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The Hermetic Codex II


(Bipolar Monotheism)
J.W. Richter

Fig. 1: The story of Elijah being taken up to heaven (1175)


The Winchester Bible, fol.120v.1

1 The images are public domain because their copyright has expired.

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Introduction
From time to time a growing complexity may lead to a reorganization and balancing of
databases, in which some of the redundant details need be reduced. The manuscript will be
following the predecessor documents The Hermetic Codex, respectively The Sky-God
Dyaeus and The Celestial God.
The Hermetic Codex had been devoted to the androgynous, hermetic sky-God, which in its
earliest phases may have been designed as a male/female or alternatively as an
unpersonalized deity. The discovery of early and everlasting bipolar characteristics invited
me to research a general trend for bipolarity in historical context, which have been document
in a series of source documents2.
Initially bipolarity has been identified in the cups and pillars, in various burial rituals, positioning
the corpses in distinct directions according to their gender. Both the Kurgan period 3 and the "Corded
Ware culture"-period4 buried their women left sided and their men right sided as mirrored images,
both facing towards the east. Generally the buried bodies are located to face the dawn's position
and/or the sun. Facing the east and the south may refer to contacting the divine sun and the sun's
birth at dawn.
In a second phase the Indo-European language developed a bipolar god's name *Deiwos and a skygod's name *Dyeus and its derivatives Zeus, Dieu, Dios, Dio ..., in which the bipolarity may be
identified in the vowels Y or I, E, O and U. Dyaus may be considered as monotheistic in
the sense that the sky-god was the most powerful of all deities, degrading all other gods to adjutants
or powerful saints. In later eras, the attributes of this bipolar sky-god Dyaus had been used to
transform the former Hebrew God El to a bipolar YHVH5.
In various cultures the vowels seem to have been considered as sacred, hidden and unspoken
elements6. For their sacred symbolism the vowels may also have been preferred in the generation of
the Ego-pronouns7 in various languages, such as Provencal (iu), Italian (io), Wyclif's English
(Y) and many others. The generation of Ego-pronouns and divine names may have been
correlated in several languages, such as Provencal, in which the Ego-Pronoun iu has been
integrated in the divine name Diu.
In the Proto-Indo-European system all European ego-pronouns8 seem to have been designed as
vowel sequences. Existing consonants (such as j, ch, c and k) may have been transmuted
from the vowel i. Other trailing consonants (such as s) may have been appended in copying the
pronoun from the corresponding divine names9.

2
3
4
5
6

Stored in the Scribd-account jwr1947


4th Millenium BCE
Dated 2880 - 2000 BCE
The Philosophical Nucleus - Restoration of the Philosophical Core-System
See: On the Symbolism of the Vowels A-E-I-O-U , The Sacred Vowels in Pronouns, E for Enigma (An Overview)
E - of the Word Ei Engraven Over the Gate of Apollos Temple at Delphi and The Fourth Vowel (generating Egopronouns from sets of vowels)
7 In this manuscript (and its predecessors) the Ego-pronoun is defined as the personal pronoun of the first person
singular.
8 In this manuscript: the personal pronoun of the first person singular
9 See for details: A Divine Sequence of Vowels

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In a third stage ancient religions often started from a bipolar deity, such as the Roman god Janus or
Dianus, which has been recorded as the predecessor of the most powerful Jupiter, who has been
identified as father and mother simultaneously10. From the beginning Roman history defined
purple and scarlet red as imperial symbols. In Jewish religion various religious leaders described
man's creation legend as a bipolar process, in which the first man had been created as an
androgynous creature as an image of the Creator God -, later to be split in a male and a female
individual11. A genuine creation legend for androgynous man has been documented in Plato's
Symposium. For their early temples the Greek and Roman architects preferred alternating red and
blue decorations. The colors red, blue and purple also have been listed as divine, biblical commands
for the temple's decorations and garments12.
In a fourth period of time both Julius Caesar and Tacitus compare the most important deity in
Germania to Mercury (Hermes). The Celtic creator god is named Dis by Julius Caesar, respectively
Tuisco by Tacitus.
In the Middle Age the emperors and kings preferred the colors red, blue and purple for their
garments, graves and flags. The most important medieval coronation mantles were red or blue, but
as a rule these have been used in a multicolored environment, dominated by red, blue and purple13.
Up till today red and blue have been identified as gender symbols, although the references for red &
blue seem to have been reversed in the 20 th century14. Even today the colors blue15 and yellow
are absent in Wikipedia's list of Liturgical colors16.
One of the last chapters discusses Charles W. Stewart's recent ideas towards the origin of the colors
used in the national flag of America17, claiming that:
"The flag may trace its ancestry back to Mount Sinai, whence the Lord gave to Moses the
Ten Commandments and the Book of the Law, which testify of God's will and man's duty;
and were deposited in the Ark of the Covenant within the Tabernacle, whose curtains were
blue, purple, scarlet, and fine-twined linen."
"Before the ark stood the table of shewbread, with its cloth of blue, scarlet and white. These
colors of the Hebrew Tabernacle were taken over by the early Western Church for its own
and given to all the nations of western Europe for their flags. When the United States chose
their flag it was of the colors of old, but new in arrangement and design, and they called it
"The Stars and Stripes."
In the sense of this book Bipolar Monotheism this unproven thesis may gain some more
substance. The definition Red for courage, zeal, and fervency; white for purity, cleanness of life
and rectitude of conduct; blue for loyalty, devotion, friendship, justice and truth maybe somewhat
arbitrary, but the basic idea is sound. In analogy to vowels, pronouns and other etymological
elements colors have always been religious symbols, which needs some pages and illustrations to be
understood. Let's start with the burial traditions in prehistoric eras to end up at the US-American
Stars and Stripes...
10
11
12
13
14

In the City of God - St. Augustine (426 AD)


The Pharisees, Rashi, Rashbam and the Zohar
Exodus 28:5-6
Colored Coronation Mantles
In 1914, The Sunday Sentinel, an American newspaper, advised mothers to use pink for the boy and blue for the
girl, if you are a follower of convention. The return (or change) to pink for girls and blue for boys happened in
America and elsewhere only after World War II.
15 Probably for their negative, medieval symbolism (blue as a female symbol, yellow as a traitor's symbol)
16 Liturgical (and Royal) Colours
17 The Biblical Origin of the Red, White and Blue based on the Source: 'Wake Up!' magazine, November/December
1992

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Contents
Introduction..........................................................................................................................................2
Prehistoric Phase.................................................................................................................................11
20,000 BCE: Gagarino, Ukraine....................................................................................................11
Venus of Savignano...................................................................................................................12
5,000 BCE: The god IU or IAO in Egypt......................................................................................12
4,000 BCE: The Kurgan period.....................................................................................................12
3,500 BCE: The PIE-Concept........................................................................................................13
The basic formula......................................................................................................................14
3,000 BCE: The god in pre-cuneiform in Sumerian tablets..........................................................16
God in relation to the Assyrian first personal pronoun.............................................................16
The Biblical Phase..............................................................................................................................17
2,000 BCE: Abraham.....................................................................................................................17
1,700 BCE: Our SiuS.....................................................................................................................17
840 BCE: The Mesha-Stele...........................................................................................................18
~450 BCE: The Book Exodus........................................................................................................19
Translation for Exodus 28:5-6...................................................................................................19
Roman, Greek en Celtic Phases..........................................................................................................20
753 BCE: Romulus........................................................................................................................20
550 BCE: Zeus' Derivation from Ieus (?)......................................................................................20
500 BCE: The Celtic Grave at Hochdorf.......................................................................................21
490 BCE: The Athena-Aphaia Temple ........................................................................................23
380 BCE: Plato's Banquet (Symposium).......................................................................................24
380 BCE: Aristoteles (Meteorology).............................................................................................25
350 BCE: A-E-H-I-O-U- in Egyptian Religion.........................................................................25
The Timeline of Vowel Symbolism...........................................................................................26
350 BCE: Mithras Lithurgy...........................................................................................................27
335 BCE: The greatest fear of the Celts........................................................................................28
Other statements of the fear for a falling sky............................................................................28
Pillars........................................................................................................................................29
Inscription of 4 letters at the Omphalos of Delphi, found by F. Courby...................................29
332 BCE: Alexander occupies Tyrus.............................................................................................30
330 BCE: Etruscan Flag ...............................................................................................................31
200 BCE: Greek Magical Papyri...................................................................................................32
Ecloga Ex Papyris Magicis: Liber II ...................................................................................32
172 BCE: Hermes Trismegistus.....................................................................................................33
124 BCE: Hermes of Roquepertuse...............................................................................................34
53 BCE: The Gallic Wars - Julius Caesar......................................................................................35
The Hermes...............................................................................................................................35
A double-herm...........................................................................................................................36
50 BCE: Janus - Cicero..................................................................................................................36
Clavi..........................................................................................................................................37
~30 AD: The Pharisees.................................................................................................................37
~40 AD: The Claudian letters .......................................................................................................37
Wycliffe.....................................................................................................................................38
98 AD: Germania Tacitus............................................................................................................38
100 AD: The Wars of the Jews by Josephus..................................................................................39
An Image of the universe..........................................................................................................39
100 AD: The Parallel Lives by Plutarch........................................................................................41
140 AD: Gnosis - syzygies.............................................................................................................41

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170 AD: a seven day week design Anthologiarum by Vettius Valens..........................................41


200 AD: Jeremiah ben Eleazar.......................................................................................................42
400 AD: The Iuark alphabet......................................................................................................43
The letter ...............................................................................................................................44
Marcomannic runes...................................................................................................................44
400 AD: Notitia Dignitatum..........................................................................................................45
Magister Peditum page 4 ..........................................................................................................45
The flag of South Korea............................................................................................................46
British Royal Air Forces...........................................................................................................46
426 AD: City of God by St. Augustine.........................................................................................47
500 AD: The Pronoun ...............................................................................................................47
525AD - A Merovingian King of Planig in Red & Blue ...................................................................48
600 AD: Interpretatio germanica...................................................................................................49
The Middle Age..................................................................................................................................50
600 AD: The illuminated Viennese Codex...................................................................................50
600 AD: The Rabbula Gospels......................................................................................................51
800 AD: Charlemagne...................................................................................................................52
800 AD: The Book of Kells...........................................................................................................53
850 AD: The Rado-Bible...............................................................................................................54
868 AD: Otfrid from Weissenburg.................................................................................................55
Pronouns for the 1st and 2nd person singular..........................................................................55
962 AD: Otto I ..............................................................................................................................56
1011: The ultimate Vowel ..........................................................................................................57
1014: Henry II ...............................................................................................................................58
1018: Starred Mantle for Emperor Henry II.............................................................................59
1027: Conrad II..............................................................................................................................61
1064 AD: Gunthertuch.......................................................................................................................62
1093: Conrad III.............................................................................................................................63
1025: The Pronoun in lfric's Sermon .........................................................................................64
1025: Worms Sacristy.................................................................................................................64
1099: Murder in the Al-Aqsa-mosque ..........................................................................................65
1100: Rashi en Rashbam................................................................................................................66
Rashi..........................................................................................................................................66
Rashi's Genesis (1100 AD)...................................................................................................66
Rashbam....................................................................................................................................67
Rashbam's Genesis (1170 AD).............................................................................................67
1100: Widukind's Tomb.................................................................................................................68
1130: St. Albans Psalter.................................................................................................................69
1133 AD: Imperial Mantle for the Holy Roman Empire....................................................................70
1135: The Bury Bible.....................................................................................................................71
1175: The Winchester Bible ..........................................................................................................72
1189: The Tomb of Henry II .........................................................................................................73
King Richard I, Lionheart........................................................................................................74
1155: Barbarossa............................................................................................................................75
1190: Henry VI Codex Manesse.................................................................................................76
1200AD The main entrance at the Mainz Cathedral.....................................................................77
1200: The royal Garments.............................................................................................................78
1212 & 1220: Frederick II.............................................................................................................79
1223: Louis VIII and Blanca of Castilia........................................................................................81
1226: Louis IX...............................................................................................................................82

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1230: The Booz and Jachim pillars................................................................................................83


1240: The Tomb for Gerard v. Gelre..............................................................................................84
1331: The marriage of Reinout II van Gelre.............................................................................85
1240: Pair of Flanders...................................................................................................................85
1246: Isabella of Angoulme.........................................................................................................86
1250: The Morgan Bible ...............................................................................................................87
1294: The Color Paars................................................................................................................88
1300: The Zohar.............................................................................................................................88
1300: Alchemy...............................................................................................................................89
Banning alchemy.......................................................................................................................89
1300:The Naumburg Master..........................................................................................................90
1300: The Fcamp Bible ...............................................................................................................91
1308: The Divine Comedy Dante ..............................................................................................92
De vulgari eloquentia (1303-1305) ..........................................................................................93
Divina commedia (1308-1321).................................................................................................93
Divina commedia - Paradiso, Canto XXVI...............................................................................93
1330: Medieval manuscripts..........................................................................................................94
1333: The Kremser Bible..............................................................................................................95
1335: Spieghel Historiael...............................................................................................................98
1340: The English Royal arms.....................................................................................................101
1336: Speculum Humanae Salvationis.......................................................................................103
1360: The Neapolitan Bible.........................................................................................................104
1390: The Wenzel-Bible..............................................................................................................105
1390: Wyclif's Bible ....................................................................................................................106
Wyclif's Ego-pronoun............................................................................................................107
1399: King Henry IV...................................................................................................................107
1407: The Rosecrucians...............................................................................................................108
1410: The Korczek-Bible.............................................................................................................109
1420: The Voynich manuscript....................................................................................................110
1420: The Tribute Money Masaccio........................................................................................111
1446: The Habsburg Device AEIOU...........................................................................................112
1459: The chemical Marriage ..................................................................................................113
1460: The Utrechter historical Bible........................................................................................114
1470: Piero della Francesca........................................................................................................115
1482: De Proprietatibus Rerum...................................................................................................116
Dying Purple...........................................................................................................................117
1498: The Last Supper by L. da Vinci.........................................................................................119
1510: Garden of Delights by H. Bosch........................................................................................120
The left inner wing..................................................................................................................120
The right panel........................................................................................................................122
The Adamites.........................................................................................................................122
The Kingfishers.......................................................................................................................123
1518: The double rainbow in the Stuppach Madonna.............................................................124
The third and fourth Rainbows (?)..........................................................................................125
1519: Purple for the Royals.........................................................................................................126
The Reformation...............................................................................................................................128
1545: The Luther-Bible - The 2nd Book of Moses - Exodus......................................................128
The Second Book of Chronicles.............................................................................................128
1572: The Kingfisher and the banner...........................................................................................129
The Prince's Motto .................................................................................................................129

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1572: The Prince's Flag................................................................................................................130


1573: Letter #10317 (William of Orange)...................................................................................131
Capitalization of the first-person pronoun..............................................................................131
Letter #10317 (William of Orange)........................................................................................131
1578: Rosarium Philosophorum..................................................................................................133
1595: Agony in the Garden - El Greco........................................................................................134
1603: Queen Elizabeth I of England............................................................................................135
1606: The British flag..................................................................................................................138
1617: An Y for Albertus Magnus................................................................................................139
1625: Palamedes by Vondel.........................................................................................................140
1672: The Assembly Hall at Leyden............................................................................................140
1648: The Last Supper by Champaigne.......................................................................................141
1669: The First Russian Flag.......................................................................................................141
1727 CE: Jonathan Swift describes the Yahoos...........................................................................142
1774: The Sorrows of Young Werther by J.W. Goethe..............................................................143
Goethe's Interpretation of the colors blue and yellow in Werther...........................................143
Goethe's main symbol Red (and its antipodal symbol green).................................................144
Goethe's Interpretation of the colors blue and yellow in Werther...........................................144
1777: The American Flag.............................................................................................................145
1785: Francisco de Miranda.......................................................................................................146
The stripes' Height..................................................................................................................147
1791: The Magic Flute Mozart.................................................................................................148
1800: Heinrich von Ofterdingen by Novalis................................................................................148
1810: Theory of Colors by J.W. v. Goethe...................................................................................149
Newton and Goethe.................................................................................................................150
1853: Mirio by Frederi Mistral..................................................................................................152
Stanza in Provencal language..................................................................................................152
Translation (French English)..............................................................................................152
Explaining Genesis in a singular Word...............................................................................153
1880: Phallism by Hargrave Jennings .........................................................................................154
1888: The Secret Doctrine, H. P. Blavatsky.................................................................................154
1888: Vincent van Gogh's chromatic pairs..................................................................................154
1882: The flag of South Korea ....................................................................................................155
1898: The flag of the Philippines.................................................................................................156
1898: The androgynous symbolism in Gauguin's sculptures.......................................................156
1914: Pink for Boys, Blue for Girls.............................................................................................157
1911: Boaz and Jachin In Theosophy..........................................................................................158
1930: C.G. Jung's Red Book........................................................................................................159
Philemon.................................................................................................................................159
1932: Superman...........................................................................................................................160
1932 Robert Musil's "Salvator"-Project.......................................................................................162
Robert Musil's color symbolism.............................................................................................162
1954: Red = Male, Blue = Female ..............................................................................................163
1956: David & Bethsabe by Chagall.........................................................................................164
1963: Salvador Dali's Illustrations to The Divine Comedy......................................................165
1968: The German student movement of the 60's.......................................................................167
1992: The Biblical Origin of the Red, White and Blue...............................................................167
2004: Androgynous couples in Artwork......................................................................................168
2005: In The Pink & Blue Project................................................................................................169
Conclusion........................................................................................................................................170

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Illustrations
Fig. 1: The story of Elijah being taken up to heaven (1175)................................................................1
Fig. 2: Palaeolithic androgynous sculpture ........................................................................................11
Fig. 3: adolescent double burial at Sungir (details)............................................................................11
Fig. 4: The Mesha-Stele......................................................................................................................18
Fig. 5: IEUS (Zeus) published by Divos ...........................................................................................20
Fig. 6: The Celtic sovereign wrapped in red & blue .........................................................................21
Fig. 7: Celtic sovereign dressed in purple..........................................................................................22
Fig. 8: Athena-Aphaia temple at Aegina............................................................................................23
Fig. 9: Inscription "E of Gaia" at the omphalos in Delphi.................................................................29
Fig. 10: Flag at the Necropolis of Cimitile-Nola, Tomb Weege 30 ca. 330-320 BCE.......................31
Fig. 11: Double-Hermes found at Roquepertuse................................................................................34
Fig. 12: Bifaced, androgynous Janus as a Coin..................................................................................36
Fig. 13: The Claudian letters..............................................................................................................37
Fig. 14: The Older Fuark (Wikipedia).............................................................................................43
Fig. 15: The Kylver runestone depicting the Iuark...........................................................................43
Fig. 16: Marcomannic Runes.............................................................................................................44
Fig. 17: Magister Peditum page 4 ......................................................................................................45
18: Merovingian Duke or King of Planig.........................................................................................48
Fig. 19: Male Sky-God (Viennese Codex - sixth Cent.).....................................................................50
Fig. 20: Crucifixion in the Rabbula Gospels (600 AD)......................................................................51
Fig. 21: Coronation ceremony for Charlemagne (800 AD)................................................................52
Fig. 22: Book of Kells (800 AD)........................................................................................................53
Fig. 23: Initials in the Rado-Bible (850 AD)......................................................................................54
Fig. 24: Otto I (the Great), 962 AD....................................................................................................56
Fig. 25: Henry II (9731024)............................................................................................................58
Fig. 26: Starred Mantle for Emperor Henry II. .................................................................................59
Fig. 27: Henry II crowned Holy Roman Emperor..............................................................................60
Fig. 28: Conrad II (c. 990 1039)......................................................................................................61
Fig. 29: The so-called "Bamberger Gunthertuch" (1064/65?)............................................................62
Fig. 30: Conrad III (1093 1152).....................................................................................................63
Fig. 31: Crucifix from the sacristy at Worms (1025)..........................................................................64
Fig. 32: Crusaders in the Al-Aqsa-mosque (1099 AD)......................................................................65
Fig. 33: Widukind's Tomb at Enger ...................................................................................................68
Fig. 34: Initials from the psalms in the St. Albans Psalter (1130)......................................................69
Fig. 35: Coronation Mantle for the emperor of the Holy Roman Empire..........................................70
Fig. 36: Frontispiece of the Bury Bible (1135)...................................................................................71
Fig. 37: Winchester Bible, fol.120v. - details of Book Second Kings (1175)....................................72
Fig. 38: Tombs of Henry & Eleonora at Fontevrault..........................................................................73
Fig. 39: King Richard I, Lionheart ( 1189-1199)...............................................................................74
Fig. 40: Frederick I Barbarossa and his sons (from the Welf Chronicle , 1155)................................75
Fig. 41: Henry VI, Codex Manesse (1190).........................................................................................76
42: Color Symbolism at the Mainz Cathedral...................................................................................77
Fig. 43: The Sinking of the White Ship..............................................................................................78
Fig. 44: Frederick II (1212 - 1250).....................................................................................................79
Fig. 45: Frederick II, Holy Roman Emperor meets al-Kamil Muhammad al-Malik .........................80
Fig. 46: Coronation ceremony Louis VIII (1223-1226).....................................................................81
Fig. 47: Louis IX (1226-1270)...........................................................................................................82

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Fig. 48: Red traces at the Iachim node-column in Wrzburg(1230)..................................................83


Fig. 49: Tomb in the Munsterkerk at Roermond (NL, 1240).............................................................84
Fig. 50: Isabella of Angouleme & King Richard I (1246)..................................................................86
Fig. 51: The Israelites are repulsed from Hai.....................................................................................87
Fig. 52: Eckard II und seine Frau Uta, Stifer des Naumburger Doms..............................................90
Fig. 53: Initial B (Beatus) from the Book of Psalms (Fcamp Bible, 1300)......................................91
Fig. 54: Dante's Divina Commedia....................................................................................................92
Fig. 55: Initials in a 14th Century Codex...........................................................................................94
Fig. 56: Initial line for the Kremser Bible (1333)..............................................................................95
Fig. 57: Initial line for the Kremser Genesis (1333)..........................................................................95
Fig. 58: Initials for the Kremser Bible (1333)....................................................................................96
Fig. 59: Initials for the Kremser Bible (1333)....................................................................................97
Fig. 60: Charlemagne at his court (detail)..........................................................................................98
Fig. 61: Page from Spieghel Historiael..............................................................................................99
Fig. 62: Jacob from Maerlant...........................................................................................................100
Fig. 63: Royal Arms of England 1340-1367 ...................................................................................101
Fig. 64: Royal Arms of England 1405-1603....................................................................................102
Fig. 65: Judas kissing Jesus (Speculum Humanae Salvationis, 1336).............................................103
Fig. 66: Initials in alternated red and blue (Naples, 1360)...............................................................104
Fig. 67: Genesis-initials - Neapolitan Bible (1360)..........................................................................104
Fig. 68: Genesis-initials - Neapolitan Bible (1360)..........................................................................104
Fig. 69: Creation Phase - Wenzel Bible (1390)................................................................................105
Fig. 70: In e bigynnyng was/e word.............................................................................................106
Fig. 71: Coronation ceremony for King Henry IV...........................................................................107
Fig. 72: Headerline Korczek-Bible (Prag, 1410)..............................................................................109
Fig. 73: Headerline Korczek-Bible (Prag, 1410)..............................................................................109
Fig. 74: A Sun & Moon Symbol with red, blue and white Rays...................................................110
Fig. 75: The Tribute Money by Masaccio (1420).............................................................................111
Fig. 76: AEIOU introduced by Frederick III (1446).........................................................................112
Fig. 77: Nuptiae Chymicae...............................................................................................................113
Fig. 78: The Utrecht-Bible (1460)....................................................................................................114
Fig. 79: Maria in purple, red & blue (detail, 1470) .........................................................................115
Fig. 80:The red-dyer (1482).............................................................................................................116
Fig. 81: Dying Purple for the great King and Adam & Eve (1519)..................................................117
Fig. 82: Purple for the royals (1519)................................................................................................118
Fig. 83: The Last Supper (copy after Leonardo da Vinci (1498)......................................................119
Fig. 84: Red and blue fruits (The Earthly Paradise -1510)...............................................................120
Fig. 85: Pink and blue formations (The Earthly Paradise Bosch,1510)........................................121
Fig. 86: Fountain at Eden (1510)......................................................................................................121
Fig. 87: A red bagpipe and a blue woman (The Earthly Paradise Bosch,1510)............................122
Fig. 88: The Kingfisher in The Garden of Delights .........................................................................123
Fig. 89: Dressed man in the Garden of Delights (1510)...................................................................123
Fig. 90: Red and blue banners located close together at the main rainbow.....................................124
Fig. 91: God, surrounded with one or two purple/blue (?) rainbows...............................................125
Fig. 92: Purple for the royals............................................................................................................126
Fig. 93: A European Kingfisher........................................................................................................129
Fig. 94: The Prince's Flag.................................................................................................................130
Fig. 95: Rosarium Philosophorum, Prague (1578)...........................................................................133
Fig. 96: The Agony in the Garden by El Greco................................................................................134
Fig. 97: Queen Elizabeth I of England (1603).................................................................................135

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Fig. 98: Elizabeth I of England (16xx ?)..........................................................................................136


Fig. 99: Elisabeth I (detail, 1603).....................................................................................................137
Fig. 100: Headerline Korczek-Bible (Prag, 1410)............................................................................137
Fig. 101: History of the British Flag................................................................................................138
Fig. 102: Y-Symbol for Albertus Magnus (1617).............................................................................139
Fig. 103: The Last Supper by Philippe de Champaigne...................................................................141
Fig. 104: First Russian Flag..............................................................................................................141
Fig. 105: 15-starred Flag at Fort McHenry (1814)...........................................................................145
Fig. 106: First flag of Gran Colombia, 1819-1820. Stripe ratios 2:1:1............................................147
Fig. 107: Goethe's color wheel.........................................................................................................149
Fig. 108: RGB - Triangle..................................................................................................................151
Fig. 109: Flag of Korea / South Korea (1882)..................................................................................155
Fig. 110: The Flag of the Philippines...............................................................................................156
Fig. 111: Apocalyptic Seal................................................................................................................158
Fig. 112: Philemon with the kingfisher's colors...............................................................................159
Fig. 113: Original Superman costume ...........................................................................................160
Fig. 114: Adam (red) and Eve (blue)................................................................................................163
Fig. 115: After the Fall of Man the couple is purple .......................................................................163
Fig. 116: Androgynous face by Marc Chagall..................................................................................164
Fig. 117: Beatrice comforts the Poet (Dante in orange and Beatrice in blue)..................................165
Fig. 118: Androgynous Couple (2003).............................................................................................168
Fig. 119: Androgynous Couple (2003).............................................................................................168

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Prehistoric Phase
Early man probably believed in an androgynous, dual-headed deity, in which both heads had been
joined before and probably also after death. Some of these concepts may be found in the body
mirroring18 in prehistoric graves, sculptures and myths.

20,000 BCE: Gagarino, Ukraine


A small sculpture in ivory of mammoth (extinct hairy Elephant) 14.8cm high (5.2cm the female
figurine; and 9.6 cm the male figurine), found in a Palaeolithic site (evolved Gravettian, dated about
21,800 years ago) at Gagarino, Ukraine, is a rare example of two human beings joined together by
the neck, including the complete body.

Fig. 2: Palaeolithic androgynous sculpture


Tarassov went so far as to relate this head-to-head position to the adolescent double burial at Sungir
in which two individuals were interred with the tops of their heads touching19.
The head-to-head position of this sculpture may refer to religious (or maybe even androgynous-like)
symbolism.

Fig. 3: adolescent double burial at Sungir (details)


by Libor Balk (only the relevant details are shown)
18 Reference: Body Mirroring at Burials (the androgyny-coded burial positions)
19 See the documentation at: Body Mirroring at Burials and The Sky-God Dyaeus

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Venus of Savignano20
A number of Paleolithic findings may reveal androgynous symbolism. In northeastern Italy, at the
site of Savignano, the Venus of Savignano reveals ambiguous sexual character and may represent
both feminine and masculine organs. Margherita Mussi concludes that this piece is21:
clearly related to a sophisticated and now vanished cosmogony, in which a feminine and
masculine principle were somehow interrelated into a superior oneness.

5,000 BCE: The god IU or IAO in Egypt


Religious symbolism may have been initiated in Egypt 5,000 BC. The earliest Egyptian site is
7,000-year old22. This farming-village site including evidence of domesticated animals and crops
provides a major breakthrough in understanding the enigmatic people of the Neolithic, or late Stone
Age, period and their lives long before the appearance of the Egyptian pharaohs.
In Ancient Egypt The Light of the World (Vol. 1-page 501) Gerald Massey suggests a much older
religion, but he does not document any source for this statement:
There was a religion of the god Iu or Iao in Egypt thirteen thousand years ago. That god
was Atum-Iu, born son of Ptah. He was the earliest father in heaven because he was the
divine Ra in his primordial sovereignty. He is the god in two persons who was first figured
as the sun upon the double horizon = the father in the west, the son in the east.
This god went forth from Kam by several names and various routes. Those who worshipped
him as Atum became the Adamites, the Edomites, the red men; those who worshipped him
as Iao, Iah, or Iu became the Jews in many lands, and these are the Jews of that world-wide
dispersion recognized by Isaiah, which did not follow any known historical exodus from
Egypt or captivity in Babylon, or migration from Palestine.
Following this theory religious symbolism may have been initiated in Egypt 5,000 BC. According
to Gerald Massey there was a religion of the god Iu or Iao in Egypt thirteen thousand years ago 23.
That god was Atum-Iu, born son of Ptah. According to Massey he was the earliest father in heaven
the sky-deity, who may have been inherited to the Indo-Europeans24.

