup marks is found at another paramount site, Ggantija.

Be that as it may, the patterns appear to convey an important message, perhaps the reason behind the neglect. As elsewhere in Stone Age Europe (ref), the cup marks probably represent stars and constellations. On the top, a cross crowns the scene with a string of marks along the right-hand side stretching from top to bottom. The line of the cross points towards a dense area where a prominent cluster of 7 holes is found underlined. In its immediate vicinity are 3 holes in a triangulation, the ‘smoking gun’ detail of the stone. It is these three marks where a thin, dotted line emerges from, connecting the trio to a tiny symbol in the shape of a Π - possibly a trilithon, a signature monument Maltese megaliths and Stonehenge are known for.

I believe the stone precisely replicates what is found on the tally stones of the altar. It celebrates the trio of sacred stars near the Pleiades which is known in mythology as the seven stars (ref), underlined to draw attention to the sacred region of the sky. Note the small extra hole positioned between the trio that may be reference to a planet of those systems and where the dotted line starts at. Though seemingly negligible, the implications of drawing the line are far-reaching. It either explains that the builders of the trilithons, or megaliths in general, were somehow related to the trio of sacred stars or that the trilithons themselves had a deep-rooted connection to that sacred area of the sky. I believe both are correct at the same time, and let me tell in advance that there is something real profound to be revealed about the design of trilithons in the coming chapters.


Regarding the cross, it is likely to be the ultimate ancient symbol for Orion (ref - the original Orion cross of the churches theory by Wayne) hence its portrayal between the cup mark stars. It virtually repeats what is found on the tally stones - the belt stars of the ‘great cross constellation’ help to locate the Pleiades. A plain cross similar to the one on the cup hole stone appears on other Maltese megaliths too, like on the side of the snake stone of Ggantija. The cross predates Christianity by thousands of years and it appears in such ancient artwork as the carvings of Val Camonica in Italy where it is filled with dots (or stars) and using an arrow it points the way to a helmeted flying entity as part of what we believe to be the same star map - see more here. Early Christian art, in basilicas like the Sant’ Apollinare in Italy also shows the teaching of the cross of the sky, made up of stars as a great pointer to something important (see the ceiling mural here).

A thorough look at Maltese art reveals even more about this knowledge.


In Malta, surviving shards of the Ta’ Trapna pottery, which date to beyond an incredible 4000 BC, provide more evidence when it comes to the cross. (ref) One piece on the left side of the graphic shows a cross with a long line emerging from it in exactly the same fashion Orion’s belt was meant to be followed to find the Pleiades and much like it was taught in Val Camonica. A similar piece is found here, finished by a triangular pointer ending. The cross has two short extensions too that make sense if one is to interpret it in context of another depiction. The other shard from the same era on the right is a well-known piece and is regarded as one of the earliest depictions of a figure. However, I believe there’s more to the stickman. Its body is of an X with arms matching the short extensions seen on the other shard while the head is represented by a triangle.

I believe both depictions once served as a teaching mechanism of how to locate the sacred area of the trio of stars near the Pleiades, in essence identical to the depictions found on the cup mark stone or the tally stones. By giving arms to the cross it made it into a figure, a celestial man, so to speak, whom we still identify as Orion, the great warrior of the sky who is ever chasing Taurus and the beloved sisters of the Pleiades. (ref)

Likewise dating from the same period we find shards of pottery that take the cross connection one step further. A number of geometrical, anthropomorphic figures cover the fragments that bear the cross design, correctly elongated like the cross of Orion. (ref I, ref II) These too have arms and the overall design takes on the so-called Kanaga or ‘Squatter man’ symbol, another very ancient glyph, the stylized depiction of an animal or human with legs and arms stretched out - yet another ultimate symbol for Orion as we have found across the globe, deciphered first in the story of Dogons. (ref) Hence the Maltese shards make a valuable find and show that the cross and Kanaga are one and the same symbol rooted in the stars.


Malta is no exception when it comes to a worldwide obsession with mythical cows or bulls. The Mediterranean is teeming with records and traces in favor of it from the bull-leaping traditions of Crete & Spain, the adoration of the great genesis cow in Egypt to the mythical Golden Calf of Israel, not to mention the hundreds of bison-related carvings or cave paintings that are among the oldest art on Earth found in Southern France, Northern Spain, North Africa and elsewhere. Similar can be said about the rest of the world’s cultures where the worship of buffalo, bison and yak still prevails in many places. (ref)

In Malta, archaeologists were fortunate to recover numerous artifacts that speak of a deep bond to the bull and its marked place in the megalithic builders’ faith system. Fragments of pottery found at Tarxien, the most elaborately decorated temple and the Hypogeum, the majestic underground complex (and a twin temple to Tarxien) all demonstrate a tie to the animal. (ref I, ref II) So do the various horns once kept in altar niches at Tarxien and also one buried beneath the entry threshold stone of Ggantija, a temple on Gozo which holds a great secret and is to be covered in the following. (ref I, ref II) Similarly, the inclusion of a bird between the horns, a custom found in ancient Crete and Greece too, was not by chance either and a thorough comparison will shed light on it.

Besides the surviving pottery, the greatest depictions of cattle are found carved on the walls of a side-chamber at Tarxien. The reliefs show two bulls and what appears to be a hornless cow feeding her calves. I believe the scene has a profound content to it, especially if one considers that it is found in a side-chamber, possibly a holy space separated from the main corridor. The suckling calves speak of birth, a genesis scene, probably alluding to the beginnings of the megalithic culture in context of the mighty cattle. In addition, one of the bulls is posing over a small square hole (seen here) that used to contain ritual bones. Positioning this sacred hole beneath the bull speaks volumes - towards the end of the article, it will shed light on a great enigma of the ancient world.


Only a few know that the Hypogeum, the nearby underground complex once also bore a painting of a bison on its wall that mysteriously disappeared in the last century and some speak of a deliberate removal by authorities proposing that the bison was of a genus that went extinct at the end of the Ice Age, making the complex far older than the accepted date of built. (ref) What is known based on notes though, is that the bull had a hunch on its back. (ref - bottom of page) Bulls with a prominent hunch or hump were revered in many regions, including India (ref), and we theorize it was so because the hump coincides with the place of the Pleiades and the sacred trio which happens to lie on the back of constellation Taurus. Identical teaching is found in Mesopotamia.


Just how important the bovine was in the Mediterranean is evident if one takes a look at the monuments of Sardinia and Minorca. In Sardinia, the Nuragic people erected giant stone monuments dubbed Giants’ graves in the 2nd millennium BC, in the shape of a bull’s head complete with horns when seen from above. (ref) The graves had a central stele like a pillar rising on top of the head between the horns, its top rounded like a sun disc of sorts, positioned above a passage leading inside. The design, namely a portal paired with a bull, is of tremendous importance and will make sense towards the end of the article. As a clue, let it be said for now that there is a consensus of opinion among historians that the Sardinian monuments were intended not only for the deceased but for the living too. (ref)

To keep on topic, it is the pillar that plays the central role here. The entry stele (or pillar) of the grave between the horns is identical to what the same people etched on their menhir monuments, the most important pieces of which comes from the area of Laconi. The menhirs - standing stones that actually resemble columns - display carvings of simplified bull heads with a prominent pillar between the horns. (ref) Several thousand kilometers away, an Indonesian people called Toraja, who venerate the buffalo, produced virtually matching carvings sacred to their culture. (ref I, ref II) Their version is often complemented by a small disc like a star on top supported by the pillar that makes the scene resemble a ray of light that emanates from a star - a keyhole shape, so to speak. In turn, the keyhole design is yet another shape in which some of the Sardinian monuments were built like the one at Santa Christina seen here. Ancient Japanese not only erected similar keyhole monuments but depicted the pillar & horn combo too that I explore on page Japan.

In Minorca, not too far from Sardinia, the Talaiotic culture were no exception when it comes to the bulls. They raised giant T-shaped stones to adorn their complexes much like the prehistoric people of Gobekli Tepe in Turkey. (ref) Archaeologist Mascaro Pasarius was the first to suggest that the T-shaped stones called Taulas stood for a stylized bull head and its horns. (ref - page 86) I concur and even though his proposal was criticized, bronze statues of bull had been recovered from various sites across the island which leaves little room for doubt, especially in the light of what is yet to come.

Wayne and I believe that the story of the sacred column and the bull all have its roots in the cosmos and constellation Taurus. The reverence for a sun or star between the horns of a horned deity, like Isis of Egypt could be traced back to the same ancient genesis saga. But more is to follow…


What almost completely went unnoticed regarding Taulas, is that some of them had an extra pillar at their side. For some time I believed they served the sole purpose of supporting the heavy lintels but then I found an example, the Taula on the right, where the pillar was part of the standing stone and too thin to provide efficient support. Moreover, both had something in common, a marker of sorts on the top - either a separate stone or a nook etched in the stone. (ref I, ref II) I believe these Taulas were meant to channel the same message as in Sardinia and elsewhere, the celebration of a beam of light from a star on top, embodied as a pillar on the ground, a marker of a special star in context of Taurus the bull.

Mouse over the image to reveal how the pillar tradition merges with the celebration of ‘seven lights in heaven’. This depiction of a horned being holding a pillar that ends in a Menorah is from Beit Shearim, an ancient catacomb in Israel that has many more pieces of the puzzle to come. Based on ancient scripture like the Testament of Solomon, Wayne proposed that the Menorah stood as an ultimate artifact to venerate the 7 brightest stars of the Pleiades as 7 lights in a cluster. (ref) The carving fuses the pillar theme and joins the Pleiades to Taurus where it is indeed found.

The pillar is a monument on the ground to commemorate a special star in that region of the cosmos, one linked to the 3 sacred stars extracted from the star maps and Malta has something monumental in favor of this connection. However, before diving in the subject one needs to proceed step by step in order to grasp the whole.


During my on the spot visit to Mnajdra & Hagar Qim, I noticed what people referred to a 'mushroom stones', slabs of stone supported by a pillar base. (ref I, ref II) It was only after I had been introduced to the Taulas of Minorca that I recognized them as equivalents of the T monuments, in plain sight, yet obscure at first. The fact that the 'mushrooms' are found at Mnajdra is significant, however, it turns out that even certain artifacts carry this pattern.


Elaborating on the T - Tau shape and the horned beings takes us to an artifact found at the site what I believe to be the ultimate monument of Malta, the temples of Ggantija. The piece above is a relief of a human shown together with a small, carved stickman with a T-shaped head. (ref) The Tau figure, as I like to call it, is identical to the ancient renditions found in Latmos (Turkey) and Tassili (Algeria) first identified as such by colleague researcher Mark Scott. The two are some of the oldest rock art on Earth dating back to 6 to 10 millennia and apparently revolve around the same theme. (ref I, ref II) In Turkey the beings appear in mass as if it were part of an arrival. Note that in all cases, including the Maltese one, the Tau figures have a similar arm stance that I identified as variants of the ‘Orans’ gesture and may be symbolic of opening a cosmic gate. Needless to say, the Tassili one called lady Aouanrhet has a clear horn matching the T-shape and is said to represent the great cow of the sky.

Placing the Tau stickman next to the human is worth a thousand words. Despite damaged, the human figure has one intact arm, bent and pointing downwards, and one leg. I’m convinced that it was meant to portray the human form codex, an essential part of the ancient star maps uncovered by Wayne. The man with his limbs stretched out according to a five-pointed star design is a recurring theme in other cultures and I found it in context of the star maps of Korea and Beijing too. It is synonymous with the Vitruvian man drawn by Da Vinci.

If joined, the limbs and head form a pentagon and I believe this is the reason for the bent arms, especially since the imaginary lines run parallel with the arms towards the head. This grand design may be the key to understand Ggantija hence it was found at the site.


