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 arV15586 
 
 Origin of architectural desigri; 
 
 3 1924 031 322 328 
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 The original of tiiis book is in 
 tine Cornell University Library. 
 
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 http://www.archive.org/details/cu31924031322328 
 
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MYTHICAL CHART 
 OF THE HEAVENS 
 
 COPYRKIKr l9I^^I£EH.>fPQQy 
 
 -' I't. il» J JX, J,, ^ 
 
 • ♦«««•• 
 
 » • • • 
 
 
 REPRODUCED FROM SCHUUIG'8 ATLAS. 
 
 XM. 
 
 iivr 
 
 5^. 
 
 ^'j * ««» 
 
 SIC 
 
 SteDae Tariab^ilpg. 
 
 Duae steHae riciiia* 
 nu£s oculis uniiis MelUA 
 
 instar coiupiruas. 
 
 StdlaA diqiHcM 
 fninore raajore' 
 
 m # 
 
 tdncapio dufdhibilM. 
 
 StcUu 
 fuque 
 
 Sidara^nsbulosa 
 « cimnui conspind 
 
 EXPLANATORY 
 
 It is only too patent what part the above scene has played in the mytho- 
 logical and religious belief of man. To the student of comparative re- 
 ligion and mythology the figures will prove self explanatory. If he is 
 fairly well versed in astronomy there should be but very little difficulty 
 experienced in finding the star-figures delineated above for the evidence 
 in each case is very w^ell marked. 
 
 PARADISE 
 
 It seems that we have here a most vital clew to that fabled Paradise 
 which figures so prominently in the traditions and religious beliefs of the 
 ancients. By analogy it would seem that the primitive or paradisical 
 home o<f man should have been located somewhere in the north or im- 
 mediately underneath this celestial scene. 
 
 "JERUSALEM THE GOLDEN" 
 
 Man has quite evidently recognized in this locality the rudiments of a 
 celestial city and has commemorated it in various ways. Hence the 
 "Meccas^' or "Jerusalems" of the different nations of the world. The 
 Temples and Shrines owe their rudiments of design to this locality. The 
 polar-mount is simply the basic origin of the pyramidal structures which 
 are found almost universally throughout the world. It has been seen as 
 mound-like, truncated, terraced, stepped, stratified, dome-shaped, pyra- 
 midal, turreted, etc. 
 
 For further information see ORIGIN OF ARCHITECTURAL DE- 
 SIGN by Lee H. McCoy, price $1.00. For sale by The Antiquarian Pub. 
 Co., Kunkle, Ohio; A. C. McClurg & Co., Chicago, and Baker & Taylor 
 Co., New York City. 
 
 PIUNTEI) CY THE FBANKUN PRESS. PUEBLO. COLO.. MARCH 15. lOia 
 

Origin of Architectural 
 Design or the Archae- 
 ology of Astronomy 
 
 By LEE H. McCOY 
 
 And all the signs through which Night whirls her car. 
 From belted Orion back to Orion and his dauntless hound. 
 And all Poseidon's , all high 2ei^^ stars. 
 Bear on their beams true messages to man. 
 
 — Poste's Translation of Aratos. 
 
 1912 
 The Antiquarian Publishing Co. 
 
 Benton Harbor, Mich. 
 
 E.V. 
 
Copyrighted 1912 by 
 The Amitquarian PususmNC Co. 
 
 D.^ 
 
To 
 
 Cora Lindsby Field 
 
 for exceptional proof-reading 
 
 AND 
 
 The R. J. Laas Printdjg Co. 
 
 FOR MECHANICAL SERVICE 
 
 AS A 
 TOKEN OP APPRECIATION 
 
CONTENTS 
 
 Chapter Page 
 
 Introduction 1 
 
 I. The Nomenclature of the Heavens 8 
 
 II. The Origin of Architectural Design 
 
 in Central America and Peru 17 
 
 III. The Celestial Sphinx - - - 31 
 
 IV. The Starry Pyramid - - - 56 
 
 V. The Origin of the Pyramid - - 65 
 
 VI. The Starry Isis and Other Attendant 
 
 Figures Emblematic - - 88 
 
 VII. The Abode of Evil - - - 127 
 
 VIII. Egyptian Symbolism of the Moon 155 
 
3i 
 
 5- 
 
s* ^ 
 
INTRODUCTION 
 
 IN this thesis we attempt to estabhsh the truth 
 in re several much discussed subjects. Man 
 as man is a very interesting study, and we can 
 trace his history only by the monuments he has 
 left behind him, whether intentionally or unin- 
 tentionally. These monuments may take the 
 form varying from a potsherd to the Great 
 Pyramid of Cheops, but it is all markings of the 
 advancement of man. 
 
 Sometime in the history of the human race, 
 architecture must have had its beginning; some- 
 thing must have served as a model. The ques- 
 tion naturally arises: — What was that model? 
 In this thesis we are endeavoring to arrive at 
 conclusions in regard to : — 
 
 1. The Origin of Architectural Design. 
 
 2. The Relation of Astronomy (as con- 
 
 ceived by the primitive races) to 
 Religion. 
 
 3. The Actual Scientific Knowledge Pos- 
 
 sessed by the Earliest of Civilized 
 Peoples, i. e.,the Egyptians, Babylon- 
 ians and Greeks. 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 4. The Influence of Astronomy upon 
 
 Architecture. 
 
 5. The Value of Symbolism. 
 
 6. The Influence of Symbolism upon 
 
 Architecture. 
 
 7. The Reflex Influence of Symbolism 
 
 and Architecture upon Religion. 
 
 8. The Destiny of Man. 
 
 9. The Destiny of the cosmos. 
 
 10. The Relation of Astronomy, Archae- 
 ology, Mythology and Religion to 
 Human Advancement. 
 
 In our study it was necessary that we delve 
 very deeply into a varied field of knowledge, 
 especially in the departments of Archaeology, 
 Religion, Mythology, Astronomy and a great 
 many other branches of learning, and in so 
 doing had recourse to a number of valuable 
 works which we are pleased to mention here as 
 grateful return for the aid derived. G. Mas- 
 pero's works on Egypt, especially his latest his- 
 tory of that country, in thirteen volumes, have 
 been of invaluable service in the study of the 
 Egyptological side of the question, for, we con- 
 2 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 sider his view of the ancient Egyptian closely 
 sympathetic with the life and career of that great 
 nation of antiquity. He displays keen percep- 
 tion of the minutia of their every day life and 
 we believe that their own historian could scarce- 
 ly set forth a more intimate exposition of their 
 history. 
 
 George Rawlinson's and Adolf Erman's 
 works on Egypt have also proven an aid in 
 determining the starry counterpart of the vari- 
 ous symbols and emblematic figures of that 
 nation, for they are replete with illustrations of 
 the life and sculptured works found in the ruins 
 of the Nile country. James Henry Breasted's 
 work, "A History of Egypt," in one volume, 
 dealing with the history of that nation from the 
 earliest times to the Persian conquest has proven 
 a great aid. Vol. I of "History of all Nations" 
 dealing with "Egypt and Western Asia in Anti- 
 quity," published by Lea Brothers & Co., 
 Philadelphia and New York, has been very in- 
 teresting in connection with our efforts. The 
 latter work is by Ferdinand Justi, Sara Yorke 
 3 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 Stevenson, John Henry Wright and Morris 
 Jastrow and is undoubtedly one of great thor- 
 oughness and exactness upon the subject of 
 Egyptology. 
 
 We have been rendered invaluable aid in 
 connection with the study of Egyptian religion 
 and symbolism through perusal of~A?\E. Wal- 
 lis Budge's work in three volumes, "The Book 
 of the Dead." Thomas Bulfinch's work, "The 
 Age of Fable," as revised by Rev. E. E. 
 Hale, has rendered great service also in that 
 department of the subject. 
 
 In connection with the mythological phase 
 we have had recourse to Thomas Bulfinch's 
 "The Age of Fable;" "Babylonian Religion 
 and Mythology," by L. W. King; "The Stars 
 in Song and Legend," by Jermain G. Porter ; 
 "Tales of Ancient Greece," by George W. 
 Cox; "Norse Mythology," by Rasmus B.Ander- 
 son and " Paradise Found," by Wm. F. War- 
 ren, all of them instructive works. 
 
 Dr. Stephen D. Peet's work, "Prehistoric 
 America," in four volumes, and "Prehistoric 
 4 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 Architecture" by the same author, have proven 
 an invaluable acquisition in the study of ancient 
 America, for they are two of the most com- 
 plete and exhaustive works on that department 
 of the subject that can be secured. 
 
 Garrett P. Serviss' "Astronomy With the 
 Naked Eye;" Simon Newcomb's "Popular 
 Astronomy;" "Ray's Series, Elements of As- 
 tronomy," by Joseph Ray; The "Story of the 
 Heavens," by Sir R. S. Ball and a great num- 
 ber of other excellent works on Astronomy 
 have been consulted and a careful digest made 
 of their contents in order to make the work 
 conform very closely with Astronomical data 
 in every respect. 
 
 "The Evolution of Worlds," by Percival 
 Lowell, proved interesting in connection with 
 that department of the subject, while "The Age 
 of Mammals," by Henry Fairfield Osborn, has 
 rendered great assistance regarding prehistoric 
 life upon the earth. We wish also to mention 
 very favorably Dr. Augustus Le Plongeon's 
 work on the ancient cities of Central America, 
 5 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 "Queen Moo and the Egjrptian Sphinx," which 
 throws a wealth of light upon the ruins found 
 in that part of our own hemisphere, as well as 
 presenting a great number of admirable photo- 
 graphic plates and drawings showing the differ- 
 ent sculptured figures and representations to 
 which he had first-hand access in his work. 
 
 We wish also to render a sincere tribute to 
 Prof. J. O. Kinnaman, editor of the "American 
 Antiquarian and Oriental Journal," for the 
 fearless and hearty support that he has given 
 this work from the first. We are pleased to 
 declare here also our sincere appreciation of 
 the friendly services rendered by Mr. L. H. 
 Daingerfield of the U. S. Weather Bureau ser- 
 vice.who, from the first, has taken great interest 
 in the subject. 
 
 A very interesting work on the symbolism 
 of the starry figures has lately come to hand, 
 entitled, "Amen the God of the Amonians," 
 by Wakeman Ryno, M. D. It proves a 
 veritable twin brother to this work in many 
 ways and cannot but greatly interest those who 
 6 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 wish to make a study of the heavens, for it 
 deals with that subject in a rapid-fire manner 
 and in very condensed form. 
 
 "Isis Unveiled," by H. P. Blavatsky, also 
 "The Occuh World"and "Esoteric Buddhism," 
 both by A. P. Sinnett, have proven of great in- 
 terest in connection with the occult of this sub- 
 ject. Prof. Max Muller's work, "Chips from a 
 German Workshop," has also been a great help; 
 while his work,"Origin of Religion," is another 
 invaluable aid in the study of religions. 
 
 "The Sacred Beetle," by John Ward, has 
 proven very instructive in our work, for it is re- 
 plete with excellent illustrations of the various 
 sculptured forms found in the Nile Country. 
 
 LEE H. McCOY. 
 Pueblo, Colo., March 1, 1912. 
 
CHAPTER ONE 
 
 The Nomenclature of the Heavens. 
 
 " The heavens declare the glory of God. "--(Psalms xix:L) 
 
 ^HE Allegorical Nomenclature of the 
 Heavens has existed from time im- 
 memorial, and constitutes a very 
 interesting feature in the study of 
 Astronomy. It consists in using the 
 names of various animate and in- 
 animate objects in order to designate the differ- 
 ent constellations or groups of stars, and proves 
 very serviceable in a study of the heavens. By 
 this means we can readily detect the location of 
 any particular region or individual star, and find 
 our bearings as well as upon a geographical 
 chart of any portion of the earth. 
 
 It is a fact well known to Astronomers that 
 many of the constellations show a 
 
 RESEMBLANCE TO THAT FROM WHICH 
 they have been named, and in some particular 
 cases remarkably so. The Zodiacal group 
 Scorpio, or the Scorpion, we consider to be the 
 most pronounced example in this respect, for 
 8 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 the constellation, as a whole, easily presents the 
 outline of a huge Scorpion. It is a prominent 
 naked eye object, and easily found in the south- 
 ern heavens at the intersection of the two great 
 rings of the starry universe. Nevertheless, the 
 majority of the 
 
 STAR GROUPS 
 
 are sufficiently marked to readily impress one 
 as resembling their terrestrial namesakes. Some 
 are definitely and well outlined, yet the indistinct 
 stars, which militate toward their outline, make 
 their detection somewhat difficult, except upon 
 nights when the atmosphere is extraordinarily 
 clear. Nevertheless, under favorable circum- 
 stances, there are few of the constellations but 
 show a considerable similitude to their earthly 
 counterpart. 
 