4,000 BCE: The Kurgan period


Both the Kurgan period (4th Millenium BCE) and the "Corded Ware culture"-period (2880 BCE2000 BCE) buried their women left sided and their men right sided as mirrored images, both facing
towards the east. Generally the buried bodies are located to face the dawn's position and/or the sun.
Facing the east and the south may refer to contacting the divine sun and the sun's birth at dawn.

20
21
22
23
24

The Celestial God (2009), Joannes Richter, ISBN: 978-1-4092-6632-7


Female Figurines of the Upper Paleolithic (2008) - by Karen Diane Jennett
Egypt's Earliest Farm Settlement Discovered in the Faiyum depression
Source: From: Ancient Egypt (Vol. 1-page 501) by Gerald Massey
English and Globish - Optimized Linguistic Designs

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3,500 BCE: The PIE-Concept


According to etymological studies the PIE25-language arose around 3500 before Christ. The
language and its derivatives started spreading in all directions for the superior PIE-technology in
various fields, quickly penetrating the continents on westward and eastward directions.
A religious PIE-component is assumed to have been included in the process from the very
beginning. European languages derived their linguistic concepts from the common Indo-European
sky-god Dyaus, which in its purest form has been copied to god's name (Diu) in Provenal
language. In this language the personal pronoun of the first person singular (iu) is directly
correlating to the divine name (Diu)26.
At 2,500 BCE the PIE-project including its linguistic and religious components may have covered
the Austrian Danube valley and is now reaching the German borderline around Passau. Around
1500 BCE the PIE-project is reported to have reached the Rhine-valley and is now covering the
complete area of modern Germany. From 500 BCE the PIE-project reaches the British Islands and
covers large parts of Europe. By 500 AD most of the European mainland has been covered.
In Europe the Ego-pronouns seem to have been designed as pure vowel-sequences, which had been
found inside the divine PIE-names *Dyeus, respectively *Deiwos. The correlation between the egopronouns and the divine names may be found in the following overview, in which the correlation is
marked by colors. The relation will be marked green for strong correlations between ego-pronouns
and divine names, respectively yellow if one of the characters has to be deleted or blue if any
characters have to be added27:

25
26
27
28

Armenian: Old Armenian: (es) , Armenian: (es)


Baltic: Latvian: es Dievs, Lithuanian: a Dievas, Old Prussian: as Dievas
Germanic: *ek, *ik, Old English: ih Tiw or Tyr, ic, i, Scots: I Tiw or Tyr, ik (rare) ,
English: I Tiw or Tyr, ik (obsolete), ich (obsolete)
Old Frisian: ik, West Frisian: ik, Old Saxon: ik, Old Dutch: ick, Dutch: ik, Afrikaans:
ek
Old High German: ih Tiw or Tyr, German: ich
Old Norse: ek, jak, Icelandic: eg, g , Faroese: eg, Norwegian: Bokml: jeg,
Nynorsk: eg
Old Swedish: iak, jk, Swedish: jag, Danish: jeg,
Gothic: (ik)
Hellenic,
Ancient Greek: (ego) Theos (by skipping the g)
Indo-Iranian, Indo-Aryan, Sanskrit: (aham)
Iranian, Kurdish, Kurmanji: ez (ku)
Italic,
Latin: ego Theos (by skipping the g), Vulgar Latin: eo Theos, French: je
Djeu, Romanian: eu Deus, Romanche: jau eau , Sardinian: eo Theos, Sicilian:
iu Dius, d'IU-piter (Jupiter), Italian: io Jove, iovis, Dios, Diovis28, Portuguese:
eu Deus, Spanish: yo Dyos, Aragonese: yo Dyos, Catalan: jo Dios,
Galician: eu Deus, Occitan - Gascon: jo Dios, Lengadocian: ieu Dieu,
Interlingua: io Dios,

PIE = Proto-Indo-European
Details are documented in: The Keywords in God's Name
From: A Divine Sequence of Vowels
In Oscan (Southern Italy)

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Patois de Villar-St-Pancrac29e: iu m, respectively m iu *IOU d'IU-piter (


Jupiter)30
Romansh jau Dyaus,
Surselvisch: jeu Dieu, Surselvisch: jou *IOU d'IU-piter ( Jupiter),
Surmeirisch: ja Dyaus, Puter: eau, Vallader: eu Deus, Rumantsch
Grischun: jau Dyaus.

Slavic
East Slavic - Russian: (ja Dyaus) , Ukrainian: (ja Dyaus),
South Slavic - Old Church Slavonic: (az Dyaus) , Bulgarian: (az)
Dyaus) , Macedonian: (jas Dyaus), Serbo-Croatian: j / Dyaus, Slovene:
jaz Dyaus,
West Slavic - Czech j Dyaus, Kashubian: j, Polish: ja Dyaus, Slovak: ja
Dyaus, Lower & upper Sorbian: ja Dyaus.

These linguistic and religious concepts had a serious impact on all European areas, where
successful cultures arose from the basic PIE-substrate. PIE-attributes may be found in most
European cultures and can be traced in the divine names in various languages 31, the colors for coatsof-arms and flags up to modern society.

The basic formula


In order to generate a divine name we would normally have to insert a genuine personal pronoun of
the first person singular between a leading character D, Z, Th or and eventually the trailing
character S. In Provencal language for instance the divine name Diu will be generated by D and
the pronoun iu.
A list of examples explains some of the generating mechanisms32:

Provencal: D + iu = Diu
Italian: D + i = Di
Spanish: D + yo + s = Dios
Portuguese: D + eu + s = Deus
Romanian: Z + eu = Zeu
old-German: D + ih + s = Dis33
English: D + i + s = Dis (also described by Julius Caesar)
Romance: D + jau = Diu (ideally: Djaus)
Sursilvanic : D + jeu = Diu
Sutsilvanic :D + jou = Diu (ideally: Djous)
Sicilian dialect: D + iu = Diu
Old High German: Z + i(u) = Ziu, which may related the neighboring area
Sutsilvanic :D + jou = Diu (which is to be located in the Alps).
Old English: T + ich = Tig, which may be related to the German pronoun ich34.

29 The Hieroglyphs in the Ego-Pronoun


30 Patois of Villar-St-Pancrace : Personal pronouns: Cas sujet Cas rgime atone tonique direct indirect
Sg. 1p a (l) iu m, m iu 2p t, t t, t t 3p M u(l), al ei(l) s lu ei F eilo la eilo N o, ul, la - lu - Pl. 1p n*
n* 2p * v* v* 3p M (z) s l* i F eil (eilaz) l* eil
31 e.g. Dieu in French, Dio in Italy, Dios in Spanish...
32 Details: The Deity Dis in the Gallic Wars and Hieroglyphs in Indo-European Languages
33 Dis has 53 BC been described by Julius Caesar in De Bello Gallico, Book VI- chapter 18
34 Similar pronouns are gothic-Dutch ik, ags. ic and Icelandic ek

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These samples document the basic correlations between divine names and the personal pronouns of
the first person singular (e.g. I). Except for the Slavic languages these samples cover most of the
European areas.
Some Slavic languages (such as Polish, applying the pronoun ja) sometimes refer to the original
divine name dyaus, which in analogy to Romance (D + jau = Diu, ideally: Djaus) would
suggest.

Polish: D + ja(u) + s = Djaus

Slavic languages however mostly changed their divine name to e.g. Bg.
Genuine samples of the pronoun iu have been found in Provenal language. Further analysis
suggests to consider

the symbol I as a male symbol,


the central symbol as a divine link and
the character U as a female symbol.

For historical reasons the characters I, and U have been related to the colors red, respectively
purple and blue35.
Several threefold36 up to ultimately sevenfold37 concepts have been initiated, which may have
resulted in a synthesis-concept for various important structures as it has been sketched in the
following overview:
Greek
Vowel 38

Scale39 Pitch Hymn of St. John


(Solfege
syllables)40

Hebrew vowels
(as defined by
Godwin41)

Metals
Planet, Day
Color45
44
of
130-200 of the week
antiquity42 C.E.43

A (alpha)

Ut
(Do)

Ut queant laxis

Aleph

silver

Luna
(moon)

Monday

Red

E (-psilon) Re

Resonare fibris

Cheth

mercury

Mercury Wednesday

Orange

H (eta)

Mi

Mira gestorum

Heh

copper

Venus

Friday

Yellow

I (iota)

Fa

Famuli tuorum

Iod

gold

Sun

Sunday

Green

O-micron Sol

Solve polluti

Vav with point halem iron

Mars

Tuesday

Blue

U (Y)

La

Labii reatum

tin

Jupiter

Thursday

Indigo

(-mega) SI

Sancte Iohannes

Suggestions:
- Ain or
- Vav w. point hirek

lead

Saturn

Saturday

Violet

Table 1: Correlations between vowels, pitch, metals, planets, days of the week and the
rainbow's colors

35
36
37
38
39
40
41
42
43
44
45

The Hermetic Codex


Reconstruction of the PIE-Trinity-Concept
A Short Treatise of Vowel-Symbolism
source: Porphyry & Marcus
according to the Hymn of St. John (Solfege syllables), an eighth-century plainsong hymn to John the Baptist Joscelyn_Godwin_-_Mystery_of_the_Seven_Vowels_(1991)
eighth-century plainsong hymn to John the Baptist - Joscelyn_Godwin_-_Mystery_of_the_Seven_Vowels_(1991)
Joscelyn_Godwin_-_Mystery_of_the_Seven_Vowels_(1991) - see Appendix 2.
The Metal-Planet Affinities - The Sevenfold Pattern by Nick Kollerstrom
quoted from Joscelyn_Godwin_-_Mystery_of_the_Seven_Vowels_(1991)
Adolphe Bertet (1812-1875) quoted by Joscelyn_Godwin_-_Mystery_of_the_Seven_Vowels_(1991)
according to Newton (Opticks, 1704); Source for this definition: (Wikipedia) Solfge

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3,000 BCE: The god in pre-cuneiform in Sumerian tablets 46


In the oldest known line-written pre-cuneiform Sumerian tablets, God is written with a
triad of stars47. This was later simplified to a single star 48. The ancient logogram for tri
also uses three cross-types of stars

. Is it a divine trigram?

Among these characters show up sometimes ancient graphic logograms


tri ( Sumer.
diir49) "Sky; God, deity", compare Kazakh. tir, tiri "God" or zegir "great, high, highest",
Karakalpak. di aspanda "very high, up in the sky" (phonetic transition t~d~z in the beginning of a
word)50.
Following the link to (Sumer. Diir51, which of course is rather close to the PIE-name Dyaus) I
found some more details to the name of God. The link between Turkish vowel in tri and 52 in
Dyus, Dy and (I)53 might be explained from the global religious symbolism in vowels54.

God in relation to the Assyrian first personal pronoun


As a remarkable observation the Assyrian first personal pronoun seems to be related to the divine
name (God), which also has been observed in modern languages such as French/Provencal (ieu
related to Dieu), Italian (io related to Dio) and in a great number of Mediterranean dialects55.
As tribal languages and dialects emerged, new phonetic values were expressed by the same
symbol, and this trend continued as long as the cuneiform script was used in Sumerian,
Hittic, Ugaritic, Chaldean and Babylonian, and Old Persian. C. J. Ball writes that "the
character Fig.#1-D, an 'high,' 'heaven,' and, 'The God of Heaven,' which was read (in
Sumerian - Translator's Note) Dingir in the sense of a god also meant (in Semitic Translator's Note) Ia'u or Ya'u and Ia-a-ti or Ya-ti. The latter Ia-a-ti56 or Ya-ti is the
Assyrian first person pronoun57 . . . and may well be the prototype for the Semite first
personal pronoun."27 He also suggests that Ia'u and Ya'u are the predecessors of the final
form of the Hebrew JHVH.28
The PIE-name Dyaus and the previously mentioned Ia'u and Ya'u use all three vowel archephonems
A, I and U. Two of the vowels in tri belong to the vowel archephonems are A (a, ), I (, i) and U
(o, u, , ), but the third one (U) is missing.

46 Notes to the Turkic Runic Alphabet


47 see Figure 1, in Tengri, Khuday, Deos and God - The word "God" in different languages
48 Source: Tengri, Khuday, Deos and God - The word "God" in different languages
49 The quotation refers to Tengri, Khuday, Deos and God - The word "God" in different languages and
"A Symposium on Creation" Vols. 1-5 @ http://www.creationism.org/symposium.
50 Genesis Of The Trkic Runic Alphabet, Posted by skit : 13-Oct-2009 at 09:22, also posted in Scribd at Genesis Of
The Trkic Runic Alphabet
51 The quotation refers to Tengri, Khuday, Deos and God - The word "God" in different languages and
"A Symposium on Creation" Vols. 1-5 @ http://www.creationism.org/symposium.
52 for ternity - A World made of Word(s)
53 Etymology for Dy, Tiw and (I)
54 On the Symbolism of the Vowels A-E-I-O-U
55 The Hermetic Codex II - Bipolar Monotheism and The Keywords in God's Name
56 The word is highly vowel-concentrated and must be considered as a religious symbol related to God
57 Tengri, Khuday, Deos and God - The word "God" in different languages

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The Biblical Phase


2,000 BCE: Abraham
In Genesis 23:2, towards the end of Abraham's life, he was staying in Hebron, on lands belonging to
the "children of Heth", and from them he obtained a plot of land with a cave to bury his wife Sarah.
One of them (Ephron) is labelled "the Hittite", several times. This deal is mentioned three more
times (with almost the same words), upon the deaths of Abraham, Jacob, and Joseph.
Decades later, in Genesis 26:34, Abraham's grandson Esau is said to have taken two Hittite wives
(Judith, the daughter of the Hittite Beeri and Basemath, the daughter of the Hittite Elon).
When Esau was forty years old, he took as wife Judith, the daughter of Beeri the Hittite,
and Basemath, the daughter of Elon the Hittite. 35They grieved Isaac and Rebekahs spirits.
34

This claim is repeated, with somewhat different names, in Genesis 36:2. In Genesis 27:46, Rebekah
is worried that Jacob will do the same.
The contact between the PIE-people Hittites sufficiently and clearly proves the contact between a
PIE-people and the Jewish patriarch Abram. From this contacts we may accept the idea of
correlations between IHVH and the PIE-deity Dyaus.
Evidence of a settlement at Hattusa predates Hittite presence by thousands of years back to the sixth
millennium BCE, when it was inhabited by the native Hatti people. The Hittite's initial capture of
the city was destructive.

1,700 BCE: Our SiuS


A carbonized layer in the excavations that is dated at c. 1700 BCE, indicates a burning of the city - a
burning credited to the Hittite King Anitta58 who was then based in southern city of Kushar. After
destroying the city, Anitta left behind an inscription stating,
"At night I took the city by force. I have sown weeds in its place. Should any king after me
attempt to resettle Hattush (the city's name in Hittite), may the Storm God of Heaven strike
him down."
This inscription known as the Proclamation of Anitta is the earliest text found at Hattusa and the
earliest known text composed by a Hittite king. The Proclamation of Anittas documents the god
DSiu-summin "our god," or "Our Sius," a god who appears nowhere else in Hittite texts. The word
sius, which is otherwise the generic word meaning "god," is derived from Indo-European *dyeus,
the father god of the sky. The Swadesh list for Hittite language reveals the words k, respectively
zk for the pronouns of the first respectively the second person singular.
Theoretically the Hittites may have borrowed and transferred some religious principles from the
Hebrew religion into the PIE-religion, but with respect to the PIE-impact evolution probably
preferred the other way, in which Abraham borrowed some religious principles from the PIEpeople.
The so-called Proclamation of Anittas deals with events leading up to the founding of the Hittite
state and is the earliest genuinely historical text found at Boazky. The oldest proof for the name
IHVH however cannot be found in written records from 1800 BC. Instead the oldest records have
been dated one millennium later at 840 BC.
58 Source: Hittites

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840 BCE: The Mesha-Stele59


The Mesha Stele60 is a black basalt stone bearing an inscription by the 9th century BC ruler Mesha
of Moab. The inscription was set up about 840 BC as a memorial of Mesha's victories over "Omri
king of Israel" and his son, who had been "oppressing" Moab. It bears the earliest known reference
to the sacred Hebrew name of God - YHWH - and is also notable as the most extensive inscription
ever recovered that refers to ancient Israel (the "House of Omri").
The stone is 124 cm high and 71 cm wide and deep, and rounded at the top. It was discovered at the
site of ancient Dibon (now Dhiban, Jordan), in August 1868, by Rev. F. A. Klein, a German
missionary. Local villagers smashed the stone during a dispute over its ownership, but a squeeze (a
papier-mch impression) had been obtained by Charles Simon Clermont-Ganneau, and most of the
fragments were later recovered and pieced together by him. The squeeze (which has never been
published) and the reassembled stele (which has been published in many books and encyclopedias)
are now in the Louvre Museum.
In fact we do not need a full knowledge of Hebrew language to identify the letters I, V and H in the
name of Yahweh (IHVH respectively YHVH). The photographs, the inscription and translation are
to be found in Wikipedia's entry Mesha Stele.

Fig. 4: The Mesha-Stele


The interesting line is line #18, which according to the Mothers of Reading suggest to read the
letters I and V (or U) as special antipodes I-U in the old religion.
This idea may play an important role in our history as the name YHWH is the first piece of
evidence for the thesis of interpreting the letters I and V (or U) as special antipodes in the old
religion. These letters I and U have not been derived from YHWH and may be found in other divine
names: Jupiter, Dyaeus and in an overwhelming number of other religious names.

59 Information from Wikipedia: The Mesha Stele


60 in the 19th century also named the "Moabite Stone"

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~450 BCE: The Book Exodus


The Books Exodus and Chronicles reveal a great number of symbolic colored woven materials
(red, blue and purple twining) in the divine instructions for the Covenant tent and for Solomon's
great Temple61:
28: 5They shall take the gold, and the blue, and the purple, and the scarlet, and the fine
linen. 6They shall make the ephod of gold, of blue, and purple, scarlet, and fine twined
linen, the work of the skilful workman. 7It shall have two shoulder-pieces joined to the two
ends of it, that it may be joined together. 8The skilfully woven band, which is on it, that is on
him, shall be like its work and of the same piece; of gold, of blue, and purple, and scarlet,
and fine twined linen.
15You

shall make a breastplate of judgment, the work of the skilful workman; like the work
of the ephod you shall make it; of gold, of blue, and purple, and scarlet, and fine twined
linen, shall you make it.
28They

shall bind the breastplate by the rings of it to the rings of the ephod with a lace of
blue, that it may be on the skillfully woven band of the ephod, and that the breastplate may
not swing out from the ephod.
There is a total of 25 divine orders for the usage of blue, purple and scarlet. In these descriptions
the German Luther-Bible also mentions the color white as an additional, maybe important attribute
for the twined linen.

Translation for Exodus 28:5-6


In the corrected62 version of the German Luther Bible (1912) Exodus 28:5-6 is being quoted as
follows:
28 -5. Dazu sollen sie nehmen Gold, blauen und roten Purpur, Scharlach und weie63
Leinwand. 6. Den Leibrock sollen sie machen von Gold, blauem und rotem Purpur,
Scharlach und gezwirnter weier Leinwand, kunstreich;
Of course we may ask for the symbolic contents of these colors red, blue and purple in the Middle
Age, but we will not find an answer in the Bible. Instead they have been given as undisputable
divine orders, which are found quite frequently (25 x in Exodus).
In early eras colors may have played an important role for the illiterate people. The role may be
compared to the color codes red and blue for political parties. In the USA the terms "red states" and
"blue states" came into use in 2000 to refer to those states of the United States whose residents
predominantly vote for the Republican Party or Democratic Party presidential candidates,
respectively. A blue state tends to vote for the Democratic Party, and a red state tends to vote for the
Republican Party, although the colors were often reversed or different colors used before the 2000
election. In fact this phenomenon also happened to the biblical attributes red (for male symbols)
and blue (for female symbols), which have been reversed in history to red (for female symbols) and
blue (for male symbols).

61 Exodus 28:2-5
62 In this modern translation an early error in the Luther-Bible has been corrected, which erroneously translated the
Greek word Hyacinth for the color blue to yellow.
63 white

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Roman, Greek en Celtic Phases


753 BCE: Romulus
Around 100 AD Plutarch documents64 the archaic application of scarlet and purple colors in the era
of the Rome's foundation65:
Following the discovery of an altar, Romulus appointed by proclamation a splendid sacrifice
upon it, with games, and a spectacle open to all people. And many were the people who
came together, while he himself sat in front, among his chief men, clad in purple.
In his office Romulus dressed in a scarlet tunic, and wore over it a toga bordered with
purple, and sat on a recumbent throne when he gave audience.
These statements may illustrate that in analogy to the Jewish culture purple and scarlet red had been
used as imperial symbolic colors from the very beginning of Roman civilization. Blue however has
not been used as an imperial symbol in Rome.

550 BCE: Zeus' Derivation from Ieus (?)66


equaling the etymological expressions for Zeus67 ( Ieus), Iove68 ( Iupiter) and Yahweh69.

Fig. 5: IEUS (Zeus) published by Divos


Detail from: Zeus killing Typhon

64
65
66
67
68
69

Reference: Symbolism of Purple and Scarlet in Greek and Roman Societies


The Parallel Lives by Plutarch published in Vol. I of the Loeb Classical Library edition, 1914 public domain
Zeus' Derivation from Ieus
IEUS, IE = Jah, U = W en S =Ah)
IOVE IO = Yah, V = W en E - Eh
The Christian Cross - True Origin

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Divos at Interfaith Forums comments the inscription as follows:


Zeus/Ieus are believed to have derived from Phoenicia, and that the Above, is the
Phoenician spelling of Zeus, and that the spelling of Yahweh in the Dead sea Scrolls is
the same spelling of Zeus.
As a remarkable fact the Yod (which symbolized as a dot in Hebrew recursively is representing
three dots) consists of three strokes (one vertical stroke and two horizontal bars).
This probably indeed proves Divos' claim, that the basic cabbalistic symbol has been a Yod, which
had been shared by Hebrew, Greek and Roman mythology.

500 BCE: The Celtic Grave at Hochdorf

Fig. 6: The Celtic sovereign wrapped in red & blue


In an ancient Celtic grave at the German village Hochdorf some of the king's purple clothes reveal
to have been woven in Byssus- or twining-technology using the finest threads of blue and red at
extremely high densities of up to 80 threads/cm. This high density weaving of red and blue colors
cannot be identified without optical tools and therefore the clothes look like a homogeneous purple
material.
The same technology (Byssus/Twining applying red, blue and purple) is found in the Bible's
Exodus. Elementary colors red, blue and purple may refer to androgynous deities, symbolizing male
(blue colors) and female (red colors) or divine symbols (purple colors)70.

70 Reference: Hochdorf Revisited - A reconstructed Celtic Site and The Sky-God Dyaeus

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Twining seems to have symbolized the matrimonial bonds between the androgynous partners,
symbolizing the mixture of a male red color and a female blue to a joined purple color. The red &
blue mixture purple therefore honored the basic religious, androgynous core in the imperial family.

Fig. 7: Celtic sovereign dressed in purple

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490 BCE: The Athena-Aphaia Temple


Restored fragments of the west-front of the Athena-Aphaia temple at Aegina (dated 490 before
Christ) reveal a series of abundant red & blue alternating decorations. The international exhibition
Colored Gods71 presented a number of reconstructed artworks. Some (26) of these colored idols
have been documented in the Wikimedia Category: "Colored Gods" exhibition.

Fig. 8: Athena-Aphaia temple at Aegina


Photograph at Wikipedia created by Marsyas - licence Creative Commons Paternit 72

71 Bunte Gtter, organized by the Munich Glyptothek in 2004, and shown in Istanbul in 2006 and in Athens in 2007
72 Labeled in French: Restitution du dcor polychrome certaines statues du fronton ouest du temple (exposition
Bunte Gtter , Munich, 2004) Design: Vinzenze Brinkmann et Hermann Pflug. Painting: Ulrike KochBrinkmann. Original: Munich, Staatliche Antikensammlungen und Glyptothek.

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Other, similarly colored temples and sculptures in red & blue are73:

the Acropolis temple (a reconstructed facade is exhibited in the British Museum, London)

the Treasury of the Athenians erected in 490 BCE at Delphi

the Temple of Concordia, Akragas erected 440-430 BC

the Sifnian treasury

the sculpture Augustus of Prima Porta

the Peplos Kore from ca. 510 BCE

380 BCE: Plato's Banquet (Symposium)


The first author, who clearly describes androgynous religion, is the Greek philosopher Plato,
publishing his famous manuscript with the name Symposium around 380 b. C., in which he
documents the creation of an androgynous human race. The book contains six speeches, but we will
especially be interested in the fourth speech of this series, the speech by Aristophanes.
Aristophanes describes how mankind in early days existed in another form, completely different
from today. Their human bodies seem to have been living in pairs, being joined back to back,
whereas their dual faces were looking into opposite directions, unable to see each other. Plato
discerns the following dual combinations: man-woman, woman-woman, man-man and he defines
them as Children of the Moon, Earth or Sun respectively.
These dual corpses were extremely strong and they had high ambitions like rising up to the Olympic
Mountain, into the house of gods. They really did spread fear among the divine family and Zeus did
not know, how to solve the problem. Then, in a bright moment, he solved the problem by splitting
the dual corpses each into couples: man and woman, man and man, woman and woman. Splitting
the dual corpses also was advantageous in doubling mankind and halving their strength
simultaneously.
After halving these individuals, the male and female individuals immediately and desperately
started searching their complementary part. Having found their original partner they would cling to
these halves and refuse to ever let their partner go. This way individual humans are attracted in pairs
by a strange force called love and yet those who cling to each other for a lifetime cannot explain for
what reason they need each other that much. The reason of course is our former composition of dual
corpses, which must be joined to re-unite74.

73 Details: Red and Blue in Architecture and Artwork


74 Reference: The Sky-God Dyaeus

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380 BCE: Aristoteles (Meteorology)


Especially Aristoteles' authority seems to have defined the three-colored symbolism of the
rainbow's color, which more or less complied with the Edda's definition (three colors:
probably gold, red, blue)75.
According to Homer the rainbow merely had one color: purple - (porphureos). Xenophanes (ca. 570
- 475 BC) described the rainbow as having three bands of color: purple, green/yellow, and red76.
Aristoteles defines three colors red, green, or purple, which by the way are the most important
symbolic colors for medieval paintings.
There are never more than two rainbows at one time. Each of them is three-colored; the
colors are the same in both and their number is the same, but in the outer rainbow they are
fainter and their position is reversed. In the inner rainbow the first and largest band is red; in
the outer rainbow the band that is nearest to this one and smallest is of the same color: the
other bands correspond on the same principle. These are almost the only colors which
painters cannot manufacture: for there are colors which they create by mixing, but no mixing
will give red, green, or purple. These are the colors of the rainbow, though between the red
and the green an orange color is often seen77.
Aristoteles shows why the rainbow has three colors and that these are its only colors.

350 BCE: A-E-H-I-O-U- in Egyptian Religion 78


A remarkable historical remark to divine names in Egyptian religion may be found in the work De
Elocutione of Demetrius79 and this seems to refer to the archaic vowels, which may have been
uttered in their succession A-E-H-I-O-U-80:
71. In Egypt the priests, when singing hymns in praise of the gods, employ the seven
vowels, which they utter in due succession ; and the sound of these letters is so euphonious
that men listen to it in preference to flute and lyre. To do away with this concurrence,
therefore, is simply to do away entirely with the music and harmony of speech.But perhaps
this is not the right time to enlarge on these matters.81
The principal application of vowels is to produce sounds with an open vowel tract. The role of the
consonants is to define the exact timing for the opening and closing phases in controlling the vowel
tract.
In order to analyze the vowels' symbolism the following report lists all references to the vowels in
De Elocutione.