Archaeologists identified Ggantija, a temple-complex in the heart of the island of Gozo, as the oldest of the great megalithic temples scattered on the two islands. It is also regarded as the 2nd oldest freestanding monument in the world preceded only by Gobekli Tepe. Although partly ruined and heavily eroded, the monument still defies the forces of nature after 5600 years thanks to its hard, coralline limestone boulders. (ref)

I believe there is a profound message encoded in the design of the complex. Scholars found that Ggantija originally used to consist of only one temple. However, centuries later it was expanded by a second, smaller section partly obscuring the other. (ref I, ref II) The layout of the expansion gave rise to the universal temple design found at the later temples of Hagar Qim, Mnajdra and Tarxien - all have a specific clover design that apparently mimics the body of a plump fertility goddess. (ref) This is astonishing on its own but it seems to me that the original design was intended to show something different. In all these temples the apses (semicircular recesses or the ‘leaves’ of the clover shape) narrow towards the head part while in the case of the original temple of Ggantija it is different. Moreover, the outer walling of the structure still retains a curious pentagonal form unique to this temple.

Mouse over the layout to reveal what I think it used to encode in its original form. The five-pointed star design formed by the apses is reminiscent of a stickman and its limbs stretched out forming a pentagram within the pentagon of the outer wall. This is the human codex proposed by Wayne based on Da Vinci’s drawing. What it means in context of the star maps will be made clear shortly.

What is yet to account for is why it had been expanded after its ancient construction. I believe it was meant to depict a pair (most of the Maltese temples were paired) of a male, the Vitruvian man, so to speak, and a female, the expansion that depicts a fertile lady - a pair who brings forth life. Da Vinci’s famous drawing also shows two persons superimposed over the other, after all. It is almost like a monument dedicated to human beginnings. But why?


There is an important connection between Ggantija and Mnajdra. The Primitive (or Upper) temple section of Mnajdra, the one with the star map etched in the tally stones, dates from the same primordial era as Ggantija does, around 3600 BC, linking the two in a fundamental way given the relatively little distance between the sites. (ref) It suggests that the human form codex and human beginnings literally embodied by the temples relate to the sacred area near the Pleiades in Taurus, the three sacred stars pinpointed on the charts.


Not far from Ggantija, in the capital of Gozo, Rabat (also known as Victoria) stands the central citadel that houses the Cathedral of Assumption, the prime church of the lesser island built in the early 1700’s. The cathedral is adorned with murals, one of which, placed right above the entrance and organ, holds the key to understand an ancient mystery. (ref) Although jumping to Christian times from a prehistoric era might seem like a huge leap, it soon turns out that all of it is part of an immense, intertwined ‘puzzle’ where everything relates simply because the influential people of later ages knew of the same secret as their predecessors and they built upon it.

The mural shows Virgin Mary and her ascent to Heaven by angels at the appointed end of her life on Earth. I believe the artist has hidden a great clue within the scene in a clever way so as to show just where she was meant to ascend to, while pointing to a geographical secret of the island as well.

Mouse over the mural to highlight what I believe to be the core message. Mary is surrounded by an extra halo of 7 prominent stars placed below a radiant sun that directly shines down to the Citadel of Gozo. In essence, the beam is the familiar pillar supporting the sun disc. But is it our sun portrayed here? In light of the ancient star map and evidence derived from many other Christian maps and depictions presented by Wayne and me, it is a star like our sun related to the angels and ‘gods’. It is a repeating theme of a star situated near seven stars, possibly of the Pleiades. Pay close attention to the citadel as the artist painted it just like it appears in life seen from a certain angle.


If observed from a distance and angle painted on the mural, the citadel is seen together with the Pleiades as the cluster passes over the citadel before setting on the horizon. This time, the change in the position of stars has been negligible over 300 years. The scene is essentially a replica of the mural - what this implies is that the citadel appears to be a landmark of importance, somehow related to the Pleiades and a special star nearby.

While contemplating the scenery, it soon occurred to me that Gozo was known for its many buttes or isolated hills of circular shape of which the citadel hill was one. The natural buttes form a dense cluster in the western half of the island and long captivated the locals hence the arms of the island features hills on it. (ref) An old, brownish version of the crest that I found while in Rabat, seen above, completes it by a star - not a simple one but a star with a triple ray of light, evidently the Star of Bethlehem in harmony with the deeply religious atmosphere of Malta. Similar scene is found on the crest of Gharb, an old village of Gozo that displays seven hills behind a watchtower like a citadel tower aligned to a star. (ref) Concerning the three hills on the Gozo arms, monarchies across Europe and beyond preferred the triple hill to be shown on their noble arms like the emblem of the Olivetan Order or the coat of arms of Slovenia, for example, which celebrates three hills that correspond to three stars in a triangulation. Identical tradition is found in remote places like Japan too, that I explore here.

Before revealing how the hills and stars correlate, let it serve as a clue that numerous cities across the world claimed to have been built on seven hills (ref) that mirror something important in the cosmos. Rome and Jerusalem are prime examples of this heritage. (ref)


Delving into the legends of Gozo, there is a myth that concerns one of the round hills and links it to a special event that apparently took place in Minorca as well. Based on variants of the Gozo arms, the central hill of the three is often shown to carry a cross on top and I’m convinced that the hill in question is the Saviours Hill crowned by a statue of the Christ that forms a cross. Despite a small rocky outcrop, it not only has religious ties but the Maltese name of the formation, Qolla Merzuq translates as ‘Ray of Light Hill’ (ref) - a hint at its special background and something that alludes to the earlier ray & pillar connection but also the beam seen on the cathedral mural.

According to the legend, black smoke and a ray of light had once been seen coming out of the hill, some sort of a supernatural event that made locals think it was a dormant volcano. (ref I, ref II) Of course, Malta is composed of limestone and there is no volcanic activity on record either hence the myth was dismissed as fantasy, however, there appears to be more to it than that. To date, no writer made mention of another, eerily similar event recorded in the folklore of Minorca where a pillar of light had been seen shooting up to the sky on successive nights on top of the tallest mount of the island, Monte Toro. (ref)

Not only Toro means ‘bull’ in Spanish but it is the same island where the Taulas stand. Curiously, the people who witnessed the light encountered a strange ‘raging bull’ and a statue of Virgin Mary with the baby Christ protected by a bull (pictured above). (ref) Today, the mount is topped by a cross-shaped statue of Jesus just like the Saviors Hill on Gozo - but the similarities don’t end here. Another tale in Gozo tells of a golden statue of a calf (illustrated above) unearthed on a hill called Gelmus, just a little distance from both the Saviors Hill and the Citadel Hill. (ref) It was even suggested that it had ties to the real Golden Calf of Moses. Be it as it may, even the grandmaster of the time was interested in the statue. That both hills were part of a supernatural event involving a pillar of light, a mysterious artifact of a bull and a Christian connection reflected by the statues of the savior on top is exceptional yet does not stand isolated. The descent of ‘god’ amid light and smoke on a mountain top is well recorded in the Bible’s Exodus, a series of events that describe Moses led by a pillar of cloud and fire that occasionally descended and ‘talked’ to him while his people attempted to forge a Golden Calf. (ref I, ref II)

I believe that Malta and Minorca, both with records of an interest in bison, were visited by the ‘gods’ or angels, flesh and blood beings from the stars who came to remind them of their ancient past tied to the secret of the bull and hills that reveal a grand connection. Remember that Pleiades and the sacred star(s) are found in constellation Taurus, the bull.


How do Ggantija, the seven stars, the bull, the ray of light, the citadel & hills and the celestial visitors add up to a single story, one may wonder?

Though natural hills, it appears that the buttes of Gozo almost precisely mimic the stars of the Pleiades as part of a sacred landscape where the Ray of Light (or Saviours) Hill, along with the Citadel Hill and a third one named Nuffara at the foot of Ggantija form the 3 sacred hills known from the crest and each corresponds to one of the 3 special stars recorded near the Pleiades - the same star map carved on the tally stones at Mnajdra. Making use of landscape features that resemble the map is a recurrent tradition found amongst various cultures, most notable being the template of 7 hills. The seven hills of Rome or Istanbul are naturally positioned in a way that resembles the Pleiades (ref) but so are some of the sacred Far Eastern cities of the 7 hills title and even remote places like the Devil’s Tower in America that formed near a cluster of hills befitting the Pleiades - As my colleague Mark also recognized it, perhaps Spielberg was not mistaken when in his movie, ‘Close Encounters of the Third Kind’ he included the landing of an UFO above the sacred mount much like it possibly happened in Malta and Minorca, especially since the Lakota also considered the buffalo sacred.

The layout decodes the purpose behind Ggantija and its design, the Saviors Hill and the Citadel Hill.

First, the Saviours / Ray of Light Hill coincides with the star identified as the Primary one, a sun-like star recorded on the tally stone at Mnajdra in the form of a central hole near the dotted cluster of the Pleiades - the one star found in nearly all of the star maps around the globe, deemed the most important one hence the visitation took place over that hill. It is also the Star of Bethlehem that accounts for the Christian ties. (ref)

Second, Ggantija faces the lone hill of Nuffara, marker of the Secondary star. The temple complex itself, especially the original pentagonal structure concludes that our human origins and form relate to that system. Indeed, Wayne found that this star appears as a human form genesis star in other maps too, a star system of the ‘first occasion’, so to speak.

Third, the Citadel Hill correlates with the Tertiary star, another star system of importance that completes the trinity. The mural inside the cathedral within the citadel celebrates this one sun-like star near the Pleiades. It shines down to the citadel in a symbolic way as to say ‘this is the star the citadel monument was meant to align with’.


It is believed that Gozo might have been settled even earlier than Malta and in light of archaeological evidence I find it plausible. I believe the island was chosen for its hills that naturally mirror the stars but expanded by man-made monuments to make it more fitting. There are remnants of megalithic boulders and ruined complexes on some of the hilltops that map out the Pleiades (ref I, ref II, ref IIIA and IIIB) and one hill, Ghajn Abdul and its immediate vicinity are known for caves where shards left by the very first settlers of the islands have been found, dating to 5000 BC. (ref)

What is more, possible ruins of what may have been a large megalithic temple were identified not far from Merzuq, the Ray of Light Hill, at the bay of Marsalforn village. (ref I, ref II) Similarly, there are ruins of an ancient settlement on the hill of Nuffara, faced by Ggantija. (ref) The complex was once surrounded by a wall comprising megalithic boulders which may not have been built simply for defensive purposes.


Given the connection between Ggantija and the Primitive temple of Mnajdra which houses the altar flanked by the cup mark stone nearby - both having the same star map - I was anticipating to find similar on record at Ggantija and I was not disappointed. There’s a medium-sized stone placed at the wall in one of the apses, seemingly stand-alone and with cup marks similar to the one at Mnajdra. Possibly both served as sacred artifacts hence not integral parts of the wall. The astonishing find, however, is that the stone at Ggantija (seen above) appears to replicate the same star theme as its counterpart. The bottom section shows a cluster of seven or so holes including a large one that overlaps another hole. The upper section includes yet another two depressions, one sharply preserved. I provided a blue, inverted inset image to make sure the cluster was indeed all there.

Mouse over the stone to reveal the message. It is not only identical to the maps at Mnajdra but captures the cosmic layout of the hills of Gozo - it celebrates 3 stars like our sun near the Pleiades, in a temple dedicated to the human form codex and genesis.