 It appears strange that greater value has 
 not been attached to 
 
 THIS FEATURE OF THE HEAVENS, 
 for, in the study of the records of the past, we 
 find very little attention paid to the arrange- 
 ment of the stars. If there has been any such 
 9 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 interest manifested in the diagrammatical figures 
 among the stars, the knowledge of such has been 
 kept secret or unrecorded. This we find to be 
 the case 
 
 IN ANCIENT EGYPT, 
 for their symbolism relative to the heavens, 
 which we have been able to interpret so far, 
 was apparently disguised and kept secret to such 
 extent that it has successfully eluded the enquir- 
 ing mind of investigators through the ages, and 
 little or nothing is known at present as to the 
 real value which should be attached to the 
 symbolism of that nation. 
 
 Were there but two or three of these starry 
 figures with outlines pronounced to such an ex- 
 tent that they would attract our attention and 
 
 AROUSE OUR INTEREST, 
 there might be considerable grounds for attri- 
 buting them to chance; while, on the other 
 hand, since we detect such a wealth of analo- 
 gous and connected objects which practically 
 embrace the whole heavens, or at least, the 
 major portion of them, we should consider their 
 10 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 rejection the height of unreason and prejudice. 
 A great number of the 
 
 STARRY FIGURES ARE SO VIVIDLY REAL 
 and well defined that they constitute a very 
 prominent naked eye proof of the diagrammat- 
 ical arrangement of the stars. 
 
 There is that element in a study of the early 
 races of the world, the eastern as well as the 
 western hemisphere, which proves them to have 
 had a very 
 
 DEEP CONCEPTION OF THE HEAVENS 
 in most cases. We find traces of this through- 
 out the Americas as well as in the eastern coun- 
 tries, which are so pronounced that they cannot 
 but arouse our deepest interest in a study of pre- 
 historic peoples, and will certainly prove of in- 
 estimable value in prosecuting such a work. It 
 is our candid belief that the major portion of 
 the incongruous objects and personages wor- 
 shipped as idols by the early peoples will prove 
 but a crude representation of some one or more 
 of these starry figures. This is especially true 
 in the case of the numberless figures of a 
 11 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 SPHINX-LIKE BEING FOUND IN ALL PARTS 
 
 of the world which we believe had a common 
 source of derivation, and that source appears to 
 be the one which we ascribe to the Egyptian 
 monument of that nature, or the starry Sphinx. 
 As we shall demonstrate later, the Egyptian 
 Sphinx has very evidently been taken from the 
 heavens. 
 
 Thus we find that we are not alone in recog- 
 nizing an apparently well ordered arrangement 
 of the heavens, although the knowledge of such, 
 as held by the ancients, has been successfully 
 concealed through the ages. There appears a 
 widely different representation of the figures, 
 yet we are of the opinion that, when we have 
 made a closer study of the beliefs regarding 
 each object among the different peoples, we 
 shall conclude that they placed practically the 
 same value upon the same object, regardless of 
 the difference of representation. 
 
 To gain a comprehensive view of the beliefs 
 of early peoples, we choose that of ancient 
 Egypt as an illustration of all, and at the same 
 12 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 time covering the ground very thoroughly and 
 in greater detail; and shall have to do with 
 that race more than any other in this work. 
 
 THE EGYPTIAN CONCEPTION 
 of the heavens was certainly one of won- 
 drous beauty, judging by what we detect of it in 
 her symbolism, for we find that this symbolism 
 was derived almost entirely from the starry 
 figures. In most of it we can see that they had 
 recognized the value or the meaning intended, 
 although they applied the same more in the 
 -ftbstpaet-than in its real import to man. 
 The non-fixity of the stars should 
 NOT CONSTITUTE REFUTATION 
 of weight in re the theory in hand, for, although 
 it is a fact that they are known to be eternally 
 changing their positions, yet those whose speed 
 and distance from us have been crudely deter- 
 mined are so far removed from us and each 
 other, that there would be very little alteration 
 in the starry figures during the brief time man 
 has existed upon the earth. It is not reasonable 
 to suppose that these figures would eternally be 
 13 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 maintained in the heavens, while on the other 
 hand, science now states that the universe is a 
 growth, and, as a whole, must eventually yield 
 to chaos from which condition it had its origin 
 in the dawn of time. 
 
 It is quite an authenticated fact to-day that 
 not only do the stars move in what are called 
 
 "STAR DRIFTS" OR "STAR STREAMS," 
 i. e., in the same general direction and appar- 
 ently in symmetrical order, but that they are 
 now known to move also in groups or flocks 
 much like a flock of birds. Thus Prof. Kapteyn 
 has determined one stream as moving from a 
 point in the constellation Lepus toward a point 
 near the brilliant first magnitude star Vega in 
 Lyra, while the other is moving in an almost 
 opposite direction, or that apparently they are 
 drifting through each other. He has determined 
 these two greatstar streams as embracing the great 
 majority of the more conspicuous stars, while 
 othershavedetermined the factthat some of them 
 are moving in analogous order or in collective 
 groups. Thus their order is not so disorgan- 
 14 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 ized and heterogeneous as has been heretofore 
 supposed and constitutes a very decided and 
 interesting support to these findings. 
 
 Since most of the symbolic forms and repre- 
 sentations show a remarkable resemblance to 
 their starry counterpart in the heavens, they of 
 themselves readily constitute proof of the ap- 
 parent continuity of the stars ; for, in most 
 cases, such objects are reproduced almost in 
 detail. We need not doubt the age of 
 
 THESE RELICS 
 of a past civilization since they show in many 
 ways their extreme antiquity. 
 
 In this age of intense investigation of every- 
 thing that may reveal more definitely the ear- 
 lier history of mankind and the world, we can- 
 not neglect any clue that shows promise of 
 result. In the figure feature of the heavens 
 and the very evident conception of it as dem- 
 onstrated by the remains of bygone ages, we 
 believe ourselves to have a "key" to a better 
 understanding not only of ancient Egypt but 
 also of other early nations. Perhaps in a more 
 15 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 THOROUGH STUDY OF THE SUBJECT 
 greater light will be thrown upon the hiero- 
 glyphic language of early America, and possibly, 
 a complete revelation of the same will follow, 
 and, as a result arrive at the true value of each 
 of their symbolic forms. This line of research 
 certainly merits our most earnest endeavors, 
 and, we believe, will amply reward our efforts. 
 
 16 
 
HAPTER TWO 
 
 The Origin of Architectural Design in Central 
 America and Peru. 
 
 H E ancient cities of the Central 
 American countries and Peru have 
 divulged architectural designing 
 and sculpture in which we observe 
 a remarkable number of symbolic 
 forms which have evidently been 
 derived from certain star figures. This is notably 
 so in regard to the cross and religious rites 
 and symbolisms connected therewith. 
 
 It is well known with arch^ologists what 
 prominent place the different symbols of the 
 cross occupied in the beliefs prevalent in the 
 Americas. 
 
 THE SWASTIKA AS ONE FORM 
 was very common, not only in many parts of 
 America, but also in eastern countries. In 
 many temples the cross was the central figure of 
 religious rites and ceremonies. The emblem of 
 the cross symbolism has evidently "been taken 
 from the heavens, judging by the evidence that 
 17 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 can be gathered. As an example of this we 
 cite the remarkable analogy between the starry 
 figure of the 
 
 "NORTHERN CROSS" 
 with its attendant human form, and sculptured 
 figures in one of the temples of the cross. With 
 a little study the resemblance is seen to be so 
 close that there can be little doubt as to their 
 source. 
 
 The Pyramid as a derivation from the 
 arrangement of the stars is also quite common 
 both in eastern and western countries. The 
 Pyramid, some believe, passed through a suc- 
 cession of progressive stages from the more 
 ancient mounds and tumuli, through the trunc- 
 ated forms, to the state of perfection in the 
 Great Pyramid. This theory, we believe will be 
 later proven in error; and, on the contrary, 
 that the Pyramid proper, and the truncated 
 form, the mounds and tumuli have had an alto- 
 gether different origin. 
 
 THE PYRAMID IS FOUND 
 
 not only in various parts of the United States, 
 
 18 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 but also throughout the -peaiasulaF- countries of 
 America, in Mexico and Peru. They are of 
 various forms, yet we believe the proper distinc- 
 tion between each can easily be made after a 
 thorough study of this subject. 
 
 The tradition of a 
 
 MOUNTAIN IN THE NORTH, 
 which existed not only in eastern but also in 
 western countries, becomes perfectly clear, we 
 believe, when considered analogous to the early 
 Mounds and Tumuli, and, as a result, a deriva- 
 tion from the heavens also. I shall later show 
 the configuration among the stars from which 
 the ancients derived the peculiar form of their 
 burial mounds and their legend regarding a 
 mountain in the north. At least, the general 
 characteristics of the grouping of stars in ques- 
 tion bear a remarkable analogy to these struc- 
 tures, and there can remain little doubt as to 
 their origin when we shall have made a close 
 study of the evidence. 
 
 Inasmuch as the above analogies promise 
 to throw considerable light 
 19 
 
OEIGIN OF ARCHITECTURAL, DESIGN 
 
 UPON ANCIENT SYMBOLISM 
 as it existed in the Americas, we may also reason- 
 ably expect that they will give us some insight 
 into the hieroglyphics written upon the walls and 
 monumental structures of the ruined cities, and 
 upon the rocks in localities far distant from each 
 other. It is but reasonable to suppose that were 
 we able to understand the religious rites depicted 
 upon the walls of these ancient temples, we 
 should also be able to interpret the language 
 characters attendant, by comparison. In fact, 
 such procedure has greatly facilitated the inter- 
 pretation of the Egyptian language. 
 
 The alignment of the streets or public ways 
 of different ruined cities of America, as well as 
 the arrangement of the public buildings and 
 temples, seems also to have been derived from 
 the heavens. This is especially true in the 
 case of 
 
 CUZCO THE SACRED CITY 
 of the ancient Peruvians, located at the inter- 
 section of two great national highways which 
 cross each other at right angles and divide the 
 20 
 
ORIGIN OF AR CHITECTURAL DESIGN 
 
 kingdom into four equal praefectures. The 
 Peruvians seem to have placed great value upon 
 the cross, and, we believe, derived the same 
 from the heavens, perhaps from one of the 
 intersections of the two great rings of the cos- 
 mos, the Galaxy and the Zodiacal belt. Some 
 advocate the 
 
 "SOUTHERN CROSS" 
 of the southern hemisphere as the source of the 
 symbol of the cross but we consider the above 
 more yi keeping with science. 
 
 It will be noted that much of the early archi- 
 tectural designing was apparently 
 
 COPIED FROM THE STARRY FIGURES. 
 This is especially true in the case of the 
 Cyclopean walls which are found not only in 
 Greece but also in Egypt and Peru. It is 
 believed that one of the walls of the city of 
 Jerusalem is of a like nature or plan as the 
 Cyclopean walls, and perhaps was patterned 
 after them. 
 
 Many of the temples also show an align- 
 ment to agree with a starry model. Many 
 21 
 
ORIGIN OF ARCHITECTURAL. DESIGN 
 
 examples of this feature of construction are 
 found in India and in Egypt, and evidence is 
 sufficiently strong to warrant a special study of 
 this peculiarity. 
 
 There is proof sufficient to warrant the belief 
 that the ancients were Astronomers of no mean 
 ability and that they had detected a wonderful 
 truth written in starry characters which has 
 eluded our grasp through the centuries, only to 
 be rediscovered at this late date, when it seems 
 to come as a rebuke to a very materialistic 
 world for neglecting the more sublime aspect 
 of the heavens. 
 
 When we step out at night and see these 
 emblematic figures lying deep in the depths of 
 the cosmos, 
 
 SYMBOLIC OF IMMORTALITY AND A 
 JUDGMENT 
 
 to come, we cannot but wonder that the an- 
 cients drew therefrom such wonderful concepts 
 ot divinity and beauty, although crudely applied 
 in art and science. 
 
 22 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 "When I survey the bright 
 
 Celestial sphere, 
 So rich with jewels hung, that night 
 Doth like an Ethiop bride appear ; 
 My soul her wings doth spread. 
 
 And heavenward flies, 
 The Almighty's mysteries to read 
 In the large volumes of the skies." 
 
 Yet we think that when we have succeeded in 
 arriving at the true meaning or value of relig- 
 ious customs and beliefs we shall find that in 
 most cases their real beauty has been hidden 
 from us. 
 