75
76
77
78
79
80
81

False Rainbow Symbols (in symbolic and religious paintings)


Ancient Greek Color Vision
Source: Meteorology - by Aristotle (Written 350 B.C.E) - Translated by E. W. Webster
The Vowels' Symbolism in Archaic Hymns - Notes to the vowels in De Elocutione of Demetrius
Demetrius, of Phaleron, b. 350 B.C. Spurious and doubtful works
The Mystery of the Seven Vowels
Demetrius On style, the Greek text of Demetrius De elocutione

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The Timeline of Vowel Symbolism


Now The Timeline of Vowel Symbolism for the translations of the divine name(s) may be sketched
as follows82:
(11,000 BCE Atum-Iu, born son of Ptah documented by Massey in Ancient Egypt83 )
1,400 BCE yehua (inscription dated at Amenhotep III - circa 1400 BCE - found at Soleb)
1,100 BCE Yawhanan (Yhanan) (oldest likely theophoric name, in paleo-Hebrew)
900 BCE
Ia-u-a (Ia-u) (in Shalmaneser III's texts - In the Assyrian black obelisk84)
900 BCE
YHW (Kuntillet Ajrud's writings, dated from the ninth century BCE)
600 BCE
Yah (from the Babylonian king Nebuchadnezzar, ca. 600 BCE)
539 BCE
Jehovah (from: Cyrus, who used the name Jehovah in Ezr 1:2)85.
500 BCE
YH (Yah) & Yahu (Hebrew) and Ia & Ia (Greek) (numerous witnesses)
350BCE
(Singing) A-E-H-I-O-Y-86 in Demetrius On style (De elocutione)87
300 BCE
- Introduction of the Substitute Adonay (Lord) for the Great Name 50 BCE
IA88 (Diodorus Siculus translates the Tetragrammaton to IA. )
50 BCE
' (Supreme Being with seven Greek vowels in 'Treatise on Interpretations' )
200 CE
Iaoue (explained by Clement of Alexandria as "the one who is and who will be"89. )
200 CE
IA ( in Greek, [Iah] in Latin) (explained by Irenaeus of Lyons, 130-202)
420 CE
Iabe (for Samaritans) resp. Aa for the Jews90. (by Theodoret of Cyrus)
500 CE
IOA () (by Church Father Severus of Antioch (465-538) and in Codex Coislinianus)
1195 CE
Ieue (Translation of the Divine Name by Joachim of Fiore)
1200 CE
Ieue (Translation of the Divine Name by Pope Innocent III)
1278 CE
Yohoua (Translation of the Divine Name by Ramn Mart)
1303 CE
Yohouah (Translation of the Divine Name by Porchetus de Salvaticis)
1455 CE
Ieoa, Ihehoua, Jehovah91 (Translation of the Divine Name by Nicholas of Cusa)
1474 CE
Hiehouahi (Translation of the Divine Name by Marsilio Ficino)
1509 CE
Ihevhe (Translation of the Divine Name by Jacques Lefvres d'taples)
1555 CE
Ioua (Translation of the Divine Name by Sbastien Chateillon)
1490 CE
Iehoua, (According to John Pic della Mirandola a derivation from Ioua /Ioue - Jupiter)
1480 CE
Iohauah (used in Our Father92 by Johannes Wessel Gansfort - 1480)
1535 CE
Iehouah (instead of Ioua by the French translator Pierre Robert Olivtan )
1568 CE
Iehue (resp. the verbal form Iehoua or Iihue 93) by Archbishop Gilbert Gnbrard
1901 CE
94 Iaoouee, Iabe, Iouiee95 as a translation for YHWH in Jewish Encyclopedia
82
83
84
85
86
87
88
89
90
91
92
93
94
95

Detailed documentation in The Vowels in the Divine Name(s)


Atum-Iu may be an undocumented record.
Black Obelisk of Shalmaneser III
The Name Of God Yehowah. Its Story, By Grard Gertoux
The Mystery of the Seven Vowels
Demetrius, of Phaleron, b. 350 B.C. Spurious and doubtful works
The Name
The Name Of God Yehowah. Its Story, By Grard Gertoux
Quaestiones in Exodum cap. XV quoted in The Name Of God Yehowah. Its Story, By Grard Gertoux
The Name Of God Yehowah. Its Story, By Grard Gertoux A7 - Is Galatino the first who introduced the name
Jehovah in 1518?
The Name Of God Yehowah. Its Story, By Grard Gertoux
not derived from Ioue (Jupiter!), but from from Aramaic yihweh, respectively Hebrew Iehoua
However, there are other equally reputable scholars who can provide evidence that the underlying Greek of Jave is
"" and not "".
London Papyri. Xlvi, 446-482

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350 BCE: Mithras Lithurgy96


In most religions of the ancient world, music was a prominent element in temple rituals. The vowels
have been assigned to planets and tones, referring to healing procedures and magical manipulations.
In the Mithras Liturgy97 the seven vowel-sequence is named the "First -origin of my
origin, , first beginning of my beginning98, to be followed by a number of other genuine
vowel-sequences.
It has been suggested that tones had been attributed to the vowel-sequence descending
from mi ( A) to fa99:
By adjusting the pitches for EHI slightly downward, we get a correspondence between the
vowels and the Cosmic Scale constructed by the Demiurge (Timaeus 35B-36B): the vowels
correspond to the pitches D# to E in a descending B major scale. That is:
A
E
H
I
O
U

D# C# B
A# G# F# E
mi re do ti la so fa
There is an often-quoted passage from a Greek Traveler Demetrius 100, circa 350 B.C. on the seven
Greek vowels (variously annotated as , , or aeiou), which are commonly
encountered in the magical papyri and similar ritual texts from late antiquity:
"In Egypt the priests hymn the Gods by means of the seven vowels, chanting them in order;
instead of the pipe and lute the musical chanting of these letters is heard. So that if you were
to take away this accompaniment you would simply remove the whole melody and music of
the utterance (logos)."
In magical papyri we will often find permutations of these vowels by shifting or reversing
sequences 101:

( a most interesting pattern starting with IOU and ending in AEH)

96 Demetrius <Phalereus>: de elocutione (ca. 200 BCE)


97 The Mithras Liturgy is part of the great magical codex of Paris (Papyrus 574 of the Bibliotheque Nationale).
Presumably compiled in the early 4th century C.E., this codex contains a variety of tractates, hymns, recipes, and
prescriptions, which were apparently collected for use in the working library of an Egyptian magician.
98 The Vowels AEEIOYO in the Mithras Liturgy
99 In the web-site Holodemiurgia (Harmonic Considerations)
100De Elocutione 71
101Les formations gomtriques de mots dans la magie ancienne and Le pouvoir de l'criture dans la magie and Le
pouvoir de l'criture dans la magie (all in French)

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335 BCE: The greatest fear of the Celts102


The fears of the Celts must have been compensated for the greatest hope to provide themselves with
strong pillars, which have been found in all civilizations. The most sacred place on earth was the
location of the central pillar in the central omphalos.
Strabon and Arrian103 both tell us that in the year 335 B.C. the Celts of the Adriatic, men
of great stature and a haughty disposition, sent envoys to sue for the friendship of
Alexander. The Macedonian monarch received them in state and asked them what they
dreaded most, expecting the obvious answer ' You.' To his chagrin they replied that they
had but one fearlest the sky should some day fall upon them !104
Further consideration of the sky-prop, as exemplified by the Diana-pillars of Italy and the Agyespillars of Greece, threw light on some perplexing phenomena of popular cult, e.g. the wooden
balusters of Diana Nemorensis and the dokana of the Dioskouroi. Moreover, the occurrence of an
Agyes-pillar set on an omphalos at Byzantion turned our thoughts to Delphoi, where the omphalos
lately discovered by F. Courby was seen to be the base of an Agyes-post covering the navel-string
of Zeus, in accordance with a custom still traceable in various parts of Greece, and safeguarded by
the eagles that betokened his presence. The Delphic Agyespillar was in a manner duplicated by the
Delphic tripod with its central stem n. On this sat the Pythia as bride of Apollona usage implying
the caldron of apotheosis, which an Orphic myth located at Delphoi and connected with the death of
Dionysos.
And here an attempt was made to determine the stratification of this very complex cult. It appeared
that the first Hellenic occupants of the oracular seat were the sky-god Zeus Aphesios (?), 'He that
lets fly,' and the earth-goddess Ge Themis (?), 'She that produces,' their respective tokens being the
eagles and the omphalos.

Other statements of the fear for a falling sky105


The national oath by which the Celts bound themselves to the observance of their covenant with
Alexander is remarkable. If we observe not this engagement," they said, "may the sky fall on us and
crush us, may the earth gape and swallow us up, may the sea burst out and overwhelm us."
The Ulster heroes declare to their king, who wished to leave them in battle in order to meet an
attack in another part of the field "Heaven is above us, and earth beneath us, and the sea is round
about us. Unless the sky shall fall with its showers of stars on the ground where we are camped, or
unless the earth shall be rent by an earthquake or unless the waves of the blue sea come over the
forests of the living world, we shall not give ground.106"

102The E-Inscription at the Omphalos of Delphi - Notes (1) to Zeus


and Notes to "Zeus" by Arthur Bernard Cook (1925)
103Ptolemy Soter recorded this in his history of the wars of Alexander. Ptolemy, a friend, and probably, indeed, halfbrother, of Alexander, was doubtless present when this incident took place. His work has not survived, but is quoted
by Arrian and other historians. The Celts said: "We fear no man : there is but one thing that we fear, namely, that the
sky should fall on us; but we regard nothing so much as the friendship of a man such as thou." Chapter I: The Celts
in Ancient History
104Page 55 in Zeus a Study in Ancient Religion Vol 2 Part I (1925) by Arthur Bernard Cook
105 Chapter I: The Celts in Ancient History
106 from the "Tin Bo Cuailgne," in the Book of Leinster, [The Book of Leinster is a manuscript of the twelfth century]

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Pillars
Diana-pillars and their cousins Agyies-pillars are comparable to our modern May-poles, and
basically these are universe-columns, just as well as the Irminsls.
May-poles are known to symbolize fertility in combining the male and female
components107. The universe-columns resting in the flat earth-plate may therefore also be
considered as male respectively female elements.
The likeness of the Delphic Agyies, thus reconstituted, to the Germanic Irminsul is sufficiently striking. It
becomes even more so, when we note that the Irminsul described by Widukind was erected at the gateway of
the town with a pillar on either side of it.

Inscription of 4 letters at the Omphalos of Delphi 108, found by F. Courby


The Delphic omphalos often is associated with 2 eagles, which would refer to Zeus. If this is true, then the

Apollo sanctuary had belonged to Zeus and the letter E may have been assigned to Zeus as well.
This is another fundamental approach.
On the block are engraved four archaic letters, referable to the seventh century B.C. (fig. 120), of which the
last three give us in the genitive case the name of the earth-goddess Ga (or Gas, respectively Gaz109) and
the first appears to be the mystic symbol E. 110

Fig. 9: Inscription "E of Gaia" at the omphalos in Delphi


If this is true, then the Apollo sanctuary had belonged to Zeus and the letter E may have been
assigned to Zeus as well. This is another fundamental approach.
The E may have been the central letter for Zyeus (Zeus), which symbolizes the very link between

the leading (male?) letter y (yod) and

the trailing (female?) letter u.

By the ways: it also may be comparable to the letter H in YHV, or the letter A in IA

107The maypole itself is a phallic symbol representing the planting of the god's phallus into the mother earth's womb,
there by illustrating the bringing forth of new life. Source: The Maypole - Dark Dorset
108 Page 176 in Zeus a Study in Ancient Religion Vol 2 Part I (1925) by Arthur Bernard Cook
109 Another depiction is given in Varieties of Unreligious Experience: The E at Delphi
110 The Meaning of the E at Delphi

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332 BCE: Alexander occupies Tyrus111


The biblical text Lamentation for Tyre112 exactly describes what has been important those days in antiquity.
The list also includes the state of the art, including materials, soldiers, payments and special quality
descriptions.
In my study to identify the religious symbolism 113 I especially searched for the color specifications. The only
colors which (in analogy to e.g. Exodus 25:4 and 2 Chronicles 3:14) had been specified in Lamentation for
Tyre are white, Blue, Purple and Red. The colors however will not be found in a number of medieval Dutch
and German Bibles, which erroneously specify Yellow instead of Blue114.
The relevant specifications with marked color-specifications in the Lamentation for Tyre are:

Fir trees from Senir for planks, inlaid with ivory by the Ashurites, cedars from Lebanon for the
masts, oaks from Bashan for the oars.

Fine embroidered linen ( Byssos) from Egypt and blue and purple115 covers from the coasts of
Elishah.

Oarsmen from Sidon and Arvad, pilots from Tyre, specialists from Gebal to caulk the seams and all
the merchant ships of the sea. Men of war from Persia, Lydia and Libya, and the men of Arvad and
Gammad as watchmen.

Silver, iron, tin, and lead as payments from Tarshish, human lives and vessels of bronze from Javan,
Tubal, and Meshech, ivory tusks and ebony, emeralds, purple116, embroidery, fine linen, corals, and
rubies from Syria, wheat of Minnith, millet, honey, oil, and balm from Judah and Israel, wine of
Helbon and with white wool from Damascus, wrought iron, cassia, and cane, saddlecloths for riding
from Dedan, lambs, rams, and goats from Arabia and Kedar.

Choicest spices, all kinds of precious stones, and gold, blue purple117 clothes, embroidered garments,
in chests of multicolored apparel, in sturdy woven cords from Sheba, Assyria, and Chilmad.

The specification blue in Ezekiel 27:24 is missing in some translations. The German-translation for
Ezekiel 27:7 also specifies the color red in:

Byssus in Buntwirkerei aus gypten fr Segel und Flagge, sowie blauer und roter Purpur118 von den
Inseln Elischas fr das Zeltdach.

and in Ezekiel 27:16:

Karfunkel, roter Purpur119, Buntwirkerei, Byssus, Koralle und Rubinen aus Aram, Weizen von
Minnith, ses Backwerk, Honig, l und Balsam aus Juda und Israel, Wein von Chelbon und Wolle
von Zachar, bearbeitetes Eisen aus Wedan und Jawan von Usal, Kassia und Wrzrohr, Prachtdecken
zum Reiten aus Dedan, Fettschafe, Widder und Bcken aus Arabien und Kedar.

Ezekiel 27 therefore seems to specify exactly the same colors White, Purple, Red and Blue as they have been
listed in the divine commands at Exodus 25:4 and 2 Chronicles 3:14.

111Lamentation for Tyre


112Source: Ezekiel 27
113See the overview in The Hermetic Codex II - Bipolar Monotheism
114Analysis of the Translation Errors in Exodus 25-4
115Ezekiel 27:7
116Ezekiel 27:16
117Ezekiel 27:24 , 24 These were thy merchants in all sorts of things, in blue clothes, and broidered work - The King
James Version > Ezekiel > 27
118Ezekiel 27:7
119Ezekiel 27:16

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330 BCE: Etruscan Flag 120

Fig. 10: Flag at the Necropolis of Cimitile-Nola, Tomb Weege 30 ca. 330-320 BCE
Necropolis of Cimitile-Nola, Tomb Weege 30 ca. 330-320 BCE121
A red, white and blue banner is carried by a warrior.

120Ancient Italy 4.2 Etruscans and Samnites in Campania


121Capita Selecta on Red and Blue Coloration

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200 BCE: Greek Magical Papyri


The Greek Magical Papyri122 contain various representations (rectangular and triangular shapes) of
the vowel-sequences in spells, charms, magical formulas and invocations of the divine names.
Ecloga Ex Papyris Magicis: Liber II

Spell To Catch a Thief by the Shudderful Names123:


A EE E'E'E' IIII OOOOO YYYYYY O'O'O'O'O'O'O'!"
[This is the figure to strike:]

O'
Y Y
I I I I
E'E'E'E'E'
E E E E E E
A A A A A A A
IAO'
O'IA

[draw the
Uzat-Eye,
the Eye of
Horus, here]
IO'A

AE'O'

A
E E
E'E'E'
I I I I
E'E'E'E'E'
E E E E E E
A A A A A A A
E'O'A
O'AE'

These pyramids list the vowels in alphabetical and reversed alphabetical order (of the
Greek alphabet).
The effective impact of charms and spells required a perfect usage of the words and intonation:

xv. How to Say the Magical Sounds124

the "A" [alpha] with an Open Mouth, undulating like a Wave;


the "O" [omicron] succinctly, as a Breathed Threat;
the "IAO'" [iota alpha omega] to Earth, to Air, and to Heaven;
the "E'" [eta] like a Baboon; ...
the "E" [epsilon] with Enjoyment, aspirating it;
the "Y" [upsilon] like a Shepherd, drawing out the Pronunciation.

122The materials in the papyri date from the 2nd century BC to the 5th century AD.
123Source: Ecloga Ex Papyris Magicis: Liber II
124[This description, taken from a longer spell, does not specify the pronunciation of "I" (iota) or "O'" (omega).] [PGM
V.24-30]

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172 BCE: Hermes Trismegistus125


In later chapters126 we will refer to a Greek Hermes and Hermaphrodite or in Roman Mercury who
occasionally may have been depicted multi-headed.
The Mercury-principle cannot be restricted to the chemical element mercury, but must be
considered as an androgynous idea symbolized in Hermes Trismegistos. The origin of the
description Trismegistus or "thrice great" is unclear. Copenhaver reports that this name is first found
in the minutes of a meeting of the council of the Ibis cult, held in 172 BCE near Memphis in Egypt.
Hermes Trismegistus is a mythical person. In Hellenistic Egypt, the Greeks recognized the
congruence of their god Hermes with the Egyptian god Thoth. Subsequently the two gods were
worshiped as one in what had been the Temple of Thoth in Khemnu, which the Greeks called
Hermopolis.
Both Thoth and Hermes were gods of writing and of magic in their respective cultures. Thus, the
Greek god of interpretive communication was combined with the Egyptian god of wisdom as a
patron of astrology and alchemy. In addition, both gods were psychopomps; guiding souls to the
afterlife.
Many Christian writers127 considered Hermes Trismegistus to be a wise pagan prophet who foresaw
the coming of Christianity. They believed in a 'Prisca Theologia', the doctrine that a single, true
theology exists, which threads through all religions, and which was given by God to man in
antiquity and passed through a series of prophets, which included Zoroaster and Plato.
In order to demonstrate the verity of the 'prisca theologia' Christians appropriated the Hermetic
teachings for their own purposes. By this account Hermes Trismegistus was either, according to the
fathers of the Christian church, a contemporary of Moses or the third in a line of men named
Hermes, i.e. Enoch, Noah and the Egyptian priest king who is known to us as Hermes Trismegistus,
or "thrice great" on account of being the greatest priest, philosopher and king.

125 Information from Wikipedia: Hermes Trismegistus


126Hermes of Roquepertuse and Julius Caesar's De Bello Gallico
127 including Lactantius, Augustine, Giordano Bruno, Marsilio Ficino, Campanella and Giovanni Pico della Mirandola

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124 BCE: Hermes of Roquepertuse


The Acropolis Roquepertuse is a Celtic historical religious center, located near the city of Velaux
and Marseille in the Provence-Alpes-Cte d'Azur rgion of southern France. Roquepertuse had no
domiciles available for worshipers and has been used as a sanctuary where only priests may have
lived permanently. It was destroyed by the Romans in 124 BC and was discovered in 1860. Most of
the excavations were done in 1923 by H. de Grin-Ricard.
At this location the archaeologists found a dual-faced, androgynous sculpture, named: Hermes (0,2
m high)128:

Fig. 11: Double-Hermes found at Roquepertuse


Photograph created by Robert Valette and published at Wikipedia under GNU Free Documentation License

128 Reference: The Sky-God Dyaeus

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53 BCE: The Gallic Wars129 - Julius Caesar


The Gallic Wars130 between 58 and 52 BC is Julius Caesar's firsthand account of the Gallic
conquest. In these annual books Caesar describes the battles and intrigues that took place in the nine
years he spent fighting local armies in Gaul that opposed Roman domination.
The "Gaul" that Caesar refers to is sometimes all of Gaul except for the Roman province of Gallia
Narbonensis (modern day Provence), encompassing the rest of modern France, Belgium and some
of Switzerland. On other occasions, he refers only to that territory inhabited by the Celtic peoples
known to the Romans as Gauls, from the English Channel to Lugdunum (Lyon).
In Book VI, chapter XVII, Caesar describes the main Gallic deity and compares this divine idea to
Mercurius:
They worship as their divinity, Mercurius in particular, and have many images of him, and
regard him as the inventor of all arts, they consider him the guide of their journeys and
marches, and believe him to have great influence over the acquisition of gain and mercantile
transactions. Next to him they worship Apollo, and Mars, and Jupiter, and Minerva; ...
Originally Hermes/Mercurius was the Graeco-Roman god of travelers, trade, revelation, and
eloquence. He was also associated with Egyptian Thoth.
Mercurius is present in any stage of transformation as striking antipodes. He respectively she
reveals the simultaneous omnipresence of every level of being and the connecting psychic principle
between all beings: the One and the All.
Mercurius also represents the hermaphroditic, bisexual, androgynous soul of metals; the antipodes
good - evil, material - spiritual, trickster-like switcher between Sol and Luna, revealing a masculine
body and a feminine soul. Mercurius is a mediator, a servator, and a salvator. He/she is the
reflection of mystical experience, the Self, and the individuation process (Jungian psychology).
Mercurius is often referred to as duplex (in the bisexual hermaphrodite), trinus (in the manifestation
as the counterpart of the Christian Godhead), and even quaternus (in the Philosophers Stone).
We may also identify other concepts named Mercury as a major symbol in alchemy. These concepts
reveal a strange and peculiar attribute of androgyny. This attribute of androgyny may also have been
related to the Hermes.

The Hermes131
A Herma, herm or herme is a sculpture with a head, and perhaps a torso, above a plain, usually
squared lower section, on which male genitals may also be carved at the appropriate height. The
form originated in Ancient Greece, and was adopted by the Romans, and revived at the Renaissance
in the form of term figures and Atlantes. In ancient Greece the statues functioned as a form of ritual
talisman and were placed at crossings, country borders and boundaries as protection.
Before his role as protector of merchants and travelers, Hermes was a phallic god, associated with
fertility, luck, roads and borders. His name comes from the word herma (plural hermai) referring to
a square or rectangular pillar of stone, terracotta, or bronze; a bust of Hermes' head, usually with a
beard, sat on the top of the pillar, and male genitals adorned the base. The hermai were used as
boundary markers on roads and borders. In Athens, they were placed outside houses as apotropes
for good luck.
129 Based on information from Wikipedia: The Gallic Wars
130 Commentarii de Bello Gallico (English: Commentaries on the Gallic War)
131 Information from Wikipedia entry: herma

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Especially in Roman and Renaissance versions, the body was often shown from the waist up. The
form was also used for portrait busts of famous public figures, especially writers like Socrates and
Plato. Sappho appears on Ancient Greek herms, and anonymous female figures were often used
from the Renaissance on, when herms were often attached to walls as decoration.

A double-herm
Some Double-Hermes may be identified as androgynous (e.g. the bi-faced sculpture at the museum
in the German city Kassel). The Roman deity Janus and the Hermes of Roquepertuse have been
depicted as a bi-faced deity as well.

50 BCE: Janus - Cicero


According to Macrobius and Cicero, Janus132 and Jana are a pair of divinities, worshiped as the sun
and moon. For this reasons they were regarded as the main gods and received their sacrifices before
all other deities.
Janus and Janua are variant forms of Dianus and Diana. Both refer to the root of dies "day" and
deus "god"133. These bipolar characteristics may be joined by and inherited from the sky-god Dyaus
towards the words Diana, Day, Deus, Dieu, ...

Fig. 12: Bifaced, androgynous Janus as a Coin


Please check to identify the faces as male (left, with closed lips and a prominent Adam's apple)
respectively female (right, with opened lips without an Adam's apple) characters...
132 Information from: Wikipedia-entry (Janus)
133 See the documentation at: The Sky-God Dyaeus

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Clavi
Purple stripes (named clavi) were reserved for the knights and senators. As a divine emperor Nero
reserved purple clothing for the imperial family. Claviger is the attribute for the ancient Roman
deity Janus as a key-bearer. Originally the keys to be carried by Janus may not have been the
standard metal keys. Instead they must have been religious keys to be symbolized in the purple
Clavi-keys at the tunic. These symbols are as old as Janus him- respectively herself.
The original gender of Janus is quite obscure. As most of the most ancient gods he or she is reported
to have been an androgynous deity and predecessor of the androgynous sky-god Jupiter. The
androgynous character would explain the male and female attributes in the Clavigers' symbolic
color purple.134

~30 AD: The Pharisees135


The Jewish Encyclopedia reports the creation of an androgynous being titled Adam Cadmon by
Yahweh. In explaining the various views concerning Eve's creation, the Pharisees taught 136 that
Adam was created as a man-woman (androgynous).

~40 AD: The Claudian letters

Fig. 13: The Claudian letters


The Claudian letters from Wikipedia Claudius137

Wikipedia's entry Claudian letters documents138:

Claudius proposed a reform of the Latin alphabet by the addition of three new letters, two of
which served the function of the modern letters W and Y.

In his concept the turned F (digamma inversum) designed a V to represent consonantal U


(W/V).

A half H was used to represent the so called sonus medius, a short vowel sound between U and
I before labial consonants in Latin words such as optumus/optimus, later used as a variant of the
close front rounded vowel-y in inscriptions for the Greek vowel upsilon (as in Olympicus).

A reversed C (anti-sigma) was used to replace BS and PS, much like X stood in for CS and
GS139.

Now the most important of these three letters is the Y, which according to Loeb's footnote is used
to represent a sound between u and i in maxumus, maximus, etc.;
134 See the documentation at: Yellow for Judas
135 Reference: Patrism, Matrism and Androgyny
136 From the Jewish Encyclopedia: Adam Kadmon ( Er. 18a, Gen. R. viii.)
137 This image is in the public domain because it is an SVG representation of an ancient script.
138 Please note that the new characters also refer to the letters Y,H and V respectively W in the divine name YHVH.
139 The appearance of this letter is disputed, however, since no inscription bearing it has been found.

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In footnote to A copious Latin grammar: Volume 1 - page 109140 the effect is being described as a
minor error:
b) for optimus, pessimus, minimus, maximus, we find even in the best writers optumus,
pessumus, minumus, maxumus, as decimus decumus.
A missing interpretation for the the sound between u and i indicates that the original work as written
by Claudius to explain his theory for the three letters had been lost. To my opinion however a
sound intermediate between U and I suggests to consider the character Y as an androgynous,
religious symbol in which the female letter U has been placed over the male symbol I.

Wycliffe
Of course Wycliffe141 (c. 1328 1384) knew the important work of Suetonius and he may
have known the work of Claudius as well. He may have understood the symbolism of the
sound between u and i and the androgynous creation legends. Did he redesign a new
religious concept by choosing the Y-letter as a new Ego-pronoun in English instead of the
predecessor ic?
Religious symbolism would also explain why the English Ego-pronouns Y and I have been
written as capitals. Wycliff's Y denotes the androgynous and the modern pronoun I refers to
the male symbolism. In Wyclif's Bible the personal pronoun of the first person singular has
been defined as an upper case character Y.

98 AD: Germania Tacitus


Both Julius Caesar and Tacitus compare the most important deity in Germania to Mercury
(Hermes), which may refer to the standard 2-headed respectively 3- or 4-headed Hermai-sculptures
in the Roman Empire. Mercury may have survived in alchemist's theories, referring to Thoth.
Tacitus describes a similar bipolar deity Tuisco as a Creator-god in Germania 142. The divine name
Tuis equally reveals Indo-European roots143 and the standard androgynous UI-symbolism, which is
equivalent to YHWH144. In later years several cities (Duisdorf-Bonn, Duisburg and Doesburg as
Tuiscoburgum) have been devoted to Tuisco, which may indicate religious central regions at the
lower Rhine valley.
Between 500 and 1500 AD Europe may be considered asleep in the Middle Age, but the ancient
religions of the Nordic peoples will still remain relatively intact for the next few centuries. As a last
bastion of Slavic culture the sanctuary of Svantevit at cape Arcona145 will be destroyed 1168.
As usual all visible references to the ancient religions have been eliminated within a few centuries.
Lost symbolism will now have to be reconstructed from archaeological findings. Svantevit has been
a Slavic deity in the archaic ancestors-cult. The deity had been equipped with four heads: two heads
were looking forward and two heads were looking backward.

140 Immanuel Johann Gerhard Scheller, George Walker - 1825 - Vollstndige Ansicht
141 The Y-Proceedings (The Y-Key to the English Ego-Pronouns)
142 Subtitle: De origine et situ Germanorum liber
143 In Indo-European languages the common sky-god is named Dyaus
144 Source: Jacob Grimm, German Mythology
145 at the German island of Rugen

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100 AD: The Wars of the Jews by Josephus146


Flavius Josphus is so important because he delivers a two millenniums old old source, in which the
four main colors' symbolism is explained as representations of elements. Josephus however does
not rely on predecessor sources. The elements earth (white), air (blue), sea (purple) and fire (scarlet)
may have been secondary attributes. Josephus expresses his uncertainty in some of his references by
insertions like I suppose, I mean and it seems.
Red and blue are special elements of the rainbow, in which they represent the border colors. The
usage of border elements suggest the idea of symbolizing bipolarity.
Originally purple may have been a mixture of red and blue before its essence had been extracted
from the sea shell-fish. The mixture of bipolar elements suggests to search for uniting the bipolar
elements.
Finally white may have been a root symbol as well. Purple and white are special colors, which
cannot be found in the rainbow' visible spectrum. White of course is the total mixture of all
elementary colors whereas purple is the mixture of the border colors both are absent in the
rainbow's visible spectrum.
In the course of history purple and linen have been used as a symbolic honor for wisdom. This is a
rather strange combination in applying symbolic purple (sea) and white (earth) excepting the other
elementary elements fire (red) and air (blue) for wisdom. Instead purple and white as exceptional
elements in the rainbow's spectrum would have made more sense.
Purple required a special leave to use the royal symbol. The sheer abundance of purple in
Josephus' historical records suggests to consider purple as a very special symbol, which has not
been restricted to the Jewish society.