In support of the megalithic builders' interest in the sky, one just needs to take a look at the figurines they left behind across the temples. In the close vicinity of Ggantija stands the collapsed Xaghra Circle, a once underground complex where curious statuettes with tilted head and general torso were excavated (the two pieces on the left). (ref I, ref II) Similar was found at Tarxien (middle piece with hair). (ref) When I first came across the artifacts, I noticed their unique resemblance to the Moai of Easter Island - Is it a coincidence that the figures not only share the tilted aspect and hence a gaze towards the sky but tally when it comes to the long nose as well? One may even compare the receding (fore)head and prominent chin. Interestingly, the ancient statue at Gobekli Tepe had a prominent nose too and there is photographic record of a massive stone head with long nose, tilted towards the sky, allegedly captured in Guatemala in the 1930s and claimed to be a remnant of a pre-Mayan culture, seen here.


The Hypogeum of Hal Saflieni is a mysterious three-level underground complex made by the Temple Builders. Having been sealed off for millennia, little has been lost from its original glory and state, making it the oldest construction of its kind in the world. (ref) Apart from ruptures here and there, the corners and multi-level cuts remain sharp and elegant even after 5000 years. The structure was discovered at the turn of the 20th century by accident during the rapid urban development around Malta’s central district. It is rather uncertain who found it first or if it had been looted before an official report to the government. Nevertheless, authority over the study of the monument was first given to Father Manuel Magri, a member of the Society of Jesus (Jesuit Order) before a public opening in 1908. (ref) 3D maps of the complex are available here and here.

Although the complex did contain various human bones, it is believed that it originally served a different purpose, a sanctuary of sorts. This is supported by the fact that it’s an ‘inverse’ copy of the temples above which have identical interior design. Like others, it is a paired monument with the temples of Tarxien that serve as its above the ground counterpart. The peculiarity of the complex lies in its deliberately arranged acoustic properties - it was proven to produce a strong, deep echo that reverberates throughout the complex once a certain sound had been initiated in a section called the ‘Oracle room’. (ref) It is there where Malta’s greatest secret is waiting for to be decoded.


Before the grand reveal of an actual photo of the interior, the graphic above serves to illustrate what is found painted on the left-hand ceiling-wall section of the Oracle room. The painting, made by using red ochre, is still recognizable. Its composition culminates in a small niche named ‘Oracle hole’, possibly the single most important feature in the Hypogeum. (ref) It is towards this niche where the ornate curls of the ‘cosmic tree’ design gradually grow and suddenly stop at, marked by straight terminating lines visible on some of the photos (see here). At the same time, a smaller disc within a ring-shaped branch painted slightly above and left to the niche also appears to pinpoint the section as especially important.

The curling lines, like branches of a tree, encompass several discs that look like apples, fruits of the world tree known in various cultures. However, as researcher Paul Devereux pointed out, some are oversized and float freely between the tendrils. What most people don’t know about though, is that the Oracle hole also has three red discs within, faint but traceable thanks to the red pigment. (ref) Researchers agree that the trio indicates a cultic function and intimately links the niche to the greater painting. (ref - illustrated article by Paul Devereux) Ultimately, the composition was complemented by a second niche placed lower on the wall.

Mouse over the graphic above & the photo below to reveal what I believe to be the universal sacred pattern and motive behind the creation of the mural - it all comes down to the teaching of a sacred region of the cosmos, covered in the following.


What unfolds at the end is a remarkable copy of the cosmic pattern found elsewhere in Malta’s prehistoric monuments. It explains why the builders chose a bison to be painted on the walls, now destroyed after inadequate handling. The painting in the Oracle room celebrates the Pleiades, part of constellation Taurus the bull, and locates two explicit sacred spots in the form of niches close to the star cluster mapped out by the discs. It accounts for the marker lines and ringed disc too that serve to ‘halt’ the viewer’s attention who is taught to locate the position of the Primary star - marked by the Oracle hole - near the pointy end of the Pleiades (A similar marker line is found on the cup mark stone of Mnajdra seen here, placed likewise below the Pleiades). The guide is then followed by locating the Secondary star that corresponds to the second hole further below. Note how the growing tendrils ‘open up’ and form loose ends towards the two niches that remind one of a subtle hint at destinations, so to speak. However, there is more to the tendrils and it is all going to make sense shortly.

The inclusion of three red discs in a triangle within the primary niche speaks for itself. It is an ultimate proof for the presence of the ‘solar trinity’ and knowledge of 3 stars like our sun in the region of the Pleiades of which the position of the two more important ones are marked by the niches. The secondary hole, that is, the Secondary sun, is the one supposedly represented by the Ggantija in the terrestrial map of Gozo. *While the primary niche does include three discs it was fairly hard to find out exactly where the third disc (bottom one) was positioned; it may be at the illustrated bottom part or above the other two, however the layout remains the same, it is three discs in a triangulation and it turns out that there’s even a second occurrence of the trio in the Hypogeum, above a gate seen here. As a finishing touch, the neighboring room called 'Decorated Room' makes reference to the sacred pentagon too, the shape the temple of Ggantija uses in its layout, the human form codex. See an image. (ref)

On top of the map, the greatest mystery remains and it is something that sets off a domino effect in reasoning not only the Hypogeum but similar structures worldwide.

Why was the Oracle hole, marker of the most important star and holder of the 3 solar discs chosen to be the acoustic heart of the monument?
What took place in the Hypogeum and its above-the-ground counterpart temples of the same design, in context of the star map?

It soon acquires its meaning through further clues leading up to the only conclusion possible.


The need for the introduction of the sacred pillar within Taurus and Tau stone earlier in this article becomes clear in connection with the primary niche. It was theorized that the small compartment once held certain ritual objects of sorts, artifacts that can help to decode the complete meaning behind the recess adorned with the discs. In search of such objects, scholars were quick to point at the various smaller stone icons that show carefully carved niches that contain 2 or 3 pillars. (ref I, ref II) As soon as I learned of the intricate models I had no doubt in mind that it was these tiny columns that stood in the oracle hole, fitting the vertically elongated niche.

Following this discovery, I stumbled upon a set of three pillars - phallic in nature - merged as a single icon, kept in the Museum of Archaeology in Valletta. It was at this point that I realized how perfectly fit the triple pillar theme was if 3 pillars were placed below the 3 discs. It is the very same tradition as the celebration of a star by a pillar that embodies a ray of light that reaches the ground, earth - Three vertical markers in alignment with three special stars in heaven. But the greatest of 'coincidences' was yet to come. Something that hinted at the true depth of this find. The pinnacle of Wayne's quest was the finding of an artifact that not only duplicated his star maps discovered earlier in his research but showed more in regard to reasoning the meaning of the maps. It was the original 'First Degree Tracing Board' of Freemasonry kept at the university of Bradford, UK (seen above, colored). (ref) It's the ultimate document of Masons that most of the newer board designs stem from but which are distorted and not as accurate as the prime board.

Going by Wayne's lines, it records the trio of sun-like stars in the vicinity of the Pleiades complemented by pillars aligned to each star and which pinpoint a section of the checkerboard floor. He believes that the pillars mark a moment in time symbolized by the tiles of the floor. (ref) Three descents, each from a different star system culminating at the farthest pillar that tallies with the 7-pointed star where the tip of the Pleiades points at - the one star represented by the primary oracle niche itself. A beam of light is shown arising from this star complete with steps - a ladder from the cosmos.

If the correlation between the Masonic document and the Maltese scene is real, then it points to an incredibly ancient teaching of the triple arrival using pillars as markers that touch down on Earth. In fact, it soon turns out that even the checkerboard pattern was known in the earliest times.


It was established that the Hypogeum - and probably other similar subterranean structures of the same kind - had an additional concept behind their design, the recreation of a Mother Goddess wherein the complete structure serves as a womb including the many smaller oval chambers found in the Maltese hypogeum - a feature I touch on later. (ref)

This notion is in tune with the figurines of plump ladies found inside the structure who were depicted in a curious manner that will shortly take us one step closer to the possible function of the monument. However, what is to be addressed now is the shape of the oracle niche. It's an oval with distinct top and bottom bend, comparable to a womb and this is exactly what emerges if the egg-shaped cavity and its content, the trinity of suns, is measured against Christian symbolism considering that the latter encodes the same ancient secret in art. One such gems of Christian artifacts is the Beatus manuscripts that dates from the era around 1000 AD. (ref) The illuminated pages offer rare glimpse into pictograms once deemed forbidden for the greater public. The page on red background seen above is from the Beatus of Liebana, Lorvao codex and presents the Christ who teaches the trinity before the tenet was thrown into utter confusion. The three are shown as yellow suns, each with rays of light coming from it and surrounded by many doves, a sacred symbol often depicted as a group of seven near the Christ in art.

Earlier in my research I found that the Greek word 'Pleiades' meant 'a flock of doves' matching Christian iconography and, in fact, several other cultures interpreted the star cluster in similar ways related to birds. (ref I, ref II) The breakthrough here has to do with something else though. Not only the Christ and the oracle hole both celebrate 3 solar discs but the pillar of Jesus, T in shape in reference to the Tau, portrays three ovals, likely wombs that correspond to the niche theme.

The ovals have an 'opening' too, another Tau so to speak but M-shaped. This symbol was known in Egypt and was carved on the back of some of the Moai of Easter Island placed below solar discs. (ref) Wayne discovered that its Egyptian counterpart was a hieroglyph linked to the celestial cow (ref) which made me think it was a universal symbol for 'birth from Taurus'. Wayne also found that early Solomonic records of the Tau filled it with 3 markings in a triangle in agreement with a solar trio in constellation Taurus. (ref)


The so-called Domus de Janas on the island of Sardinia are (semi-) underground monolithic structures carved out of the solid bedrock similar to the Maltese hypogeum. (ref) They predate the Nuragic culture, builders of the Giants' grave bull monuments, who no doubt inherited the predecessors' obsession with the bull as the Domus de Janas are heavily decorated with stone carvings and paintings centered on horns and heads of bison. Apart from certain collapsed parts, many of the Domus monuments still retain a precise look and display superb quality galleries, corridors and rooms hewn in stone. Considering the remarkable age of the structures, 3400 to 2700 BC - a time frame fit for the creation of the Maltese hypogeum - there is little room for doubt that the two islands once shared similar if not identical cultures who were preoccupied with the same cosmic cult dedicated to constellation Taurus.

Rooms and halls found in various Domus de Janas scattered across Sardinia display well-preserved examples of the 'cult of three', be it the familiar 3 pillars enclosed within a horned gate or 3 artifacts in a triangulation placed in a ring, all in the company of carved bull heads, seen on the right on the montage above. These are found in the Domus monuments Pubusattile and Mesu 'e Montes. Curiously, the Domus with three pillars has a magnificent depiction of a checkerboard pattern too, a match to the Masonic floor that celebrates the three pillars on it. Moreover, there is evidence of the sacred pillar placed between the horns, seen here. (ref) In addition, the checker tiles come with serpents or waveforms, a detail that proves to be important later in the article. A major clue that proves the importance of the tri-pillar is the use of it in sacred altars in Phoenicia, and its descendants the Punic empire, who emerged some 1000 years after the decline of the Maltese megalithic builders. The sea-faring nation that dominated the Mediterranean perhaps recovered sacred artifacts on islands like Malta and included the knowledge in their own cults - examples of the three columns are found here.

The detail that truly elevates the Domus to a level on pair with the Maltese hypogeum is found in the half-collapsed 'spiral tomb' of the Domus of Montessu, pictured on top center-left. (ref) The remains appear to show a configuration of spirals laid out in a way similar to the discs in the Oracle room in Malta that also features spirals. I argue that it is the Pleiades surrounded by large discs that may represent sun stars or even cosmic boats. Sadly, the central part of the wall is damaged at the section where a marker for the primary star might have been originally.