 There have been many among the learned 
 men of the age who have advanced a belief in 
 the more material value underlying the arrange- 
 ment of the stars than has been commonly 
 accepted in our present allegorical star-figures, 
 yet they seem to 
 
 HAVE NEGLECTED TO PROSECUTE 
 a thorough investigation and research upon 
 this line. There appear to be those, who, 
 through the ages of the past, and even at the 
 present time, have possessed a considerable 
 knowledge of this feature of the heavens, 
 23 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 although retaining such knowledge in inviolable 
 secrecy from the rest of humanity. Why a 
 thing of such beauty and import should be kept 
 from all but a favored few, we cannot well 
 understand, for there is that in the study which 
 leads us to believe that it will prove a great 
 aid in 
 
 FATHOMING THE MORE MATERIALISTIC 
 SECRETS 
 
 of the universe. In many cases it appears to 
 go hand in hand with the physical character- 
 istics of the heavens. This is especially true in 
 regard to the two great rings of the cosmos that 
 are the Galaxy and the Zodiacal belt. 
 
 We do not doubt that in the early ages of 
 the world there were secret orders of various 
 kinds and individuals who, through the fruits of 
 centuries, and perhaps millenniums of progress 
 and study upon this line, had attained to sub- 
 lime heights of knowledge, although of a more 
 primitive form than our modern branches of 
 learning. Some may have been well versed in 
 wonderful sciences of which we know nothing 
 24 
 
ORIGIN OF ARC H ITBCTURAL DESIGN 
 
 at present. We certainly believe that there are 
 sciences asleep in the bosom of nature more 
 wonderful than any with which we deal so com- 
 monly to-day. There must needs be powers, 
 lying dormant in nature, which if discovered 
 would out-rival electricity, steam or any of those 
 with which we are familiar. Hence the possi- 
 bility that the ancients had in their possession 
 knowledge and powers transcending any that 
 we possess to-day. Israel's Shepherd King appar- 
 ently had none of the instruments which make 
 the study of Astronomy so easy to-day, yet he 
 had evidently read 
 
 THE FUNDAMENTAL SECRETS OF THE 
 
 HEAVENS, 
 
 since we have his statement that "the heavens 
 declare the glory of God." (Psalms xix:l.) 
 This same knowledge, although in varying stages 
 of perfection, appears to have been a common 
 possession of the ancients, yet they seem to have 
 applied it in a great variety of ways. 
 
 If we must recognize any value whatever 
 underlying the arrangement of the stars, there 
 25 
 
ORIGIN OF ARCHITECTURAL. DESIGN 
 
 must, of necessity, be a real one attached to 
 each group, and this certainly seems to have 
 been the intention of the Great Architect Him- 
 self. Hence, where we recognize identity of 
 groups with Sacred Writ, we may safely con- 
 sider it proof sufficient to place the subject in 
 hand upon a firm basis of reality, and beyond 
 any question of doubt, for there certainly can 
 be no higher appeal than to Him who designed 
 the starry structure of which we treat. 
 
 These allegorical star-figures, by which the 
 different constellations are designated upon our 
 present Astronomical charts, we 
 OWE PRINCIPALLY TO THE EARLY GREEKS, 
 while a few of them are or comparatively recent 
 naming and design. The Greek, in his turn, is 
 believed to have borrowed many of them from 
 the Egyptian, although changing their identity 
 somewhat. Those of which we have determined 
 the real value show, in some cases, a symbolical 
 figure utterly foreign to that by which they have 
 been designated heretofore, while some of them 
 are true to their allegorical names. The former 
 26 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 are greatly in the majority, and, in most cases, 
 differ widely from their Astronomical cogno- 
 men. If the constellations have a name, that 
 name must, of necessity, be the one intended by 
 the Creator and 
 
 CLOSELY IDENTICAL WITH THE GENERAL 
 CHARACTERISTICS 
 
 of the grouping. This we find to be the case 
 in those groups the real value of which we have 
 been able to determine. We have discovered 
 the true figure of so many that the detection of 
 the rest should be but a matter of time. 
 
 Not only do we recognize evidence of anal- 
 ogy between the configuration of the stars and 
 
 EARLY ARCHITECTURE AND SYMBOLISM, 
 but, we believe, the effigies and circles of stand- 
 ing stones are also closely identified with them. 
 In fact, we believe, in time we shall find that 
 this feature of the heavens will explain much 
 which has proven an enigma in the study of 
 early and prehistoric peoples, for when we find 
 it closely related to the symbolism and ruins 
 of one nation of antiquity, it is but reasonable 
 
 27 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 to conclude that it may have occupied as promi- 
 nent a place among others. The circles of 
 standing stones are found not only in eastern 
 countries, but in the Americas, and are iden- 
 tical in many respects. Those in England are 
 almost an 
 
 EXACT COPY OF THOSE IN THE NEW WORLD, 
 and both must have had a common origin. 
 That origin, we believe, will prove to be the 
 rosette figures which we see among the stars. 
 
 Many practices of the Indian Medicine Man 
 appear to point to an intimate knowledge of the 
 arrangement of the heavens and its value. 
 There are several peculiar objects which were 
 a part of his accoutrements, grotesque of form 
 and dress, that had apparently celestial deriva- 
 tion, and we believe him to have known more 
 than he chose to communicate. In fact, there 
 are many peculiar customs and practices extant 
 among the Indian tribes, which point to a 
 PROFOUND KNOWLEDGE OF THE HEAVENS, 
 and which will, when we have made a more 
 thorough study of the subject, explain much 
 28 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 and shed an altogether new light upon these 
 people. 
 
 It has been remarked that one cannot study 
 the stars and not sense the ennobling effect this 
 study has upon the human race. Whether we 
 may credit it to this cause or not, we well know 
 that there are many traits in the Indian charac- 
 ter which we might well emulate, and that in 
 many respects, they are a noble race. 
 
 Had the heavens been looked to for a solu- 
 tion of early religious beliefs and symbols, we 
 need not have waited these long centuries 
 
 TO DETERMINE THEIR TRUE VALUE. 
 Instead of a collection of meaningless and 
 incongruous deified forms and idols we would 
 have presented to our view and comprehension 
 a system which, for order and real beauty, would 
 rival any of those existent to-day. Of course, 
 many of the religious beliefs and ceremonies 
 were attended with barbarous practices which 
 eliminate much of the beauty and significance 
 of their customs, yet, as a whole, such are out- 
 weighed by the more beautiful 
 29 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 FUNDAMENTAL TRUTHS UNDERLYING 
 THE SYSTEM. 
 
 Many of the religious beliefs have been charac- 
 terized generally as mere worship of the heav- 
 enly hosts and the forces of nature without re- 
 gard to value or reality. This view of the sub- 
 ject would be the natural conclusion judged by 
 outward appearances alone, and as a result the 
 real beauty of the system has escaped attention. 
 It does not appear strange to us that many 
 of the early nations detected those 
 
 SUBLIME MARKINGS UPON THE FACE OF 
 THE HEAVENS, 
 
 written there by their Creator, and have crudely 
 interpreted them in their several ways. This 
 feature of the heavens illuminated the myth- 
 ology and religious beliefs of the northern 
 European races. We believe this will be found 
 especially applicable to the part that a tree has 
 played in their beliefs. We find the tree not 
 only in the religious belief of ancient Egypt, but 
 in all other nations of the Orient. We well 
 know what a prominent place it occupies in 
 Christianity. 
 
 30 
 
CHAPTER THREE 
 
 The Celestial Sphinx. 
 
 ^E choose the celestial Sphinx for our 
 first discussion, because in our opin- 
 ion, that group among the stars oc- 
 cupies a position of greatest value in 
 the arrangement of the heavens, and 
 apparently symbolizes the abode of 
 Deity. The mythology and tradition of many 
 of the earlier nations ascribe the abode of Deity 
 to the polar regions not only of the earth, but 
 also of the heavens. Yet since 
 
 WE KNOW IT TO BE A SCIENTIFIC FACT 
 that the celestial pole is constantly changing its 
 position in the northern sky, and does not oc- 
 cupy the same group of stars long, we consider 
 it reasonable to suppose that there must be a 
 true north and south of the universe. This true 
 north appears to be home to the region 
 named above or that occupied by the celestial 
 Sphinx. The polar groups as we know them 
 at present, as a result, have but local value. 
 The true north pole of the heavens appears 
 31 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 to be the same as the Galaxy or the region of the 
 
 CONSTELLATION COMA BERENICES; 
 the true south pole, the -Zediaeal" group Aqu ar^ 
 •ms-. The heavens appear to be divided into 
 hemispheres by the great ring of the Galaxy. 
 This theory agrees very well with Homer's 
 conception of the universe; for his ocean stream 
 was identical with the Galactic ring. 
 
 There are several celestial regions which 
 would vie with each other as being the abode 
 of Deity, namely: — the north polar region of 
 the Galaxy, our present polar region and that 
 occupied by the constellation Auriga; yet, in a 
 summary of the whole, we believe the starry 
 Sphinx to be the 
 
 TRUE NORTH OR THE ABODE OF DEITY. 
 The others have but a local value. 
 
 The celestial Sphinx is delineated in three 
 groups, Leo, Virgo, and Coma Berenices. 
 Coma Berenices marks the head of the figure ; 
 Leo the higher part of the body; Virgo the 
 fore part. Due to the filmy appearance of the 
 former group, it readily impresses the eye as 
 32 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 the head and mane of a lion, while the general 
 contour of the three groups, as a whole, readily 
 resolves itself into the gigantic Sphinx-like 
 figure, and it is not strange that the Egyptian 
 saw it as such. There can be no reasonable 
 doubt but that the Egyptian Sphinx had 
 
 ITS ORIGIN IN THIS CELESTIAL FIGURE. 
 
 The figure forms a crown to the north pole 
 of the Galaxy and is an object of wonderful in- 
 terest to us as the symbol of the probable abode 
 of Deity. If this region is really the true north, 
 it is, perhaps, intimately connected with the 
 scriptural statement, "Beautiful for situation is 
 Mount Zion, on the sides of the North." 
 (Psalms xlviii: 2.) 
 
 That bird-like figure, which is a conspicuous 
 object in the celestial Sphinx, apparently 
 DEIFIED BY THE EGYPTIAN AS THE GOOSE, 
 was undoubtedly symbolized in the scriptures 
 as the eagle; while at the same time, the heads 
 of the Lion, Man and Bull are also in evidence. 
 
 The general appearance of the grouping im- 
 presses one as being with face to the east, gazing 
 33 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 into the eternal depths of space as though in 
 deep thought. Because of this appearance, it is 
 not strange that the Egyptian, in making a con- 
 crete model, gave to it the character he did in 
 the monument of the Sphinx. 
 
 Due to the fact that there appears to be 
 another head super-imposed upon that of the 
 celestial Sphinx, we consider it the source of the 
 double-headed deities prevalent among the 
 ancient nations. Upon a clear night such a 
 
 FIGURE IS NOT DIFFICULT OF DETECTION, 
 yet the form in which the early Egyptian saw 
 it, a Sphinx-like being, is more in keeping with 
 the general appearance of the grouping. 
 
 The north pole of the Galaxy is located in 
 the small and interesting constellation Coma 
 Berenices, and such fact is not without its signifi- 
 cance when we locate therein the true center of 
 the cosmos. This small group has been likened 
 by many to a spider's web, and really presents 
 such appearance to the naked eye. 
 
 The lower and fore part of this celestial 
 Sphinx is outlined by a line of the brighter 
 34 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 stars, while the paws occupy such position that 
 
 THE BRILLIANT STAR SPICA IS LOCATED 
 either upon or between them. What is popu- 
 larly known as the "Sickle of Leo" embraces 
 the rear part of the body. This same "Sickle 
 of Leo" is of course the Shepherd's Crook, 
 which has been and now is quite common as a 
 symbol or emblem of deity among ancient and 
 modern nations. In fact, it is so common and 
 well known that we need scarcely dwell further 
 upon it. The Shepherd's Crook 
 WAS INVARIABLY ASSOCIATED WITH DEITY 
 and royalty by the Egyptians, as is shown by 
 their wall-painted representations of it, and 
 was a common object in connection with their 
 statuary. 
 
 The "Sickle of Leo" was also the source of 
 one form of their boat, for it much resembles 
 the shape of the sickle. This form of it is also 
 found as one of their hieroglyphics. 
 
 Midway of the Sphinx-like figure, with its 
 head apparently raised above the back of the 
 Lion, we see that object which has evidently 
 -.35 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 originated much of the mythology regarding the 
 part which a bird of different kinds 
 
 HAD TO PLAY IN THE CREATION 
 of the world, the Egyptian Goose, American 
 Thunder Bird and various others. A long 
 oval-shaped object which is outlined by the 
 stars immediately back of what constitutes the 
 forequarters of the large figure of the Sphinx 
 would appear to be the body of the bird, while 
 the wings and remainder of the figure are 
 crudely outlined. The head appears as with 
 the mouth open; and the general appearance 
 of the object as a whole impresses one as of a 
 bird, with mouth open, and wings raised as 
 though in the act of rising from the earth. It is 
 a well known habit of the goose that the gander 
 loudly acclaims the female's laying her egg. 
 What more appropriate symbolism of Creation 
 than this. To the Egyptian then, this object 
 among the stars would seem to have been noted 
 as their deified form of the goose. 
 