An Image of the universe


In the holy house the mixture of the 4 colors' mystical interpretation represented the image of the
universe. And the absence of living creatures seems to restrict the symbolism to divine powers,
which must have been existing before life had been created.
Josephus seems to have categorized red and blue as images of the fire and the sky. In contrast
purple and white have been considered as representing their sources (the sea, respectively the earth).
These references are rather constructed and the original symbolism may have been forgotten as a
lost paradigm from ancient times...
In Critique of Modern Art147 Frederick Solomon also quotes Josephus (37 c. 100AD), who
explained the ancient biblical color symbols of the temple at Jerusalem as a symbol of the universe
in his work: The Wars Of The Jews148, Book V - Chapter 5. Section 4 in: A Description Of The
Temple:
But then this house, as it was divided into two parts, the inner part was lower than the appearance of
the outer, and had golden doors of fifty-five cubits altitude, and sixteen in breadth; but before these
doors there was a veil of equal largeness with the doors. It was a Babylonian curtain, embroidered
with blue, and fine linen, and scarlet, and purple, and of a contexture that was truly wonderful.

146 The Symbolism of the Colors Purple, White, Red and Blue
147Critique of Modern Art by Frederick Solomon (1970)
148The History Of The Destruction Of Jerusalem

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Nor was this mixture of colors without its mystical interpretation, but was a kind of image of the
universe; for by the scarlet there seemed to be enigmatically signified fire, by the fine white (?)
flax the earth, by the blue the air, and by the purple the sea; two of them having their colors the
foundation of this resemblance; but the fine flax and the purple have their own origin for that
foundation, the earth producing the one, and the sea the other. This curtain had also embroidered
upon it all that was mystical in the heavens, excepting that of the [twelve] signs, representing living
creatures.
Another reference is given in the description of Moses' Tabernacle in the Wilderness, for which the
Bible prescribes the use of four elementary colors: blue, scarlet, purple and white. However
Josephus does not explain these colors yet, although these are the same colors which have been
documented for the temple:
HEREUPON the Israelites rejoiced at what they had seen and heard of their conductor, and
were not wanting in diligence according to their ability; for they brought silver, and gold,
and brass, and of the best sorts of wood, and such as would not at all decay by putrefaction;
camels' hair also, and sheep-skins, some of them dyed of a blue color, and some of a scarlet;
some brought the flower for the purple color, and others for white, with wool dyed by the
flowers aforementioned; and fine linen and precious stones, which those that use costly
ornaments set in ouches of gold; they brought also a great quantity of spices; for of these
materials did Moses build the tabernacle, which did not at all differ from a movable and
ambulatory temple.
These four basic color symbols red, blue, purple and white have been found in many temple
decorations149, tomb decorations, medieval bible illustration150, sacred paintings, religious garments,
as well as in coat of arms and flags. In the biblical text for Lamentation for Tyre the trading, the
traders and the customers for these elementary symbolic dyes has been described in details.
The four colors represented the four elements air, fire, sea and earth. Although their symbolism
may have been extended and altered since Josephus, the color symbolism generally formed the
fundamental base for sacred paintings.

149Red and Blue in Architecture and Artwork


150Illuminated Manuscripts

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100 AD: The Parallel Lives by Plutarch


In order to investigate the symbolism of purple and scarlet in Greek and Roman societies I also
searched the "The Parallel Lives" by Plutarch for quotations of purple and scarlet, which seem to be
the most prominent symbolic colors from the beginning of Roman history until Plutarch's writings
around 100 AD151.
There is a remarkable difference between Josephus' and Plutarch's records. Only the Jewish writings
do contain references to blue and white. There is no explanation for the Roman preference for
purple and red over blue and white.

140 AD: Gnosis - syzygies152


In many Gnostic systems, the various emanations of God are called Aeons. In the different
systems these emanations are differently named, classified, and described, but the emanation
theory itself is common to all forms of Gnosticism. In Valentinianism they form male/female
pairs called syzygies (Greek , from syzygoi, lit. "yokings together").
Valentinian literature described the Primal Being or Bythos as the beginning of all things who, after
ages of silence and contemplation, gave rise to other beings by a process of emanation. The first
series of beings, the aeons, were thirty in number, representing fifteen syzygies153 or pairs sexually
complementary.
Through the error of Sophia, one of the lowest aeons, and the ignorance of Sakla, the lower
world with its subjection to matter is brought into existence. Man, the highest being in the
lower world, participates in both the psychic and the hylic (material) nature, and the work of
redemption consists in freeing the higher, the spiritual, from its servitude to the lower.
Valentinus was among the early Christians who attempted to align Christianity with Platonism,
drawing dualist conceptions from the Platonic world of ideal forms (pleroma) and the lower world
of phenomena (kenoma).

170 AD: a seven day week design Anthologiarum by Vettius Valens


Between the 1st and 3rd centuries the Roman Empire gradually replaced the eight day Roman
nundinal cycle with the seven-day week. This seems to have been a signal to generate new names
for the days of the week.
The earliest attestation of a seven day week associated with heavenly luminaries are from
Vettius Valens, an astrologer writing ca 170 AD in his Anthologiarum. The order was Sun,
Moon, Ares, Hermes, Zeus, Aphrodite, and Cronos. From Greece the planetary week names
passed to the Romans, and from Latin to other languages of southern and western Europe,
and to other languages later influenced by them154.
Thursday had been devoted to Zeus, and in Latin to Jupiter, which is our scope for
investigations of the PIE-roots in the days of the week.
The days of the week suggest to derive the divine names from the days of the weeks, which result in
the following list of vowel sequences as familiar divine names and may have been valid around
151 Symbolism of Purple and Scarlet in Greek and Roman Societies
152Source Valentinus (c.100 - c.160)
153Source: Syzygy (Gnosticism), male-female pairings of the emanations known as aeons
154from: Names of the days of the week)

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100-300 AD155:
iaou, jous, Yow, Yaou, a, jeu, joi, Jov, Jou or Jovis, gio, joi, jue, Iau
Especially the French name for Thursday (jeudi) correlate to the previously identified Provencal
ego-pronoun ieu and the corresponding divine name Dieu in French. Merely the French word
for day jour deviates from the genuine linguistic generation process. The corresponding ideally
matched word would have been the non-existing alternative jeur for jour.

200 AD: Jeremiah ben Eleazar156


Jeremiah ben Eleazar157, a Palestinian scholar of the 2nd century (living a few centuries after Plato),
inferred from Ps. cxxxix. 5 that Adam was created with two faces, one of a man and one of a
woman, and that God afterward cleft them asunder ('Er. 18a). In Gen. R. viii. 1 this opinion is
ascribed to Samuel b. Naman, while Jeremiah's opinion is stated to have been that Adam was
created a hermaphrodite158.
Jeremiah, son of Eleazar, says:
"God created Adam androgynous, but Samuel, son of Naman, says, He created him
'double-faced,' then cutting him in twain and forming two backs, one to the one and the
other to the second" 159.
The same statement is given in Moses ha-Darshan's Bereshit Rabbati 160. The difference in the
interpretation is that, according to Jeremiah's opinion,
Adam had both sexes, and was thus a real hermaphrodite in the old mythical sense, identical
with that conception of Hermes in which he is understood to be the "logos alethinos," the
son of Maya, the bisexual primeval man of the East.
The Greek Hermaphroditus represented by statues and on old gems, in which representations,
however, bisexuality is scarcely indicated has remained strange to the East and totally unknown
to the Jews.
In all the parallel passages in the Talmud, the opinion of Samuel b. Naman alone prevails, for we
find regularly Adam
(bifrons, double-fronted), as, for example: 'Er. 18a, Ber. 61a, etc. 161.
The opinion expressed by Jeremiah is, however, very old and wide-spread, for we find the fathers of
the Christian Church at pains to refute this "Jewish fable"; Augustine writes against it in his
commentary on Genesis, ad loc. ch. 22. Strabos, agreeing with Augustine, declares this opinion to
be one of the "damnat Judorum fabul."
Others revive the question, and Sixtus Senensis in his "Bibliotheca Sacra" devotes to it a special
chapter162. An alchemical interpretation has been given to "Adam androgynous" by Guil. Menens 163.

155See for details: The Key Morpheme - analyzing the PIE-concept


156 Reference: Secret colors Codes in the Bible
157Info from the website: Jewish Encyclopedia
158See the entry Androgynos at the Jewish Encyclopedia
159 see Bacher, "Ag. Pal. Amor." i. 547, iii. 585
160 "Pugio Fidei" p. 446, Paris, 1651
161 Jastrow, "Dict." s.v., p. 304, 1
162 ed. Colon. 1586, fol. 344, 345
163 "Aurei Velleris libri tres, Theatrum chemicum," vol. v., p. 275, Argent., 1660

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400 AD: The Iuark alphabet


Graphically we may identify the modern letters U and I (identified in the divine names IU-piter,
Tuisco and IHVH) as the previously found Cups (U) and pillars (I). The modern letters O and I
(identified in the divine names Dios and Dio) may be read as the previously found Circles (O) and
pillars( I).
In ancient Futhark alphabet the Cups (U), Circles (O) and Pillars (I) also will easily be identified as
the equivalent symbols.

Fig. 14: The Older Fuark (Wikipedia)


The Futhark or Fuark alphabet has been named after the principal letters FUTh from the left to
the right. There is however another sequence, which more clearly may symbolize the alphabet's
religious character.

Fig. 15: The Kylver runestone depicting the Iuark


The oldest Futhark alphabet has been depicted at the Kylver runestone in Sweden (400 AD)164. In a
closeup we may identify the letters I, U and Th, which may have been the dominant letters for this
writing. The principal letters for this Kylver alphabet are I, U, Th, A, R, K, which would rename
Futhark in Iuthfark or Iuark165.
A web-paper166 written by Hermann Wenzel confirms the absence of the two parallel strokes in the
first character at the original slab at the Stockholm museum, which he had inspected with his own
eyes. The runes' inscription starts with an upright stroke. Erosion cannot explain the missing lines.
Of course the principal letters of this alphabet are religious symbols I and U, which exactly
correspond to IU-piter and IHVH. The principal element is a male symbol I, the second letter is a
female U and the third letter is a joined symbol .There is no explanation why the Iuark
alphabet is still being called Futhark. In a religious inscription like this the author would hardly
ever forget to inscribe the two missing strokes for the F.

164Agrell, Sigurd "Lapptrummor och runmagi" (1934) from Wikipedia


165The Keystone to Religion - Interpreting the Kylver rune-stone
166Das magische Planetarium der Runen written by Hermann Wenzel (in German language)

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The letter

symbolizing Th in Kylver alphabet, which originally has been a special


rune, is a religious symbol as well. The letter which is still being used in Icelandic alphabet,
may be identified in divine name eos, ( Theology). The symbolism may be unknown, but the In fact the third letter

letter may easily be identified by a joined U and I, symbolizing a divine, matrimonial couple.

Marcomannic runes
In a treatise called De Inventione Litterarum, preserved in 8th and 9th century manuscripts, mainly
from the southern part of the Carolingian Empire (Alemannia, Bavaria), ascribed to Hrabanus
Maurus, a runic alphabet consisting of a curious mixture of Elder Futhark with Anglo-Saxon
futhorc is recorded. The manuscript text ascribes the runes to the Marcomanni, quos nos
Nordmannos vocamus, and the alphabet is hence traditionally called "Marcomannic runes", but it
has no connection with the Marcomanni and is rather an attempt of Carolingian scholars to
represent all letters of the Latin alphabets with runic equivalents.
Wilhelm Grimm discussed these runes in 1821 (Ueber deutsche Runen, chapter 18, pp. 149159).
The Marcomannic runes also provide us with a new symbol Huyri for the modern letter Y.

Fig. 16: Marcomannic Runes

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400 AD: Notitia Dignitatum


Notitia Dignitatum details administrative symbols in the Roman empire, which at that time already
had been governed for 90-100 years by a religious tolerance of Christianity 167. The manuscript(s)
provides us with an overview of the late Roman shield patterns for the military forces around 400
AD.
The Notitia Dignitatum is a unique document of the Roman imperial chanceries. One of the very
few surviving documents of Roman government, it details the administrative organization of the
eastern and western empires, listing several thousand offices from the imperial court down to the
provincial level.
A quick look at the Late Roman Shield Patterns for the 127 units under the overall command of the
Master of the Foot will convince us of the dominance of the colors red, blue, orange, black and
white. Only minor amounts of purple, green and yellow have been used.
These shield patterns may have been widely known throughout the Roman empire, resulting in
popular symbols for shield patterns among the Celtic and Germanic soldiers, generals and their
kings. The patters probably survived the medieval chaotic eras and were to be remembered in later
times for medieval garments and coats of arms. We remember most of the royal garments and coats
of arms in the Middle Age have been colored red, blue, black, white and golden.

Magister Peditum page 4

Fig. 17: Magister Peditum page 4

Magister Peditum page 4 from the Roman Notitia Dignitatum (5th century AD) 168

167after Saint Constantine issued the Edict of Milan in 313, which proclaimed religious tolerance of Christians
throughout the empire.
168public domain (because its copyright has expired.)

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The flag of South Korea


At Page 4 from the Roman Notitia Dignitatum the shield pattern of the armigeri defensores seniores
(4th row, third from left), resembles the earliest representations of the symbol known today as Yin
and Yang.

From Notitia Dignitatum to the Taegeukgi


The flag of South Korea, or Taegeukgi (also spelled Taegukgi in convention) was taken from the
Chinese design of the yin and yang symbol and has three parts: a white background; a red and blue
taegeuk ("Taijitu" or "Yin and Yang") in the center and four black trigrams, one in each corner of
the flag.
The taegeuk represents the origin of all things in the universe; holding the two principles of "Yin",
the negative aspect rendered in blue, and "Yang", the positive aspect rendered in red, in perfect
balance. Together, they represent a continuous movement within infinity, the two merging as one.
The earliest surviving depiction of this South Korean flag has been printed in a U.S. Navy book
Flags of Maritime Nations in July 1882169.

British Royal Air Forces170


At Page 4 from the Roman Notitia Dignitatum the shield pattern of the attecotti iuniores Gallicani
(second row, third from left) may eventually refer to the symbol for the British Royal Air Forces:

169Reference: The Fundamental Color Symbols Blue and Red


170Reference: Blue and Red in Notitia Dignitatum

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426 AD: City of God171 by St. Augustine172


In City of God St. Augustine named Jupiter Father and mother of the gods. Book VII, Chapter 10
quotes173:
To this effect, also, the same Varro expounds certain verses of Valerius Soranus in that book
which he wrote apart from the others concerning the worship of the gods. These are the
verses:
'Almighty Jove, progenitor of kings, and things, and gods,
And eke the mother of the gods, god one and all.'
But in the same book he expounds these verses by saying that as the male emits seed, and
the female receives it, so Jupiter, whom they believed to be the world, both emits all seeds
from himself and receives them into himself. For which reason, he says, Soranus wrote,
Jove, progenitor and mother; and with no less reason said that one and all were the same.
For the world is one, and in that one are all things.
This chapter marks the end of the Middle Age. Early symbolism, alphabets, painted sculptures,
colored temples, Platonic legends, Biblical books and other remains recorded the religious thoughts,
which have been mixed up with Christian revelations, which will be discussed in the next chapters.

500 AD: The Pronoun


From the fifth century the Anglo-Saxon futhorc split the Elder Futhark a rune into three
independent runes due to the development of the vowel system in Anglo-Frisian. These three runes
are s (transliterated o), sc "ash" (transliterated ) and ac "oak" (transliterated a).
In Norse mythology, the World Tree Yggdrasil is commonly held to be an ash tree, and the first
man, Ask, was formed from an ash tree. This may one good reason to name the first man sk or
in a shortcut even (I).
In many western, northern, and southwestern Norwegian dialects, and in the western
Danish dialects of Thy174 and South Jutland, the phoneme [] has a significant meaning:
the first person singular pronoun I, and it is thus a normally spoken word; usually, it is
written as when these dialects are rendered in writing. In Faroese, it is pronounced the
same way, but it is written as eg.
The sc "ash" (transliterated ) is a most important vowel, which probably had been derived from
the divine -core in the PIE-Concept of the sky-god Dy--us.

171 City of God (De civitate Dei, begun ca. 413, finished 426)
172 Reference: Cross-references for Deities and Man
173 City of God by Saint Augustine (Bishop of Hippo.), Henry Bettenson
174Thy is originally the same word as Old Norse j ("thioth"), meaning people. The Danish Census Book of
King Valdemar II of 1231 mentionsThiuthsysl, i.e. the syssel of Thy. Thy is by some scholars thought to be the
origin of the Teutons;

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525AD - A Merovingian King of Planig in Red & Blue 175


The Mainz regional museum exhibits a Merovingian Duke or King of Planig in red & blue. The
grave had been discovered in 1939. The king's death had been documented at 525 n. Chr.
I am unsure whether the colors of his garments had been identified as the symbolic colors red &
blue.

18: Merovingian Duke or King of Planig

175 The Colors at the Main Gate of the Mainz Cathedral and Der Frst von Planig - Mainzer Landesmuseum

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600 AD: Interpretatio germanica.


The Germanic peoples adapted the system introduced by the Romans but glossed their
indigenous gods over the Roman deities (with the exception of Saturday) in a process known
as Interpretatio germanica. The date of the introduction of this system is not known exactly,
but it must have happened later than AD 200 but before the introduction of Christianity
during the 6th to 7th centuries, i.e. during the final phase or soon after the collapse of the
Western Roman Empire.176.
Germanic peoples encoded their main divine Being in Tuesday's name, which has been associated
with the PIE-sky-god Dyaus and the Thing (Assembly), of which god Tyr/Ziu was the patron.
Although Wodan/Odin or Thor may have been interpreted as the more important Germanic deities
the names Tiw/Tyr/Ziu (and eventually Tuisco) are directly referring to the IU-cores of the PIEnames Dyeus and Deiwos.
Ziu and Tiw or Tiuu and eventually Tuisco clearly reveal their IU- respectively UI-combination. For
the sound-equivalence of the Greek upsilon and Claudian Y-letter as an IU-combination Tyr may
also be understood as the so-called sonus medius to symbolize Tiur or Tuir instead of Tyr.
Occasionally the name Tyr or Tiw has been abbreviated, reducing it to Ti, Tiis or Tirs, which
however caused a loss of the fundamental U-element. These losses of basic U-elements may
indicate a loss of understanding of the symbolism. As long as the Y-symbol has been used the basic
IU-core has been preserved.
The days of the week suggest to derive the divine names from the days of the weeks, which result in
the following list of vowel sequences as familiar divine names and may have been generated around
200-600AD177:

*Deiwos, *Teiwaz, Ziu, Tiwaz, Tiw, Ti, Tyr

176Quoted from: Names of the days of the week)


177See for details: The Key Morpheme - analyzing the PIE-concept

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The Middle Age


600 AD: The illuminated Viennese Codex
In early Middle Age some medieval people obviously believed in a male God located in the sky, in
the sun or inside a cloud, accompanied by a woman.
The following image found in the Vienna Bible from the sixth century symbolizes God as a redcolored man sending yellow-golden sun-rays to Joseph, lying on his bed. The moon does contain a
blue-colored woman with cow-horns like an Egyptian deity. The stars have been painted like
asterisks in an Egyptian grave.
The Viennese Codex displays a red male sun as a sky-god and a pale white moon as his wife.

Fig. 19: Male Sky-God (Viennese Codex - sixth Cent.)


As a remarkable fact in these allegorical descriptions the sun will normally be painted red (instead
of yellow). The color red for the sun178 may be considered as a allegoric symbol for masculinity. In
this painting the moon is white and blue179.

178There is some evidence that the Egyptians already used to depict the sun as a red circle.
179Reference: The Sky-God Dyaeus

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600 AD: The Rabbula Gospels


The Rabbula Gospels, or Rabula Gospels180, is a 6th century illuminated Syriac Gospel Book.
The following image is the earliest crucifixion in an illuminated manuscript. The decorations at the
border of the painting are clearly alternating red, blue and green.
Please note the traditionally inserted male sun and the female moon crescent at the right
respectively left side of the crucifix.

Fig. 20: Crucifixion in the Rabbula Gospels (600 AD)

180 Florence, Biblioteca Mediceo Laurenziana, cod. Plut. I, 56

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800 AD: Charlemagne


Emperor Charlemagne is being crowned at a solemn ceremony on Christmas Day, AD 800, by Pope
Leo at Rome. The Pope is wearing a purple garment, Charlemagne is dressed in blue and the
surrounding persons are wearing purple, blue or red robes181.

Fig. 21: Coronation ceremony for Charlemagne (800 AD)

181reference: Red and Blue in the Middle Age.

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800 AD: The Book of Kells


The following folio from the Book of Kells mainly reveals the colors red, blue, purple and gold.
The lettering is in iron gall ink, and the colors used were derived from a wide range of substances,
many of which were imports from distant lands.

Fig. 22: Book of Kells (800 AD)


The Book of Kells, c. 800, showing the lavishly decorated text that opens the Gospel of John.
Folio 292r, Incipit to John. In principio erat verbum.

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850 AD: The Rado-Bible182


As far as I see there is one exception to standard coloring scheme of red & blue illuminations. The
Rado-Bible or Carolingial Bible183 is using another scheme by applying green, red and yellow in
their initial lettering symbols. Obviously the monks who created this early codex did not know or
refused to follow the coloring standards, which have been preferred in later years and other
locations.

Fig. 23: Initials in the Rado-Bible (850 AD)


182 Reference: Secret colors Codes in the Bible
183 created around 850 AD in Northern France

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868 AD: Otfrid from Weissenburg


Pronouns for the 1st and 2nd person singular
Some documents ranging from 865 AD until 868 AD do contain the pronouns of the 1th and 2 nd
person in old-German language. As an example the following lines by Otfrid from Weissenburg (a
town in the Alsace at the French/German-borderline) 184:
Original text in archaic German language:
Wolaga elilenti! Harto bistu herti,
thu bist harto filu suar, thaz sagen ih thir in alawar!
English Translation:
Oh foreign countryside! Thou art so hard,
Thou even art very hard, and this I am telling you for sure!
The old-German language obviously did use the pronouns Thou and I as Thu respectively
Ih. Joining both pronouns will result in thu-ih = Thui, which may be interpreted as the core in the
divine name Tuisco.

184 History of German Literature, Naumann & Gbel, ISBN 3-625-10421-0

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962 AD: Otto I


Otto I (named the Great), the Roman emperor (962-973), is wearing garments in red, blue and
golden185.

Fig. 24: Otto I (the Great), 962 AD

185reference to: Blue and Red in Medieval Garments

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1011: The ultimate Vowel


Old English was first written in runes (futhorc) but shifted to the Latin alphabet around the 9th
century. In the year 1011, a writer named Byrhtfer ordered the Old English alphabet for
numerological purposes. He listed the 24 letters of the Latin alphabet (including et ligature) first,
then 5 additional English letters, starting with the Tironian note ond, resulting in a list of 29
symbols in which only the last character () has been a genuine new vowel:
ABCDEFGHIKLMNOPQRSTVXYZ&
The letter was named from the runic letter named Ansuz. As a letter of the Old English Latin
alphabet, it was called sc ("ash tree") after the Anglo-Saxon futhorc rune , which it transliterated;
its traditional name in English is still ash.
In Old English, denotes a sound intermediate between a and e. The Ash-symbol is being used in
special words, such as sir, Csar, medival, Encyclopdia, etc.
Medival is a compound word of medi (middle) and aevum (era, eternity). Probably
eternity has been considered as a sacred attribute for divine symbols and at least in English the character itself symbolized eternity and sacredness. This may have inspired the Teutonic peoples
to choose the -vowel as their ego-pronoun, which at least according to Morris Swadesh is the most
important of all words in any language.

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1014: Henry II
Henry II (9731024), called the Holy or the Saint, was the fifth and last Holy Roman Emperor of
the Ottonian dynasty, from his coronation in Rome in 1014 until his death a decade later. His
garments are orange, yellow (or gold?) and blue with red & blue decorations. Please also note the
weaving patterns in blue and red at his feet and at the border lines...186

Fig. 25: Henry II (9731024)


public domain because its copyright has expired.

186reference to: Blue and Red in Medieval Garments

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1018: Starred Mantle for Emperor Henry II


Originally Henry's coronation mantle had been dark purple 187, but had to be repaired between
around 1453-1455.
The mantle depicts scenes from the Life of Christ as well as celestial bodies. There are 14
medallions containing figures. The design elements are worked in fine couched gold thread on
violet silk twill. There is some colored silk work (white, red, blue and green). Some of the figures
have elements worked in stem stitch. The mantle is believed to be of Southern German
manufacture188.
In 1503 the embroidered elements were cut away and remounted on the current Italian silk damask.
Therefore, the original placement of the motifs on the mantle are unknown.

Fig. 26: Starred Mantle for Emperor Henry II.


Regensburg, around 10181024, Carrier material after restoration: Italy, around 1453.
Diocesan museum Bamberg (2728/36)
License: public domain, published by User:Henricus

The Starred mantle of Heinrich II is similar to that of the Coronation Mantle of St. Stephen and the
Great Mantle of his wife, St. Kunigund 189. Since St. Stpehens' wife, Gisela was the sister of
Heinrich II, it is possible the three mantles were made in the same region.

187Henry II-site
188Colored Coronation Mantles
189 made in Southern Germany in the early 11th Century

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The coronation mantle was (always?) to be seen as one colored element in a composition of several
components. At the coronation the emperor is depicted wearing a magenta garment and a blue robe,
while being seated on a throne, decorated with red colored.

Fig. 27: Henry II crowned Holy Roman Emperor


Henry_II_crowned_Holy_Roman_Emperor.jpg (from Wikipedia)
public domain because its copyright has expired.

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1027: Conrad II
Conrad II (c. 990 June 4, 1039), Holy Roman Emperor from 1027 until his death. All persons on
this 14th century miniature of Conrad II are wearing red, blue and purple garments190

Fig. 28: Conrad II (c. 990 1039)

190reference to: Blue and Red in Medieval Garments

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1064 AD: Gunthertuch

Fig. 29: The so-called "Bamberger Gunthertuch" (1064/65?)


public domain because its copyright has expired.

The so-called Gunthertuch is a Byzantine silk tapestry which represents the triumphal return of a
Byzantine Emperor from a victorious campaign. The piece was purchased, or possibly received as a
gift, by Gunther von Bamberg, Bishop of Bamberg, during his pilgrimage 1064/65 to the Holy
Land.
He is flanked by two female tychae, who personify Constantinople's two demoi, the Blues and the
Greens, who are also wearing red overcoats.
Apart from a singular green row at the left and right side of the Gunthertuch the background has
been set in small circular areas of blue and red colors191.
191See the detailed photograph in Colored Coronation Mantles

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1093: Conrad III


Conrad III (1093 15 February 1152 in Bamberg), the first King of Germany of the Hohenstaufen
dynasty. In this miniature from the 13th century the garments are in red, orange and blue. please
note the alternated colors in red & blue in the header text 192. These are the oldest alternating red and
blue characters I identified in my archive of illustrations.

Fig. 30: Conrad III (1093 1152)


Miniature of Conrad III of Germany from Chronica Regia Coloniensis (Cologne Kings' Chronicle;
Cologne; ca. 1240). Brussels, Bibliothque Royale, Ms. 467, fol. 64v
public domain because its copyright has expired.

192reference to: Blue and Red in Medieval Garments

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1025: The Pronoun in lfric's Sermon193


Abbot lfric's sermon194, which has been written before 1025 is using the Old-English pronoun
Ic, which is identical to the Dutch pronoun:
'Ic afandige manna heortan, and heora lendena, and lcum sylle fter his frelde, and fter
his agenre afundennysse.'
Translation into modern English195:
'I try the hearts of men, and their reins, and give to every one according to his conduct, and
according to his own device.'
In a later medieval era (in the Wycliffe Bible) the Ego-pronoun is changed to Y, which in the end
will be transformed to I.

1025: Worms Sacristy


The red & blue colored bars of the medieval crucifix from the sacristy at Worms had been dated
(1025 ?) at the 11th century196.

Fig. 31: Crucifix from the sacristy at


Worms (1025)

193Reference: Analysis of lfric's Language


194The full texts may be found in 114 EPIPHANIA DOMINI and 115. THE EPIPHANY OF THE LORD. In "The homilies of the
Anglo-Saxon church. The first part, containing the Sermones catholici, or Homilies of lfric"

195Translation quoted from The Making of English by Henry Bradley


196Reference: Just another Diary

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1099: Murder in the Al-Aqsa-mosque197


This miniature from the 14th century documents the massacre of Moslem pilgrims by crusaders at
the Al-Aqsa-mosque198, in which the crusaders wear traditional red & blue garments.