Besides the awe-inspiring details that whisper of the veneration of the same star map, the Domus de Janas have yet another piece of the puzzle and this is going to form the basis of a profound chain of findings in the following. Named by me, the 'trilithon & spirit hole' symbol is a repeating motif found carved or painted in many Domus monuments. The carved one on the graphic comes from Su Murrone. It has marked horns and its small central opening forms a portal to the outside. A Google search for the Sardinian structures returns many more of the same design, however, before delving deeper into the meaning behind the ornament - found in Malta as well - it is important to uncover more of prehistoric Malta, as only then will it make greater sense.


In pursuit of decoding the Sacred Feminine cult of Malta, preserved in the form of numerous plump lady artifacts, the layout of its major temples, the rounded 'fertile' cavities of the Hypogeum and the feminine Oracle hole, the sacred act of procreation definitely played an important role in the overall puzzle that lies behind the enigmatic culture. However, it is enigmatic only if one doesn't dare to see it as part of a global obsession, one identical in all cultures and in all ages - a knowledge nourished generation to generation until slowly fading away.

The Maltese female depictions can generally be divided into two parts, the prominent, often enormous stone statues or statuettes, many of which once stood at the temples, and the smaller clay figurines made either by the temple builders or people of the pre-temple period. (ref - stone statue, ref - clay figurine) The latter typically have large breast and maintain the incredibly ancient cult of carved pregnant ladies called Venus figurines found across Europe. In context of the star charts, the story of a cosmic birth emerges that relates to the bloodline of mankind, apparently honored by red wine in place of actual blood. Such libation holes (depressions for sacred wine to pour into) were indeed found at multiple megalithic temples, including Ggantija, Tarxien, its twin the Hypogeum or the ruined temples of Skorba. (ref I, ref II, ref III, ref IV - Tarxien, no. 3) It was at the latter where some of the earliest representations of humans were uncovered including the mother goddess pictured above whose feminine part is characterized by a clear triangle. (ref) Accordingly, excavations elsewhere yielded male parts too, phallic monuments that were, in most cases, nearly indistinguishable from regular pillars hence the profound connection between the two - they are one and the same thing. (ref)

In accord with Wayne's 2014 breakthrough that covered the Holy Grail, the Maltese fertility cult revolved around the same basis, the cosmic 'union' of Orion's belt, the male part rising on the horizon and the Trio of suns in a triangulation, the female part. Evidence of the star pattern are not only found engraved on the stone artifacts in question but prehistoric Maltese erected decorated slabs that seem to speak of the great act. Above, the screen from Tarxien depicts two triangles that point to one another piercing through a disc between elaborate spirals known from the Hypogeum. (ref) The two triangles, often positioned close to each other, like here, form the Grail shape well-known from Eucharist, a ritual of Christianity adorned by a round wafer - a blazing solar disc - and spiraling tendrils of wine, done by priests who drink red wine from the 'cup' in place of Christ's blood. It speaks of a lineage from a sun, the sun of Christ, hence the libation holes made for red wine scattered across the megalithic sites. The match is so accurate that even the pitted background, typical of Malta and present on the screen, may be accounted for - grains of wheat, a life source symbolical of genesis as it appears on the stained glass of Eucharist. On page Romania I uncover more about the red wine and how it ties to constellation Taurus.


Spirals and swirling tendrils are undoubtedly one of the signature marks of megalithic Malta. Tarxien is known for its especially well-preserved bas-reliefs of swirls but those with eagle eyes will spot them at Ggantija too. The motif, I believe, is crucial in order to decipher the message behind the mural painted in the Oracle room of the Hypogeum where the spirals, that spread from stalks, gradually grow towards the niches that tally with the special stars around the discs of the Pleiades. However, the spiral is a symbol found at major ancient sites around the world like the triple ones carved on the walls of the mounds of Ireland or the native rock art in the Americas and it predominantly features in Christian art too. Neatly embellished pages of ornate manuscripts often include depictions of angels, usually vigorous cherubim or putti, who climb tendrils that reach up to the sky and have golden orbs strung along the branches - orbs that sometimes take the form of stars like our sun complete with rays as the famous artist Raphael painted them in the rooms of the Vatican seen on the upper banner here (zoom in) where angels are shown emerging from the curling ribbons among suns and blue planets.

Early Christian cathedrals like the ones in Italy took it one step further. Certain grand murals show the Tree of Life, known from the story of Adam and Eve, as it produces a net of spirals across the cosmos. Such is the masterwork preserved in the Basilica of San Clemente in Rome (see here) but the Nordic lore of Yggdrasil also speaks of a tree that links the worlds of our universe through its far-reaching branches. The knowledge of this tree, however, was not restricted to Christian doctrines. After decades of meticulous research and his personal near-death experience, Wayne presented his insights on this sacred world tree known in nearly every culture in a way or another. He found that the supreme royal symbol, the Fleur de Lis was, in fact, another version of the 'cosmic pole' that holds the universe in place based on ancient scripture. I concur and add that the Fleur was indeed often complemented by branching ribbons the way the Medici of Italy fashioned it too and it seems the megalithic builders were well-aware of this pairing. See the site Oneism for more on the tree.

Seen above, a stone that may formed the base of an altar at Tarxien duplicates the pattern. It hints at the concept that all spirals were meant 'to emanate' from the Fleur de Lis much like they do in Christian art coming from the tree. Correspondingly, at the complex of Hagar Qim remains an altar incised with a Sumerian-style pole tree on all sides and, judged by the composition, it was of great significance. Although damaged, each tree is framed by a pitted trilithon-form, its lintel complete with overhanging edges. (ref - note the trilithon framing)

The ascent of angels and people on or through cosmic tendrils or bamboo to (and from) 'heaven' is a central theme among cultures, be it Native American, Japanese or European lore - one just needs to think of Jack and the Beanstalk, a story that originated more than 5000 years ago. (ref) What this means in context of the megaliths and star map is going to shake the foundations of archaeology, provided the accounts are not lies but the truth.


The Hypogeum is the oldest structure on Earth that has been tested for its acoustic properties in a professional way. The results were documented in the Journal of Anthropology and Archaeology in 2015. (ref) The acoustic effect, detailed earlier, originates in the Oracle room induced by the Oracle niche as a result of deep male voice or a suitable instrument or tool like a Shamanic drum. If properly chanted or repeated, a diverter that protrudes from the end of the chamber amplifies the sound that, in turn, turns into an extremely powerful echo heard throughout the complex magnified by the corbelled, step-like design typical of the structure. In their heyday, the once well-covered temples above possibly had similar properties. (ref I, ref II)

It is at this point where ALL of the above mentioned in this article finally begin to 'glue'.

The complex houses a number of small - mostly oval shaped - chambers or cubicles, inside of which the echo produced in the Oracle niche reverberates into a rhythm similar to the human heartbeat. (ref) The space referred to as the 'Main room', seen above in the upper left corner, includes several such chambers and it was suggested that these originally served the purpose of 'ritual sleeping', perhaps in a fetal position as the cubicles are egg-shaped, possibly to further strengthen the echo but to mimic a womb as well - a detail of great importance. (ref I, ref II) The academic article concluded that such acoustic effects could not only alter our psychological and physiological experiences but, in the case of sounding a bull's horn, produced an 'intense feeling', a sensation of relaxation because of its extension in the range of ultrasounds. It's interesting to recall the buried core of a bull horn below the threshold at the gate of Ggantija or even the various horn artifacts stored in some of the temple altars (ref) - is it a hint at their importance in producing sound both within the Hypogeum and the temples above?

In Egypt, we find similar corbelled or step-design upon inspecting the ceiling of the Grand Gallery within the Great pyramid or the (ante)chambers of the Red pyramid. Recently, a team of alternative researchers have conducted acoustic tests inside the latter and experienced convincing resonant effects (demonstrated here).


It's agreed that the Hypogeum was first used as a sacred space and not as a necropolis. (ref) Circles of alternative researchers believe the same about the pyramids of Egypt in light of contradictory findings and the general absence of mummies inside (universally explained as result of robbery). The 'smoking gun' artifacts found in the Hypogeum are carved figurines of ladies who lie on raised pedestals. (ref I, ref II) They appear to be asleep and the fact that they probably did so in the cavities of the complex, while exposed to the sound, suggests a trance-like state. The second lady, lying face down, is especially striking. The orderly pose and the bizarre, missing head - believed to be a deliberate detail - point to anything but a regular sleep. The strange act of 'decapitation' is not an isolated case, it is explained in the following paragraphs.

The King's chamber in the Great pyramid has a built-in sarcophagus suitable for a person to lie in. But if it originally served the living, and not the dead, just what happened inside? Based on Ancient Egyptian ritual scripture centered on flights of the soul and texts from other cultures, Wayne is of the opinion that the monument was no less than a star gate for the soul (ref) and evidence of freeing the spirit from one's body is found in Malta too.

The star map painted in the Oracle room is identical to the simplified maps found on Egyptian murals and vignettes that depict the souls of deceased pharaohs as they traverse the cosmos... to the sun-like star(s) near the Pleiades cluster. The powerful pairing of the sound hole and the star map in the Oracle chamber strongly alludes to this link. The sound waves react with the structure (more details soon) and help to free the spirit given precursory mind-trainings to attain the trance. (ref)

It is even possible that multiple persons had their spirit or consciousness removed at once, an opportunity to have group journeys to the stars of the 'gods' in Taurus. Moreover, in accord with the plump ladies, the mothers might have anticipated a familiar soul to 'move in' the fetus (one from past life or the cosmic address?) - a bizarre conception, yet raised by a Maltese scholar. (ref) Be it as it may, it is certain that each of the main 'sleep' chambers seen above has a carved trilithon-form that frames the entry holes. A close-up is seen here. Despite a minor detail, it will serve to show that the destination was indeed Taurus.


The headless lady on the pedestal from the Hypogeum is but one example of many figurines that, in a curious way, are either missing or have removable heads, complete with joint-holes on the bodies where the heads may be attached to again. (ref I, ref II) It is a great mystery of prehistoric Malta but it suddenly all makes sense if interpreted as part of the spirit-removal procedure. During the trance, the consciousness is meant to be separated and wander around freely but is required to return to its shell at a point, its body. Thus, I believe the statuettes served as a teaching tool of how it works and were kept as ritual objects in the temples whose function closely related to the soul. It was no different in Egypt. Elaborate scenes, like on the golden plaque above found on Tutankhamun's second shrine, depict the complex relationship between consciousness & stars. (ref) One section introduces a number of bodies with separate head, 'coincidently' of similar oval shape and marked features that resemble the Maltese ladies. Despite mother goddesses, neither the Egyptian nor the Maltese ones have large breast but a marked belly or waist - a detail I believe refers to the cosmic birth aspect rather than sexual themes.

The Egyptian depiction clearly links the head - spirit or consciousness - and stars, and explicitly joins it by ribbons to small discs, stars like our sun instead of regular, five-pointed bright stars. A wavy serpent is seen holding the tiny suns where the souls depart to. The design is identical to what is seen in Malta where tendrils and branches of plants were preferred in place of snakes but which similarly connect star discs, the stars of the Pleiades in the Oracle room of the Hypogeum. The souls induced out of the body would have traveled down these cosmic (worm-) holes known as the portals in near death experiences. (ref I, ref II) In Tibet, Buddhism refers to the act of separation as 'transformation' and in one footage, the Dalai Lama talks about it - much recommended.

The second breakthrough that concerns the ladies is their number. The set of 7 goddesses above were found in the entry apse of Hagar Qim, a temple that itself is composed of 7 major apses in a shape similar to the Pleiades (see here). 'Seven Sisters' is a universal ancient title for the cluster known not only in Greece but many other regions of the world, including far-away places like Australia (Aboriginal mythology) or North America (Lakota, for example). Even their nude depiction tallies with the nymph mythology, gentle spirits in the form of innocent women who traverse the cosmos through 'tubes' as in the Voynich manuscript, first cracked by Wayne. A set of 7 amulets was found at Tarxien too, in the company of a phallus and a fertility figurine - in reference to the star map.