 We believe this figure to be identical with 
 the birds of different kinds which the early 
 36 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 American races associated with creation, and 
 the different forms of 
 
 THE THUNDER BIRD IN PARTICULAR. 
 In fact, a tribe of Indians, named the Thlinkits, 
 of north-western America, represented their 
 deity in much the same form in which this 
 starry object presents itself to our view. Some 
 tribes had the tradition that the creation bird 
 rode to land and safety upon the back of the 
 turtle, which would be but another derivation 
 from this same figure. 
 
 Bird heads are engraved upon many objects 
 found throughout America, which, in some 
 cases, show a remarkable similarity to the head 
 of this starry form, and should, undoubtedly, 
 be identified with it. This is especially true in 
 respect to 
 
 THOSE ENGRAVED UPON THE GORGET 
 symbols, and they are invariably drawn with 
 the mouth open. These gorgets are found 
 chiefly among the ruins of the mound builders 
 and were apparently a symbol of great value. 
 Those having the bird heads engraved upon 
 37 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 them invariably represent the bird with open 
 mouth, and also ornamenting the four sides of 
 a square. They all face to the left. The latter 
 feature would lead us to believe them to have 
 been designed with the intent of portraying 
 A MOVEMENT FROM RIGHT TO LEFT, 
 much in the manner the earth revolves daily 
 upon its axis. Thus it may have been intended 
 as commemorative of the time in the earth's 
 history when the celestial pole was located in 
 the above named starry bird figure. 
 
 This bird-like object among the stars, to- 
 gether with the "Sickle of Leo," appears to have 
 been noted also as that of a dismembered bird, 
 for among the ruins of one of America's ancient 
 cities there was found 
 
 A TABLET WITH A SOMEWHAT 
 SIMILAR DESIGN 
 
 engraved upon it. It represented a dismembered 
 bird, the sun, and what is apparently a comet 
 and several planets. The claw and leg as 
 separated from the body of the bird and grasp- 
 ing the disk-like figure of one planet would 
 38 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 really bear a close resemblance to the "Sickle 
 
 of Leo." The tablet as a whole appears to have 
 
 been designed as commemorative of some 
 
 great Astronomical event. It was found at 
 
 Cosumala-huapa and is quite an artistic piece 
 
 of workmanship. 
 
 On one of the Egyptian Astronomical star 
 
 computation charts we find a statement that a 
 
 certain star is in "the claw of the goose" which, 
 
 to us, simply implies that it was in the "Sickle 
 
 of Leo." This fact would lead us to believe 
 
 that we can profit greatly by these charts, in 
 
 that 
 
 WE CAN REPRODUCE THE GENERAL 
 CHARACTERISTICS 
 
 of the heavens during those times. We believe 
 
 them replete with evidence of a like nature, 
 
 and, in the light of the material dealt with, they 
 
 should prove an interesting and profitable 
 
 study. 
 
 Although the group of stars known as Leo 
 
 Minor upon our present charts was evidendy 
 
 portrayed as the sacred beetle or Scarabeus by 
 
 the early Egyptian, as we shall show later, yet 
 
 39 
 
ORIGIN OF ARCHITECTURAL DBSION 
 
 this same constellation appears to have been 
 charted as a starry spider by some of the early 
 American races, for many of the gorget symbols 
 have such an insect engraved upon them. It is 
 generally represented with a cross either upon 
 its back or near it, and clearly shows evidence 
 of having a celestial derivation. Since the 
 group in question adjoins immediately upon 
 the north, the region delineating the starry 
 Sphinx and lying in close proximity to the 
 spider-web arrangement of Coma Berenices, it 
 does not appear strange that some of the early 
 peoples outlined it as a spider. There is certain 
 evidence in regard to the Egyptian Scarabeus 
 which undoubtedly 
 
 ASSOCIATES IT WITH THIS CELESTIAL FIGURE 
 and its identity therewith is easily established. 
 
 The "Sickle of Leo," with a number of at- 
 tendant stars, appears to have been the origin 
 of the Egyptian symbol, "The Sun-on-the- 
 Horizon," judging not only from the general 
 contour of the object outlined, but also from 
 the analogous surroundings. The Egyptian 
 40 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 name for the Sphinx Harmakhis is really in- 
 terpreted as meaning "The-Sun-on-the-Ho- 
 rizon," and would imply that the monument in 
 question was associated with the 
 
 CREATION PERIOD OF THE WORLD. 
 They appear to have likened time to the course 
 of the sun in his apparent daily journey 
 from sunrise to sunset; the ensuing night 
 was a symbol of the ultimate night of the 
 cosmos. That portion of the southern heavens 
 having the Galactic ring as its northern boundary 
 appears to have been symbolized as 
 
 THE REALM OF DEATH, NIGHT, 
 and as the Abode of Evil, much in the same 
 manner as among other early nations. It was 
 through this region that the dead were supposed 
 to journey, immediately after death, as we shall 
 later make clear. To the early Egyptian, that 
 portion of the heavens having the Galaxy as its 
 southern boundary, or vice versa of the above, 
 symbolized Day, the Lighted Universe and the 
 Abode of Light and Life. 
 
 We believe that this is the best form in 
 41 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 which we can put it, on account of its being 
 merely a theoretical deduction or speculation 
 on the 
 
 ROTATION OF THE SEASONS, 
 
 and succession of night and day, as a symbolism 
 of the grander movements of the cosmos as a 
 whole; i. e., using such as a key to the secret 
 laws governing the universe. Thus, in a way, 
 the day is but a miniature of summer, and night 
 of winter, with spring as analogous to dawn, 
 and fall as analogous to evening and twilight, 
 etc.; also there are grander divisions of time 
 until the ultimate night or winter of the cosmos 
 is reached which would of necessity proceed 
 upon a progressive scale similar to that of in- 
 dividual life. 
 
 They appear also to have had the universe 
 governed by laws analogous to our own 
 minute system of sun and planets. Thus the 
 cosmos would have day and night, winter and 
 summer, together with other divisions of time, 
 upon an analogous and progressive scale. This 
 theory will agree perfectly with 
 42 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 EVOLUTION, GEOLOGY, PALAEONTOLOGY 
 and other branches of a like nature. The uni 
 verse would also have its Vernal Equinox 
 Summer Solstice, Autumnal Equinox and Win- 
 ter Solstice. It would naturally have its true 
 poles, both north and south, to which those of 
 the different systems and individual planets 
 would incline relatively, in accordance with the 
 age or life-stage of each. Thus when the starry 
 system, of which our minute one is a part, shall 
 have reached a stage or condition of life cor- 
 responding to the Autumnal Equinox of our 
 own planet, the night of the cosmos will of 
 necessity set in. From the night of the cosmos 
 or the chaotic condition to which it will eventu- 
 ally yield, the whole will of necessity evolve 
 into what we believe scripture teaches, viz., "A 
 new heaven and a new earth." (Revelation 
 xxi:l.) Peter, in speaking of the ultimate fate 
 of our own earth, and the system of which 
 it is a part, says, "Looking for and hast- 
 ing unto the coming of the day of God, 
 wherein the heavens being on fire shall be dis- 
 43 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 solved, and the elements shall melt with fervent 
 heat. Nevertheless, we, according to his prom- 
 ise, look for new heavens and a new earth, 
 wherein dwelleth righteousness." ( II Peter 
 iii:12, 13.) 
 
 Hence the universe as a whole passes 
 through a progressive stage of life until that 
 time when, as we believe, the scriptural end of 
 time shall take place, and which appears to be 
 but the natural course of life or 
 EVOLUTION AS EVIDENCED IN ALL MATTER. 
 From this destruction the Christian has been 
 promised an escape, if, in compliance with his 
 Creator's wish, he fulfills the conditions of sal- 
 vation. He will, whether dead or alive, rise to 
 a condition of immortality through the resur- 
 rection and have part in the abode or system to 
 which our present one shall give place. The 
 present abode shall then be purged of all traces 
 of evil and shall be rejuvenated. 
 
 In the light of our theory as to the Starry 
 Sphinx being a symbol designating the true 
 abode of Deity, it also follows, necessarily, that 
 this same location 
 
 44 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 IS THE FUTURE HOME OF THE SOUL 
 to which the scriptures promise an escape. 
 Thus, were there a star grouping visible to 
 mortal eyes to which to assign such dignity, we 
 would choose this one, and naturally we would 
 name it "Mount Zion on the Sides of the 
 North." What of beauty and intense interest 
 this supposition should add to our study of the 
 subject ! 
 
 The Vernal Equinox of our own earth, 
 which marks the point at which the 
 
 SUN APPARENTLY CROSSES THE 
 CELESTIAL EQUATOR, 
 
 because of a movement known as the Pre- 
 cession of the Equinoxes, is now located in the 
 Zodiacal constellation Pisces. This point ap- 
 pears to have value as a symbol of birth; and 
 as a universal point, it appears to be home to 
 that region embraced by the starry Sphinx. 
 The Egyptians therefore, seem to have had 
 such knowledge at the time of the building of 
 the Great Pyramid. It is then a symbol of the 
 birth of Creation. The movement of the Ver- 
 
 45 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 nal Equinox then appears to mark time, both 
 locally, as concerns our own earth, and pro- 
 gressively, as concerns the universe of which 
 our earth is a part. This need not necessarily 
 affect but the one circuit of the Equinox around 
 the Zodiacal belt; such a revolution requires 
 
 only 
 
 A PERIOD OF ABOUT TWENTY-SIX 
 THOUSAND YEARS, 
 
 and science has proved the earth much older 
 
 than that. Nevertheless, we cannot but believe 
 
 that a change of importance accompanies that 
 
 period of each circuit corresponding to autumn 
 
 of this earth. There must, of necessity, be an 
 
 ultimate winter or night of the cosmos, which 
 
 shall eventually overtake the system as a whole, 
 
 when all light extant at present shall be 
 
 extinguished and chaos shall reign as conqueror 
 
 until the eventual springtime of a new system. 
 
 (See Prof. Lowell's ''Evolution of Worlds.") 
 
 Hence the fact that the position which the 
 
 Vernal Equinox occupies at present is located 
 
 in the region which appears to be the universal 
 
 Autumnal Equinox, is not without its value in 
 
 46 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 the light of the theory at hand, for it is slowly 
 approaching the Zodiacal constellation Aquari- 
 us, which, in the symbolism of the arrangement 
 of the Great Pyramid, evidently has its counter- 
 part in the Subterranean Chamber. It, with its 
 attendant shafts, as we shall show later, appears 
 as a symbol of "the bottomless pit," also of the 
 end of time. 
 
 That the Vernal Equinox is symbolic of 
 birth, but lends an added beauty to the spring- 
 time of our yearly journey around the sun, since 
 we know it marks the time at which all nature 
 awakens to fresh, tender life. 
 
 The advent of the Vernal Equinox into the 
 region of Aquarius, during the present course 
 of the coming century, need not necessarily im- 
 ply that it will be attended by the final cataclysm 
 of the ages; yet, in regard to this we can not 
 speak until we have determined the ultimate 
 value of the same. We cannot look forward 
 to its consummation but with 
 
 A CERTAIN SENSE OF SUSPENSE 
 AND EXPECTATION; 
 
 we truly believe that its advent therein will, at 
 
 47 
 
ORIGIN OP ARCHITECTURAL. DESIGN 
 
 least, make a great change in terrestrial con- 
 ditions. 
 
 Many believe that there will be a great 
 change in our earth and mankind in the future; 
 and although Sacred Writ teaches us that no 
 one will be able to foretell the exact date, yet it 
 states, "Now learn a parable of the fig tree; 
 when his branch is yet tender, and putteth 
 forth leaves, ye know that summer is nigh:" 
 (Matthew xxiv:32.) We evidently can see 
 some of the "buds" showing on the "tree" of 
 time in this age, and must of necessity look for 
 a "summer" in the not very distant future. We 
 do not take the position of "calamity howler" 
 or of one who can set a certain date, yet we 
 cannot but believe that we are 
 
 UPON THE VERGE OF A 
 CONSIDERABLE CHANGE 
 
 whether local or universal; and that such a 
 change will ensue naturally, by means of as well 
 defined laws as those with which we are familiar 
 in Astronomy. It will occur as naturally as 
 winter succeeds summer, yet, in a manner 
 
 48 
 
ORiaiN OF ARCHITECTURAL. DESIGN 
 
 somewhat more vigorous than that to which we 
 are accustomed; and the more universal the 
 change, the more stupendous the result. 
 