Fig. 32: Crusaders in the Al-Aqsa-mosque (1099 AD)

197Reference: Blue and Red in Medieval Garments


19816th of July, 1099, Jerusalem

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1100: Rashi en Rashbam199


Both the most respected rabbis Rashi200 and Rashbam living in medieval France - expressed the
idea of molding human beings iu like coins from a divine hologram201 Diu.
Strange as it may seem, the most respected medieval Bible interpreter and commentator Rahsi
describes the androgynous creation legend in creating a singular being which was both male and
female and which was subsequently divided into two beings just like Adam Cadmon. His grandson
Rashbam repeated Rashi's idea: God included the woman in the man and separated them later.
From these most respectful authorities I expect a severe influence and impact on French spelling
and French dictionaries. Probably Rashi has been influencing the monks who illuminated the
medieval Bibles with the standard androgynous symbols red & blue. Rashi and Rashbam may also
have been responsible for the definition of French spelling in the centuries following the 12 th
century.

Rashi
Rashi202 was a medieval French rabbi was famed as the author of the first comprehensive
commentary on the Talmud, as well as a comprehensive commentary on the Tanakh (Hebrew
Bible). He is considered the "father" of all commentaries that followed on the Talmud (i.e., the
Baalei Tosafot) and the Tanakh (i.e., Ramban, Ibn Ezra, Ohr HaChaim, et al.).
Rashi was an only child born at Troyes, Champagne, in northern France. His mother's brother was
Simon the Elder, Rabbi of Mainz. Shimon was a disciple of Rabbeinu Gershom Meor HaGolah,
who died that same year. On his father's side, Rashi has been claimed to be a 33rd-generation
descendant of Yochanan Hasandlar, who was a fourth-generation descendant of Gamaliel the Elder,
who was reputedly descended from the royal house of King David. In his voluminous writings,
Rashi himself made no such claim at all. The main early rabbinical source about his ancestry,
Responsum No. 29 by Solomon Luria, makes no such claim either.
Rashi's Genesis (1100 AD)

God as Judge, alone without the angels, created the human being, by hand, in a mold
which was like the mold with which a seal is made or like the die from which a coin is
produced, and which had been specially crafted for the human being. In a mold which was a
hologram image of God, God created the human being. One being which was both male
and female and which was subsequently divided into two beings, God created them 203 .

199references: The Sky-God Dyaeus and Sacred Phonemes - Moulding the sacred words
200RAbbi SHlomo Itzhaki
201from the Greek, hlos whole + graf writing, drawing
202Info from Wikipedia's Rashi
203 Rabbi Rashi 1040-1105, northern Europe (chapter 27)

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Rashbam204
He was born in the vicinity of Troyes, in around 1085 in France to his father Meir ben Shmuel and
mother Yocheved, daughter of Rashi. He was the older brother of the Tosafists Isaac ben Meir
(Rivam) and Jacob ben Meir (Rabbeinu Tam), and a colleague of Rabbi Joseph Kara.
Like his maternal grandfather, the Rashbam was a biblical commentator and Talmudist. He learned
from Rashi and from Isaac ben Asher ha-Levi (Riva). He was the teacher of his brother, Rabbeinu
Tam. His method of interpretation differed from that of his grandfather.
Thus Rashbam (on Genesis i. 5) maintained that the day began at dawn and not from the previous
sunset (as later Jewish custom assumed). This contrasts to the ancient Celtic idea as described by
Julius Caesar, who claims that the Gauls considered the days as successors of the nights205.
All the Gauls assert that they are descended from the god Dis 206, and say that this tradition
has been handed down by the Druids. For that reason they compute the divisions of every
season, not by the number of days, but of nights; they keep birthdays and the beginnings of
months and years in such an order that the day follows the night.
Caesar however referred to the idea of Dis as a deity of the dark underworld.
Rashbam's Genesis (1170 AD)

God said, 'Let us make humanity in our angelic image, like us in wisdom. The humans shall
rule the fish of the sea, the birds of the heaven, the domestic animals, and all the earth, as
well as the creeping things which creep over the earth'. God created humanity in the angelic
image; in the image of the angels, God created humanity; God included the woman in the
man and separated them later207.

204Info from Wikipedia Rashbam


205 Source De Bello Gallico, Boek VI, chapter 18
206The Deity Dis in the Gallic Wars
207 Rasbam, Rashi's Great Grandson, 1085-1174, northern Europe (Ch. 27)

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1100: Widukind's Tomb


A remarkable tomb208 in orange-red, blue and purple from the early 11 th century is to be found at
Enger, Westfalia. It may have been related to the Plantagenet tombs at Fontevraud Abbey (11891246) and to the grave at Roermond (1240). I still feel unsure whether some of the garments found
at Enger, Fontevraud Abbey and Roermond are orange instead of red. The early Anglo-Saxons must
have been informed of these colors and may have taken these to their home country in France and
Great-Britain.

Fig. 33: Widukind's Tomb at Enger


Obviously Widukind's name may also be related to the Indo-European sky-god, whose name has
been identified by an androgynous IU-core. Another pagan, Indo-European sky-god of the north
country has been named Vit or Svantevit, which may correlate to Widu, respectively Uidu's
Child. The color combination red & blue may refer to the androgynous character of the pagan
deity209. Widukind's Tomb at Enger (early 11th Century, 210

208reference: Widukind's Tomb


209 The Hermetic Codex
210 The colors have been reconstructed according to a description made 1578 by Reinerus Reineccius) - Source:
Westfalian History

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1130: St. Albans Psalter211


The St. Albans Psalter, also known as the Albani Psalter or the Psalter of Christina of Markyate, is
an English illuminated manuscript, one of several Psalters known to have been created at or for St
Albans Abbey in the 12th century.
The initials from the beginning of psalms in the St. Albans Psalter are basically colored red & blue.
Green may be applied as a background color.

Fig. 34: Initials from the psalms in the St. Albans Psalter (1130)
public domain because its copyright has expired.

211Reference: Illuminated Manuscripts

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1133 AD: Imperial Mantle for the Holy Roman Empire


Around 1133AD Roger II ordered to create the Imperial Mantle for the Holy Roman Empire. On the
occasion of his coronation in 1220, Frederick II made this coronation mantle a permanent
component of the imperial insignias. Forty seven rulers that followed him carried it in their
coronation ceremonies up until1792212.

Fig. 35: Coronation Mantle for the emperor of the Holy Roman Empire.
License: public domain, published by (Gryffindor) stitched by Marku1988
Palermo Royal workshop, 1133/34 Figured silk (kermes-dyed),
gold and silk embroidery, pearls, gold with cloisonn enamel, precious stones H 146 cm, W 345 cm
It bears an inscription in Arabic with the Hegira date of 528 (113334).

The mantle is a semi-circle of red silk twill. The central motif is a Tree of Life with stylized animals
on either side - a lion attacking a camel. The embroidery is mainly goldwork, done in underside
couching with some details made in polychrome silk of red, light blue, yellow and dark brown.
The indigo and purple colored coronation mantle has been combined 213 with a light yellow Alba
(created 1181) and a deep blue (indigo & Rubia tinctorum-colored) Dalmatica/Tunicella.
In fact the coronation garments may be defined as colored red to the outside and light yellow & blue
at the hidden interior.

212 Source: Krnungsornat der rmisch-deutschen Kaiser


213 Source: Krnungsornat der rmisch-deutschen Kaiser

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1135: The Bury Bible


The frontispiece of the Bury Bible (1135) displays persons dressed in red, white and blue garments,
illustrated with green background areas214.

Fig. 36: Frontispiece of the Bury Bible (1135)


Wikimedia Commons. public domain because its copyright has expired.

214Reference:

Illuminated Manuscripts

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1175: The Winchester Bible


The Winchester Bible clearly reveals a few lines of alternated red and blue colors at the right side of
the P-initial in the story of Elijah being taken up to heaven215.

Fig. 37: Winchester Bible, fol.120v. - details of Book Second Kings (1175)
The images are public domain because their copyright has expired.

215Reference: Illuminated Manuscripts

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1189: The Tomb of Henry II


Henry II216 ruled as King of England (11541189), Count of Anjou, Count of Maine, Duke of
Normandy, Duke of Aquitaine, Duke of Gascony, Count of Nantes, Lord of Ireland and, at various
times, controlled parts of Wales, Scotland and western France. Henry & Eleonora have been buried
in blue and orange-red garments.
The colors of the tombs are original decorations. Initially the burial place at the church had been
decorated with the same bright colors as the tombs. A lot of other aristocrats have been buried at the
abbey Fontevraud.

Fig. 38: Tombs of Henry & Eleonora at Fontevrault


(Photographed by krischnig Public Domain)

216 1133 1189

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King Richard I, Lionheart


The abbey was originally the site of the graves of King Henry II of England, his wife Eleanor of
Aquitaine, their son King Richard I of England, their daughter Joan, their grandson Raymond VII of
Toulouse, and Isabella of Angoulme, wife of their son King John. However, there is no remaining
corporal presence of Henry, Eleanor, Richard or the others on the site. Their remains were possibly
destroyed during the French Revolution.
The tombs have been colored blue, white & orange-red and are still illuminated with their original
hues.

Fig. 39: King Richard I, Lionheart ( 1189-1199)


King Richard I, Lionheart (king of England 1189-1199) at his grave in the abbey Fonevrault
demonstrating the traces of blue overcoat and white & red garments

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1155: Barbarossa217
All persons are dressed in red & blue garments. Frederick Barbarossa, middle, flanked by his two
children, King Henry VI (left) and Duke Frederick VI (right).

Fig. 40: Frederick I Barbarossa and his sons (from the Welf Chronicle , 1155)

217 References to: A compact Overview of Bipolar Symbolism and Blue and Red in Medieval Garments

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1190: Henry VI Codex Manesse


Henry VI (Roman-German emperor, 1190-1197) in a blue garment and red-purple overcoat218.
Please note the decorated borderline in red, blue and golden.

Fig. 41: Henry VI, Codex Manesse (1190)

218Reference: Blue and Red in Medieval Garments

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1200AD The main entrance at the Mainz Cathedral219


At the northern side of the Mainz Cathedral the main entrance provides access to the main market
of the city. The bronze doors have been cast around 1000 AD and the surrounding pillar section has
been dated 1200AD.
Next to the bronze doors we may identify two pillars with Corinthian capitals. The
pillars have been replaced in earlier eras. One of the pillars has been painted black, the
other one red. Originally both pillars had been made from black slate220.
The red and black color contrasts of the painted pillars suggested to investigate the traces of red
color at the former pillars at the Wrzburg cathedral, which I had discovered a few months ago.
Mainz and Wrzburg are being connected by the river Main and of course the color symbolism of
the pillars might have been synchronized around 1200AD.

42: Color Symbolism at the Mainz Cathedral


My suggestion had been based on a right pillar named Iachim and a left pillar named Booz, which
of course required some more comparative study. First of all I checked the Wrzburg Iachim-pillar,
which had been decorated with red color. The Iachim-pillar has been described in 1. King 7
(Elberfelder translation) as located at the right side.

219 The Colors at the Main Gate of the Mainz Cathedral


220 Translated quotation from Das Marktportal am Mainzer Dom

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1200: The royal Garments


The White Ship, a 12th-century vessel, sank in the English Channel near the Normandy coast off
Barfleur, on 25 November 1120. Those drowned included William Adelin, the only legitimate son of
King Henry I of England. As a remarkable coloring code it must be observed that two persons on
board are wearing red & blue garments.

Fig. 43: The Sinking of the White Ship


The Sinking of the White Ship in the English Channel (12th century)221
near the Normandy coast off Barfleur, on November 25, 1120.

221 Originally from British Library, Cotton Claudius dii, f45v. This image is in the public domain.

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1212 & 1220: Frederick II


Roman-German Emperor Frederick II (king between 1212-1250 and emperor 1220-1250), wearing
a red overcoat and blue robe. Please note the alternating blue and red colors in the upper text-line
"Fridericus Rex".
At his coronation 1220 the emperor has been wearing the red-purple Coronation Mantle for the
emperor of the Holy Roman Empire.

Fig. 44: Frederick II (1212 - 1250)

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Fig. 45: Frederick II, Holy Roman Emperor meets al-Kamil Muhammad alMalik
Frederick II, Holy Roman Emperor (left) meets al-Kamil Muhammad al-Malik (right),
from a manuscript of the Nuova Cronica by Giovanni Villani (created 14th century)
public domain because its copyright has expired.

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1223: Louis VIII and Blanca of Castilia


In this coronation ceremony Louis VIII and Blanca of Castilia are wearing red, blue and white
robes. The bishop is wearing a red robe with blue and golden decorations. This miniature from the
14th Century from "Grandes Chroniques de France, has been exhibited at the Bibliotheque
Municipale de Toulouse.
Of course the colors red, blue and white may have been transferred from royal robes to the French
tricolor as the national flag222.

Fig. 46: Coronation ceremony Louis VIII (1223-1226)

222See details in: Blue and Red in Medieval Garments

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1226: Louis IX
In this scenery at the court of the French king Louis IX (1226-1270) the king is dressed in a red
robe, blue overcoat and white ornaments. The throne basically is red and blue with golden
decorations. His soldiers wear red and blue combinations. The initial letter of the text block is a
combination of red, blue and golden decorations.

Fig. 47: Louis IX (1226-1270)

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1230: The Booz and Jachim pillars223


Originally from 1230 up to 1644 the Booz and Jachin 224 pillars had been installed at the entrance
hall of the Wrzburg Kilian-cathedral. They had been designed around 1230 as equivalents to the
Jerusalem temple, which according to the legend had been created by Hiram of Tyre.
Both pillars had been inscribed with their names Booz and Iachim respectively 225. The original red
paint may be observed at several locations. Other colors are very scarce or missing.
The Iachim node-column has been equipped with a singular more complicated 8-strings/4 level
knot, whereas the Booz pillar uses a 4-strings/two dual level knots.
The traces of red paint are clearly visible at the knots of the Iachim pillar in the Wrzburg Kiliancathedral226:

Fig. 48: Red traces at the Iachim node-column in


Wrzburg(1230)

own photograph

223 Red & Blue in Solomon's Temple


224 Jachin has been explained in Gen 46,10; Boas in Rut 2-4.
225 Jachin and Boas Bibelwissenschaft.de (German)
226 Symbolism in the Wrzburg Episcopal Residence

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1240: The Tomb for Gerard v. Gelre


The famous monumental tomb in the ancient 227 church for the abbey at Roermond (Netherlands) is
said to depict count Gerard of Gelre and his wife Margaretha of Brabant. The couple has been
sculptured as semi-dormant.
The count is wearing a green overcoat and a blue robe over a red garment covering a white underdress. The countess is wearing a brown overcoat and white garments.
The count's green overcoat will only be seen from the side of the monument. All clothing have been
decorated with golden borders. The main colors are red, white and blue.
These colors may correlate to a couple of other graves located at another abbey in Fontevrault,
France. These tombs belong to the royal clan of the Plagenets. Of course all European royal families
must be considered as relatives.

Fig. 49: Tomb in the Munsterkerk at Roermond (NL, 1240)

227 founded 1224 by count Gerard III of Gelre

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1331: The marriage of Reinout II van Gelre


Comparing the pedigrees of the Plantagenets and the counts of Gelre we may observe some
interconnections.
Reinout II of Gelre 228 is a son of the matrimonial couple:

# Reinout I of Gelre (* 1255 19 October 1326)

Margaretha van Vlaanderen (* 1272 31 March1331)

Born 1295 Reinout II has been married twice. His first marriage had been sealed at Roermond:

11 January 1311 Marriage: Roermond, Sofia of Berthout * 1290 6 May 1329

28 October 1331 Marriage: Nimwegen, w Eleanor Plantagenet * 8 June 1318 22 April


1355

13 May 1333 Birth of a child: Reinaud III of Gelre


* 13 May 1333 4 December 1371

1336 Birth of a child: Eduard of Gelre


* 1336 1371

12 October 1343 died at: Arnhem

Burial location: Gravendal

The listed attributes refer to interconnections between the Plantegenets and the counts of Gelre,
which may have been established in former times as well. Maybe the colors red, white and blue
have also been used as common symbols for their dynasties.

1240: Pair of Flanders229


Etymological roots refer to the words pairs and peers defining noble classes consisting of
equal persons, frequently wearing purple robes.
Basically however pair is a singular couple of two symmetrical and equal elements such as a
couple consisting of a man and and a woman. In Frisian language the word paars has been
spelled paers.
The noble title pair (knight) is quite common in the 13 th century. A pair of Flanders has been
listed as:
JAN III, Lord of Petegem and Cysoing (1207-1240), pair of Flanders, knight...
The 12 Pairs of France and the 12 Pairs of Flanders were also called Peers or Beers. Their number
12 may refer to the 12 apostles. They were considered as equal or in Latin pares. They accepted
leadership from the king as a primus inter pares, but they merely allowed other pares as a court
for law matters.
The title pairs obviously started as the royal circle of 12 Pairs for Charlemagne230. This story of 12
pairs has been widely known in the Middle Age.

228 * 1295 12 October 1343


229Reference: Yellow for Judas
230 Latin: Carolus Magnus, meaning Charles the Great; 2 April 742 28 January 814

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1246: Isabella of Angoulme


Isabella of Angoulme (1188 1246) was suo jure Countess of Angoulme and queen consort of
England as the second wife of King John. She was queen from 1200 until John's death on 19
October 1216.
At her tomb in Fontevraud Abbey she is wearing a golden robe over blue garment. Her couch has
been draped with a red tissue.

Fig. 50: Isabella of Angouleme & King Richard I (1246)

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1250: The Morgan Bible


In "The Israelites are repulsed from Hai" (fol. 10r)
red & blue for illustrations in red, blue and green.

231

the Morgan Bible uses border decorations in

Fig. 51: The Israelites are repulsed from Hai

231 public domain because its copyright has expired.

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1294: The Color Paars232


The official etymological explanation for the Dutch word paars is rather obscure. Etymological
experts suggest a derivation from Persae 'Persians', Persia 'Persia' and perzik (Peach).
The main etymological database233 reveals the following entries for medieval words around 1300
AD:
paars Substantive (as a 'colors')
Mnl. perse 'purple (sheet)' [1294; VMNW], perse saye 'purple woolen sheets' [1296;
VMNW],
peers bruxsch lakene ' purple sheets from Brugge' [1343-44; MNW], groen of blaeu of root
of paers [ca. 1475; MNW].
A medieval etymology for the Dutch word paars (equivalent to purple) refers to the free citizens
of the Dutch city of Leiden, whose assembly hall has been named de Paars, respectively de
Pers for their peer-members. The color of paars234 is the symbolic color for the peers.

1300: The Zohar235


The primary text of the Kabbalah (Zohar236) and Medieval variants of the Genesis describe an
ancient Hebrew androgynous creation-legend, comparable to the legendary description in Plato's
Symposium. The Kabbalah allows us to reconstruct the original legend in the early version of the
Bible.
The Hebrew of the late centuries BC and early centuries AD had a system with five
phonemic long vowels [a e i o u] and five short vowels [a e i o u]. Of these vowels a
subset I, O, U and Hei intensely has been used for symbolism, which is explained in the
Zohar.
Most of the symbolism refers to the creation phase, in which words are being generated by
combining letters. The three basic vowels I, O, U also refer to three pillars, which represent
gender, planets, colors, etc.
There is a striking correlation to the IOU-root for the central Roman god Jupiter. The words
ius, justice, judge, iugum, yoke, etc., which may relate to Jupiter, belong to derived subsets
of the IU-words.
References for the vowel Hei to West-European languages exist in the categories: w (custom, tradition,
law), which has been derived from Proto-Germanic *aiw, *aiwaz (law), from Proto-Indo-European *oiw(custom, tradition, law). Cognate with Old Saxon o, Ol Frisian ewa, we, , , Old German wa, ha, a,
(German Ehe Matrimony). Even heaven may be correlating to the vowel Hei.

232 Reference: Another Etymology for Purple


233 http://www.etymologie.nl/
234 as a mixture of equal amounts of red & blue
235 Reference: The Sky-God Dyaeus and Notes to the Letters' Symbolism in the Zohar
236 See the Online document: Zohar, Bereshith to Lekh Lekha (1300), published by Forgotten Books, ISBN
1605067466, 9781605067469

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1300: Alchemy237
The history of alchemy has become a vigorous academic field. As the obscure hermetic
language of the alchemists is gradually being "deciphered", historians are becoming more
aware of the intellectual connections between that discipline and other facets of Western
cultural history, such as the sociology and psychology of the intellectual communities,
kabbalism, spiritualism, Rosicrucianism, and other mystic movements, cryptography,
witchcraft, and the evolution of science and philosophy.
Alchemy, derived from the Arabic word al-kimia) (, is both a philosophy and an ancient
practice focused on the attempt to change base metals into gold, investigating the preparation of the
"elixir of longevity", and achieving ultimate wisdom, involving the improvement of the alchemist
as well as the making of several substances described as possessing unusual properties. Alchemy
has been practiced in ancient Egypt, Mesopotamia (modern Iraq), India (modern Indian
subcontinent), Persia (modern Iran), China, Japan, Korea, the classical Graeco-Roman world, the
medieval Islamic world, and then medieval Europe up to the 20th century, in a complex network of
schools and philosophical systems spanning at least 2,500 years.
Starting with the Middle Ages, Persian and European alchemists invested much effort in the search
for the "philosopher's stone", a legendary substance that was believed to be an essential ingredient
for either or both of those goals.
European alchemy started around 1300 on the basis of several predecessors as listed in Wikipedia's
entry alchemy:
1. Egyptian alchemy [5000 BC 400 BC], beginning of alchemy
2. Indian alchemy [1200 BC Present],[27] related to Indian metallurgy; Nagarjuna was an
important alchemist
3. Greek alchemy [332 BC 642 AD], studied at the Library of Alexandria Stockholm papyrus
4. Chinese alchemy [142 AD], Wei Boyang writes The Kinship of the Three
5. Islamic alchemy [700 1400], Jbir ibn Hayyn develops experimental method for alchemy
during the Islamic Golden Age
6. Islamic chemistry [800 Present], Alkindus and Avicenna refute transmutation, Rhazes
refutes four classical elements
7. European alchemy [1300 Present], Saint Albertus Magnus builds on Islamic alchemy
8. European chemistry [1661 Present], Boyle writes The Sceptical Chymist, Lavoisier writes
Trait lmentaire de Chimie (Elements of Chemistry), and Dalton publishes his Atomic
Theory

Banning alchemy
Pope John XXII issued a bull against alchemical counterfeiting, and the Cistercians banned the
practice amongst their members. In 1403, Henry IV of England banned the practice of Alchemy. In
the late 14th century, Piers the Ploughman and Chaucer both painted unflattering pictures of
Alchemists as thieves and liars. By contrast, Rudolf II, Holy Roman Emperor, in the late 16th
century, sponsored various alchemists in their work at his court in Prague.
One of the manuscripts, which may have circumvented the bans by cryptography, may have
been the Voynich manuscript, described as "the world's most mysterious manuscript", is a
240-paged work dated to the early 15th century (ca. 1420), possibly from northern Italy. It is
named after Wilfrid Voynich, who purchased it in 1912.
237 Information from Wkipedia's entry Alchemy

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1300:The Naumburg Master


Around the middle of the 13th century238 Eckard II (985-1046) and his wife Uta in the Naumburg
Cathedral have been sculptured in red & blue garments.

Fig. 52: Eckard II und seine Frau Uta, Stifer des Naumburger Doms
This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

238In the donor portraits by the Naumburg Master in the Naumburg Cathedral. These works date to the middle of the
13th century

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1300: The Fcamp Bible


The Fcamp Bible (London, British Library) is an illuminated Latin Bible. It was produced in Paris
during the third quarter of the thirteenth century.
Initials alternating in red and blue in the Book of Psalms 239 reveal an illuminated detail of Initial B
(Beatus) from the Book of Psalms, in which King David is playing a harp.

Fig. 53: Initial B (Beatus) from the Book of Psalms (Fcamp Bible, 1300)

239 Folio 238r of the Fcamp Bible (British Library, Yates Thompson 1)

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1308: The Divine Comedy Dante240


Dante Alighieri241, commonly known as Dante, was an Italian poet of the Middle Ages. This
illustration of the Divine Comedy displays the author in blue and red garments, surrounded by
alternated blue and red text lines and initials242.

Fig. 54: Dante's Divina Commedia

240 Reference: Blue and Red in Medieval Garments


241 May/June c.1265 September 14, 1321
242 The Vatican manuscript

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De vulgari eloquentia (1303-1305)


In his De vulgari eloquentia Dante Alighieri initially suggests that the name El was the first sound
emitted by Adam. While the first utterance of humans after birth is a cry of pain, Dante assumed
that Adam could only have made an exclamation of joy, which at the same time was addressing his
Creator.
This of course is a pure nonsensical statement as Adam cannot never experienced birth and pains
related to the birth. Created as a full matured adult he may rather have uttered the Ego-pronoun I
which for an image of God may have been equivalent to God's name.

Divina commedia (1308-1321)


In the Divina commedia, however, Dante contradicts his previous statement by saying that God was
called I in the language of Adam, and only named El in later Hebrew, but before the confusion of
tongues (Paradiso, 26.134)243.
These statements reveal a remarkable medieval correlation between the divine name and the Egopronoun. It may be compared to the Wycliffe Bible, which referred to a pronoun Y or I which in the
language of Adam may have been known as the name of God. Of course it may as well have been
the first sound emitted by Adam. In this case the Ego-pronoun I must have been considered as one
of the prime words in the language of Adam.

Divina commedia - Paradiso, Canto XXVI244


This is Dante's text, in which he applies I and El in Italian text and the corresponding English transaltion 245:

La lingua ch'io parlai fu tutta spenta


innanzi che a l'ovra inconsummabile
fosse la gente di Nembrt attenta:
ch nullo effetto mai razonabile,
per lo piacere uman che rinovella
seguendo il cielo, sempre fu durabile.
Opera naturale ch'uom favella;
ma cos o cos, natura lascia
poi fare a voi secondo che v'abbella.
Pria ch'i' scendessi a l'infernale ambascia,
I s'appellava in terra il sommo bene
onde vien la letizia che mi fascia;
e El si chiam poi: e ci convene,
ch l'uso d'i mortali come fronda
in ramo, che sen va e altra vene.

124 'The tongue I spoke was utterly extinct


125 before the followers of Nimrod turned their minds
126 to their unattainable ambition.
127 'For nothing ever produced by reason -128 since human tastes reflect the motion
129 of the moving stars -- can last forever.
130 'It is the work of nature man should speak
131 but, if in this way or in that, nature leaves to you,
132 allowing you to choose at your own pleasure.
133 'Before I descended to anguish of Hell,
134 I was the name on earth of the Sovereign Good,
135 whose joyous rays envelop and surround me.
136 'Later El became His name, and that is as it should be,
137 for mortal custom is like a leaf upon a branch,
138 which goes and then another comes.

243 E - of the Word Ei Engraven Over the Gate of Apollos Temple at Delphi
244 Source : Divina commedia - Paradiso, Canto XXVI
245 The Prime Words in Adam's Language

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1330: Medieval manuscripts246


Some codices are applying alternating red and blue letters for long texts covering a number of lines.
The weaving of red and blue letters resulting in a divine, purple image reminds us to the weaving
technology as found at the Celtic grave at Hochdorf.
The initial for the letter L = Liber Generationis including a number of blue and red and yellow
(golden) decorations. As a remarkable fact God's image247 also combines a red and blue garment.

Fig. 55: Initials in a 14th Century Codex

246 Reference: Genesis - Weaving the Words in Red and in Blue


247 while giving the blessings

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1333: The Kremser Bible


The following lines start with an initial letter which combines several colors, including red and blue
letters248.

Fig. 56: Initial line for the Kremser Bible (1333)

Fig. 57: Initial line for the Kremser Genesis (1333)

248 Reference: The Sky-God Dyaeus

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Initial for the letter L = Liber Generationis including a number of blue and red and yellow (golden)
decorations249.

Fig. 58: Initials for the Kremser Bible (1333)

249 Reference: The Sky-God Dyaeus

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Fig. 59: Initials for the Kremser Bible (1333)

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1335: Spieghel Historiael


Charlemagne (Carolus Magnus, meaning Charles the Great; 742 814) has been described and
depicted wearing a light purple robe in Spieghel Historiael by Jacob van Maerlant. The red & blue
colors of his pairs and other nobles in the painting are clearly visible in the miniatures. Of course
there is no yellow trace of betrayal or evil to be found in these images.
The initials at the right borderline of the painting are standard medieval alternating initials in red &
blue250.

Fig. 60: Charlemagne at his court (detail)


Jacob van Maerlant. Spieghel Historiael. West-Flanders, 1325-1335. 251

250 Reference: Yellow for Judas


251 Shelfnumber KA XX. Fol. 208r. Charlemagne at his court.

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The following illuminated page including Charlemagne's court has been created by Jacob van
Maerlant. Spieghel Historiael. West-Flanders, 1325-1335252. Obviously by avoiding robes in green
and yellow the medieval artist explains the safety and peaceful environment of a great and beloved
ruler, protected and admired by his Pairs and other noble subjects. The purple refers to the divine
support for the royals. Purple is the divine symbol which still has to be deciphered.

Fig. 61: Page from Spieghel Historiael

252 Shelfnumber KA XX. Fol. 208r. Charlemagne and his court.

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Another miniature painting reveals the Flemish-Dutch author Jacob van Maerlant sitting at his
desk, at which an open book may be identified. The author is wearing a light purple robe over a red
dress. The initial applies exclusively red & blue signifying the author as a truthful religious guide
for the divine path to heaven.