If real, it should come as no surprise that identical 'separation scenes' are found together with the star map in unexpected places, like medieval manuscripts too. The Christian version - which comes from the same Beatus codex that includes the 3 suns along doves and T pillar - has miniatures of similarly androgynous ladies, seemingly beheaded. An important and much overlooked detail that makes no sense unless likened to earlier cults. The suns even have triple ribbons as on Tutankhamun's shrine. It points to the obvious - the destination of the spirit was the three stars systems near the Pleiades and a glance at the worlds of the 'gods' and ancestors.


Even though the word 'temple' is a mere title given to the megalithic monuments of Malta by modern-day scholars, it is agreed that the structures indeed had a special, cultic role and were not used for everyday living. There are remains of huts near and below the foundations where people probably lived their ordinary life... apart from the extraordinary activity they possibly experienced within the monuments and on a regular basis. (ref)

Alternatively, if it ever turned out that the monuments were much older, perhaps dating to the Ice Age, then the thick walls may be explained as a necessity of shelters against brutal cold weather.

Nevertheless, it doesn't affect the outcome and regarding the thick walls and heavy roofing, now gone, these architectural features might have served a different, more 'mysterious' purpose covered later. What is certain is that most temples appear to have had a cultic and symbolical design to them rather than features of a shelter, ie. each sub-complex has only one grand entrance (entry to the womb of the goddess shape) and no other 'exit routes' - instead, most have small open oracle holes and outer altars, or sub-chambers (apses) only accessible from the outside. (ref I, ref II) With fixed roof, no erosional cracking in the walls and possibly well covered entryways (evidenced by remaining door holder holes), the temples could serve as precisely sealed monuments in their original form. I believe they essentially served the same purpose as their underground counterparts, the hypogeums, which perhaps proved to be even more successful but harder to create (there's a second, now collapsed hypogeum next to Ggantija known as Xaghra Circle).

A key to the mystery may lie in the ultimate Lower section of Mnajdra, the one aligned to the equinox / Pleiades. It is the only temple that has special rectangular oracle holes (as they call it) and not only one but two, positioned within the same circular space of the complex, seen above. (ref) Is it a coincidence that the Great Pyramid's well-sealed inner chambers, the King's and Queen's chambers (invented names) also have twin holes within, rectangular in shape and similar in size? There is more. At Mnajdra, one hole, the more ornate one (1) opens to the outside (A) while the other one (2) opens to a neighboring room within (B). Similarly, in the pyramid, the shafts of the Queen's chamber never reach the surface while those in the King's chamber do. (ref) When the small robot Upuaut was sent to explore the shafts in the Queen's chamber, it encountered tiny sealed doors in both. (ref I, ref II) Furthermore, in the 19th century, curious, miniature objects were recovered from the sealed northern shaft and the modern, robotic exploration revealed weird hieroglyphs in the southern one. The tiny objects, a 5 cm long 'hanger', a 13 cm long 'ruler' and a small ball went missing but a photo is available. (ref - the objects are known as Dixon's relics) Interestingly, I found a similar miniature artifact - now lost - in the currently collapsed hinder part (x) of the side chamber (B) where the 2nd hole opens to. It was a small 3D relief of a hypogeum, 10 cm across, etched in a megalith, originally blocked by stone shelves - see here. (ref - the collapsed hinder part)
Besides Mnajdra, the excavation at the temple site Ta' Hagrat yielded a similarly tiny object, the model of a megalithic temple that actually doesn't resemble the real ones but stands to illustrate them - see here.

Wayne theorized that the need for dead-end shafts with extra spaces and artifacts in the pyramid served as a training mechanism before the initiate underwent actual journeys to the stars from the King's chamber - a destination that favored far more routine. (ref) Safely removing the soul / consciousness probably took years if not decades to master properly, therefore training to find hidden spaces and objects (tiny, for it was only the being without body who could get a glimpse of it) and recite the sight to a priest after awakening to prove himself, could be effective.


I propose that the oracle holes were tiny portals for the spirit to 'fly' through, sometimes coupled with astronomical & solar alignments for obvious connections of the spirit to the cosmos and as calendars, while some also served as acoustic holes. However, a profound feature of the hole is yet to be revealed:

The narrow corridor (A), through which the primary hole at Mnajdra (1) opens to the exterior, ends in a trilithon arrangement covered by a massive lintel - perhaps one of the largest (if not the largest) such stones in the whole complex. It's seen above on the right. (ref) Surely, if this tiny corridor deserved such a magnificent entrance, then it was of great importance. Scholars noticed that seen from this rear angle, the oracle hole is on a level with the corridor's paving while seen from the inside it appears 1 m above the floor. This detail may seem negligible but it means that a person peeking through the hole within the temple would have had his glance directed towards the sky & stars - just recall the star gazer figurines (a view of the blue sky through the hole is seen here). Egypt had identical spirit holes called Serdab that were meant to gaze through them and provide free movement for the soul. Such holes are found on the serdab chamber of Djoser, tilted to allow his statue to fix his gaze on the 'Imperishable Stars'. (ref)

The key, however, is the way the spirit hole visually intersects the center of the trilithon complete with overhanging edges on top formed by the lintel. The resulting design is a sacred element, part of some of the greatest megalithic monuments and art in the ancient world beyond Malta as well, and it is the secret of the arches in the Domus de Janas too.


The combination of the trilithon & spirit hole is, in fact, a central element of the temples. Most of the major gateways and sanctuary openings display the same design where the spirit hole is replaced by a larger, mostly rectangular or trapezoid porthole to turn it into a walkable passage, however, the essence remains - it is a 'spiritual portal' rendered as a decorative gate and as such they appear to be a more general version of the concept.

The Sardinian Domus monuments have identical gateways finished by the typical overhanging edges of the lintel part, upturned for a reason. Some even have smaller spirit holes that open to the exterior as in the case of Domus Su Murrone where niches for sacred 'sleep' were cut in the walls much like in the Maltese hypogeum - see here. At the same time, the Sardinian portals have a unique feature among gates and it takes us one step further in the journey - in many cases the lintels are actual bull horns. (ref I, ref II) It recalls the veneration of the bull and its ties to the star map, a connection that solves the mystery behind the design, covered shortly. Apart from the Mediterranean, striking examples of the design are found in North Caucasus, Russia. The western Black Sea region at the Ashe river gives home to finely built megalithic dolmens scattered throughout the land. (ref I, ref II) Several monuments have the pattern carved on their front with marked spirit holes and well accentuated overhanging lintels. Carving them on front suggests it played a central role. The design is no different in such far-away places like Peru where the mysterious 'gate of the gods' Amaru Muru not only has a T-shaped spirit hole (first noted by Wayne) but the lintel part extends further and creates the overhanging look. The bizarre monument is shrouded in myths that say the gate was once used as an actual STAR GATE between our world and the world of the gods. Curiously, the Peruvian gate was carved out of a small ridge the top of which looks like a face staring at the sky, reminiscent of the star gazer artifacts. (ref)

On a closer look, the T gate of Amaru Muru has a tiny hole in its center (ref) that reminded me of the protrusions positioned above one of the Russian trilithon patterns. Similarly, Maltese monuments and other megalithic structures like certain dolmens elsewhere also possess such holes or round markers. More on it later.

A crucial piece of the puzzle to reason the design is found in the Hypogeum. Earlier, I referred to the close relation between the gate and the 'sleep' chambers or niches found in both the Maltese and Sardinian complexes. However, the Hypogeum in Malta has a 'smoking gun' detail that dispels any doubt about that relation. In the Main room, each of the three major openings is framed by the trilithon with projecting edges, completed by a porthole entry (= the corresponding soul hole but also an entrance). See them highlighted on the right in light purple and the lying bodies illustrated as blue patches. It means that each of the sleeping 'pods' was given this specific design as a title of sorts - a clue that it was not mere decoration but a way more profound symbolism. In the earliest times when the underground complex was used by the living, the spirit of those who fell in deep trance within the chambers were meant to 'fly' through these gates and I'm convinced that it was a marker of the destination they departed to.

Similar is found at Mnajdra, and by taking a closer look at the rooms of the Lower temple (the one aligned to the Pleiades and which has the tiny rectangular oracle holes), a curious interior design comes to view, photographed above. This room is found at the hinder part of the temple and possibly served as the center of rituals as archaeologists believe based on its elaborate double-shelf design that produces the T-shaped 'mushroom' stones. (ref) Although a considerable part of it is reconstruction it's close to what it probably looked like in the past. Moreover, what adds to the specialty of this room is the trilithon & spirit hole gateway leading to it, richly pitted all over its surface, seen closer here. Apparently, this one gate was so special that even its neighboring stones were pitted to highlight its importance. Researcher David Furlong observed that the tiny holes were not a random cluster of dots but a seemingly composed set of patterns which further shows its use as sacred decoration, hence both the gate and the layout of the room hint at the importance of what went on inside. Is it a coincidence that the shelves, placed in the spacious compartments of the room (but also elsewhere in the temple) could hold bodies, perhaps in fetal position? It may very well be that some of the larger shelves served this purpose and the freed spirit of the initiates passed through the soul gates towards the tiny oracle holes as it happened in the Hypogeum. While the top of the Hypogeum was mostly destroyed leaving no trace of tiny oracle holes to the outside, its entry was made in a way to allow the rays of the sun to dart through to the furthest part of the structure right through the Main room therefore making it possible for the spirit to be guided to the starry sky. (ref I - see drawing, ref II)

Before revealing the secret of the trilithon & spirit hole, it must be said that figures that lie on supported stone shelves indeed exist in prehistoric Malta in support of the theory - to be covered in the following.


Just by looking at the graphic above, I suggest the obvious as to why the Ancients preferred to build the spirit gates according to this specific design. It appears that the T-shaped Tau stones, introduced in the first parts of the article, are IDENTICAL to the trilithon gates with a projecting lintel on top. They are one and the same, only the trilithon gates carry the extra hole or door in the center to express it is a gate to TAURUS. It is the Sardinian version, finished by horns in place of a horizontal lintel, that cracks the meaning of the monument.

A number of Ancient Egyptian mortuary complexes have the overhanging cornice (called 'cavetto') and a prominent gate in the center and that is how 'tombs' were also depicted on certain murals and papyri. (see ref I and ref II) Its profound connection to rites that involve the soul is mirrored in the False Door cult, mounted or carved gates of the Tau-trilithon and spirit porthole. (ref I, ref II - see photo for explanation) But false doors of this design were not restricted to Egypt. Romans apparently adopted the rendition and the one T-door above, painted in an elite residence of Nero near Naples, even includes angels emerging from the door among curious knobs. (ref) Identical tradition is found in Israel at Beit Shearim (House of the Gates), the most richly decorated ancient Jewish necropolis, the gates of which display the Tau framing along an inner door adorned with familiar knobs. It's the same place where the carving of a horned figure with pillar & menorah held between the horns comes from. Despite a place of burial, is it possible that the extensive rock-cut complex, carved beneath the ground, had the same spirit-related function as its Maltese counterpart before it became a cemetery. The same goes for the elaborate Etruscan complexes in Italy done by an advanced culture. At Cerveteri and Tarquinia, the Tau-trilithon is an integral part of the interior design and at the latter, the 'Tomb of the Bulls' even depicts bulls and fertility scenes over Tau gates.