 The position which each constellation occu- 
 pies in the Zodiac is of great interest to us, 
 even in the more material study of Astronomy, 
 not taking into consideration the speculative 
 phase in regard to which we are ignorant at 
 present. The starry Sphinx is of great interest 
 to us, not only as an emblem of Deity, but also 
 of Creation's birth. In fact, taking into con- 
 sideration our knowledge of the nature of the 
 different symbolic objects found in that region 
 of the heavens, our conclusion appears not 
 strange. The starry Sphinx marks 
 
 THE POINT ON THE CIRCLE OF THE 
 CELESTIAL EQUATOR 
 
 where the Ecliptic crosses it and the point at 
 which the sun apparently passes beneath it at 
 the time of the Autumnal Equinox. 
 
 We must then arrive at the conclusion that 
 the Egyptian Sphinx is a monument commem- 
 orative of the birth of Creation; and though its 
 
 age may be equal to that of the Egyptian nation 
 49 
 
ORIGIN OF ABCHITECTURAL. DESIGN 
 
 itself, yet we are led to believe it not much older 
 than the Pyramids. Some have thought that 
 
 IT MAY DATE FROM CREATIVE TIMES 
 and that it is perhaps a relic of the workman- 
 ship of the earliest peoples on the earth; yet 
 we conceive of it more as a commemorative 
 emblem of the Creation designed and built 
 about the time of the Pyramids. We cannot 
 but admit its apparent great age and that it 
 appears much older than the Pyramids. 
 
 It, with the larger of the Pyramids, Cheops, 
 Chephren and Mycerinus stands upon a plateau, 
 near the river Nile and immediately above the 
 Delta. They are in convenient proximity to 
 each other, and but a short drive from 
 Cairo. The Sphinx looks out over the Nile 
 with face to the east, where the sun first makes 
 his advent above the horizon. This monu- 
 ment is one hundred seventy-two feet in length, 
 with other measurements in accordance, and 
 sculptured in such manner as to represent a 
 lion in a recumbent position. It has the body 
 of a lion but the head of a man, and impresses 
 
 one as being in 
 
 50 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 DEEP MEDITATION GAZING INTO THE 
 FAR DISTANCE, 
 
 which feature was certainly taken from its starry 
 counterpart, for we cannot get a good view of 
 the one in the heavens without experiencing a 
 lilie impression. It has been mostly carved 
 from the solid rock, with the exception of the 
 forepaws and head, which were constructed 
 of masonry and thereby given the proper 
 semblance. 
 
 The temple of the Sphinx is located between 
 its paws and, in a study of its arrangement and 
 structure, we have been impressed by the fact 
 that it shows a remarkable resemblance to the 
 figure which we see outlined by the principal 
 stars of the constellation Virgo, especially the 
 bird located therein. In a general way, they 
 present a marked similarity each to the 
 other, and constitute proof in support of this 
 thesis. This feature of the starry figure really 
 aroused our interest and led to a closer study of 
 the region. 
 
 One form of the Egyptian royal mace or 
 scepter had its head ornamented with a repre- 
 
 51 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 sentation of some species of bird or animal, 
 which we believe to have been but a derivation 
 from the starry bird in Virgo and Leo. Some 
 claim it as the head of a species of animal which 
 is half bird and half quadruped, called the 
 Cucupha. Nevertheless, the similarity which it 
 bears to the head seen in the heavens, is so 
 marked that we consider it a derivation there- 
 from. What more appropriate than to take it 
 from a region of such interest! This Mace, as 
 well as the Shepherd's Crook, as emblems of 
 Royalty and Deity, are 
 
 INVARIABLY SHOWN IN CONJUNCTION 
 WITH STATUES 
 
 and representations of royal personages or 
 gods. It is very evident that they placed great 
 value upon these emblems, judging by the 
 esteem in which such were held, and by the 
 frequency with which they appear upon repre- 
 sentations of state occasions. 
 
 Many of the early races are known to have 
 buried their dead with the body and limbs 
 arranged much in the same position as that of a 
 child in the foetal state. In fact, it appears 
 
 to have been a very prevalent custom not 
 52 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 only among the earliest Egyptian peoples but 
 
 AMONG THE ANCIENT AMERICAN RACES 
 as well; for we detect evidence of such a cus- 
 tom among the sculptures and other representa- 
 tions found in the ruined cities of Yucatan and 
 Mexico. A wealth of evidence of this nature 
 has been unearthed in the opening of the graves 
 of the more primitive peoples of Egypt, and 
 such a custom would appear to have been very 
 prevalent in religious practice among the 
 earlier Egyptians. Now it will be noted that 
 the brighter stars constituting the head of the 
 serpent in the constellation Hydra are but a 
 miniature of the "Sickle of Leo," and that the 
 small group known as the "Manger" or "Bee- 
 hive," in the Zodiacal group Cancer, also 
 represents much the same figure to our view in 
 a small field glass. This fact, we believe, will 
 be found to have value in a more thorough 
 study of the subject in hand, for that figure 
 which we detect in the above named groups 
 much resembles 
 
 A CHILD IN THE BIRTH STATE, 
 
 or with the body and limbs in a duplexed 
 53 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 position. It seems very likely that this pecul- 
 iar figure named above may have given origin 
 to the custom of burying the dead in such a 
 position, and that the ancients endeavored to 
 thus honor or copy that object in the heavens 
 upon which they placed such a value. 
 
 Some of the sphinx-like figures were repre- 
 sented with wings. This would not to us ap- 
 pear strange, inasmuch as we see the starry 
 bird, with wings raised, adorning the back of 
 the celestial Sphinx. 
 
 Many sphinx-like statues and sculptured 
 objects have been found throughout the Amer- 
 icas. Those of the isthmian countries and 
 Mexico are believed to 
 
 POSSESS THE BODY OF A LEOPARD 
 instead of that of a lion, and this is due perhaps 
 to the fact that in those countries the lion was 
 practically unknown; hence their selection of 
 the leopard as next best choice as the King of 
 Beasts and recipient of their honors. They are 
 represented with a human head instead of 
 their own, and the derivation thereof would 
 be practically the same as that of the Egyp- 
 
 54 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 tian monument from the same starry figure. 
 
 It is our wish in this work to avoid as much 
 as possible any but the more essential facts, and 
 to cover the structural part of the material as 
 thoroughly as lies within our power. There 
 are many very interesting features of the subject 
 that will in time prove of great value, yet we 
 have not succeeded in defining them as accu- 
 rately as we wish, and shall pass over them in 
 the present work, leaving that portion of the 
 material for a later exposition. We simply 
 wish to place the thesis upon a good working 
 basis of reality, and arouse interest in this line 
 of research, for it proves one of wondrous 
 beauty, and certainly has tremendous 
 VALUE AS AN EXPLANATION OF EARLY AND 
 
 PREHISTORIC SYMBOLISM AND BELIEF. 
 
 To what depths may we not be able to pene- 
 trate the ages of the past by this means! For 
 when we shall be able to understand and read 
 the symbolism of primitive man, then certainly 
 we shall be able to interpret the hieroglyphic 
 languages which are practically a closed book 
 at present. 
 
 55 
 
CHAPTER FOUR 
 
 The Starry Pyramid. 
 
 ^HE Great Pyramid of Cheops at 
 Cairo, Egypt, stands upon a plateau 
 near the banks of the Nile, within 
 an easy drive from the city. Its 
 massiveness and mystery have suc- 
 cessfully baffled the multitudes who 
 through the ages of the past have endeavored 
 to learn its real secret. 
 
 FOR NEARLY SIXTY CENTURIES 
 HAS IT STOOD 
 
 sentinel over the fertile delta of the Nile, and 
 still constitutes one of the wonders of the world. 
 Its two fellows that stand near it are not as 
 large, yet they also constitute an imposing mon- 
 ument to the grandeur of ancient Egypt, and 
 lend an added air of mystery and massiveness 
 to their larger fellow which represents the per- 
 fected state to which such structures attained. 
 The three cannot but impress one with a feel- 
 ing of awe and majesty since they have the 
 desert for a background, and this old-world 
 
 city for a relief. They never seem to lose that 
 56 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 element of former days that carries one back 
 through the ages and brings him face to face 
 with Egypt as she appeared in the height of her 
 glory. 
 
 Many have been those of all nations and 
 callings who have searched the galleries and 
 interior chambers of this gigantic mass of stone 
 for that secret which, as they thought, would 
 reveal the key to 
 
 EGYPT'S GREATNESS IN SOME OF THE 
 ARTS AND SCIENCES; 
 
 but they came away in despair. The Great 
 Pyramid, as it is popularly known, rises four 
 hundred fifty-one feet into the air, and meas- 
 ures nearly seven hundred fifty feet on each of 
 its four sides. It sits square to the compass, i. e., 
 one side facing each cardinal point, and is 
 square at the base. Its foundation is upon the 
 solid rock, and with the exception of losing its 
 outer casing, and a few minor scratches, stands 
 as perfect, seemingly, as the day it was built. 
 
 The interior arrangement is a descending 
 passage-way that leads downward at an inclin- 
 ation of twenty-six degrees, terminating in the 
 57 
 
ORIGIN OF ARCHITE5CTURAL DESIGN 
 
 Subterranean Chamber. This Subterranean 
 Chamber, with its attendant shafts, is hewn out 
 of the solid rock and located nearly one hun- 
 dred feet below the center of the Pyramid's 
 base. An ascending passage-way branches off 
 obliquely upward from a point twenty yards 
 below the entrance on the north side, and joins 
 the descending passage with a chamber located 
 in the central bulk of the Pyramid, known as 
 the King's Chamber. This ascending passage- 
 way broadens out into what is known as the 
 Grand Gallery, near its upper end. The north 
 and south sides of this chamber measure seven- 
 teen feet in length, respectively, while the east 
 and west sides measure thirty-four and one-half 
 feet respectively. It is nineteen feet high, and 
 
 CONNECTED WITH THE UPPER END OF 
 THE GRAND GALLERY 
 
 by a small horizontal passage-way that was ap- 
 parently closed midway its length by four slid- 
 ing doors, one of which can be seen to-day. 
 
 Located some little distance below the King's 
 Chamber, and a litrie to the north, is the 
 
 Queen's Chamber, which is also connected with 
 58 
 
ORIGIN OF ARCHIT E CTURAL DESIGN 
 
 the lower end of the Grand Gallery by a hori- 
 zontal passage-way. The north and south sides 
 of this chamber are seventeen feet long, while 
 its east and west sides are nearly eighteen feet 
 wide. It is twenty feet high and has two small 
 air shafts, the one connecting it with the Grand 
 Gallery, the other extending some distance 
 southward through the bulk of the Pyramid. 
 
 Above the roof of the King's Chamber are 
 five small chambers or shelves which are 
 reached from the chamber below by means of 
 ladders. 
 
 THE NAME OF KHUFU WAS FOUND 
 IN THE TWO HIGHEST 
 
 of these shelves. The King's Chamber is con- 
 nected with the outside by two small air shafts 
 eight inches square, somewhat similar to those 
 of the Queen's Chamber. They extend upward 
 at an angle of forty-five degrees until they reach 
 the surface of the Pyramid, the north one being 
 two hundred thirty-four feet, and the south one 
 one hundred seventy-four feet in length. There 
 is a vertical shaft extending forty feet below the 
 
 floor of the Subterranean Chamber, this being, 
 59 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 perhaps, the mean water level of the river Nile. 
 This shaft was found nearly filled with rubbish, 
 which fact, we believe, has value in regard to 
 its symbolic meaning, or of that period in the 
 destiny of mankind when, as scripture states, the 
 human rubbish shall be cast into a universal pit. 
 
 IN A COMPARATIVE STUDY THIS CHAMBER 
 would be associated with the scriptural "Bot- 
 tomless Pit." Another shaft extends southward 
 from the chamber and is somewhat similar to 
 that just mentioned, although it follows a hori- 
 zontal plane and is sixty feet in length, termin- 
 ating in a Cul-de-sac. 
 
 Now, in regard to constructive workman- 
 ship, the Great Pyramid rivals and surpasses 
 much of our best effort to-day. The polishing 
 and joining of the interior arrangement of the 
 Grand Gallery especially is such, that it has 
 been said and demonstrated that one could not 
 penetrate the crevices with a needle or hair. It 
 has been acclaimed by all as a 
 
 PIECE OF MARVELOUS WORKMANSHIP 
 THROUGHOUT 
 
 and of such construction that the one-thousandth 
 
 60 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 of an inch would cover any deflection from its 
 original position by settlement of any part. It 
 has been well named one of the "Wonders of 
 the World," and stands as a fitting monument 
 of Egypt's greatness. It would require our best 
 efforts to duplicate it to-day, and we doubt if 
 such could be done without the expenditure of 
 almost superhuman skill. 
 