Fig. 62: Jacob from Maerlant


In medieval documents the colors green (the Islamic symbolic colors) and yellow (Judas' colors)
had to be avoided for sacred paintings. In the Middle Age yellow has been used to mark all kinds of
evils like Judas and the prostitutes. Christian painters preferred red, blue and purple to decorate the
sacred religious texts. These colors cannot be considered as simple decorations. They were symbols
carrying religious messages.
Of course the noble classes who ordered the expensive books carefully checked the coloring codes
to avoid any mistakes in religious symbolism.

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1340: The English Royal arms253


The first known English Royal arms, a golden lion, rampant, on a red field was first used by King
Henry. The first arms of King Richard I "The Lionheart", revealed two golden lions, combatant, on
a red field254.
However King Henry and King Richard I "The Lionheart" have been buried in red and blue robes
at the Fontevraud Abbey. Check the colors for the tombs of Henry II, Richard I and Eleanor of
Aquitaine in Fontevraud Abbey.
In 1340 King Edward III quartered the Royal Arms of England with the ancient arms of France, the
fleurs-de-lis on a blue field, to signal his claim to the French throne.

Fig. 63: Royal Arms of England 1340-1367


Images: GNU Free Documentation License, both created by Ipankonin

253 see the overview at: Royal coat of arms of the United Kingdom
254 Reference: Red and Blue in the Middle Age

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King Henry IV updated the French arms to the modern version, three fleurs-de-lis on a blue field.

Fig. 64: Royal Arms of England 1405-1603


Images: GNU Free Documentation License, both created by Ipankonin

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1336: Speculum Humanae Salvationis


The garments for Jesus Christ will often apply red and blue or purple combinations as seen in the
following example from Speculum Humanae Salvationis (dated 1336).
As a traitor Judas however will often be dressed in yellow and/or green255:

Fig. 65: Judas kissing Jesus (Speculum Humanae Salvationis,


1336)

255 Reference: Yellow for Judas

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1360: The Neapolitan Bible256


The numbering system in illuminated bibles will follow the same colorsing system as the header
lines, e.g. the following number (for line #49) of Genesis in the Neapolitan Bible:

Fig. 66: Initials in alternated red and blue (Naples, 1360)

Fig. 67: Genesis-initials - Neapolitan Bible (1360)

Fig. 68: Genesis-initials - Neapolitan Bible (1360)

256 Reference: The Sky-God Dyaeus

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1390: The Wenzel-Bible


In the book Genesis the Wenzel Bible depicts a Creator God wearing garments combining red and
blue colors and resolving an adult Eve from Adam.

Fig. 69: Creation Phase - Wenzel Bible (1390)

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1390: Wyclif's Bible 257


The illustration marks the beginning of the Gospel of John in a copy of John Wycliffe's translation
of the Bible. This copy was made in the late 14th century and was pocket sized, probably for the use
of a wandering preacher, perhaps a Lollard. The edition contained only segments of the New
Testament.
This copy eventually worked its way to Wycliffe biographer John Lewis (1675-1747). The gospel
begins at the large, red & blue decorated character "I" and reads: In e bigynnyng was/e word &
e word/was at god/& god was/e word.

Fig. 70: In e bigynnyng was/e word


Beginning of the Gospel of John from a 14th century copy of Wycliffe's translation

In analogy to many other illuminated bibles the beginning of the Gospel of John from the 14th
century copy of Wycliffe's translation258 applies initials in red and blue decorations, which most
probably symbolize the red (male) and blue (female) elements of man and the purple colors
symbolizing the divine synthesis of the male and female elements.
The Wyclif Bible clearly defines an identical source nouyt259 for the creation of the sky, earth and
for man. God made of nouyt hem, male and female defines the first man as a plural
individual, male and female character, which implies an androgynous couple.
The Wyclif Bible260 identified the first man as a singular individual creature, simultaneously male
and female, exactly as it had been described by Plato in Symposium. Describing these concepts in
plain English certainly must have triggered the severest religious censorship laws of the medieval
Church.
257 Reference: The Wycliffe Bible
258 Folio 2v of MS Hunter 191 (T.8.21)
259 Nought (?)
260 The Y-Proceedings (The Y-Key to the English Ego-Pronouns)

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Wyclif's Ego-pronoun
Wyclif applied the Ego-pronoun261 as an upper case character Y262 instead of the modern I. In
analogy to the Ego-pronoun iu in Occitan language the Y-pronoun may have symbolized an
androgynous iu-synthesis in the divine concept.
The Wyclif Bible documents some of the most remarkable versions of the ancient Book Genesis
explaining liyt (light) and nyyt (night) as antipodes in a divine concept, in which the Y-character
equally represented the female U and the male I-elements.

1399: King Henry IV263


In 1399 Henry Bolingbroke was crowned King Henry IV. But he had taken the crown by force and
this wrongful seizure was to haunt the Lancastrians throughout their reigns. All attendants at the
coronation ceremony are dressed in purple, red and/or blue robes. Henry IV reveals a coat of arms
in Red and Blue.

Fig. 71: Coronation ceremony for King Henry IV

261 the personal pronoun of the first person singular


262 From Hosea 11-9: Y am hooli in the myddis of thee
263 Reference: Red and Blue in the Middle Age

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1407: The Rosecrucians264


Rosicrucianism is the theology of a secret society of mystics, said to have been founded in late
medieval Germany by Christian Rosenkreuz. It holds a doctrine "built on esoteric truths of the
ancient past", which, "concealed from the average man, provide insight into nature, the physical
universe and the spiritual realm." It is symbolized by the Rosy Cross.
The Fama Fraternitatis presented the legend of a German doctor and mystic philosopher referred to
as "Frater C.R.C." (later identified in a third manifesto as Christian Rosenkreuz, or "Rose-cross").
The year 1378 is presented as being the birth year of "our Christian Father," and it is stated that he
lived 106 years. After studying in the Middle East under various masters, possibly those adhering to
Sufism or Zoroastrianism, he was unable to spread the knowledge he had acquired to prominent
European figures. Instead, he gathered a small circle of friends/disciples and founded the
Rosicrucian Order (this can be deduced to have occurred in 1407).
During Rosenkreuz's lifetime, the Order was said to consist of no more than eight members, each a
doctor and a sworn bachelor. Each member undertook an oath to heal the sick without payment, to
maintain a secret fellowship, and to find a replacement for himself before he died. Three such
generations had supposedly passed between c.1500 and c.1600, a time when scientific,
philosophical and religious freedom had grown so that the public might benefit from the
Rosicrucians' knowledge, so that they were now seeking good men.
It is evident that the first Rosicrucian manifesto was influenced by the work of the respected
hermetic philosopher Heinrich Khunrath, of Hamburg, author of the Amphitheatrum Sapientiae
Aeternae (1609), who was in turn influenced by John Dee, author of the Monas Hieroglyphica
(1564). The invitation to the royal wedding in the Chymical Wedding of Christian Rosenkreutz
opens with Dee's philosophical key, the Monas Heiroglyphica symbol. The writer also claimed the
brotherhood possessed a book that resembled the works of Paracelsus.

264 Information from Wikipedia Rosicrucianism

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1410: The Korczek-Bible265


The following example applies a 4-point sized Genesis text in Old English Text MT between two
lines of red & blue alternated text-lines to demonstrate the illusion of a purple colored text,
enclosed inside two header-lines of the Korczek-Bible (Prague - around 1410).

Fig. 72: Headerline Korczek-Bible (Prag, 1410)

In the beginning God266 created the heavens and the earth. Now the earth was formless and
empty. Darkness was on the surface of the deep. Gods Spirit was hovering over the surface of
the waters. God said, Let there be light, and there was light. God saw the light, and saw that
it was good. God divided the light from the darkness. God called the light Day, and the
darkness he called Night. There was evening and there was morning, one day.
God said, Let there be an expanse in the midst of the waters, and let it divide the waters from
the waters. God made the expanse, and divided the waters which were under the expanse from
the waters which were above the expanse, and it was so. God called the expanse sky. There was
evening and there was morning, a second day.
God said, Let the waters under the sky be gathered together to one place, and let the dry land
appear, and it was so. God called the dry land Earth, and the gathering together of the waters
he called Seas. God saw that it was good. God said, Let the earth put forth grass, herbs
yielding seed, and fruit trees bearing fruit after their kind, with its seed in it, on the earth,
and it was so. The earth brought forth grass, herbs yielding seed after their kind, and trees
bearing fruit, with its seed in it, after their kind: and God saw that it was good. There was
evening and there was morning, one day, a third day. God said, Let there be lights in the
expanse of sky to divide the day from the night; and let them be for signs, and for seasons, and
for days and years; and let them be for lights in the expanse of sky to give light on the earth,
and it was so.

Fig. 73: Headerline Korczek-Bible (Prag, 1410)

265 Reference: The Sky-God Dyaeus


266 After God, Hebrew language applies the two letters Aleph Tav (the first and last letters of the Hebrew
alphabet) as a grammatical marker.

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1420: The Voynich manuscript


The Voynich manuscript, described as "the world's most mysterious manuscript", has been
dated to the early 15th century (ca. 1420), possibly from northern Italy. It is named after
Wilfrid Voynich, who purchased it in 1912.

Fig. 74: A Sun & Moon Symbol with red, blue and white Rays
The Voynich Manuscript (121) illustration, public domain for its age267

The Voynich manuscript contains a series of colored drawings which generally are interpreted as an
overview of plant illustrations. Most of these herbal illustrations are colored with green leaves and
blue, respectively red flowers. None of these flowers has been colored yellow, which may suggest
us to believe these plants are symbolizing human fertility. A herbal handbook statistically should be
listing at least one singular yellow flower.
Another main section of the manuscript describes a universe centered around structures, which are
combining the sun and the moon-combinations, which traditionally have been defined and used as
androgynous symbols, in which the sun is the male and the moon the female symbol.
Elements have been coupled by a chain of pipelines, which may be symbolizing fertility symbols,
leading the fertilizing rain (or water) into tubs. Two sketches contain symbols, which may be
interpreted as rainbows the ancient androgynous symbol for religious links to the Divine Being,
and also an androgynous symbol for the red male element and the opposite female blue element.
In the overview of a living universe the plants have disappeared. From a distance the universe
may also be interpreted as a living body, a city, a medieval heaven or a solar system.
Of course this analysis is one of a series of possible interpretations, which do not refer to any part of
the encrypted text. To my opinion the Voynich manuscript may be interpreted as an alternative
creation legend, explaining the mechanisms of the universe, human fertility and the flora in a
mechanical system of dependencies like flowing fluids, pipelines, rays and and clouds.
It may have been encrypted to avoid the Pope's ban for alchemical theories.
267A page from the mysterious Voynich manuscript, which is undeciphered to this day. The image on the right indicates
a 24 month cycle with the seasons listed and the image to the left indicates the mooncycles and planetary positions.
Beinecke Rare Book & Manuscript Library, Yale University).

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1420: The Tribute Money Masaccio268


The Tribute Money is a fresco by the Italian renaissance painter Masaccio, located in the Brancacci
Chapel of the basilica of Santa Maria del Carmine, Florence, and completed by his senior
collaborator, Masolino. Painted in the 1420s, it is widely considered among Massaccio's best work,
and a vital part of the development of renaissance art.
The story is told in three parts that do not occur sequentially, but the narrative logic is still
maintained, through compositional devises. The central scene is that of the tax collector demanding
the tribute. The head of Christ is the vanishing point of the painting, drawing the eyes of the
spectator there. Both Christ and Peter then point to the left hand part of the painting, where the next
scene takes place in the middle background: Peter taking the money out of the mouth of the fish.
The final scene where Peter pays the tax collector is at the right.
Traditionally Jesus is dressed in pink and blue. While the holy men are dressed almost entirely in
robes of pastel pink and blue, the official wears a shorter tunic of a striking vermilion. The colors
adds to the impertinence expressed through his gestures. The colors are contrasting the holy men
and the impertinent tax collector.
As person handling the despised tax money Saint Peter, who also had been considered as a traitor
who at the crucial moment did leave Jesus alone, is wearing a yellow garment269.

Fig. 75: The Tribute Money by Masaccio (1420)

268 Reference: Red and Blue in the Middle Age


269 Yellow for Saint Peter

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1446: The Habsburg Device AEIOU270


Frederick III had an obsessive belief in the inevitable destiny of Habsburg glory and grandeur and
invented the mystic initials AEIOU. However he designed his device in his youth. Then he ordered
the device to be inscribed in all his books and engraved on all public buildings. Frederick even
used his device as a signature resolved aeiov to sign a note accompanying the confirmation for an
earlier document dated from 1410. The aeiov-signature is also identifiable at his grave. To him it
must have been important for a lifetime.
In fact Frederick may not have invented, but reinvented the vowel-sequences such as AEIOU. If he
borrowed the idea from ancient gnostic wisdom he was wise enough to keep his device sacred and
to keep the message encrypted. Abraxas has been depicted as a bird, encoded in a triad ,, and
/or the seven Greek vowels ,,,,,,, which in Latin would be reduced to the fivefold
AEIOU, in which it must be noted that AEIOU is exactly located between the triad ,, and the
sevenfold ,,,,,,, from which merely the H and must be skipped. Therefore in Roman
alphabets the baton is a five-letter word AEIOU.

Fig. 76: AEIOU introduced by


Frederick III (1446)

Symbolic device AEIOU, or A.E.I.O.U. of the Habsburg emperors271


Wikipedia commons, the first device had been dated 1437

Additionally the duchess Hedwig von Mecklenburg. abbess of the cloister Ribnitz, 1423, 1467,
and the duchess Elisabeth von Meklenburg, daughter of Heinrich III. of Mecklenburg=Schwerin
(abbess 1467 1503) used a similar AEIOU-device for their signature stamps272. The stamps
included the image of a bull's head. The stamps have been used for at least 2 documents, dated 1469
respectively 1482. This however is a strange signature stamp for two abbesses!
270 Love is a five-letter bird
271 AEIOU, or A.E.I.O.U. was a symbolic device utilised by the Habsburg emperors. Emperor Frederick III (141593),
who had a fondness for mythical formulae, habitually signed buildings and objects with the acronym.
272 Georg Christian Friedrich Lisch : Siegel der Herzogin Hedwig von Meklenburg, Aebtissin des Klosters Ribnitz,
1423, + 1467, und der Herzogin Elisabeth, Hedwigs Nachfolgerin
In: Jahrbcher des Vereins fr Mecklenburgische Geschichte und Altertumskunde, Band 21 (1856), S. 314-315

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1459: The chemical Marriage 273


At a convent in 1459 the masons274 from Germany, Austria and Hungary join to raise a brotherhood.
Emperor Maximilian I allows the brotherhood 1497 a number of privileges. One of their allegoric
principles is the Nuptiae Chymicae - the chemical Marriage.
At the chemical Marriage the King (the red element, the Sun) and the blue Queen (the pale,
white element, the Moon) perform the Nuptiae Chymicae.

Fig. 77: Nuptiae Chymicae

273 Reference: The Sky-God Dyaeus


274 Info from: Die Rosenkreuzer by Roland Edighoffer - 1995 page 97

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1460: The Utrechter historical Bible


The Utrechter historical Bible275 from Evert van Soudenbalch (in Dutch language) does contain a
great number of initials combining blue and red coloring codes in singular letters276.

Fig. 78: The Utrecht-Bible (1460)

275 Codex 2772, fol. 198v (III Maccabeorum = Josephus Flavius, Antiquitates XIII-XVI)
276 Reference: The Sky-God Dyaeus

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1470: Piero della Francesca277


The illustration depicts Mary (detail) in the painting Nativity (1470) by Piero della Francesca.
The complete painting shows Mary kneeling in adoration before a newly-born Christ who is laid on
her deep blue cloak. Mary is wearing purple, (with a yellow interior), red and blue garments.

Fig. 79: Maria in purple, red & blue (detail, 1470)

277 Reference: Red and Blue in the Middle Age

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1482: De Proprietatibus Rerum


TheRed-dyer278, by Bartholomeo Anglicus, documents one of the professions in garment industry.
Depending on different technologies there were specialists for red and blue colors. Black and purple
colors demanded for cooperation of specialized dyers279.
In the Middle Age manufacturing textiles and processing dyes has been a revolutionary export
business, bringing wealth to the textile traders. Starting in the 10 th century in northern France and
Flanders the manufacturers gradually also spread to Germany (in the 14 th century) and later (in the
16th century) to England. The medieval success story ended with the invention of new machines and
alternative dyes, which caused a shift in the markets and ruined the ancient trading positions.

Fig. 80:The red-dyer (1482)

278 De Proprietatibus Rerum (1482) - British Library, Londen


279 Dyeing Purple in the Middle Age

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Dying Purple
Between the 11th and 16th century the dyers have been split into two different guilds, named reddyers and blue-dyers. The market for dyed textiles seems to have been rather fluctuating. In the
Middle Age bright colors for wealthy customers varied from purple to red, white and blue. Green
may have been popular in local areas of Germany. Yellow generally has been despised by Christians
as a vicious symbol, but may have been exported to non-Christian areas in the Middle East or Far
East. In fact all successful technologies such as dyeing, weaving, forging and masonry had their
own impact on alchemy. Masons, forges and dyers were respected persons, who succeeded to
manage their environment.

Fig. 81: Dying Purple for the great King and Adam & Eve (1519)
Pourpre excellent pour vestir le Grand Roy. (1519)
From Chants Royaux sur la conception couronne Bibliothque Nationale, Paris.

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In this 500 year old painting the devil is dying the black colored sheep whereas Jesus is coloring the
purple or pink animals.
A couple (undressed like a reddish Adam and white, but red-haired Eve) is waiting to be clothed by
the ladies dressed in black, respectively red & blue, who are preparing the white wool for further
processing.
The wool has not been provided by the black and purple sheep. Instead Adam and Eve will be
dressed in woolen clothes like sheep, which will be painted black (evil) by the devil respectively
purple (good) by Jesus. Obviously the painting is an allegory describing the symbolism in
medieval religion.

Fig. 82: Purple for the royals (1519)

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1498: The Last Supper by L. da Vinci280


The Last Supper281 is a 15th century mural painting in Milan created by Leonardo da Vinci for his
patron Duke Ludovico Sforza and his duchess Beatrice d'Este. It represents the scene of The Last
Supper from the final days of Jesus as narrated in the Gospel of John 13:21, when Jesus announces
that one of his Twelve Apostles would betray him.
At the painting we clearly see Jesus (with red garment and a blue outer robe) in traditionally
colored clothing applying the religious symbols red & blue. His beloved partner John is dressed in
red & blue as well (with blue garment and a red outer robe). John's color code (red versus blue)
however has been reversed.

Fig. 83: The Last Supper (copy after Leonardo da Vinci (1498)
created by an unknown artist, exhibited at the Da Vinci-Museum - Tongerlo

Of course we should not expect Judas to be painted in bright yellow colors (as done by Giotto in the
Kiss of Judas). There is a secret to be painted, which may be revealed as a slight detail to the public.
Unfortunately the painting and especially its colors have been deteriorated in the past eras. As a first
impression we may observe a person at the third location from the left, wearing a clearly visible
yellow garment, who seems to be in rage for being uncovered as a betrayer. This person, St.
Andrew, however is not the traitor. We will have to search for Judas...
Jesus and St. John have been painted in the traditional symbolic colors red & blue for sacred
medieval paintings. Judas has been painted in red & blue as well, but is wearing a green garment
over his left arm as a indication for an evil agent under cover. Accidentally St. Andrew is
(probably ?) wearing a yellow garment and seems to be upset for being considered as a traitor.
In order to enable a better identification of the colors the analysis has not been performed at the
original painting, but at a copy by an unknown artist. The image is a public domain painting from
the Wikipedia database.
280 References: Color Coding in the Last Supper (by Leonardo Da Vinci) , colors Codings in the Last Supper
(Overview) and Yellow for Judas .
281 Italian: Il Cenacolo or L'Ultima Cena

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1510: Garden of Delights by H. Bosch282


The Triptych by Hieronymos Bosch (Madrid, Prado) has been dated 1510, or even earlier 15031504. Philip II had the Garden of Delights in his collection.
Numerous interpretations have been published for the famous Triptych of Delights. Generally the
painting has been interpreted as a moral and didactic lecture. However the symbolism, which may
have been well-known in the Middle Age, must be reinterpreted.

The left inner wing


The left inner wing displays The Earthly Paradise, in which Adam and Eve are being created. The
central panel reveals fertility in a blossoming society and the right wing in contrast the punishment.
The paradise and the human society reveals only adults and does not contain any aged persons or
very young children.
The painter obviously may have been inspired by various, mythical metaphors and alchemy, which
probably have been coded in numerous symbols. The most apparent antagonists are the female and
male bodies in androgynous pairs, the colors red (pink) versus blue, and the colors white versus
black.
Interpretation of the colors may have been important in medieval eras, but forgotten today. Some of
these colorings may be understood by contrasting these elements in various details, which have
been subtracted from the magnificent Wikipedia file .

Fig. 84: Red and blue fruits (The Earthly Paradise -1510)
The analysis clearly identifies pink (rose-red) and blue as the central symbolic elements, referring
to human fertility and the androgynous creation legend. Of course red and blue have been identified
in other documents and paintings, especially in the illuminated medieval Bible's manuscripts and
medieval religious icons and other paintings. These principles must have been widely spread in the
Middle Age.
282 References: Symbolism in the Garden of Delights by Hieronymos Bosch and The Fundamental Color Symbols
Blue and Red

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In an overview the upper part of the central panel reveals five tower constructions, which have been
designed by combining rose-red (pink) and blue colors.

Fig. 85: Pink and blue formations (The Earthly Paradise Bosch,1510)
The symmetry has been carefully balanced to equalize the pink and blue elements. These colors
probably symbolize the male and female forces in creation. In the Fountain of Eden a male pillar is
located on to of a deep blue, female foundation.

Fig. 86: Fountain at Eden (1510)

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The right panel


In the punishment scene at the right panel the fountain of life has been mutated into a pink bagpipe
fertilizing a blue lady. The scene explains the pink fountains in the creation scene and the fountains
in the main panel as male columns.
The reddish colored bagpipe must be considered as a male symbol and the blue person underneath
the pipe is a female symbol, indicating pregnancy. The pink colors of the fountains and the bagpipe
may also be considered to indicate blood in the pillar of blood.

Fig. 87: A red bagpipe and a blue woman (The Earthly Paradise Bosch,1510)

The Adamites
Bosch may have been a member of a sect (the Adamites?) and as a member he may have been
forced to hide some of the secret codes of the sect's message. Particularly as the androgyny of the
Adamites may have influenced the painter's symbolism and his work. The secret color codes for
androgyny have been: red (as a male symbol), blue (as a female symbol) and purple (as a divine or
androgynous symbol).

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The Kingfishers
Bosch also depicts two kingfishers, which have been decorated with blue, green and orange colors.
These colors probably refer to fertility symbolism for the male and female elements. The second
kingfisher may symbolize the artist with a woman, who is enforced to keep the secret.

Fig. 88: The Kingfisher in The Garden of Delights

Fig. 89: Dressed man in the Garden of


Delights (1510)

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1518: The double rainbow in the Stuppach Madonna

Fig. 90: Red and blue banners located close


together at the main rainbow
The Stuppach Madonna (German: Stuppacher Madonna) is a 1514 - 1519 painting of the Madonna
and Child by the German Renaissance painter Matthias Grnewald. Of course the Madonna has
been painted with brighter (red, purple and blue) colors as displayed on the image.
At the end of the Middle Age the rainbow of course is to be considered as a religious symbol. A
double rainbow even signifies both rainbows as attributes to God (who may be identified in a
swarm of angels at the top left position of the paining) and to the Madonna with her child Jesus.
Strange as it may seem the double rainbow has not been drawn the correct way. The colors red and
blue have been ordered in a particular way, which contrary to physics have been rearranged to fit
the symbolic meaning283.
The inner rainbow has been drawn with a red banner at the inside, immediately followed by the blue
banner, which should be located at the outside borderline of the rainbow.
The blue banner is broader than the red banner, which may indicate to attribute the blue symbol to
the adult Mother Mary and the tiny red banner to the male child.
According to the laws of physics the red band should be at the upper side 284 of the primary rainbow,
which obviously has been ignored by the painter - probably to associate the red (male) symbol to
the child Jesus.
These red and blue banners as close neighbors are oriented at the side of the Madonna and Jesus,
and suggest to consider these symbolic colors as attributes to the saints.
The upper rainbow is a secondary rainbow, which should reveal a reversed sequence of the colors.
The secondary rainbow however is barely identifiable and has only be painted exactly between the
Madonna and God in the sky. Probably the same red & blue tapes have been oriented at the side of
the divine Being.
Grunewald's Stuppacher Madonna therefore probably signifies that the rainbow's red & blue colors
are the main medieval symbols in the rainbow's symbolism.

283The double rainbow in the Stuppach Madonna


284See samples at the source: Rainbow

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The third and fourth Rainbows (?)


The ultimate information is found in the (two ?!) rainbows or nimbus-circles crowning the divine,
probably solar image of God. This or these rainbows respectively nimbus-circles may only be seen
in a good photograph from an art-book or close inspection of the artwork itself.
The rainbow crowning God is a purple image, which may symbolize a mixture of male red and
female blue, resulting in an androgynous symbolism. The adjacent secondary (purple/blue) rainbow
is hardly visible at all.
In the lower right corner of this detail photograph the upper secondary rainbow for the Madonna &
Child may be seen as a curved segment of the rainbow.

Fig. 91: God, surrounded with one or two purple/blue (?) rainbows

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1519: Purple for the Royals


In this 500 year old painting285 the devil prepares the black sheep whereas Jesus is processing the
purple or pink colored sheep.
A couple (undressed like a reddish Adam and white, but red-haired Eve) is waiting to be clothed by
the ladies dressed in black, red & blue, who are preparing the white wool for further processing.
The wool has not been provided by the black and purple sheep. Instead Adam and Eve will be
dressed in woolen clothes like sheep, which will be painted black (evil) by the devil respectively
purple (good) by Jesus. Obviously the painting is an allegory describing the symbolism in
medieval religion.
The involved colors (purple, red, blue, black and white) seem to correlate to the main colors which
will also be reported from three representative medieval cities (Ypres in Flanders, Nuremberg in
Germany and Roermond in the Netherlands) for textile trading.

Fig. 92: Purple for the royals

285 created 1519

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Between the 10th and the 15th century the red-dyers and blue-dyers have been manufacturing
precious textiles in Flanders and the neighboring countries. The chemical processes required two
separate guilds for these dyers. According to medieval traditions the red-dyers and blue-dyers may
have considered themselves as male (symbolized by the sun's symbolic color ranging from red to
orange-yellow) respectively female (symbolized by the moon's symbolic color ranging from blue to
blueish pale).
Manufacturing some of the most important colored textiles (purple and black) required a
partnership between both concurrent guilds for the red-dyers and blue-dyers, which may have been
compared to the alchemical matrimony between the sun-king and the moon-queen. The cooperation
between red-dyers and blue-dyers may have been symbolized in the medieval Dutch word paars
as the color purple.
Most of the symbolism of red-dyers and blue-dyers has been lost at the end of the Middle Age,
ruining the manufacturing sites by introducing new, alternative dyes and opened new markets for
the textile-trading.

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The Reformation
1545: The Luther-Bible - The 2nd Book of Moses - Exodus
In 1545 Luther published a translation 286 of the Bible, in which he described the colors for the
Covenant Tent and the Temple. In The 2nd Book of Moses - Exodus 25-3 applies the words for red
colors scarlet and rosin-red. Instead of the traditional color blue he erroneously translates
hyacinth to yellow. The multiple, repeated error is a systematic error and may have influenced the
public opinion of the symbolic colors yellow and blue. In the Middle Age yellow had been a
stigmatic color to be used for lower-class people, but now it must have been upgraded to a divine
symbol instead of blue.
Das ist aber das Hebopfer, das ihr von ihnen nehmen sollt: Gold, Silber, Erz, gelbe
Seide, Scharlaken, Rosinrot, weie Seide, Ziegenhaar,
Also in Exodus 26-1,31,36 he applies scarlet and rosin-red, yellow and white:
Die Wohnung sollst du machen von zehn Teppichen, von weier gezwirnter Seide,
von gelber Seide, von Scharlaken und Rosinrot. Cherubim sollst du dran machen
knstlich.
Und sollst einen Vorhang machen von gelber Seide, Scharlaten und Rosinrot und
gezwirnter weier Seide; und sollst Cherubim dran machen knstlich.
Und sollst ein Tuch machen in die Tr der Htte, gewirkt von gelber Seide, Rosinrot,
Scharlaken und gezwirnter weier Seide.
And in Exodus 27-16:
Aber in dem Tor des Hofes soll ein Tuch sein, zwanzig Ellen breit, gewirket von
gelber Seide, Scharlaken, Rosinrot und gezwirnter weier Seide, dazu vier Sulen
auf ihren vier Fen.
etc..