But there's more. Notice that several examples of the Tau-gate from the Mediterranean have double- or triple-incised inner frames that create a 'zoom in' effect and I believe it is the key that solves the mystery of the South American multi-incised gates, part of the otherworldly ruins of Puma Punku at Tiahuanaco as well. The Bolivian motifs maintain the same T design, a widening top identical to the projecting lintel and a single rectangular hole - or actual open gate or slit - that fits the spirit hole. Note that some of the dead-end doors are in tune with the Egyptian false door cult. Curiously, a system of small tunnels were discovered at the nearby Akapana pyramid and, as in the Great Pyramid, a small robot was used to explore it, seen here - Are some of these remains of star-shafts towards the cosmos? Given the similarities, it almost comes as no surprise that the god Viracocha mounted above the Tau door of Tiahuanaco's Sun Gate has the same 'Orans' arm stance as the T-headed deities seen earlier on this page.

An aspect yet to be explained is the reason for the multi-cut pattern, often 3 in number. Many of the Tau gates retain this feature that creates the illusion of 3 separate gates, placed within the other. The triple horned gate found in Sardinia is consistent with it. (ref) Another graphic is to come shortly to prove that the triple aspect stood for the 3 sun-like stars - 3 destinations, so to speak, each celebrated by a single star gate to it. Alternatively, two or four horns may generally refer to multiple destinations in Taurus. The Tau gate also merges with the story of the 3 pillars as evidenced by a red painting in one of the Domus de Janas. See here one more time.

The previously introduced Beatus manuscripts not only showed the star map in context of the Tau pillar and other details but certain versions display the Tau-trilithon in its entirety, placed among stars - a true gem. The inset above leaves little room for doubt that this ancient knowledge apparently found its way into the hands of monks of medieval times and the elite of later ages. Note the flickering rays that emanate around the trilithon composed by a red lintel and its doors open. The Latin text in the middle "templum apertum" reads "the sacred space is open" - something that probably aims at the sacred region of the sky the gate opens to. (ref)

The depiction comes from a page that shows it in context of seven angels and a sun with extra details, however, it also shows another earth-shattering motif that will soon be released in Wayne's new 2017 article.

Watch this space for a future update and link.


The trilithon and its wide lintel - as a simplified representation of a bull's head and horns - open up a whole new dimension when it comes to the interpretation of the 'solar calendar' at Mnajdra. Covered in the opening chapter of the article, the rising sun darts its beams directly through the complex to illuminate the inner altar. That time, the disc of the sun is seen through the trilithon, photographed above. (ref) Before the collapse of the monumental roofing, the large standing stones at the sides (visible on the image), together with a destroyed lintel, perhaps formed an even greater trilithon making the current smaller one the spirit hole-entrance as part of a greater design (illustrated here). Moreover, some 5000 years ago when the Lower temple was built, the event included the Pleiades which rose at the same spot where our sun does today during the equinox.

In context of other trilithon monuments that all capture the bull horn design and have the sun rise through them - or carved on them as in Egypt - a global tradition emerges that seems to celebrate a sun in Taurus, the bull, imitated by our sun and the gate. A solar disc between a bull's horns is exactly the way a number of deities have been portrayed in ancient cultures separated by vast distances. Even Japan and China have the Tau-trilithon complete with upturned edges on top that mimic the horns of the bull or cow, a solution to the design of Far Eastern-style sloping roof. In Japan it's called Torii while China knows it as Paifang.

The carved tally stone at the Primitive temple of Mnajdra celebrates this one sun near the cluster of the Pleiades hence the prominent circular hole compared to the lesser dots. It is the Primary sun star and the most important system of the three sun-like stars found in the ancient maps. As for our sun, the Ancients possibly favored the holy moment when our sun was seen nearly at the same position where the tiny sun-like star is situated, given the original conjunct alignment of the temple to both our sun and the Pleiades.


The following provides evidence for the proposal that the triple-incised design was indeed a subtle reference to 3 actual gates, symbolically to each of the 3 stars systems in question. The Bolivian and Israeli monuments both follow the trinity aspect where each single gate carries the T- or trilithon design. Even Amaru Muru has two extensions at its sides that make it three. Such tripartite arrangements of gates or doors, be it actual or false doors, are an architectural element found worldwide and researcher Richard Cassaro probably has one of the most extensive collections that covers the design - he called it Triptych based on the triple altars adopted by Christianity.

The newly identified detail here, however, is the T design and the reasoning that comes with it - 3 destinations in constellation Taurus. Notice that the middle gate always tends to be of greater importance and this is explained by the relevance of the Primary star. This specific layout is found in Malta too. The artifact that drew my attention first was a famous carving etched in the wall at Mnajdra, seen in the upper left corner. (ref) While scholars suggested it was a simplified representation of a megalithic temple - which it can easily be - I noticed that arrangement of gates. It has three, the central one highlighted. It also seems to have remains of tiny lintels on top that fit the Triple Tau conception. The carving must have been special to the builders since it is on its own, isolated on the wall and one of the very few such carvings found in Maltese temples. Thus, I believe it was meant to remind one of the actual temple doorways that, in many cases, do copy the tri-pattern. Such is the ruined entrance to the Primitive temple of Mnajdra where the dotted tally stones & star maps are found (see above) but also the arrangement of the solar calendar in the Lower temple, seen here. The partly surviving triple altar in the older section of Ggantija that holds the human form codex follows the tradition too and accordingly, the middle piece is greater than the other two (above).

The scene above, also from a Beatus manuscript, depicts John from the Book of Revelation in conversation with an angel. (ref) This part of the book revolves around the mysterious scroll held by the angel and the booklet in John's hand. Revelation, as the name implies, is about revealing something great and details the Scroll with Seven Seals - apparently knowledge of something that no one seems to be able to decode until the 'end of time' and the Second Coming of the Christ. (ref) Is it possible that the lost knowledge concerns the temple on the right? The structure is one of the 7 churches of Revelation but is a symbolic representation of it.

It IS the Triple Tau doorway where each arch coincides with a T-shaped altar, the middle piece being the widest one roofed over by a taller arch with different curtain. I believe the angel or messenger from the stars speaks of this secret and its relevance to the Christ figure who is meant to return with 7 stars, the Pleiades, in his right hand - his cosmic address. (ref) Perhaps it is not just a coincidence that even Da Vinci included the triple gate behind the Christ on his painting the Last Supper. Further instances of the tripartite gateway are found in other Beatus manuscripts like the one here where the three gates hold stars and include the Grail on the Tau altar. In accord with the bull's horns interpretation, the Bible refers to the golden T-altar as one with 'horns' because of the miniature bull horns that are said to have adorned its top. The same altar was in use during the Exodus when it was housed in the Tabernacle. (ref) See a reconstruction here.


After the mysterious disappearance of the megalithic builders at the end of the Temple Period, people of the Bronze Age took over Malta and Gozo - they re-used some of the abandoned temples and built dolmens throughout the islands. (ref) I believe it was around those times when the 'high' knowledge of earlier times slowly started to decay following a clearly visible timeline of spiritual decline towards our modern era. At the same time, however, each succeeding culture and people inherited elements from past times - features that relate to the star map and the soul, hence the word 'pagan' becomes an empty word in the end.

The dolmen builders, whose range stretched from Western Europe to Korea, also left impressive megalithic monuments but more simple and spot-like in place of highly ordered and extensive temples. (ref) Nevertheless, the dolmen era does still hint at the memories of a global advanced knowledge that set off after a descent of the 'gods' - a visitation event in the 4th millennium BC - covered later. The breakthrough regarding the dolmens is that they follow the T (Tau) design if seen from the front. Regardless of the region, many of the chamber type have a frontal slab too pierced by the familiar spirit hole (for example in Jordan seen here). Needless to say, the lintel on top is almost always positioned to produce overhanging edges. These two features create the Trilithon & Spirit hole arrangement. In Indonesia, the people of Sumba, who venerate the buffalo, still build their tombs according to the Tau dolmens and it is there where we find huge bull horns of stone mounted on the monuments. (ref I, ref II, ref III) It confirms once again that the dolmens were meant to copy the head & horns in a stylized way. The Sumba islanders, like the Toraja of Celebes who claim they came from the region of the Pleiades, often place ancestral figures on or below the bulls too - an 'of Taurus' title that I explore on page Borobudur.


The Sleeping Ladies of Malta, covered earlier, have a special feature that has baffled scholars for a long time. The figurines lie on slightly curved pedestals that stand on legs. It was noted that the pedestals were given as much attention as the ladies themselves, given the fine rendition and markings along the rim plus the bottom side seen here. It clearly points to the importance of the 'bed' which happens to be in the shape of a Tau, highlighted by blue glow above.

To me, it is a KEY artifact that speaks of the link between the Tau-trilithon and the practice that relates to the soul. In essence, and in agreement with Wayne and 70's author W.M.R. Fix, the dolmens originally served the same purpose as other advanced megalithic monuments like the Maltese temples - places to induce the soul out of the body. Much like the trilithon-framed sleeping chambers of the Hypogeum, the trilithon-framed dolmens could also provide space for 'sleep' within. Some actual dolmens have low positioned lintels and entering them is only possible through a lying or recumbent position (see the Wied Filep dolmen for example). While greater, enclosed and more complex structures like the Hypogeum probably turned out to be more effective, the dolmens could, perhaps, facilitate the separation process in the case of more trained individuals and were ideal where building a large structure was not an option. Interestingly, several (now collapsed) rooms of Hagar Qim near Mnajdra used to be separate chambers only accessible from the outside. This way, they remind one of chamber-type dolmens. (ref - see rooms 11, 12 & 13)

Having said that, the question naturally comes...
How was it possible for dolmens and stone monuments to cause a separation?
Is there a measurable link between the dolmen effect and human brain?


Researcher Charlie Foulkes, on her site 'Singing to the Stones', covers a number of compelling points regarding dolmens and the acoustic properties related to the stone monuments. She's been to several sites where dolmens are found and measured the electric current the stones produce - other than the natural charge - in response to certain sounds and voices. Her research partly builds on the work of Christopher Dunn who investigated the piezoelectric effect experienced in the granite King's chamber of the Great Pyramid. Buildup of electricity occurs when certain stones are exposed to great mechanical stress, the basic principle of piezoelectricity. (ref) The mineral composition of the stone is important too as it comes into effect from a specific crystal structure. Quartz and certain types of 'non centrally symmetric' minerals are favorable. Despite the limestone makeup of Maltese monuments, varieties of this stone exist - some more crystalline than the other - and some (like a version of the Maltese Globigerina limestone) do contain quartz. (ref I, ref II) Proof that the temple builders were interested in the composition is the amazing, visible calcite vein (body of crystallized minerals) that bisects the threshold stone of Lower Mnajdra - at the center of the gate where the equinox alignment occurs. See the vein here. To sum up, limestone, in which small quantities of quartz, quartz-type material or minerals with broken symmetry are found between the layers, would be ideal. Calcite may appear with broken symmetry in some cases.

Sound waves exert mechanical stress on the stones and if the sound or voice is suitable, the piezoelectric effect occurs. Charlie adds that this is done while the lintel stone, often very heavy and large, causes the vertical slabs to bear tremendous pressure - a way to enhance the effect, in the form of extra stress. Dolmens may be simple capacitors of sorts and some even look like parallel plate capacitors where air plays the role of electrical insulator. The generated electric field, actually measured by Charlie, is of great importance.

I believe that the Hypogeum, beneath the ground surrounded be thick stone walls on all sides, could initiate the same piezo effect while sounding the oracle hole. The temples above were not exception either. Originally, the structures were covered - Mnajdra and Hagar Qim appears to have had a massive set of corbelled stone roofing. (ref I, ref II) In the case of large temples, however, pressure had to be limited to avoid collapse. The triple-gate carving at Mnajdra displays a heavily covered complex too.