 The Pyramids are popularly believed to 
 have been constructed as a tomb for Royalty, 
 and located in the midst of cemeteries, as a rule. 
 Mummies of the dead have been found in some 
 of them, while those containing no body or ev- 
 idence of such use having been made of them 
 are believed to have been rifled of their con- 
 tents by robbers searching for treasure. Al- 
 though we concede that 
 
 THESE MONUMENTAL STRUCTURES WERE 
 INTENDED AS TOMBS FOR ROYALTY, 
 
 yet on the other hand, we believe the idea to 
 have been derived from a study of the heavens, 
 as will be shown later; and that they are a sym- 
 bol of time from its inception until it shall be 
 
 no more. The Arabs who, it appears, know 
 61 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 the real secret and import of these strange reHcs 
 of a former age, have been known to remark 
 that "Time marks the Pyramids, yet, on the 
 other hand, the Pyramids mark time," which, 
 in the light of our present knowledge, we con- 
 sider to be well founded. 
 
 There was a tradition extant among the 
 Egyptians that a 
 
 SHEPHERD STRANGER FROM THE EAST 
 DICTATED 
 
 the construction of the Great Pyramid, much 
 in the manner as Moses did the Tabernacle of 
 the Jewish nation. This personage was thought 
 by some of our authorities upon Egyptology to 
 have been none other than the scriptural Mel- 
 chizedek, to whom the Patriarch Abraham re- 
 sorted for instruction and priestly service. 
 Whether or not there is any truth in this legend, 
 the fact remains that there are many features 
 relative to the Great Pyramid that appear for- 
 eign to the other Pyramids, though the others 
 may have been but a crude copy, or of pos- 
 sible prior construction. The Great Pyramid 
 
 is believed to have been constructed at or be- 
 62 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 fore Abraham's time, and such theory would 
 agree very well with the above mentioned tra- 
 dition. 
 
 The pyramidal structure has been found 
 in various places throughout the world, both in 
 its true and modified forms. It is found 
 
 IN THE MISSISSIPPI VALLEY IN THE 
 STATE OF MISSISSIPPI, 
 
 in Mexico, in Central America, in Peru and 
 many countries of the East; yet we consider 
 them all a derivation from the same source, and 
 that source was very evidently the heavens, as 
 we shall show later. The beliefs associated 
 with them by different nations where these 
 structures existed, will be found to agree in 
 most respects; especially in that feature of the 
 symbolism which treats of the routes taken by 
 mankind in the destiny of time. We believe 
 that there were few of the ancient nations but 
 recognized these sublime markings among the 
 stars, even though their representations and 
 symbols of the same vary greatly. We can- 
 not but believe that a thorough study of the 
 
 mythology of the Norsemen together with that 
 63 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 of the early peoples of the East, in the light of 
 this feature of the heavens, will reveal a won- 
 drous beauty underlying the more congruous 
 aspect. What of beauty and starry romance 
 will it not add to the mythology and tradition 
 of the early Indian races of the Americas! It 
 seems that we waited these long centuries to re- 
 discover that which our primitive forefathers 
 enjoyed ages ago, or a feature of the heavens 
 which is sublimity itself in its scope and real 
 beauty. 
 
 64 
 
CHAPTER FIVE 
 
 The Origin of the Pyramid. 
 
 I INGE we know that Royalty only 
 was honored by interment in the 
 Pyramids of Egypt, and that this 
 Royalty was supposed to be de- 
 scended from the god Osiris, such 
 facts will constitute very consider- 
 able proof of our theory, in view of the evi- 
 dence we shall now present. The beautiful and 
 brilliant constellation Orion was seen by the 
 Egyptian as Osiris in one of his forms, and em- 
 bodies that arrangement of stars which certainly 
 was the source of his earthly descendants' most 
 honored form of tomb, the Pyramid. Those 
 stars which are known popularly as "The Ar- 
 row Head," together with the attendant stars, 
 will upon examination be seen to outline not 
 only a small pyramidal object, but 
 
 THE INTERIOR ARRANGEMENT OF THE 
 GREAT PYRAMID ITSELF. 
 Although all details are not seen therein, yet 
 sufficient are in evidence to constitute, of them- 
 selves, a proof of our statement. Now it will 
 65 
 
ORIGIN OF ARCHITECTURAL. DESIGN 
 
 be noted that Egyptian Royalty was sculptured 
 in most cases with the dress kirtle designed in 
 pyramidal form, which is not without its signif- 
 icance in support of the above statement. By 
 extending the Belt of Orion we have one side 
 of the Pyramid, while the other is not a difficult 
 thing to find. The Belt of Orion is a well 
 known object in this constellation, and not dif- 
 ficult to locate, since the three stars constituting 
 it are of equal magnitude and almost an equal 
 distance apart, as well as being in straight line. 
 This constellation has invariably been seen 
 as that of a gigantic being, threatening in pos- 
 ture and advancing along the sky. The general 
 contour of the grouping, as a whole, presents a 
 figure to our view that is fully in accord with 
 the beliefs of the early peoples. It is repre- 
 sented upon our present charts as an imaginary 
 foe. This group is located at 
 
 THE NORTHERN INTERSECTION 
 OF THE GALAXY 
 
 with the Belt of the Zodiac, and is not difficult 
 
 to find, since it is marked by so many brilliant 
 
 stars and considered more elegantly set with the 
 
 66 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 jeweled orbs of space than any other region. 
 The interior arrangement of the Great 
 Pyramid we see not only in the small pyramid 
 in Orion, but also in those groups which adjoin 
 him on the west. A somewhat well defined 
 stream of stars unites the pyramid in Orion with 
 the well known streamers of Pisces, and consti- 
 tutes the starry descending passage-way to the 
 division in the constellation Pisces, or where 
 the ascending passage-way of the Pyramid 
 branches upward. The lower streamer and 
 fish, where they terminate upon the borders of 
 Aquarius, very evidently symbolize the termin- 
 ation of the lower passage of their earthly 
 counterpart, for we believe the 
 
 CONSTELLATION AQUARIUS TO SYMBOLIZE 
 THE SUBTERRANEAN CHAMBER 
 
 of the Great Pyramid. The upward termin- 
 ating passage would then have its starry coun- 
 terpart in the upper streamer and fish of Pisces. 
 The upper or northern fish we see as an oval- 
 shaped object much resembling the Grand Gal- 
 lery, and which is very evidently that part of 
 the figure; for we find that its upper end or 
 67 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 mouth, as it were, which is seen with the cele- 
 brated Nebula of Andromeda in it, is in its turn 
 joined to an object which would typify the 
 the King's Chamber, and which is outlined in 
 the group Cassiopeia and the attendant stars. 
 
 Cassiopeia, in its turn, is united by a some- 
 what well defined stream of stars which is not 
 difficult of detection, with the symbolic eye- 
 figure which the Egyptian saw in the Polar 
 group Ursa Minor. The eye-figure in Ursa 
 Minor is also joined with the head of the Great 
 Bear or Ursa Major, by a star band. Their 
 representation of this figure is seldom seen 
 without showing the appendages with it, and 
 its identity with this starry figure is easily estab- 
 lished in many ways, as will be shown later. 
 The Polar group presents a remarkable resem- 
 blance to the human eye, and as such the 
 ancients saw it. This starry pathway 
 
 CROSSES THE GALACTIC RING IN 
 CASSIOPEIA, 
 
 and that section of it uniting that group with 
 the polar constellation appears to typify the 
 one air shaft which unites the King's Chamber 
 
 68 
 
ORIGIN OP ARCHITECTURAL, DESIGN 
 
 with the outside of the Pyramid. It also sym- 
 bolizes the flight of the ransomed soul to the 
 realms of bliss, since the air shafts were really 
 for the use of the soul. 
 
 The Queen's Chamber should be located 
 somewhere in proximity to the starry objects 
 delineated in those stars which lie between 
 Cassiopeia and Perseus, and including a por- 
 tion of both these groups. Its southern end 
 would be joined to the lower end of the upper 
 fish by several bright stars seen there, and the 
 well known star cluster in Perseus would adorn 
 the other end of the figure, much in the same 
 manner that the Nebula of Andromeda does 
 the upper fish of Pisces. 
 
 Five of the brighter stars in the lower fish 
 and the edge of Aquarius mark 
 
 THE ENTRANCE TO THE SUBTERRANEAN 
 CHAMBER, 
 
 while the Chamber proper extends west and 
 south from it and embraces the major portion 
 of the group Aquarius. A streamer unites the 
 Chamber with Capricornus farther west. These 
 markings upon the face of the heavens are quite 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 distinctly outlined on any clear night when the 
 groups in question are in view. The constel- 
 lation figure designated as Aquarius upon our 
 present charts is that of the water-bearer with a 
 a bowl from which he is pouring water. The 
 bowl is quite well defined and is a naked-eye 
 figure, and has very evidently been the source 
 of much of the symbolism relative to Egyptian 
 head-dress, especially the neck and shoulder 
 adornment. It is identified with the god 
 Anubis in some of his forms, perhaps as recep- 
 tor and caretaker of the dead. All of 
 
 THEIR DEITIES APPEAR TO HAVE 
 BORROWED 
 
 the neck and shoulder portion of the figure. 
 This object has been deified as Osiris. His 
 head sometimes ornaments the prow of 
 the "Boat of the Dead." It is in conjunction 
 with this object that we detect the "Boat of the 
 Dead." This head figure delineates the prow, 
 while the remainder of the object embraces the 
 triangular figure of the constellation Capicornus 
 and extends farther west. It much resembles 
 the head of a bird and has apparently been as- 
 70 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 sedated with some of their bird-headed deities. 
 The real figure of Anubis is outlined in the 
 constellation Pegasus, by an object much re- 
 sembling the form of his head as seen worn 
 upon the feet in the manner of a shoe. The 
 forelegs of the winged horse constitute the ears, 
 while the nose and rest of the head lie farther 
 east and comprise the major portion of the area 
 of that group. This object is quite well outlined 
 and not difficult to find upon an exceptionally 
 clear night. The constellation Pegasus, since 
 it is located at the dividing of the ways in 
 Pisces, seems to be a 
 
 JUDGMENT SYMBOL IN MANY WAYS, 
 for the four principal stars therein compose the 
 Great Square of Pegasus, and one corner is 
 also marked by the figure of a great phial. 
 This group is represented upon star charts as 
 the forequarters of a winged horse, and the 
 Zodiacal group Pisces by two fishes united by 
 means of ribbons, which join directly under- 
 neath the constellation of the Ram or Aries. 
 The group Cassiopeia is represented as a throne 
 with the Queen of that name sitting upon it. 
 71 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 The Zodiacal constellation Taurus, or the Bull, 
 that immediately adjoins Orion upon the north 
 and west, is represented as the forequarters of 
 a Bull apparently climbing out of the water. 
 The region immediately surrounding Aquarius 
 has been commonly termed the "Ocean of the 
 Sky," perhaps on account of containing so 
 many constellations named from aquatic sources. 
 Such a cognomen is certainly 
 
 IN ACCORDANCE WITH MANY OF THE 
 CHARACTERISTICS 
 
 of the region other than that just named. It 
 does not appear strange then, that the dead 
 were supposed to make use of a boat in passing 
 through this region of the heavens; hence the 
 '•Boat of the Dead." 
 
 In the group Taurus and immediately facing 
 Orion, we see a gigantic tree outlined, which is 
 the source from which the dead was supposed 
 to obtain food or fruit when he entered the 
 realms of death. This object is very well 
 marked and has its base near the upper end of 
 the belt of Orion, while the top embraces the 
 Hyades and head of the Bull. The Pleiades, 
 72 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 as we shall show later, are now known as the 
 Little Dipper, and apparently identify that ob- 
 ject with the goddess who was believed 
 
 TO APPEAR FROM THE SIDE OR TOP 
 OF THE TREE 
 to supply the applicants with the necessary food 
 to enable them to pursue their journey. The 
 cow goddess, who could be prevailed upon at 
 times to carry the suppliant dead upon her 
 back, and thereby gready facilitate his journey 
 by bearing him through the air, we see also in 
 this group; hence, as we shall find later, the 
 form of the dipper was recognized as an em- 
 blem of that goddess. It was believed that by 
 securing the services of the cow goddess in this 
 way, the journey could be made more quickly 
 and safely; and in many of the pictorial repre- 
 sentations, the dead, together with his double, 
 is seen riding upon the back of the cow, while 
 making his way to the realms of light or the 
 "Lands in the West." 
 