The Second Book of Chronicles


The Second Book of Chronicles (Chapter 2, 7 & 14, and Chapter 3, 14) refer to scarlet and rosin-red
and yellow:
So sende mir nun einen weisen Mann, zu arbeiten mit Gold, Silber, Erz, Eisen, Scharlaken,
Rosinrot, gelber Seide und der da wisse auszugraben mit den Weisen, die bei mir sind in
Juda und Jerusalem, welche mein Vater David geschickt hat.
So sende ich nun einen weisen Mann, der Verstand hat, Huram-Abif, der ein Sohn ist eines
Weibes aus den Tchtern Dan, und sein Vater ein Tyrer gewesen ist, der wei zu arbeiten an
Gold, Silber, Erz, Eisen, Stein, Holz, Scharlaken, gelber Seide, Leinen, Rosinrot und zu
graben allerlei und allerlei knstlich zu machen, was man ihm vor gibt, mit deinen Weisen
und mit den Weisen meines Herrn Knigs David, deines Vaters.
Er machte auch einen Vorhang von Gelbwerk, Scharlaken, Rosinrot und Leinwerk; und
machte Cherubim drauf.

286 Source: the Luther-Bible published in 1545

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1572: The Kingfisher and the banner


One of the owners of the painting The Garden of Delights may have been William I, Prince of
Orange, who also is known to have adopted the kingfisher as his favorite bird.
The kingfisher has been painted twice in the Triptych of Delights. The bird reveals blue-green, white
and orange colors, which partly will also be found in the Prince's flag. In fact green may be an
unusual color for a kingfisher (?).
The first owner of the painting may even have ordered to apply the colors rose-red and blue and/or
the kingfisher as elements for the paintings.

Fig. 93: A European Kingfisher

The Prince's Motto 287


The kingfisher is also found on a medal created 1572 in honor for the city of Delft's transition to the
Geuzen and carrying the inscription:
Een held in ijs en baren - Wien God weet te bewaren288
The same year 1572 the provinces of the Low Countries, rose in revolt against King Philip II of
Spain, and the Prince of Orange placed himself at the head of the rebels.

287 Reference: The Majestic Singular in William of Orange's Letter


288 A hero in ice and waves, who is to be guarded by God

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1572: The Prince's Flag


The Watergeuzen (pro-independence privateers), acting on his instructions, harassed the enemy
everywhere they could and they did this under a tricolor Orange White Blue289, the colors of the
Prince's coat of arms. It was thus a flag easily associated with the leader of the rebellion, and the
association was also expressed in the name: "the Prince's Flag."

Fig. 94: The Prince's Flag


The Prince's Motto "Saevis Tranquillus In Undis290"may have been chosen after the birth of
Frederik Hendrik in 1584.

289 in Dutch: Oranje, Wit, Blauw or Oranje, Blanje, Bleu, from French: Orange, Blanche, Bleu
290 Easy amidst of the waves

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1573: Letter #10317 (William of Orange)


Capitalization291 is writing a word with its first letter as a majuscule 292 and the remaining letters in
minuscules293 , in those writing systems which have a case distinction. Capitalization custom varies
with language. The full rules of capitalization for English are complicated. The rules have also
changed over time, generally to capitalize fewer terms. To the modern reader, an 18th century
document seems to use initial capitals excessively. It is an important function of English style
guides to describe the complete current rules, although there is some variation from one guide to
another.

Capitalization of the first-person pronoun

In English, the nominative form of the singular first-person pronoun, "I" is almost always
capitalized, along with all its contractions (I'll, I'm, etc.).
Many European languages capitalize nouns and pronouns used to refer to God (reverential
capitals): hallowed be Thy name, look what He has done. Some English authors capitalize
any word referring to God: the Lamb, the Almighty; some capitalize "Thy Name."
In Dutch there is at least one singular letter, written by William of Orange, demonstrating the
usage of capitalized first-person pronouns (Ic) and second person singular or plural
pronouns (U). An example for these letters may explain better how the prince may have used
capitalization in his letters.

Letter #10317 (William of Orange)


From William (Prince) of Orange sent from Delft, Thursday, 26 February 1573 to the Dutch
Churches in England. In this letter294 prince William applies the following words in archaic Dutch
language:
"Ic", "Ick" the 1st person-pronouns, preferring the majuscules, which may be interpreted as
a replacement for majestic plural.
"meyn", "myn" my - preferring the minuscules
"ghy" 2nd person pronoun, preferring the minuscules
U, u, "Ulieder295", "ulieden" 2nd person pronouns, mixing majuscules & minuscules for
the letter u
God, "Godt" & Christ God, always using majuscules

291 or capitalisation
292 upper-case letter
293 lower-case letters
294 Letter #10317 (William of Orange)
295 U has been written as V; U-lieden has been written as Vlieden, in which the letter V generally is identical to U
(you)

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Some corrector has underlined a number of words and substituted others above the line. The
substituted words have been added as footnotes. In the following Old-Dutch text these examples
have been highlighted:
Myne heeren Ic duncke dat tot noch toe ghy hebt moghen ghenouchsaemlick bekennen den
goeden wille die my Godt ghegheuen heeft, om Vlieder arme vaderlant in vryheyt te stellen
zo wel in tgene dat angaet de politie296 desselfs, als de religie ende hoe dat Ick verdraghen
hebbe ontellicke moyelicheden, dat Ic selfs meyn eyghen leven ghewaecht hebbe om tot
desen ende te commen.
Waert dat Ic sowel de macht297 ende mogentheit hadde, als den goeden wille, Ick298 ware te
vreden alle het last vp myn schouderen te nemen, sonder yemant eenichsins daer mede te
bezwaren299.
tWelck ghy hebt moghen verstaen300 vutedien dat Ic vlieden hier te vooren301 niet seer
beswaert hebbe, Insulckerwys dat Ic soude begheeren ten coste van myn eyghen leuen
(waertmy moghelich) tlant vuttecoopen ofte verlossen van de slauernye 302 der goederen,
lichamen, ende zielen daer in het is, sonder dattet yemant yet costen soude.
Maer vlieden ghemerct dat mynen wensch niet en baet, ende dat myn eighen macht303 niet
ghenouchsaem is304 voor zulcken last, Ic ben bedwonghen helpe te begheeren eyst305 niet an
alle waere Christenen dien onghetwifelt dese zake belanct, ten minsten an die guene306, den
welcken (ghemerct sy van een lant zyn) de sake schynt naerder an te gaen.
Ende namelick tot vlieden die vut sonderlicke weldaet gods zyt vertrocken in een plaetse der
ruste stilheyt. Dat den noot zeer groot zy ziet ghy, ende daer es niemant onder V diess
onwetende.307
The trailer for this letter documents308:
Ja eenyeder als Ic achte zal bekennen dat Ic onachtsaemlick verlaten ben309 gheweest van
die der310 welcker getrauwicheit my behoorde ghedient thebben tot bystant ende hulpe...
Van Delft desen 26 dach Februarij 1573.
V Lieder goede Vrient Guillaume
van Nassau
Bouen stont geschreuen Aende Dienaeren Ouderlinghen ende Diaconen der gemeenten van
Londen Norwits Sandwits Medston Colchester Ypswich eende Tetfort.

296 den staet


297 cracht
298 Ic soude geraden vinden
299 belasten
300 erkennen
301 voormaels
302 dienstbaerheyt
303 crachten
304 zyn
305 so
306 addition above the line by the corrector
307 (see the original text in: Letter #10317)
308 Reference: The Majestic Singular in William of Orange's Letter
309 hebben altered to ben by the corrector
310 addition above the line by the corrector

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1578: Rosarium Philosophorum311


The Rosarium Philosophorum's tree has been founded:
on a red rock with a rich water source (at the side of the male sun) and
at a blue rock with a rich water source (at the side of the female moon)

Fig. 95: Rosarium Philosophorum, Prague (1578)

311 Jaro Griemiller z Tebska

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1595: Agony in the Garden - El Greco312


The Agony in the Garden by El Greco depicts Jesus in the garden of Gethsemane while some
apostles are sleeping and Judas plots with Roman soldiers.
Jesus has been dressed in traditional religious garments colored red & blue. Judas and the Roman
soldiers have been painted in yellow, obviously symbolizing evil. The angel bringing a chalice (with
a bitter drink ?) is bringing evil as well and may also be carrying a yellow robe for this reason.

Fig. 96: The Agony in the Garden by El Greco


c.1595. Oil on canvas. Toledo Museum of Art, Toledo, OH, USA

312 Reference: Red and Blue in the Middle Age

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1603: Queen Elizabeth I of England


The following painting displays Queen Elizabeth I of England (1533 1603) in her coronation
robes, decorated with Tudor roses and trimmed with ermine. Queen Elizabeth I wears her hair loose,
as traditional for the coronation of a queen, perhaps also as a symbol of virginity.
The necklace seems to contain an alternating sequence of red, white and blue gems, but the color
identification is rather difficult. It may be studied in details at a high resolution image at Wikipedia.
The white gems are pearls. The red stones may easily be identified as red. The dark stones however
may vary between dark blue and black.
We might reconstruct the colors by calibrating the image in a comparison of the crown's gems.
Unfortunately the stones were hired for each coronation and then detached, leaving only the frame.
From 1911 the jewels were set permanently. The same procedure may have been followed in the
robes.
The painting, by an unknown artist, dates to the first decade of the seventeenth century (NPG gives
c.1600) and is based on a lost original also by an unknown artist. Currently in the collection:
National Portrait Gallery, London: NPG 5175

Fig. 97: Queen Elizabeth I of England (1603)


Wikimedia Commons.

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I found another portrait of queen Elizabeth I of England, which also contains a coat of arms. The
dark blue sections of the coat of arms (which by definition should be a combination of red and blue)
is colored in the same dark hue as the dark sections of her garments. Therefore originally these dark
hues may have been bright blue colors as well.

Fig. 98: Elizabeth I of England (16xx ?)

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Fig. 99: Elisabeth I (detail, 1603)


The alternating blue and red gems at the coronation garments for Elisabeth I may be compared to
the header-lines of the Korczek-Bible (Prague - around 1410)313.

Fig. 100: Headerline Korczek-Bible (Prag, 1410)

313 see: Red and Blue in British Royalty

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1606: The British flag314


When the first flag was introduced in 1606, it became known simply as "the British flag" or "the
flag of Britain".

Fig. 101: History of the British Flag


Public domain item published by MaartenSmit

The royal proclamation gave no distinctive name to the new flag. The word "jack" was in use before
1600 to describe the maritime bow flag. By 1627 a small Union Jack was commonly flown in this
position.
One theory goes that for some years it would have been called just "the Jack", or "Jack flag", or "the
King's Jack", but by 1674, while formally referred to as "His Majesty's Jack", it was commonly
called the Union Jack, and this was officially acknowledged.
The current design of the Union Flag dates from the union of Ireland and Great Britain in 1801. It
consists of the red cross of Saint George (patron saint of England), edged in white, superimposed
on the Cross of St Patrick (patron saint of Ireland), which are superimposed on the blue Saltire of
Saint Andrew (patron saint of Scotland). Wales, however, is not represented in the Union Flag by
Wales' patron saint, Saint David.

314 Info from the Wikipedia entry Union Flag & Union Jack

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1617: An Y for Albertus Magnus315


Albertus Magnus, O.P. (1193 1280), also known as Albert the Great and Albert of Cologne, was a
Dominican friar and a bishop, who achieved fame for his comprehensive knowledge of and
advocacy for the peaceful coexistence of science and religion.
Michael Maier's Symbola aureae mensae describes 12 alchemists, each of them carrying their
typical symbols: Hermes, und Mary from Judea, Democrit from Greece, Morienus from Rome,
Avicenna from Persia, Albertus Magnus from Germany. At the bottom line Arnoldus von Villanova
from France, Thomas of Aquin from Italy, Raymundus Lullus, from Spain, Roger Bacon, from
England, Melchior Cibinensis from Hungary and an anonymous Sarmate (from Poland or Russia).
The sixth book introduces Albertus Magnus316, who meets an androgynous couple carrying a
character Y. The symbolism of this depiction is unknown to me, but may be interpreted as an
explanation of the Y-character as an androgynous symbol317.
Fig. 102: Y-Symbol for Albertus Magnus (1617)

315 Symbola aureae mensae duodecim nationum by Michael Maier - typis Antonij Hummij, impensis Lucae Iennis,
1617 - 621 pages 316 1193/1206 1280, depicted at page 262 in Symbola aureae mensae duodecim nationum
317 See for further details The Wycliffe Bible

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1625: Palamedes by Vondel318


Colors may often change their interpretation over eras. The author Joost van den Vondel319 applies
red golden colors in Palamedes, 1213:
waer toe 't recht in parckement geschreven,
Met letters, rood van goud, gestarckt met heerlijck wasch! (Palamedes, 1213).
The color paers (Dutch: paars or English: purple) in archaic Dutch language has been interpreted in
several variants.
The word purple is a synonym to paers320 in
Het tafelbedde blinckt van 't Iliasche paers,
En 's purpers glans vermeert bij toorts, en wassekaers321..
The expression purple blood is also named paers in:
Beschildert uw' gewaed met bloed, en paersse strepen322.
and paers for purple, human blood in:
(hij) plengde, met een' heylgen schijn paers menschenbloet, in plaats van wijn323.
These examples suggest in 1625 Vondel may have applied paers rather in the sense of red-blue
(human blood) than dark blue.

1672: The Assembly Hall at Leyden324


Two documents from 1672 and 1742 reveal references to the words Paars respectively Pers,
which may be analyzed in details. Both documents describe an assembly hall for the peers of
Leiden, called Paars or Pers. Basically these words have been derived from Latin Pares, the
equals.
Korte besgryving van het Lugdunum Batavorum nu Leyden by Simon van Leeuwen 1672
Het selve Stadhuys is soo onder als boven in verscheide plaatsen verdeelt, elk tot sijn
byfonder gebruyk, als fijn boven de Grote Vroedschaps-kamer, Burgermeesters kamer,
Schepens kamer, Secretarie, Griffie ende Wees-kamer, voor ende tussen dewelke een groote
Wandel-plaats, dat men de Paars nomt, ten eynde van dewelke twee vertrekken voor sijn,
daar de Burgen alle nagten de wagt houden. Boven deselve Paars is de Artelerie ende
Wapen-kamer,
Hedendaegsche historie... - Seite 523 by Thomas Salmon, Jan Wagenaar, Matthias Van Goch 1742
Langs den eerst beschreeven' Buiten-opgang van twintig trappen naar bovengaande, komt
men op eene ruime Zaal, gemeenlyk de Paars of Pers genaamd, die zeventig treden lang is.
These words paars and pers may be related to English peers and pairs. Paars as a color
(purple) may refer to the favorite color for the robes of the noble pairs.

318 Taal en Letteren. Jaargang 1 (1891)


319 1587-1679
320 Vondel, Palamedes, 2123:
321 Vondel, Palamedes, 2123
322 Vondel, Palamedes, 344
323 Vondel, Palamedes 704.
324 Reference to: Yellow for Judas

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1648: The Last Supper by Champaigne325

Jesus is wearing the traditional religious garments in red & blue.

Judas wears a yellow robe over blue garments and a white purse, and as a traitor he has been
separated from the other disciples.

Fig. 103: The Last Supper by Philippe de Champaigne


Muse Du Louvre, Paris, France

1669: The First Russian Flag326

Fig. 104: First Russian Flag


Zar Peter I gave Russia its first imperial Flag , consisting of a blue Andreascross at a white
background.
325 Reference: Color Codings in the Last Supper (Overview)
326 Wikipedia: Flagge Russlands - Author (without Copyright): Johannes Rssel

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1727 CE: Jonathan Swift describes the Yahoos327


The word Yahoo may be related to the Yahu, respectively 328:
Yehua, Yawhanan (Yhanan), Ia-u-a (Ia-u), YHW, Yah, Jehovah, YH (Yah), Yahu (Hebrew),
329 (Iaho in Latin), Ia & Ia (Greek), IA330, 331, Iaoue, IA ( in Greek
and [Iah] in Latin), Iabe332 (for Samaritans), resp. Aa for the Jews333, IOA (), Ieue, Ieue,
Yohoua, Yohouah, Ieoa, Ihehoua, Jehovah334, Hiehouahi, Ihevhe, Ioua, Iehoua ( Ioua /Ioue
- Jupiter), Iohauah, Iehouah (instead of Ioua), Iehue335, 336 Iaoouee, Iabe, Iouiee337.
In Gulliver's Travels the clergyman Jonathan Swift describes the Yahoos as images of human
beings. In Part IV: A Voyage to the Country of the Houyhnhnms captain Gulliver meets a race of
horses who call themselves Houyhnhnms (which in their language means "the perfection of
nature"); they are the rulers, while the deformed creatures called Yahoos are human beings.
The Yahoos are primitive creatures obsessed with "pretty stones" they find by digging in mud, thus
representing the distasteful materialism and ignorant elitism Swift encountered in Britain.
An Assembly of the Houyhnhnms rules that Gulliver, a Yahoo with some semblance of reason, is a
danger to their civilisation, and expels him. He is then rescued, against his will, by a Portuguese
ship. He returns to his home in England, but he is unable to reconcile himself to living among
'Yahoos' and becomes a recluse, remaining in his house, largely avoiding his family and his wife,
and spending several hours a day speaking with the horses in his stables; in effect becoming insane.

327Gulliver's Travels
328The Name
329The Name
330The Name
331The Name
332The b in Iabe may have been understood as the w or uu (double u)
333Quaestiones in Exodum cap. XV quoted in The Name Of God Yehowah. Its Story, By Grard Gertoux
334The Name Of God Yehowah. Its Story, By Grard Gertoux A7 - Is Galatino the first who introduced the name
Jehovah in 1518?
335resp. Iehoua or Iihue not derived from Ioue (Jupiter!), but from from Aramaic yihweh, respectively Hebrew Iehoua
336However, there are other equally reputable scholars who can provide evidence that the underlying Greek of Jave is
"" and not "".
337London Papyri. Xlvi, 446-482

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1774: The Sorrows of Young Werther by J.W. Goethe


In his famous novel The Sorrows of Young Werther Goethe dresses his hero Werther in a
complementary combination of blue coat and yellow waistcoat and pantaloons.
Blue and yellow are the complementary colors Goethe will later analyze in what he considered as
his major work: the Theory of Colours (1810).
An fine image of the blue coat and yellow waistcoat and pantaloons has been illustrated in
the movie Young Goethe in Love338.
Unfortunately the translator339 forgot the color parameter yellow in the English version340 of the
manuscript as may be read from the comparison of the following quotations (of the entries for the
date September 6), in which the attribute new for the waistcoat and pantaloons erroneously
seems to have been misinterpreted for the yellow waistcoat and pantaloons.
English translation:
SEPTEMBER 6.
It cost me much to part with the blue coat which I wore the first time I danced with
Charlotte. But I could not possibly wear it any longer. But I have ordered a new one,
precisely similar, even to the collar and sleeves, as well as a new waistcoat and pantaloons.
But it does not produce the same effect upon me. I know not how it is, but I hope in time I
shall like it better.
German Original:
Am 6. September
Es hat schwer gehalten, bis ich mich entschlo, meinen blauen einfachen Frack, in dem ich
mit Lotten zum erstenmale tanzte, abzulegen, er ward aber zuletzt gar unscheinbar. Auch
habe ich mir einen machen lassen ganz wie den vorigen, Kragen und Aufschlag, und auch
wieder so gelbe Weste und Beinkleider dazu. Ganz will es doch die Wirkung nicht tun. Ich
wei nicht--ich denke, mit der Zeit soll mir der auch lieber werden.

Goethe's Interpretation of the colors blue and yellow in Werther


Goethe expresses his antipodal system in the contrast based on darkness (blue) and light (yellow).
[20]341:
Yellow is a light which has been dampened by darkness; Blue is a darkness weakened
by light.
Much earlier, in 1774, however Goethe already write a novel The Sorrows of Young Werther in
which his clothes had been based on the colors yellow and blue342.

338Miriam Stein with Alexander Fehling, playing the title character Johann Goethe, who creates the poem masterpiece,
'The Sorrows of Young Werther,' in the romance-drama, 'Young Goethe in Love.' (Musicbox films )
339 R.D. Boylan, Release Date: January 2, 2009 [EBook #2527]
340available at Project Gutenberg
341Goethe, Johann (1810). Theory of Colours, paragraph #502.
342German:Die Leiden des jungen Werthers

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Goethe's main symbol Red (and its antipodal symbol green)


If the edge of a white figure is displaced over a dark boundary by viewing through a prism, he says
(Paragraph 204), a narrow blue edge appears next to this boundary, and a broader blue-red border
appears next to the blue edge; but if the edge of a black figure is displaced in the same way over the
light boundary, a. narrow yellow edge appears next to the boundary and a broader yellow-red border
appears next to the yellow edge. Both types of border colors thus tend toward red, which is, for
Goethe, the most powerful and intense of all colors343.
Historical letters clearly prove that Goethe 1785 already had a clear idea of the symbolism and the
concept of red, blue and yellow, which will be demonstrated in one of the following chapters 344. A
couple of years after Goethe had published The Sorrows of Young Werther the US-American flag
has been created 1777. There is no contemporary written explanation for the color's symbolism in
this flag, but we do have some remarkable documents for the design of other American flags, in
which the symbolism had been discussed.

Goethe's Interpretation of the colors blue and yellow in Werther


Although Goethe may have identified blue and yellow as antipodes as early as 1774 (at the time he
started writing the The Sorrows of Young Werther) the true observations may also have followed ten
years after Werther's creation - shortly before his discussions with Francisco de Miranda (1785) and well before his experiment for the publication of Theory of Colors (1810).
Historical letters clearly prove that Goethe 1785 already had a clear idea of the symbolism and the
concept of red, blue and yellow, which will be demonstrated in one of the following chapters 345. A
couple of years after Goethe had published The Sorrows of Young Werther the US-American flag
has been created 1777. There is no contemporary written explanation for the color's symbolism in
this flag, but we do have some remarkable documents for the design of other American flags, in
which the symbolism had been discussed.

343Goethe's Theory of Colours


344 Symbolism in Antipodal Colors - explaining the backgrounds to Goethe's Color Theory
345 Symbolism in Antipodal Colors - explaining the backgrounds to Goethe's Color Theory

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1777: The American Flag346


In 1777, the Continental Congress issued a resolution calling for a national banner of red, white and
blue, with 13 stripes and 13 stars. More stars were added as states joined the Union, until the flag
assumed its current form - 13 stripes and 50 stars. Please note the equal number (13) of stars and
stripes, which may refer to equality for the male and female symbols in the original flag.

Fig. 105: 15-starred Flag at Fort McHenry (1814)


There is some evidence the colors red, white and blue have been chosen by Templars and
Freemasons in a great number of countries, namely Holland, France, England, Scotland and the
USA. At the time of defining a banner the leading intelligentsia in most of these countries are
known to have been influenced by Templar-or Freemason-symbolism.
A great number of US-presidents are known to have been Freemasons: Washington, Monroe,
Andrew Jackson, Polk, Buchanan, Andrew Johnson, Garfield, Theodore Roosevelt, Taft, Harding,
Franklin D. Roosevelt, Truman and Ford. As Freemasons they certainly were aware of the Biblical
sources for the fundamental border colors red and blue of the rainbow - even if they were unaware
of the androgynous symbolism.

346 Reference: The Sky-God Dyus

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1785: Francisco de Miranda347


During a party in Weimar in the winter of 1785, Goethe had a late-night conversation on his theory
of primary colors with the South American revolutionary Francisco de Miranda.
This conversation inspired Miranda, as he later recounted 348, in his design of the yellow, blue
and red flag of Gran Colombia, from which the present national flags of Colombia,
Venezuela and Ecuador have been derived349. The following details of Miranda's biography
have been documented in Wikipedia:
Miranda, who had bought himself a commission as a General of the Spanish Army around
1771 (something not unusual in the European armies at the time), became interested in the
American Revolutionary War, while serving as Captain of the Aragon Regiment and aide-decamp to General Juan Manuel de Cajigal y Monserrat, (17391811).
Under Cajigal, Miranda participated in the 1781 Battle of Pensacola, which saw British West
Florida fall into Spanish hands, and was promoted to lieutenant colonel.
He participated in the Capture of The Bahamas and carried news of the island's fall to his
superior Bernado de Galvez. Galvez was angry that the Bahamas expedition had gone ahead
without his permission and he imprisoned Cajigal and had Miranda arrested. Miranda was
later released, but this experience of Spanish officialdom may have been a factor in his
subsequent conversion to the idea of independence for Spain's American colonies.
He later returned to the United States in 1783, where he met, among others, George
Washington, Thomas Paine, Alexander Hamilton, Henry Knox, and Thomas Jefferson,
embarking from Boston for England on December 15, 1784.
Fascinated with Miranda's account of his exploits in the United States Revolutionary War and his
travels throughout the Americas and Europe, Goethe told him at his visit 1785 that,
"Your destiny is to create in your land a place where primary colors are not distorted.
He proceeded to clarify what he meant350:
First he explained to me the way the iris transforms light into the three primary colors []
then he proved to me why yellow is the most warm, noble and closest to [white] light 351;
why blue is that mix of excitement and serenity, a distance that evokes shadows; and why
red is the exaltation of yellow and blue, the synthesis, the vanishing of light into shadow.
It is not that the world is made of yellows, blues and reds; it is that in this manner, as if in
an infinite combination of these three colors, we human beings see it. [] A country
[Goethe concluded] starts out from a name and a flag, and it then becomes them, just as a
man fulfills his destiny.
In these quotations the color red already has been defined as the synthesis of the elementary,
antipodal symbols yellow ( bright light) and blue ( dark shadow).

347 Symbolism in Antipodal Colors - explaining the backgrounds to Goethe's Color Theory
348Miranda gave at least two sources of inspiration for his flag. In a letter written to Count Simon Romanovich
Woronzoff (Vorontsov) in 1792, Miranda stated that the colors were based on a theory of primary colours given to
him by the German writer and philosopher Johann Wolfgang von Goethe. Miranda described a late-night
conversation which he had with Goethe at a party in Weimar during the winter of 1785.
349See Flag of Colombia#History
350 also quoted from Wikipedia
351Probably to be understood as light (represented by yellow) in contrast to shadows (represented by blue)

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According to Goethe the flag, the flag's symbolism ( its three basic colors) and the name are to be
seen as the fundamentals for the country. In fact the world seemed to have been built from three
colors in which the red color is the synthesis of both antipodal elements yellow and blue.

The stripes' Height


Although Goethe specifies yellow's relative weight as equivalent to the antipodal partner blue the
first flag of Gran Colombia has been designed with a much broader yellow stripe in its relations to
red & blue.
In fact we would expect the yellow stripe to be as high as the blue stripe and we might even expect
the red stripe to be designed at a double height as blue and yellow.
Instead Francisco de Miranda may have designed the first concept with a 50% area of yellow and
the other 50% as a symbolic purple element, consisting of each 50% of both red and blue.
In this case the design may basically symbolize the antipodes yellow and purple, in which the
complex symbol purple has been reduced to its fundamental elements red and blue.
Antithesis: another explanation refers to the yellow sun, arising above the blue ocean and the
red-brown soil, which have been depicted in the flag's central illustration.

Fig. 106: First flag of Gran Colombia, 1819-1820. Stripe ratios 2:1:1
This file has been published in Wikipedia by Shadowxfox
and is licensed under the Creative Commons Attribution-Share Alike 3.0

Unported license.

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1791: The Magic Flute Mozart352


The Magic Flute353 is an opera in two acts composed in 1791 by Wolfgang Amadeus Mozart to a
German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form
that included both singing and spoken dialogue.
The Magic Flute is noted for its prominent Masonic elements; Schikaneder and Mozart were
Masons and lodge brothers (see: (see: Mozart and Freemasonry). For the last seven years of his life
Wolfgang Amadeus Mozart was a Mason. The Masonic order played an important role in his life
and work.
The story itself portrays the education of mankind, progressing from chaos through religious
superstition to rationalistic enlightenment, by means of trial (Tamino) and error (Papageno),
ultimately to make "the Earth a heavenly kingdom, and mortals like the gods".
Male and female elements in the androgynous couple are animus and anima, Tamino - Pamina,
Papageno - Papagena.

1800: Heinrich von Ofterdingen by Novalis


The blue flower is the main symbol in romanticism.
The German author Novalis first used the symbol of a blue flower in an unfinished manuscript of a
Bildungsroman, entitled Heinrich von Ofterdingen. After contemplating a meeting with a stranger,
the young Heinrich von Ofterdingen dreams about blue flowers which call to him and absorb his
attention.
Novalis354, who searched the joining forces between antipodes, probably has been inspired by
Goethe. His antipodes involve yellow and blue, future and past, life and death, day and night. In
Heinrich von Ofterdingen Novalis defines yellow gold as an antipodal element to the blue355.
Novalis may also have been inspired by Fichte, who derived the antipodal elements subject-ego and
the object-ego from the absolute Ego356.
According to Novalis the subject-ego and the object-ego will be joined to the absolute Ego by the
first kiss357.
These details highlight Goethe's concept in the search for the antipodal symbolism. The theory had
to meet some antipodal requirements, which had been inherited by ancient philosophy. Goethe
already had applied the symbolic colors in his Werther-novel and he had discussed the flag's design
for revolting countries with Francisco de Miranda. He must have been working with colors for
several decades before he published his Theory of Light.