According to modern research, the pineal gland - the mysterious part of our brain much spoken of in context of the Third Eye - has microscopic calcite crystals in it whose structure may be suitable for piezoelectricity. (ref) It is the only part of the body where calcite is naturally found besides the inner ear (interestingly, a section related to sounds and vibration-sensing). What is more, scholars elaborate on the possibility of its interaction with outer electromagnetic fields too.

Is it a coincidence that the pineal gland, which may be stimulated by piezoelectricity and electric-magnetic fields in the vicinity of some megaliths, is the gland responsible for modulating sleep patterns? (ref) - An activity related to what was possibly going on inside the structures, in the form of deep trance? Through a hormone called Melatonin, the gland is able to regulate sleep and wakefulness. (ref) Moreover, the hormone is produced in darkness which coincides with the permanently dark condition once experienced inside the well-sealed temples where the small oracle openings provided much of the light and perhaps guided the soul to the outside.

Some historians likened the 'sleeping rituals' within the Hypogeum to so-called incubation rites that involve an initiate who spends a night in a cultic space to either heal divinely or to experience visionary or lucid dreams. (ref I, ref II) Old texts about incubation probably hold truth about the original soul separation practices but might have been mistaken for made-up visions by interpreters who often remain oblivious to the use of sound to manipulate the body & mind in these structures.


It's time to revisit one of the great artifacts covered at the tally stone section of Mnajdra, for it has a tiny yet valuable depiction that may relate to the journey of the spirit. The cup mark stone with the 7 Pleiades and trio of sacred stars has this special line of dots, like steps, towards a tiny H or trilithon-shape at the bottom. In light of the soul practices, it takes reasoning to a new level. The tiny symbol appears to be the megalith where the soul is freed to wander the cosmos soon after hence the steps that lead to cup mark stars, or more precisely, the 3 sun-like stars and what may be a planet of the Primary star (the smaller dot where the dotted line ends). If so, the Ancients were meant to visit the worlds of the star people in spirit.


Above is a video by Charlie in Malta, measuring the piezoelectric effect at the dolmen of Mosta and the ruined megalithic temple of Tal-Qadi - the footage of the latter is available here. She brought the stones 'alive' by playing a recording of didgeridoo, the instrument developed by the natives of Australia that perhaps helped them reach similar altered states of consciousness much liked it happened during chanting and drumming to the shamans who then undertook 'flights', celestial journeys in the spirit. (ref I, ref II) Mark adds that it is a tradition identical to the 'Aum' mantra practiced by Tibetan monks.

A number of alternative researchers including her and Wayne noticed that Ancients often favored building their megalithic sites near fault lines - places where the activity inside Earth can generate and release electromagnetic fields that could aid the separation process. (ref I, ref II - see conclusions) It's no different in Malta where the line called Great Fault essentially dissects the main island and the Maghlaq line, the second major fault lies straight beneath Mnajdra & Hagar Qim - see a sketch. Based on ancient claims, I believe it was the 'gods' who guided people to these places fit for building soul temples.
By far the most famous record of a person who 'was taken' in spirit while in a sealed cave is found in the Bible. John of Revelation was given his visions and a journey to Eden in a grotto on the island of Patmos, Greece, in a geologically active environment. (ref I, ref II)

As an interesting detail, I'd like to highlight one of Charlie's observations here. She found that several dolmens included hollows or round notches on various parts of the structures, often at their side. If you scroll back, a prominent side-hole is present on the Sardinian monument and the orbs found on certain Russian dolmens or the Tau-trilithon gates just add to this observation, not to mention the often curious large hollow marks, usually rounded, etched in the megalithic walls of some Maltese temples. One example is the largest stone erected by the builders, found at Hagar Qim - its upper part includes at least three prominent holes. Considering the possible capacitor properties of charged stone monuments, one may wonder if these holes served as types of power outlets as Charlie called them, possibly for the use (re)charging certain objects or even discharging the entire monument at once - or perhaps to further amplify the generated sound.

Her remark about the soil covered dolmens is noteworthy too because the Maltese temples follow the same pattern: the space between the inner & outer megalithic walls was filled in with earth and rubble. This way the interior was surrounded by thick soil, ideal to keep the sound inside for a longer period - see an illustration here.


One of the greatest mysteries that surrounds Malta, and specifically the Hypogeum, is the find of at least 7000 skeletons deposited in various parts of the underground complex. (ref) Interestingly, a fair part of the bones showed signs of deformity, apparently artificial in nature. Some had abnormally large cranial volume and one of the elongated skulls bore no sign of central suture (above) which questions whether it was possible to achieve the look with the use of binding the skull at a young age. (ref) What needs to be mentioned is that the bones appear to date to 2500 BC, the end of the Temple Period - the 'age of darkness' that resulted in the sudden disappearance of the megalithic builders. (ref) The following may sound strange but it in the light of what is yet to come it may answer a part of the enigma. Did the early inhabitants of Malta, descendants of people who came from 'above', develop an incurable disease in response to Earthly conditions that caused their demise? Or, was it a natural tendency to develop elongated skulls inherited from the ancestors? Curiously, Malta is not alone when it comes to mass disappearance of advanced cultures as the same may be said about the Maya, the Easter Islanders (some of the Moai still lie in the quarry only partly separated from bedrock) (ref I, ref II) or the Indus Valley culture which does have references to larger than normal skulls and in context of a bull-shaped celestial ship, pictured here with its long-headed occupants.

Alternatively - or perhaps in parallel with the previous - there is another option that might involve an excessive use of electro(magnetic) fields within the stone monuments to release their spirit. It turns out that bones have some piezoelectric properties and modern medical research is about to take advantage of bone regeneration - growth - using biophysical stimulation. (ref I, ref II) In reference to the principle of piezoelectricity, great mechanical stress may produce electricity but the opposite is true as well, voltage may cause deformation, hence the question if continuous use had a great impact on individuals. In Malta, besides a number of strange features, a lengthened occipital bone (lower & back part of the skull) proved to be the most common one and in one case a set of curious holes were drilled in the protruding part of this hinder bone perhaps to relieve cranial pressure after a shock, called trepanation. This procedure was practiced by Neolithic people all over the world and it's believed to have been connected to rituals of life & death (ref) - but was it perhaps related to the soul extraction process?


If read in line with other early cultures around the world who all carry the same star map, a story of the arrival of the gods may be pieced together. (ref) This visitation, or rather revisitation of people from the stars possibly took place between 5 to 6000 years ago, the approximate date when several advanced cultures suddenly appeared out of nowhere, including Malta or Egypt, and when a number of calendars either started or changed to a new cycle like the Mayan, Jewish Talmudic or Indian calendars. The latter precisely links the start of the new Yuga to Krishna's departure.

When I had a closer look at the hidden or less-known artifacts in the Maltese temples, I stumbled upon a now eroded carving of a group of ships and boats etched in two boulders at Tarxien, the copy of which is seen above, upper left corner. (ref I, ref II) Although archaeologists are unsure about the age of the carving, it is believed to date from an early period. It was proposed that the ships may depict an arrival of colonists to Malta from Sicily but the reason for including so many, placed so tight, many superimposed over the other, remained unclear. However, to me it was a 'eureka moment' because I instantly recalled other depictions of the same tight cluster of ships from other cultures who also had knowledge of the ancient star map. In Ancient Egypt, numerous sites of importance including certain pyramids - that are star marker monuments according to our research - were found to have contained huge, life-sized ceremonial ships ritually buried in chambers near the monuments. (ref) Moreover, in late 2016, Egyptologists announced a remarkable find that baffled the scientific community. What was first believed to be a 3800 year old royal tomb turned out to have been a sacred space for a wooden boat surrounded by depictions of at least 120 boats on the walls - a mass flotilla, so to speak. (ref) It appears that Egypt's beginnings had profound ties to celebrating a fleet of ships, an arrival. The depiction seen above in the lower right corner is a copy of a mural - the oldest one ever painted in Egypt - from Hierakonpolis, dating to 3500 BC. (ref) Similarly, predynastic rock art at Wadi Barramiya in Egypt, created around 4000 BC, displays identical scenes, ships and boats and stickmen that mirror the human codex design with arms held upwards, flanked by a star.

Ancient rock art from Sweden, Japan or Easter Island, just to name a few, are no exception. It was Wayne who first proposed that the many little boomerang-shaped canoe glyphs carved on the back of some of the Moai, the star gazers, were a fleet of celestial ships, UFOs as we call it, correctly placed among lines of dots, stars they came from. Identically, the Swedish petroglyphs from the region of Bohuslan show fleets between many stars. Last but not least, the painting from Japan's Kyushu island shows an equally relevant scene, figures of the familiar arm stance among many discs & orbs, and ships in-between, one even connected to a celestal snake or branch conduit. The complete rock painting shows the actual star map that I explore on page Japan. Another revealing mural from the same area is found in the Gorouyama kofun that not only includes a horned trilithon & spirit hole but shows cattle next to star ships. See it here. (ref)

A flock of animals, usually horned, perhaps as a reference to constellation Taurus, is a recurring theme in rock art that revolves around star ships. Swedish and Egyptian arrival scenes often include cattle too. Is it a coincidence that during the Exodus of the Bible, the fiery pillar of cloud that led Moses and his people requested them to provide regular offerings of burnt animals that the object 'consumed by a special fire' that touched down? (ref) In another instance, King Solomon offered 22,000 oxen and 120,000 sheep to this same object that visited his temple (ref) - details that imply the visitors were in serious need of food stock.

Be it as it may, the depictions - in context of oral traditions that speak of the visitation of beings from the stars - appear to show a grand arrival in reference to humanity. By now, after piecing together message of the maps, a colonization may be outlined, by advanced humans who came from the cosmos and who long mastered spiritual practices.

In Malta, there is yet another, seemingly unrecognized artifact that spells out an arrival clear and conclusive - it is found in the Hypogeum.


In search of eroded or lost artifacts within the Maltese temples, I was delighted to find traces of what appears to be an unrecognized part of the star map mural inside the Oracle room. The black & white photograph above was taken in the 50's and was the first to draw my attention to a curious set of 3 'ribbons' that apparently emerge from the spiraling branches of the cosmic tree that holds the star-discs of the Pleiades. The initially narrow ribbons gradually widen towards the floor and create an effect of 3 pillars on the ground but also 3 ladders, so to speak, as they open from the direction of the sky (towards the center, the ribbons intersect an old cable, now removed). I added some contrast to make the precious detail more visible, see the original one here. To verify the faint pattern, I set out to find at least another (color) photo that would show the same, preferably from a different angle - it was crowned with success. (ref) Apart from the above, two additional high-resolution photos also include the upper segment of the detail seen here and here. (ref I, ref II)

Mouse over the graphic to reveal how the ribbons appear together with the trio of suns in the Oracle hole. The final pattern speaks for itself - the three rays / ladders / pillars were meant to stand for the three suns, created as an explicit teaching of a descent from that part of the cosmos to Earth. The widening ladder effect is identical to the crypted message of Jacob's Ladder, highlighted on the original Masonic document covered earlier. A teaching of celestial conduits in the form of stairways, to and from this world. (ref)

In search of evidence that the Maltese temple builders were well aware of the triple beam & suns iconography, it is worth to take a closer look at the tiny artifacts on display in the Archaeological Museum of Valletta. The cylinder-shaped greenstone amulet above is from the Temple Period and clearly stands out among the many with its intricate gold inlay. It was found at Tarxien, the sister temple to the Hypogeum that makes it a relevant find if one is to look for further proof of the beam pattern painted in the subterranean complex. I included an illustration of the set of patterns laid out in a line. (ref I, ref II, ref III)

What makes the amulet special is that around its center we indeed find 3 discs, once adorned with red gemstones, which reminds one of tiny suns, and each complete with three rays (above and below) as in the Hypogeum. Between the discs stand trilithon patterns with projecting lintels and these too have an extra line in the middle that turns the base into the triple beam symbolism but it matches the T (Tau) theme as well.