 In a more thorough study of the subject it 
 will be seen that some groups have had, in 
 some cases, two or more separate and non- 
 73 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 analogous symbolic systems derived from them. 
 This is especially true of that region of the 
 Zodiac from Aquarius to Libra, for we recog- 
 nize there 
 
 MANY SYMBOLS OF BOTH CREATION 
 AND DEATH, 
 
 or the end of time. This will prove quite simple 
 of explanation, since we know that the cyclic 
 destiny of the universe will end where it started. 
 The year apparently ends where it had its in- 
 ception a twelve-month prior, and the year of 
 the cosmos might be but the ultimate of the 
 same. The same group then has been deified 
 in more than one form, in accordance with the 
 various offices it was supposed to fill in heaven- 
 ly arrangement. We note also that the symbol- 
 ical configuration of the stars that 
 
 EMBRACES THE REGION FROM THE 
 ZODIACAL CROSSING 
 
 of the Galaxy in Taurus and Gemini, to the 
 point where it again crosses the Galactic ring in 
 Cassiopeia and Scorpio, has been given a local 
 as well as a progressive and ultimate value, 
 both in regard to the individual and to 
 74 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 the human race collectively. It is very 
 evidently emblematic of the life course 
 of the individual, and, at the same time, 
 of the human race as a whole. In a study of 
 Egyptian belief, in the light of this solution, we 
 shall certainly find that their deities were a well 
 ordered arrangement of Astronomical facts and 
 laws, and not, as heretofore has been believed, 
 mere personifications of a childish fancy. 
 
 THE TREE IN TAURUS. 
 
 The Tree in Taurus is quite well marked 
 and is an easily discernible naked-eye object. 
 It has a very conspicuous place in the religious 
 belief of the nations of antiquity. Considerable 
 traces of it are found throughout the Americas 
 and some of the northern countries of Europe. 
 To the Egyptian it was the sacred sycamore 
 which he must pass upon his journey through 
 the realms of death, and from which he must 
 secure the necessary sustenance to enable him 
 to pursue his journey. 
 
 There were many perils which beset him 
 upon this journey to his future home, such as 
 75 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 THE HUGE SERPENT AND OTHER 
 MONSTERS 
 that are certainly in evidence along this starry 
 pathway; for there is a gigantic serpent out- 
 lined in the upper portion of the constellation 
 Eridanus, and a huge whale in the group Cetus, 
 both of which adjoin this heavenly pathway. 
 The serpent apparently is fastening to Orion's 
 heel, and the great open-mouthed whale is 
 united with the westward route by a star band, 
 which leads upward through the neck of the 
 allegorical star figure designating that group. 
 He encounters the huge serpent at the very 
 outset of his journey, and must vanquish it be- 
 fore he can proceed. He must be possessed of 
 
 THE PROPER PASSWORDS AND FORMULAE, 
 in order to avoid straying from the true route, 
 and must have lived as perfect a life upon earth 
 as possible, in order to have attained to a 
 worthiness warranting the gods in allowing him 
 to ascend the upward terminating way. (Matt. 
 vii:14.) His greatest boon was that of being 
 permitted to choose the latter course, for then 
 he could ascend through the streamer of the 
 76 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 upper fish and the fish itself, which is the starry 
 Grand Gallery, to the point where it passed be- 
 yond the boundaries of the underworld, through 
 the King's Chamber in Cassiopeia. 
 
 The ill-fated traveler who was forced to 
 take the lower route through the southern 
 streamer and fish, thence on westward, appears 
 to have stood very little chance of ever reach- 
 ing that blissful goal toward which his journey 
 was leading him, for we detect many perils be- 
 setting his way. In that starry counterpart of 
 the Subterranean Chamber, which is quite well 
 defined in Pisces and Aquarius, he might make 
 a misstep and 
 
 PLUNGE DOWNWARD THROUGH THE 
 VERTICAL SHAFT 
 to the bottom, where a Cynocephalus was wait- 
 ing to receive him. The head of the Cynoceph- 
 alus is quite a conspicuous object having his 
 nose at the eastern end of that wavy line of 
 stars, which is a well known feature of the con- 
 stellation Aquarius. If he succeeded in passing 
 the Subterranean Chamber in safety his hopes 
 were almost dashed again a little farther west, for 
 77 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 THERE HE MUST UNDERGO A RIGID 
 JUDGMENT 
 from which there was no escape, and through 
 which very few passed successfully. The Cyn- 
 ocephalus, which we see at the lower extrem- 
 ity of Aquarius, is certainly identical with that 
 animal which, in some of their representations, 
 is seen bidding the boat of the sun godspeed 
 upon its entrance into the "Mountain of the 
 West," for it occupies a position which agrees 
 very well with such a symbol. It is also iden- 
 tical with those animals which are represented 
 as fishing for unlucky travelers, who happened 
 to miss their way in the starry Subterranean 
 Chamber, for we find three of them in evidence 
 here and located at the lower end of the starry 
 vertical shaft. The Cynocephalus, located in 
 this region, 
 
 HAS GREAT VALUE ALSO WHEN TAKEN 
 IN CONJUNCTION 
 
 with a similar animal-outline which we detect 
 upon the face of the Moon. The emblematic 
 figures here dealt with, since they occupy the 
 region at the southern pole of the Galaxy, cer- 
 
 78 
 
ORIGIN OP ARCHITECTURAL, DESIGN 
 
 tainly show a remarkable analogy to the sym- 
 , holism of the Moon, for we find them both 
 associated with the Moon as the ruler of night 
 and darkness. It is in this region that we would 
 place the "Court of the Double Truth." 
 
 OSIRIS. 
 
 The fact that the Egyptian religion made 
 Osiris a personage who was said to have suf- 
 fered, died and been made ruler over the de- 
 parted, cannot but lend an added beauty to our 
 theory that Orion is but an emblem of the 
 Christ in many ways. He is apparently strik- 
 ing the huge serpent that we see fastening to his 
 heel, and is in close proximity to the celestial 
 tree. In accordance with the scriptural story of 
 Eden, this starry picture is very plain; for was 
 not a promise of like nature given to man in 
 the text which says, "And I will put enmity 
 between thee and the woman, and between thy 
 seed and her seed; it shall bruise thy head, and 
 thou shalt bruise his heel." (Genesis iii:15.) It 
 would certainly be a fitting memorial to place 
 this sublime picture in the heavens as commem- 
 79 
 
ORIGIN OP ARCHITECTURAL, DESIGN 
 
 orative of Eden's great drama. Here it would 
 endure through time as 
 
 A PERPETUAL REMINDER OF THAT 
 GRAND PROMISE 
 given to human kind. Also, we beHeve there 
 is a more material value to be placed upon this 
 starry picture relative to the Edenic period, in 
 the destiny of the world. An analogous con- 
 nection may be proven between this region of 
 the stars and the governing laws of the universe, 
 which will add much to its beauty. 
 
 The various cosmic designs of the ancients, 
 which were intended as a key to knowledge of 
 the universe, and which show a common 
 origin, have very evidently been taken from 
 the region of Orion. The inter-locked triangles, 
 which are, perhaps, the most important feature 
 of the design, are seen in the arrangement of 
 those stars which outline the small Pyramid in 
 Orion; this arrangement is not difficult of de- 
 tection. 
 
 THOUGH IN THE FIGURE OF THE STARRY 
 
 PYRAMID, 
 
 all details are not seen therein, yet so many 
 
 80 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 are in evidence that there can be little doubt as 
 to this region being the source of such designs. 
 The top of the Orion Pyramid constitutes the 
 triangle with the apex upward, while the other 
 triangle, which has its apex downward, is not 
 difficult to define. The starry arrangement at 
 the feet of Orion crudely suggests that part of 
 the design emblematic of the Abode of Evil, 
 corresponding with the value placed upon the 
 Subterranean Chamber of the Pyramid. Im- 
 mediately above his head and located in the 
 Galaxy, we see an oval or egg-shaped object 
 which is apparently the 
 
 STARRY COUNTERPART OF THE 
 EGG OF BRAHMA, 
 
 and is fairly well defined, although by stars of 
 lesser magnitude. Upon an exceptionally clear 
 night it is not difficult to find, and greatly re- 
 sembles a wreath. A little farther north, and 
 also located in the Galaxy, we see another ob- 
 ject which is but the starry counterpart of the 
 upper triangle, symbolizing Deity and the Un- 
 known; it is a small triangle which is quite well 
 outlined, being united with 
 81 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 THE PYRAMIDAL GROUP IN ORION 
 by a streamer of stars. The fact that this star- 
 band unites the east side of the small upper tri- 
 angle with the same side of the Pyramid will, 
 we think, be found to have its value with re- 
 spect to the figure as a whole, where it was be- 
 lieved one side only radiated rays. 
 
 A close study of the designs would bring us 
 to the conclusion that the upper triangle, or the 
 one with its apex upward, being symbolic of 
 fire, is associated with the upper or northern 
 hemisphere, not only of the earth, but also of 
 the heavens ; the one with its apex downward, 
 a symbol of water, is a representation of the 
 southern hemisphere of both the earth and 
 heavens. The minute upper triangle then, 
 must indicate 
 
 THE NORTH AS THE ABODE OF DEITY. 
 This theory is really in accordance with our 
 present knowledge, not only of Evolution, but 
 of Geology, Palaeontology and those other 
 sciences which bear upon the subject, for they 
 point to the north as the beginning of life, and 
 land surface. It will readily be seen that the 
 82 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 figure, as a whole, is aligned in such position as 
 
 to make this theory tenable, since the small 
 
 triangle marks its northern extremity, and 
 
 THE SYMBOL OF THE ABODE OF EVIL 
 
 ITS SOUTHERN LIMIT. 
 
 We believe that it is true to its name and a key 
 to the cosmogony that the ancients worked out 
 ages ago, being perhaps the result of millen- 
 niums of deep study. It is undoubtedly true 
 that it will profit us to heed, somewhat, the 
 teachings of the Egyptian in regard to cosmog- 
 ony. We believe the Galactic ring divides 
 the heavens into two hemispheres, which cor- 
 respond to the upright and inverted triangles. 
 The Galactic ring seems to be identical with 
 Homer's "Ocean Stream," and the true south 
 is identical with the Abode of Evil, or the 
 House of Hades, Odys. XI. The different 
 cosmic designs were derived from a common 
 source, and that source was evidently the one 
 named above, or the region of Orion. When 
 we recognize 
 IN THIS FIGURE A SYMBOL OF THE CHRIST, 
 
 what beauty and import it all lends to this 
 83 
 
ORIGIN OP ARCHITECTURAL, DESIGN 
 
 region of the heavens, and how fitting it seems 
 to consider this region, most brilliantly set with 
 bright stars, the "Golconda" of the skies! 
 
 The northern intersection of the Galaxy 
 with the belt of the Zodiac appears to consti- 
 tute a gigantic cross in the heavens, which ap- 
 parently was recognized as such by many of the 
 ancients, since we find that 
 
 MANY OF THEIR SCULPTURED OBJECTS 
 RESEMBLE VERY CLOSELY 
 
 the figure which Orion presents to one's view, 
 when in conjunction with it. We would cite as 
 an example of such, a pillar found atPalenque. 
 It represents a man standing with his back to a 
 cross, the arm of the cross being slightly above 
 his head. Several other objects are also sculp- 
 tured upon it. This figure is analogous to the 
 starry figure in question, for their position rela- 
 tive to the cross is the same. 
 
 It is a fact also that the starry pyramid is 
 seen in conjunction with this cross. Many ex- 
 amples of a like form are seen in the Americas. 
 A close study of the political divisions of the 
 kingdom of the Incas reveals the fact that the 
 84 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 TWO GREAT NATIONAL HIGHWAYS 
 CROSS AT RIGHT ANGLES, 
 
 thus dividing the country into four equal dis- 
 tricts; further, their sacred city was located at 
 the intersection of these roads, a fact not with- 
 out significance when considered in relation to 
 such a heavenly counterpart. 
 
 In the ruins of one of the ancient cities of 
 Yucatan, there was a painting upon one of the 
 walls which we identify with the starry figure 
 named above; it is that of a person with up- 
 raised weapon, as if about to strike a huge 
 serpent overshadowing him. It is a represen- 
 tation of some renowned personage in full war- 
 dress. This figure, as a whole, is a representa- 
 tion of Orion, the serpent occupying much the 
 same position relative to the body of the war- 
 rior, as the upper small triangle and star-band 
 joining it with the pyramidal figure does to the 
 body of Orion. The upper triangle appears to 
 have been taken as the head, and the star-band 
 as the body, of the serpent. In view of the 
 arrangement as a whole, it is not strange that 
 they saw a figure here, for it really resolves 
 85 
 
ORIGIN OF ARCHITECTURAL. DESIGN 
 
 itself into such. For this reason, the above 
 named object 
 
 BEARS SOME ANALOGY TO THE 
 SCRIPTURAL STORY, 
 
 viz., that Moses placed a serpent upon a cross 
 and told the Israelites to look thereto as a 
 remedy for the bites of the serpents. When 
 the small triangle and attendant star-band are 
 considered a serpent, it is readily seen that 
 it passes up over the cross formed by the Belt 
 of the Zodiac and Galaxy, thus forming the 
 figure of a serpent-entwined cross. 
 