352 Reference: Threads of Bipolar Symbolism in Religion


353 German: Die Zauberflte, K. 620
354 Friedrich von Hardenberg
355 Franziska Struzek-Krhenbhl: Farbe der Unendlichkeit. Zur Farbsymbolik der blauen Blume von Novalis.
356 Franziska Struzek-Krhenbhl: Farbe der Unendlichkeit. Zur Farbsymbolik der blauen Blume von Novalis.
357 Franziska Struzek-Krhenbhl: Farbe der Unendlichkeit. Zur Farbsymbolik der blauen Blume von Novalis.

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1810: Theory of Colors by J.W. v. Goethe


Goethe experimented with colors and found a the complementary couple blue and yellow, which in
his work have been marked by a negative minus (for blue) respectively a positive plus-sign (for
yellow)358.
In his work Color Theory Goethe documents blue and yellow as individual, opposites items and
derives all colors from this complementary antipodal pair blue and yellow359.
Blue is attributed to darkness, yellow to light.

Fig. 107: Goethe's color wheel


This image (or other media file) is in the public domain because its copyright has expired. Original uploader was
Luestling at de.wikipedia

358 Franziska Struzek-Krhenbhl: Farbe der Unendlichkeit. Zur Farbsymbolik der blauen Blume von Novalis.
359Goethe , Werke, Volume 13

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Newton and Goethe


Due to their different approaches to a common subject, many misunderstandings have arisen
between Newton's mathematical understanding of optics, and Goethe's experiential approach. The
following differences have been listed in Wikipedia360:
Because Newton understands white light to be composed of individual colors, and Goethe
sees color arising from the interaction of light and dark, they come to different conclusions
on the question: is the optical spectrum a primary or a compound phenomenon?
For Newton, the prism is immaterial to the existence of color, as all the colors already exist
in white light, and the prism merely fans them out according to their refrangibility. Goethe
sought to show that, as a turbid medium, the prism was an integral factor in the arising of
color.
Whereas Newton observed the color spectrum cast on a wall at a fixed distance away from
the prism, Goethe observed the cast spectrum on a white card which was progressively
moved away from the prism... As the card was moved away, the projected image elongated,
gradually assuming an elliptical shape, and the colored images became larger, finally
merging at the center to produce green.
Moving the card farther led to the increase in the size of the image, until finally the spectrum
described by Newton in the Opticks was produced... The image cast by the refracted beam
was not fixed, but rather developed with increasing distance from the prism. Consequently,
Goethe saw the particular distance chosen by Newton to prove the second proposition of the
Opticks as capriciously imposed.[24]
Whereas Newton narrowed the beam of light in order to isolate the phenomenon, Goethe
observed that with a wider aperture, there was no spectrum. He saw only reddish-yellow
edges and blue-cyan edges with white between them, and the spectrum arose only where
these edges came close enough to overlap. For him, the spectrum could be explained by the
simpler phenomena of color arising from the interaction of light and dark edges.
Newton explains "the fact that all the colors appear only when the prism is at a certain
distance from the screen, whereas the middle otherwise is white... [by saying] the more
strongly diverted lights from the upper part of the image and the more weakly diverted ones
from the lower part fall together in the middle and mix into white. The colors appear only at
the edges because there none of the more strongly diverted parts of the light from above can
fall into the most weakly diverted parts of the light, and none of the more weakly diverted
ones from below can fall into the most strongly diverted ones." (Steiner, 1897[15])
Obviously Goethe's studies of color361 began with subjective experiments which examined the
effects of turbid media on the perception of the antipodes light and dark. The poet observed that
light seen through a turbid medium appears yellow, and darkness seen through an illuminated
medium appears blue.
Goethe concludes after decades of study:

Yellow is a light which has been dampened by darkness Blue is a darkness weakened by
light362.

360 Footnote: [23]


361Theory of Colors (original German title Zur Farbenlehre) is a work by Johann Wolfgang von Goethe about the poet's
views on the nature of colors and how these are perceived by humans, published in 1810.
362Goethe, Johann (1810). Theory of Colors, paragraph #502.

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There are only two pure colors blue and yellow; the rest are degrees of these.

In Goethe's color circle magenta may be found as the composition of red & blue directly opposite to
green, which proves that the true antipodal color to magenta is green. However magenta is not a
spectral color. Goethe needed this color to match antipodes for all colors in a circle and therefore he
needed magenta as a partner for green.
For Newton, only spectral colors could count as fundamental. By contrast, Goethe's more
empirical approach led him to recognize the essential role of (non-spectral) magenta in a
complete color circle, a role that it still has in all modern color systems."[21] 363
Goethe considered his work on color theory as more important than his poetry 364, which explains
that the theory of colors also must be considered as an important philosophical topic:
As to what I have done as a poet... I take no pride in it... but that in my century I am the
only person who knows the truth in the difficult science of colors of that, I say, I am not a
little proud, and here I have a consciousness of a superiority to many.
This statement clearly illustrates the impact and importance of colors in the Goethe's philosophy.
Goethe may have convinced the South American revolutionary Francisco de Miranda, who
applied his philosophical idea to design the national flags of Colombia, Venezuela and
Ecuador with the primary colors blue, red and yellow, although in the modern color theory
red cannot really be considered as a true synthesis' symbol for blue and yellow, unless the
reader is willing to accept an unrealistic explanation such as:
A mixture of blue and yellow will produce green, which is an antipodal to Goethe's
synthesis color symbol magenta, a composition of red & blue.
In contrast the US-American flag and the South-Korean flag have been designed with the correct
biblical primary elements red & blue, although they cannot be considered as true antipodes in the
color triangle. Instead red & blue are the border elements in the rainbow, which may be observed
by the human eye without any tools. In contrast Goethe needed optical tools to analyze the solar
specter and identify blue and yellow as true antipodes, but yellow is no primary color in the RGBtriangle.

Fig. 108: RGB Triangle


Of course other philosophers also did choose the correct antipodes and synthesis' symbols. Let's
proceed with the next station in the flow chart...

363a b Ribe & Steinle, 2002


364 Goethe, as recalled by Johann Eckermann, Conversations of Goethe, (tr. John Oxenford), London, 1930, p.302

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1853: Mirio by Frederi Mistral


Frederi Mistral publishes the words I and God in the poem Mirio, containing the concept of a
Genesis in a singular Word Diu and iu:

Stanza in Provencal language


iu la vese , aquelo branqueto ,
E sa frescour me fai lingueto !

iu vese, i ventoulet, boulega dins lou cu


Sa ramo e sa frucho inmourtalo...,
Bu Diu, Diu ami, sus lis alo
De nosto lengo prouvenalo ,
Fai que posque avera la branco dis aucu !

Translation (French English)365


Methinks I see yon airy little bough :
It mocks me with it's freshness even now ;
The light breeze lifts it, and it waves on high
Fruitage and foliage that cannot die.
Help me, dear God, on our Provenal speech,
To soar until the birds' own home I reach !

365 An English translation by Harriet W. Preston for this poem is found at Mirio (translation published in 1885)

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Explaining Genesis in a singular Word366.


Genesis 1-27

God created man in his own image


His own image is Diu .

In Gods image he created him;


In Gods image (Diu) he created iu;
male and female he created them.
male (i) and female (u) he created iu.
God blessed them. God said to them, Be fruitful, multiply, fill the earth, and subdue it.

1-28

God blessed iu. God said to iu, Be fruitful, multiply, fill the earth, and subdue it.

1-28

Genesis 1-31

God saw everything that he had made, and, behold, it was very good. There was evening
and there was morning, the sixth day.
I will not return to destroy Ephraim:
For I am God, and not man; the Holy One in the midst of you;
And I will not come in wrath.
Hosea 11-9

For I am Diu, and not iu; the Holy One () in the midst of iu;
...and they shall make holy garments for Aaron your brother, and his sons, that he may
minister to me in the priests office. 5They shall take the gold, and the blue, and the purple, and the
scarlet, and the fine linen.
Exodus 28-4

The poem Mirio is a new Rosetta Stone for etymology, explaining the structure of the personal
pronouns I, U and We (UI)
and the colours for the priests' garments.
I never saw any message within singular words comparable to Diu, and iu.
Who needs a full Bible to explain the Genesis legend?
According to etymologists367 the pronouns I, You and We are the most important words in any
language.
The English pronouns i, you (u) and we (ui) (probably?) have been derived
from Diu and/or iu...

366 Full details will be explained in the Etymology for the Pronoun 'I'
367 Source: the wordlist proposed by Morris Swadesh (quoted by C. Renfrew 1988), and published in BRES, Nr. 149,
Augustus/September. 1991.

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1880: Phallism368 by Hargrave Jennings


Hargrave Jennings clearly explains the mechanism of androgynous religion:
We know from the Jewish records that the Ark was supposed to contain a table of stone;
and if it can be demonstrated that that stone was phallic, and yet identical with the sacred
name Jehovah or YehoVah, which written in unpointed Hebrew with four letter's, is J-E-V-E
or J-H-V-H (the H being merely an aspirate and the same as E). This process leaves us the
two letters I and V (or in another of its forms U); then if we place the I in the U we have the
"Holy of Holies" we also have the Linga and Yoni and Argha of the Hindus, the Iswarra or
"supreme lord" and here we have the whole secret of its mystic and arc-celestial import,
confirmed in itself by being identical with the Linyoni of the Ark of the Covenant.

1888: The Secret Doctrine, H. P. Blavatsky


A quick search for the red & blue-quotations reveals some symbolism as found in Blavatsky's work.
Three quotations refer to the Genesis, in which blue, purple and scarlet are specified in the divine
commands for the Temple which (strange as it may seem) seems to have been using the same colors
for the Egyptian temple in Luxor and Rudra:

For what was the meaning of the square tabernacle raised by Moses in the wilderness, if it had
not the same cosmical significance? "Thou shalt make an hanging . . . of blue, purple and
scarlet"

"If modern masters are so much in advance of the old ones, why do they not restore to us the
lost arts of our postdiluvian forefathers? Why do they not give us the unfading colors of Luxor
-- the Tyrian purple; the bright vermilion and dazzling blue which decorate the walls of this
place, and are as bright as on the first day of their application? 369

Rudra, as a Kumara, is Lilalohita -- red and blue.

1888: Vincent van Gogh's chromatic pairs370


In a letter to his sister Wil, van Gogh compared the fundamental harmony of chromatic pairs that
together "shine brilliantly" to a human couple declaring, the colors "complete each other like a man
and woman.371".
Vincent's samples of pairs illustrate his expressive idea of chromatic pairs. The finest samples of red
& blue color symbolism may be found in Courting couples in the Voyer d'Argenson Park in
Asnires (1887, Paris), Two Lovers (Walking Couple) (1888, Arles) and Couple Walking among
Olive Trees (Saint-Remy, May 1890).

368 Phallicism: Celestial and Terrestrial (p. 67) Hargrave Jennings


369 The Secret Doctrine, by H. P. Blavatsky - theosophical university press ascii edition (1888).
370 Vincent Van Gogh's Complementary Color Symbolism
371 Vincent van Gogh Paintings from Paris

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1882: The flag of South Korea 372


The flag of South Korea373, or Taegeukgi (also spelled Taegukgi in convention) was taken from the
Chinese design of the yin and yang symbol and has three parts: a white background; a red and blue
taegeuk ("Taijitu" or "Yin and Yang") in the centre; and four black trigrams, one in each corner of
the flag.
The taegeuk represents the origin of all things in the universe, perfectly balancing the two principles
of

"Yin", the negative aspect rendered in blue, and

"Yang", the positive aspect rendered in red

Together, they represent a continuous movement within infinity, the two merging as one.
The earliest surviving depiction of the flag was printed in a U.S. Navy book Flags of Maritime
Nations in July 1882.

Fig. 109: Flag of Korea / South Korea (1882)

372 Info from The flag of South Korea


373 from the Wikimedia Commons - Reference: The Fundamental Color Symbols Blue and Red

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1898: The flag of the Philippines374


The flag of the Philippines was officially hoisted for the first time on 12th of June in 1898. It shows
two horizontal stripes in blue & red with an isosceles white triangle on the leech. The design
elements of the flag of the Philippines are broadly of Masonic origin.

Fig. 110: The Flag of the Philippines

1898: The androgynous symbolism in Gauguin's sculptures 375


In his paintings Gauguin used the Idol (in Rave te Hiti Aamu, dated 1898) for which M.
Bodelsen376 discovered the origin of the name Seraphita had been traced in a novel of Balzac.
The symbolism of this idol represents an androgynous creature in which male and female elements
are joined in harmony. Oviri is the master of death, but also generating Seraphitus (male) and
Seraphita (female). In a letter to his friend Gauguin had ordered to decorate his grave with an
Oviri-sculpture377.

374 Reference: The Sky-God Dyus


375Source: Paul Gauguin, Geheimnisvolle Verwandtschaften von Assja Kantor-Gukowskaja, Anna Barskaja, Marina
Bessonowa
376 M. Bodelsen: Gauguin's Ceramics (1964, S. 149).
377The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent Van Gogh and Gauguin

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1914: Pink for Boys, Blue for Girls378


In the previous chapters we have identified purple as a divine and imperial color. Blue seems to be
the male color from the early beginning. Temporarily other conventions may have been popular.
The divine commands in Exodus 28-28 and 39 (-21,22,30) clearly reveal a preference of blue for
Aaron and his sons. These commands should have influenced all medieval artists in their coloring
code.
The Viennese Bible (6th Century) displays a red sun symbolizing a male red God and a blue, female
moon. The etymological genders of the sun and moon however are different at the north and south
side of the Alps. North of the Alps the sun is female and the moon male, whereas south of the Alps
the genders are reversed.
Emperors (e.g. Barbarossa) prefer to be depicted wearing a blue overcoat over red garments. In the
Codex Manesse King Tyro from Schotten and king Wenzel of Bohemia both wear a blue overcoat
and a red undercoat. In medieval painting Jesus Christ and Mary often wear a blue outer garment
over a red inner dress. In a statistical analysis 66% of Mary's depictions have been painted with blue
outer robes over a red inner garment.
Temporarily pink may have been a color associated with masculinity. In 1914, The Sunday Sentinel,
an American newspaper, advised mothers to use pink for the boy and blue for the girl, if you are a
follower of convention. The return (or change) to pink for girls and blue for boys happened in
America and elsewhere only after World War II.

378 Reference: Gender References for Purple, Red and Blue

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1911: Boaz and Jachin In Theosophy


In Theosophy some of the symbols379 for Boaz and Jachin have been painted red and violet-blue
suggesting a representation of the red & blue blood.
Generally the red J-pillar is arising from the sea and the violet-blue ( to be more precise the violet
border color of the rainbow) B-pillar from the soil.

Fig. 111: Apocalyptic Seal


Apokalyptisches Siegel 4; painted by Clara Rettich according to Rudolf Steiner's ideas, Stuttgart 1911
Licence Creative Commons Namensnennung, Weitergabe unter gleichen Bedingungen.

Boaz is known as the pillar of strength or severity and represents the Sun. Jachin is known as the
pillar of beauty or mildness and represents the Moon. Boaz and Jachin are built into the architecture
of all masonic lodges.

379Apocalyptic seal (1911) and Jachin and Boas and


Adam Kadmon in center of Jachin and Boaz. Androgyne of male and female, as above so below.

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1930: C.G. Jung's Red Book


C.G. Jung's Liber Novus (the Red Book) has been created 1914-1930. In this book Jung visualizes
and describes his (and our own) inner images, from unconsciousness, from which anything else has
been derived. The calligraphic elements and illustrations, archetypes, the collective unconscious and
the process of individuation, these all have been colored as seen in a single person's mind.
The bipolarity, the androgyny, the coloring of initials, the colors' red and blue in Jung's masterpiece
corresponds to similar symbolism in a great number of medieval manuscripts. Jung created this
document as his private overview and record of his own experiences. These experiences however
correspond to a great number of equivalent symbols. I merely found one contradiction to the
medieval symbolism: in medieval documents red is a male, and blue a female symbol, whereas Jung
applies red as a female and blue as a male element380.

Philemon381
Philemon has been depicted with the kingfisher's colors red & blue, which also may be found in the
borderline's patterns.
Fig. 112: Philemon with the kingfisher's colors

380 Red and Blue in C.G. Jung's "The Red Book"


381 reference: C.G. Jung - The Red Book, page 185, (page number 154)

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1932: Superman382
Superman is a fictional character, created 1932 in the USA. The character's appearance is
distinctive and iconic: a mainly blue, red and only partially yellow costume with a stylized
"S" shield on his chest383. In its original inception in Action Comics #1, Superman's symbol
was a letter S with red and blue on a yellow police badge symbol that resembled a shield.
Superman is most vulnerable to green Kryptonite, mineral debris from Krypton transformed
into radioactive material by the forces that destroyed the planet. Exposure to green
Kryptonite radiation nullifies Superman's powers and immobilizes him with pain and
nausea; prolonged exposure will eventually kill him 384. One of Superman's antipodes, the
Toyman, has been depicted in green or red & blue combinations385.

Fig. 113: Original


Superman costume
This is an original Superman costume owned by owner of Egeskov castle in Denmark
from the Superman Wikipedia-entry.
Creative Commons-Lizenz Namensnennung 3.0 Unported

382
383
384
385

The Superman Archetype's Colors


Superman - Wikipedia
Superman - Wikipedia
The original Toyman

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In a historical retrospect the designers of the most popular superheros preferred the primary colors
red and blue to characterize their most important symbolism.
Red and Blue indicate a bipolar set of archetypes centered around purple as the divine symbol as a
combination of red and blue. Bipolarity ruled the symbolic world of superheroes before writing had
been established.
The ancient decorations of temples, sculptures, bibles, paintings, frescoes, coats of arms, flags have
been revived in the modern comics, games and movies of the twentieth century. Subconsciously the
archetypes survive and will be inherited to the next generations to perform their stabilizing
functionality in coming generations.

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1932 Robert Musil's "Salvator"-Project386


In the original concept of Musil's project we may still identify the expressions anders and
mystic in the title and the protagonist's name. Musil started with a title The Salvator
instead of The Man Without Qualities and the protagonist's name Anders (Alien)
instead of Ulrich387.
Using mythical names such as Diotima and Bonadea the author Robert Musil in his work A Man
without Qualities may have designed an allegoric interpretation of Philo's theory, in which God as
a Creator without qualities created a Man without Qualities. This creation procedure however
will only be successful if we include an intermediate creation phase.
In German language the title A Man without Qualities must be considered as a contradictio in
terminis, which may be illustrated in the following explanation. In English the word Man is
genderless and perfectly meets the requirements of a being without qualities.
Especially the quality sex alienates us from ourselves. The sex-quality deviates and alienates us
from our Creator. Therefore man may be advised to refrain from social interaction and try to live as
'a man without qualities', for instance by neutralizing his masculinity into androgyny by marrying a
female partner with an equal amount of femininity.
This is the core message of Plato's creation legend, the Biblical creation legend and Musil's The
Man without Qualities, in which the word Man is to be understood as an androgynous
personage.
Only newly born children do not deviate from our Creator and may be considered as true samples of
men without qualities.

Robert Musil's color symbolism388


In Man without qualities there is a quotation of antipodal color symbolism, which I tried to
decipher.
Musil must have considered yellow and blue as the complementary color pairs, as well as red and
green, whereas he considered the mixture of antipodes violet or purple:
We might dress ourselves in an opposite pattern, Agathe delightedly responded. Yellow
one of us, and the other blue, or red opposite to green. And our hair might be colored
violet or purple389.
The quotation does not meet Goethe's nor Newton's theory. However searching the web I identified the four color
system of Ewald Hering, explaining Musil's expression. The 4 color system also has been applied to setup the Natural
Color System (NCS).

386 Summary from: Notes to Robert Musil's 'Salvator'-Project


387 Der Erlser sollte der Roman ursprngliche heien (page 203) and Anders wollte Musil seinen Protagonisten
nennen (page 203) in Sprache des Mglichen von Dietrich Hochsttter (1972)
388 Musil's vs. Goethe's Color Symbolism
389 Own translation from German to English - Page 904-905 in Rowohlt's Gesammelte Werke von Robert Musil (1978)
- Der Mann ohne Eigenschaften Teil 3 Ins tausendjhrige Reich (Die Verbrecher) (chapter 81-123).
Original: Wir knnen uns ja auch gerade entgegengesetzt kleiden entgegnete Agathe belustigt. Gelb der eine, wenn
der andere blau ist, oder rot neben grn, und das Haar knnen wir violett oder purpurn frben, und ich mache mir
einen Buckel und du dir einen Bauch: und trotzdem sind wir Zwillinge! (904-905) Kapitel 25 - Projekt GutenbergDE - SPIEGEL ONLINE

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390

At elementary school in Eindhoven in 1954 a Catholic teacher ordered the children to draw male
persons (Jesus, Adam & God) in red colours and female persons (Eve and the virgin Mary) in blue.
After the Fall of Man the couple had to be drawn in purple.

Fig. 114: Adam (red) and Eve (blue)

Fig. 115: After the Fall of Man the couple is


purple

390 Reference in German at: Religionsunterricht 1954-1955 and in Dutch language at: Godsdienstles 1954-1955.

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1956: David & Bethsabe by Chagall391


The Albertina museum exposed a lithographic painting392 name David & Bethsabe created by
Marc Chagall in 1956.
In this painting Marc Chagall (1887-1985) clearly used the symbolic colors red and blue to identify
the female and male person. However it remains unclear whether blue is a female and red is a male
symbol. According to the arrangement in the painting Chagall probably applied the standard modern
convention in which the red color represents the active, male symbolism and blue represents the
passive, female symbolism.

Fig. 116: Androgynous face by Marc Chagall

391 Reference: Secret Colour Codes in the Bible


392 Marc Chagall (1887-1985)

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1963: Salvador Dali's Illustrations to The Divine Comedy


Red & Blue intensely have been applied by Salvador Dali in his 100 Illustrations to The Divine
Comedy. In 1957, the Italian government commissioned Salvador Dal to paint a series of 100
watercolor illustrations of Dantes Divine Comedy, the greatest literary work written in the Italian
language. The illustrations were to be finished by 1965, the 700th anniversary of the poets birth.
The color symbolism clearly follows the rules red for male, blue for female persons as given in The
Hermetic Codex II and A Lifetime's Coloring Book (1954-2014), e.g. blue for Beatrice and orange
for Dante.

Fig. 117: Beatrice comforts the Poet


(Dante in orange and Beatrice in blue)
A complete set of illustrations can be previewed at Salvador Dali Divine Comedy 1963, from
which I selected those which obviously had been painted in red & blue. Most of Dali's watercolor
illustrations use orange or red for male and blue for female persons. I highlighted some of the most
remarkable color combinations:

Dante (in orange and light-blue)


Piccarda Donati (in orange, purple & blue)
Beatrice resolves Dante's doubts (Beatrice in purple & blue)
Church and Empire (in orange & blue)
The Law of climbing (in orange & blue)
The Song of the wise Spirits (in red & blue)
The dust of Souls (in red & blue)
The Cross of Mars (Dante in red, Beatrice in blue)
Cacciaguida's history lesson (in red/orange & blue/purple)
The Two Circles of Spirits (in red, blue & yellow)

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On Geryon's back (in orange & blue)


The Slothful (in red & blue)
Beatrice comforts the Poet (Dante in orange and Beatrice in blue)
In the Heaven of Jupiter (in blue & purple and red)
The Avaricious (in red & blue)
The Golden Age (in orange, yellow & blue)
The Garden of Christ (in orange, blue and purple)
The Tree of Punishment (two persons in red & blue)
The Joy of the blessed (in red, purple & blue)
The Apotheosis of the Virgin Mary (Mary in blue)
The Angels of the Empyrean (in orange & blue)
Dante and Beatrice (Dante in orange and Beatrice in blue)
The infinite Beauty of Beatrice (red, white & blue)
Dante re-awakes (Dante in orange and Beatrice in blue)
St. Bernard's prayer to the Virgin (St. Bernhard in red and the Virgin in blue & rose)
The Waterfall of the Phlegethon (A person in red & blue)

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1968: The German student movement of the 60's


The German student movement symbolically reversed the romanticized blue flower's color to its
complimentary red antipodal color:
In Berlin in 1968, one slogan of the German student movement stated "Schlagt die
Germanistik tot, frbt die blaue Blume rot!" ("Strike Germanistics dead, color the blue
flower red!"). The discipline of Germanistics was targeted as a sclerotic field, not suited to
the needs of the people of the present.

1992: The Biblical Origin of the Red, White and Blue


This chapter documents some notes to the Biblical Origin of the Red, White and Blue by Reginald
H. W. Cox, based on the Source: 'Wake Up!' magazine, November/December 1992:
Recent correspondence from one of our American readers has revealed that Charles W.
Stewart, superintendent of naval records and library of the United States Navy Department,
made the following observations in the Geographic, concerning the origin of the colors used
in the national flag of America:
"The flag may trace its ancestry back to Mount Sinai, whence the Lord gave to
Moses the Ten Commandments and the Book of the Law, which testify of God's will
and man's duty; and were deposited in the Ark of the Covenant within the
Tabernacle, whose curtains were blue, purple, scarlet, and fine-twined linen."
"Before the ark stood the table of shewbread, with its cloth of blue, scarlet and white.
These colors of the Hebrew Tabernacle were taken over by the early Western Church
for its own and given to all the nations of western Europe for their flags. When the
United States chose their flag it was of the colors of old, but new in arrangement and
design, and they called it "The Stars and Stripes."
"Our flag is of the colors red, white and blue. Red is for courage, zeal, and fervency;
white is for purity, cleanness of life and rectitude of conduct; blue is for loyalty,
devotion, friendship, justice and truth. The star is an ancient symbol of India, Persia
and Egypt, and signifies dominion and sovereignty."
Although the first two paragraphs of the statement belong to a mythical background the description
of the Tabernacle's curtains may be based on historical backgrounds. The ancestry of the colors
blue, purple, scarlet, and the fine-twined linen materials however may be much older than the event
at Mount Sinai.
In fact the color scarlet is not the standard red, but according to Wikipedia's entry Scarlet a hue
between red and orange.
The last chapter assigning red is for courage, zeal, and fervency; white is for purity, cleanness of life
and rectitude of conduct; blue is for loyalty, devotion, friendship, justice and truth is disputable. The
assignment for the colors purple, red, white and blue have been made as a divine command without
further explanation. Profane explanations for the references of these colors may be speculative
compared to the religious explanations in this book.

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2004: Androgynous couples in Artwork


From the 3rd of April 2004 until the 18rd of April 2004 an artwork exposition titled
Metamorphoses has been organized at the Town Hall of Unterweissach near Stuttgart.
Simultaneously the paintings have been published at the website Artwork Joannes Richter.
The series of paintings depicted the Platonic creation-legend for androgynous man in Symposium.
Two paintings exposed at this exposition illustrate some details for androgynous symbolism.

Fig. 118: Androgynous Couple (2003)


(Oilpainting by Joannes Richter, 40x30cm)

Fig. 119: Androgynous Couple (2003)


Oilpainting by Joannes Richter,

(40x30cm)

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2005: In The Pink & Blue Project


In The Pink & Blue Project 393 (2005) many toys and books for girls are pink, purple, or red, and are
related to make up, dress up, cooking, and domestic affairs. However, most toys and books for boys
are made from the different shades of blue and are related to robots, industry, science, dinosaurs,
etc.

393 JeongMee Yoon's official website

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Conclusion
6000 years ago an Indo-European people initiated an overwhelming successful and monumental
idea in designing a Proto-Indo-European-language and a corresponding religion, which covered the
globe in the following six millenniums. No European region has been spared from this gigantic
wave and we may identify the influence in all continents and all historical records. Therefore it has
been easy to reconstruct the basic principles for the Proto-Indo-European religion and language,
which partially seem to have been copied to the Hebrew religion as well.
The PIE-System has been designed as a bipolar concept of an androgynous deity, which created an
androgynous human being according to its own image, consisting of a male and a female half. The
first androgynous human being has been encoded in the divine name (e.g. Diu), in the
corresponding pronoun of the first person singular (e.g. iu) and in the colors red (male), blue
(female) and purple (androgynous, divine).
Originally the pronouns of the first person singular had been designed as pure vowel-sequences, in
which the vowels I and U represented the antipodes and the other vowels may have symbolized the
divine, androgynous core. For religious reasons these vowels have been sacred amongst several
peoples, who copied the basic principles. The Indo-European peoples however did not treat the
vowel-structures as secret concepts.
After destruction of the PIE-religion the converted PIE-peoples must have been motivated enough
to rescue some of their ancient androgynous PIE-symbolism in their new Christian environments.
Mediterranean peoples (French, Italian, Spanish) were able to preserve their divine names (Diu,
Deus, Dio, Dios) and their divine pronouns (iu, je, eu, io, yo, I, etc.), whereas a great number of
peoples (French, Dutch, English) managed to conserve the symbolic colors, which previously also
had been documented in the Bible, in their coats-of-arms, flags, ancient coins, paintings and tombs.
Others conserved some of the ancient androgynous sculptures, temples and hieroglyphic runes,
which have been excavated in recent years.
Although the basic PIE-principle is easily understood none of these PIE-symbols seem to have been
recognized at first glance. This description may provide access to the idea of PIE-religion and
-language in explaining the religious symbolism in the divine names, in the personal pronouns and
in the color code of the ancient temples, medieval tombs and the flags.

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