The very same iconography is found in the Beatus manuscript where each of the sun-stars is flanked by a beam, shaded purple. The Christ certainly must have taught about this sacred arrival of humans in the ancient past, something he was condemned for by the elite of the age. Wayne found evidence of this shared knowledge even in written material, the Gospel of Judas - a 'forbidden script' - that details a series of enigmatic cosmological secrets explained to Judas by Jesus. Despite considerably fragmented, the text makes mention of certain stars, human generations & beginnings and puzzling luminous clouds one of which spoke to Judas who entered the phenomenon. (ref - last page)


Bearing in mind that Malta once had been linked to Italy's Sicily via a land bridge (ref), it is worth to have a closer look at what the prehistoric rock art in those regions have to offer, especially the famed valley of Val Camonica near the Alps. The petroglyphs of the area gained international fame after the discovery of depictions that show helmeted beings with bent knees suspended in the air. Some, like the one above, even has the Orans gesture detailed earlier, identical to the Christ's stance.

However, what truly 'glues' the story and ties to the triple beam & suns discovered in the Hypogeum is the presence of a symbol that remained a mystery up until now. The stone artifact seen above at the left is one of the engraved stelae found in the village of Teglio in the vicinity of Val Camonica. (ref) The pattern is identical to those found in nearby rock art discovered in the communities of Borno and Paspardo, the colored sketches of which are seen above. (ref I, ref II) Both carry the triple beam & suns glyph, one in context of the familiar checkered floor and the other shown along many people, stickman figures drawn according to the human form codex or Vitruvian man, explained in the story of Ggantija. Perhaps the most fascinating aspect of the greater sketch is that the figures emerge from a couple of dots, the starry cosmos. A smaller group even seems to be celebrating a large orb which may be the planet of origins or Earth. The message appears to be clear - the human genesis took place in the cosmos, in the region of the 3 sun-like star systems, whence mankind descended to Earth in three waves of colonization. (ref - see the interpretation of the Masonic tracing board) Note the importance of the one sun in the middle, enlarged and distinguished by a major beam on the stela of Teglio, a beam or pillar that truly is a ladder with steps. The same distinguished look goes for the triple Tau gates with a prominent middle gate, a portal to the Primary star. The Italian rock art dates from the Neolithic & Copper Age that tally with the Temple Period of Malta hence a correlation in time. (ref I, ref II)

The stelae and petroglyphs include another curious symbol too, in the shape of four spirals and a 'pointer' of sorts in the middle. I believe this is the stylized form of the (Val) Camunian Rose seen on the right, complete with an arrow pointer - a pattern that possibly inspired the design of the Rose Cross of the Rosicrucians, proposed by Wayne. (ref I, ref II) It would be the same cross of the sky, filled in with dots for stars, as the one found on the cup mark stone at Mnajdra - Orion. The belt points the way to the sacred area in Taurus, marked by a being with radiant head who came from there, a clever way to explain it all.

A leap to the Renaissance era and after, the same use of symbolism is found in the archives of the Knights of Malta, the Knights Hospitaller.


Recent Maltese history has undoubtedly been shaped by the activities of the Order of St John, also known as the Hospitaller. The order was founded more than 900 years ago in Jerusalem (ref), a place where some of the early members of high-status might have gained sacred knowledge about certain things that were not meant to be revealed to the public as part of an elite ring and similar to the inner world of other orders, sects and mystery cults, including Freemasonry, available only to the initiated in those ages. The fact that they came from Jerusalem will be important in what is to follow soon. Regarding religion, Malta has been the bastion of Christianity for nearly 2000 years, the first nation in the West to convert and among the first ones in the world too, after St Paul's shipwreck in Malta in 60 AD, during his journey to Rome. (ref I, ref II) It was him who taught the gospel to the 1st century world and initiated the first bishop of Malta.

Being a Catholic military order, I was certain that some high-status members, people like the Grandmaster or certain knights probably became privy to sacred knowledge passed down from the Solomonic times of Israel until their take of Malta as their new home in the 16th century. (ref) Naturally, such secrets would have been highly guarded, hence the need to look for clues in 'intimate' places where the knights spent considerable time and could speak out their knowledge. As soon as I learned about their legacy in the form of carvings in the 'royal' prison cells in places like the Citadel of Gozo, the star marker hill & monument, I knew it was something important to look into - and I was not disappointed. The record that even Jean Parisot de la Valette, later Grandmaster and eponym of Malta's capital Valletta, was imprisoned in there ascribes much to the importance of the carvings.

Based on Wayne's groundbreaking discoveries and identification of the Sacred Cross as Orion, inherited from prehistoric times, I knew what to anticipate and it was all there. Seen above is the wall of a cell covered in graffiti with instances of the Maltese Cross, the insignia of the Knights. (ref) I included a colored version on the right to highlight details. What stood out first is the remarkable depiction of a Maltese Cross filled with dots, placed within a radiant glory. It is identical to the dotted cross of Val Camonica and I believe the glory and rays were meant to symbolize it is literally glittering - Orion as it appears in the night sky. The second revelation was the inclusion of a tiny X below the tip of the cross and this would be the marker of the primary star, matching the design of the Italian rock art where the astronaut marks the spot. On the other hand, the same scene appears to be narrated in the center, complete with markers for all the 3 sacred stars in a triangle, with cross Orion below as a pointer and even a cluster of tiny x's (in blue) within the upper right star, fitting the Pleiades - a simple way to demonstrate the true alignment in the sky.

One knight, however, was so precise that he included a tell-tale clue that leaves little room for doubt about its connection to the star map.


One may wonder, if the starry cross of Orion was meant to point the way to the X and if this was a common teaching to locate the sacred region in the sky, then surely there could be depictions of the Maltese Cross finished by a pointer just like the prehistoric people taught it by adding an arrow in Val Camonica? The answer is yes and, in a unique way, the single graffiti above appears to fuse the teaching with the secret of the Citadel which takes on the role of a sun-star marker in the map of Gozo, introduced earlier. (ref) I had a thorough look at the strange pattern the cross points to and concluded that it's unlikely to be a ship but had the likeness of the fortified citadel expanded during the Knights' time. (ref) In case the pattern was, instead, meant to represent a ship, the message remains the same: the cross of the sky locates the home of the 'celestial ships' OR, more symbolically, the secret of the starry cross guides the knights of the sea.

Note that the creator omitted the eighth star (small X) inside the cross which makes it seven altogether. This way, the double ring around the cross fits a sun disc, perhaps with a planet in front. It's a message on its own besides the Orionic cross and seems to allude to the 7 Pleiades and sun-like star nearby.

This clever puzzle truly comes alive if compared to the mural in the cathedral within the citadel that essentially shows the same scene. The star the fortification and hill tally with is the Tertiary sun, the one visually closer to the Pleiades than the other two. (ref)

In regard to the carving and the cross design, there is actual connection to the Temple Period. The artifact in the upper right corner, which dates to 3500 BC and was termed a 'solar wheel', was found at Hagar Qim and has a cross-type pattern filled with dots, surrounded by a halo of rays that makes it similar to the Maltese Cross carvings. (ref) I'm inclined to think that the knights who carried out major constructions across the islands probably found ancient artifacts during the building process and at sites of quarry. If so, they had the chance to get a first-hand glimpse into remnants and even objects related to star maps that corresponded to their own version of the star knowledge, given it was known by all early cultures and through the ages.


Following the clues found in Gozo, I was certain that there was more at play than mere fragments of the map. More so because the knights erected some of the most magnificent fortified settlements all over Europe, essentially converting the region of Valletta into a colossal fortress, so to speak. (ref) When the newcomers settled in Malta in the 16th century, they chose a long-inhabited peninsula called Birgu as their base and named it Vittoriosa - the Victorious. (ref) It was enclosed by high walls that terminate in the Fort of Saint Angelo which served as the Order's first headquarter, separated from the peninsula by a ditch. Parallel to Birgu, the builders broke ground on the greater peninsula of the future Valletta as well, and built Fort Saint Elmo, a star fort as their first monument of the land on the tip of the peninsula.

The old map above, done in the 1880's, depicts an advanced state of Valletta & its surroundings (ref), however, it was Birgu / Vittoriosa and the star fort that came to existence first - An earlier map from the time of the Great Siege of 1565 is seen here and here. By the time I first explored the fortified city, I already knew of many old cities across Europe, the Near East and Africa that copied a sacred pattern in their layout, one that relates to the star map. Wayne's research provided the first steps to decipher this layout when he discovered that certain old settlements claimed to have been built 'in the likeness of Jerusalem', like Lalibela and its rock-hewn monolithic churches in Ethiopia. The peculiar shape of a bull's leg seemed to be present in many of the cities in question, something that defined the basic form of the great central fortresses. Moreover, in all cases, the leg-fortifications, often completed by a hoof-shaped tip, clearly pinpointed a sacred spot nearby. The collection of cities is available on his site here.

It turns out that the leg of the bull had been the ultimate astronomical symbol in Ancient Egypt, one spoken of in context of the 'gods' and creation.

Wayne has proven it to be a glyph for the Pleiades (and not Big Dipper), hence the reference to a bull, constellation Taurus where the star cluster is found.

The symbol, then, had been adopted by a number of civilizations in the Mediterranean who used it as a blueprint for their cities.

Jerusalem's City of David & Solomon, released in a 2011 breakthrough here, is indeed in the shape a giant bull's leg - well visible even at high altitudes - and its hoof part points to the hill of Caiaphas' Palace. The Order of the Hospitaller originated in Jerusalem and I believe they have maintained the pattern through the ages - the way others of the elite rings did elsewhere. Curiously, even today there's a bull that guards the Dockyard Gate of Birgu and the British arms on it (ref), a clue to the peninsula as the bull's leg that points to Fort St Elmo, the matching spot of the Primary star erected in the right distance and angle. This way, the knights' map is a modern version of the ancient map on Gozo composed of 7 hills and the marker monuments, except that it features only the star most important to Christianity, the Primary one.

One may ask, is it a coincidence that Fort St Angelo was given a name related to Angels? It is their place in the cosmos where the map points to after all, and the crypted message of a vivid mural on the ceiling of the Grandmaster's Palace in Valletta concurs.


The Grandmaster's Palace, found in the center of Valletta, served as a supreme complex for the Catholic Order and functions as an important institution dedicated to the governor of Malta even today. (ref) Its central corridors are richly decorated with murals that date from the early 1700's - the same era the starry mural in the cathedral of Gozo in the Citadel dates from.

Since the paintings were commissioned by the Masters, there is no doubt that elements of their secret knowledge could easily became part of the ornate decoration, preserved only for the eyes of the visiting elite in its heyday. The ceiling of one such hallway (Armoury Corridor) is seen above. (ref I, ref II) Being narrow, the corridor was perhaps seen as fit to imitate a 'guider scene' and I believe it depicts just that. Mouse over the mural to reveal the sacred elements. Among others, the false-dome on the left has a curious configuration of windows with three orb-like openings in a row, two larger ones on the sides and a cross pattern that intersects the openings - apparently a fit for Orion and its belt. In a distance, placed within a golden ring, is a tiny cluster of 7 dots and God's domain with his angels to the right. He carries the special halo of a golden triangle, a symbol of the Trinity. The cluster coincides with the Pleiades and so does the Trinity marker that stands for the sacred three in Heaven - the domain of the 3 sun-like star systems. For a thorough deduction of how the three has become the Christian Trinity, see here.



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