 The real value of the starry arrangement, 
 from which the Pyramid was taken, conse- 
 quently seems to be a prophetic portrayal of 
 THE DESTINY OF THE HUMAN RACE 
 FROM ITS CREATION 
 
 to its ultimate end; if such be the case, it is of 
 stupendous import. It is not strange, in the 
 light of this statement, that the Egyptian hon- 
 ored the figure by building a commemorative 
 monument, massive of proportion, beautiful in 
 workmanship, which has stood through the 
 ages, a fitting tribute to his conception of Di- 
 
 86 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 vinity. The base of the Great Pyramid covers 
 an area of thirteen acres, being composed of a 
 mass of masonry which must have required 
 years to transport from the quarries and to 
 place in position. The stone is believed to 
 have been transported from the quarries in the 
 Mokattam Hills, which are not only on the 
 opposite side of the river from the Pyramids, 
 but are also a great distance to the east. Some 
 of the blocks used in the construction are of 
 such proportion as would 
 
 TAX THE UTMOST INGENUITY AND SKILL OF 
 PRESENT-DAY ENGINEERING 
 
 in the handling. How they were placed in 
 position by the ancients is unknown. 
 
 87 
 
CHAPTER 
 
 S I X 
 
 The Starry his and Other Attendant 
 Figures Emblematic. 
 
 [SIS and her brother-husband, Osiris, 
 were the central figures of Egyptian 
 religious belief, and it is from this 
 couple that their Royalty were sup- 
 posed to be descended. Due to 
 the treachery of another brother, 
 her husband, Osiris, was killed; 
 while she-with-4ief-8en-iioras-was driven to 
 the swamps, where ^t n ey were- sustained for a 
 time by the gods. A similarity exists between 
 this myth and the scriptural text, "And there 
 appeared a great wonder in heaven; a woman 
 clothed with the sun, and the moon under her 
 feet, and upon her head a crown of twelve 
 stars: ***** And the woman fled into the 
 wilderness, where she hath a place prepared of 
 God, that they should feed her there a thou- 
 sand two hundred and threescore days. * * * 
 And to the woman were given two wings of a 
 great eagle, that she might fly into the wilder- 
 ness, into her place, where she is nourished for 
 88 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 a time, and times, and half a time, from the 
 face of the serpent." (Rev. xii:l, 6, 14.) The 
 belief relative to the Egytian goddess Isis is ev- 
 idently very similar to that of the Christian 
 Madonna, and the Woman Wonder of Reve- 
 lation, viewed in the light of the above text. 
 
 Whether or not any of their deities ever 
 lived in the flesh would be difficult of demon- 
 stration ; yet there is a probability that the two 
 named above, Isis and Osiris, 
 
 MAY HAVE EXISTED UPON THE EARTH 
 IN PRIMEVAL TIMES, 
 
 perhaps identical with the first father and 
 mother of the human race. In the light of the 
 subject in hand, we consider them but deifica- 
 tion of the emblematic figures in the heavens, 
 to which they bear such remarkable resem- 
 blance. Those starry figures, which they rec- 
 ognized as emblematic of Osiris, are really but 
 a symbol of the Christ, who was to come to the 
 then unborn races. The Egyptians appear to 
 have appropriated these starry figures and 
 dressed them in flesh ; thus their religious system 
 is an adaptation from the wondrous configura- 
 89 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 tions marked upon the face of the heavens, 
 having been written there in the very dawn of 
 creation. When we recognize these starry 
 figures as having a significance divine, having 
 been set there by 
 THE CREATOR BEFORE THE CREATION OF 
 THE HUMAN RACE, 
 
 there can certainly be no higher appeal for con- 
 firmation of our theory that the religion of 
 ancient Egypt was a derivation, and not an 
 original, as claimed by some authorities. In 
 the following material evidence, we shall prove 
 that the fundamental principles of their religion 
 were derived from a study of the heavens, as 
 stated above. It has been well said that the 
 Christian religion shows a remarkable resem- 
 blance to that of early Egypt; yet why should 
 it not do so, since the Christian derived his re- 
 ligion from the more material source, the Bible 
 and prophetic inspiration, while the Egyptian 
 obtained his from that copy of the Word written 
 among the stars. It must be admitted though, 
 that not all those who have a knowledge of the 
 Creator's precepts, whether 
 90 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 DERIVED FROM THE HEAVENS OR FROM 
 OUR SACRED SCRIPTURES, 
 
 will be found to be in possession of the Chris- 
 tian religion in its true sense; as example of 
 such, we cite Satan himself, who was, according 
 to certain texts, learned in Holy Writ. The 
 Egyptian may have had a wonderful concep- 
 tion of the fundamental truths as written upon 
 the face of the heavens, yet he was in utter 
 darkness in regard to their import. 
 
 His conception of the heavens was certainly 
 one of marvelous beauty. How close he ap- 
 proached the real truths and value embodied, 
 cannot be stated ; yet we find that to a greater 
 or lesser degree, he had interpreted the true 
 value, although applying it more in the abstract 
 than in the concrete. However, we believe 
 that in the earlier ages of his national existence, 
 he was in closer communion with First Cause 
 than we generally suppose. This condition ex- 
 isted in pre-deluge times or immediately follow- 
 ing that disaster. 
 
 Those brighter stars, forming what is known 
 as the "Big Dipper" in the northern constella- 
 91 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 tion Ursa Major, which lies near the celestial 
 north pole, together with five others found in 
 this same group and in the small group Canes 
 Venatici, constitute the starry figure which we 
 believe to be the 
 
 CELESTIAL EMBLEM OF THE GODDESS ISIS 
 and the Christian Madonna. It was seen by 
 St. John as the Woman Wonder of Revela- 
 tion, since the principal stars therein number 
 twelve (always a mystical number), and at the 
 same time, there is unmistakable evidence of 
 the figure having wings. This object was also 
 evidently seen as the cow goddess of heaven, 
 Hathor, since the handle of the dipper forms 
 one horn, while the other lies in the small 
 group Canes Venatici and is tipped by the 
 bright star Cor Caroli. The wings are certainly 
 in evidence and are not difficult to find, as they 
 follow the outline of the horns. The tip of each 
 wing is accentuated to such degree in contra- 
 distinction to the rest, that the figure thus 
 formed easily presents the form of the lotus 
 flower. The figure of the goddess we must 
 place there in imagination; while the figure, 
 92 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 as a whole, is, perhaps, one of the most won- 
 derful and touching seen in the whole heavens, 
 when we see it as 
 
 EMBLEMATIC OF THE MOTHER OF 
 OUR LORD. 
 
 It is also, perhaps, one of the most vividly real- 
 istic proofs of the value underlying the arrange- 
 ment of the stars. 
 
 There are but few who do not know where 
 to find the well known figure of the "Big 
 Dipper" in the northern sky, and how to find 
 the north star, Polaris, by means of the "point- 
 ers," the entire figure being composed of 
 bright stars easily discerned by the naked eye. 
 The tip of the wing which is in conjunction 
 with the end of the dipper handle has its junc- 
 ture with the rest of the handle at the point of 
 the "twin stars," a distinguishing feature of the 
 dipper. The tip of the other wing is easily 
 found in conjunction with the other horn, near 
 the star Cor Caroli in Canes Venatici. When 
 the tips of these wings are transformed or con- 
 sidered as the starry lotus, it does not appear 
 strange that the Egyptian 
 93 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 ADORNED HIS TEMPLES AND PILLARS 
 with an ornament whose form was from the 
 lotus. Apparently the lotus was a symbol of 
 great value to the Egyptian, for it appears 
 throughout his architecture. 
 
 This starry emblem of Isis has been consid- 
 ered both in conjunction with and separate 
 from the great beast adjoining, which lies im- 
 mediately underneath the pole of the heavens. 
 Such is, apparently, the scriptural value also, or 
 as being seen both in a compound form and 
 separately. 
 
 The shape of the dipper identifies other 
 groups wth the goddess, such as that object 
 formed by the principal stars in Ursa Minor 
 which is but a 
 
 CLOSE IMITATION OF THE LARGER ONE 
 in Ursa Major. The former we consider as 
 being identical with that deified form repre- 
 sented as in a sitting or kneeling position, hav- 
 ing no head, but with a huge eye in its shoulder. 
 When shown in a sitting or kneeling posture, 
 we consider it an attempt to copy the form of 
 the dipper. Many different deities were repre- 
 94 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 sented in this form, especially the goddess Isis. 
 She was apparently identified with the "Little 
 Dipper" or the Pleiades, with the "Milk Dip- 
 per" in Sagittarius, and with many others; 
 which is 
 
 PROOF ENOUGH TO AROUSE OUR INTEREST 
 in that feature of the groups. In fact, it will be 
 seen that this characteristic of the heavens is 
 one of great value, inasmuch as we often find 
 symbolic objects duplicated in miniature in other 
 parts of the sky. We see evidence of this in 
 the minute triangle, the elongated triangle, 
 the dipper, the trapeze, the square, the rosette, 
 the rounded object which is considered as the 
 nose of the true constellation figure of Androm- 
 eda, and in many other distinctive forms 
 which are not without their significance in each 
 case. They appear in those groups only which 
 have evidendy been given or embody an anal- 
 ogous value. 
 
 The winged emblem of Isis will be seen to 
 represent the winged circle which is found in 
 the symbolism of most of the ancient peo- 
 ples. This fact is really too plain for words, 
 95 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 for the principal stars of the figure easily 
 
 PRESENT A WINGED CIRCLE 
 which agrees closely with those representations 
 of such an emblematic object. Winged circles 
 are found in Babylonian symbolism, in Egyptian 
 symbolism, in Persian symbolism, in the sym- 
 bolism of ancient American peoples as evi- 
 denced upon the ruins in Yucatan, and in that 
 of other early peoples as well. It has invari- 
 ably been seen as emblematic of the sun, while 
 we well know that the Woman Wonder of Rev- 
 elation was seen as "clothed with the sun," 
 which explains much where we see this figure 
 as her emblem among the stars. We believe 
 this figure to be connected with the Greek 
 mythological chariot of the sun, the great beast 
 near by representing the fiery steeds, while 
 Cepheus would appear as the driver. 
 
 The polar group, Ursa Minor, not only pre- 
 sents the figure of the dipper but that of the 
 human eye also; while that end of it constitut- 
 ing the bowl of the dipper, 
 
 APPEARS AS ANOTHER LOTUS FLOWER; 
 
 the lotus portion of it also much resembles 
 96 
 
ORIGIN OF A RCHITECTURAL DESIGN 
 
 those seen in Ursa Major and Canes Venatici. 
 The star-bands which unite this eye-figure 
 with Cassiopeia and Ursa Major are quite 
 well defined and not difficult to locate. The 
 Utchat, or that form of the Egyptian sym- 
 bolic eye, with the appendages, was very 
 evidently derived therefrom and is not with- 
 out its value. This figure being located at the 
 pole of the heavens, where it appears as a 
 central region around which the heavens appar- 
 ently revolve, it is not strange that the ancients 
 associated it with the all-seeing One or Deity. 
 
 The constellation Draco or the polar dragon, 
 where it makes a curve over the above group 
 and down the other side, has been considered 
 by the early peoples as 
 
 THE TOP OF A MOUND OR MOUNTAIN, 
 
 and to it must we look for a solution of the 
 
 ancient mounds and tumuli. The eye-figure in 
 
 Ursa Minor would appear as a chamber or 
 
 cavern in the depths of the hill, and, perhaps, 
 
 has its counterpart in the burial chamber of the 
 
 mounds and tumuli. This hill appears to be 
 
 the goal of 
 
 97 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 THE UPWARD ROUTE OF THE 
 PYRAMIDAL ARRANGEMENT, 
 
 and is not without its significance as the deriva- 
 tion of the symbolic burial mounds and hills. 
 This hill or mountain in the north has been 
 common property among the mythologies of 
 the ancients, and is identical with King David's 
 "Mount Zion, on the sides of the north." It 
 certainly shows remarkable evidence of being 
 the mythological seat of the gods or God. 
 
 Lying midway between the polar group and 
 Cassiopeia, we detect an object which, judging 
 by its location upon that portion of the figure 
 of Cepheus constituting the front part of his 
 dress kirtle, has evidently 
 
 ORIGINATED ONE SYMBOLIC FORM 
 in which Egyptian Royalty wore the front por- 
 tion of their dress of state, with one point ex- 
 tending somewhat below in front. It also sug- 
 gests the outlines of a turtle as seen from above, 
 and constitutes a portion of the bull's head 
 which we detect here. His one horn has its 
 base at the pole of the heavens and its tip at 
 Cepheus' mouth, while it is quite well marked 
 98 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 in outline. We detect but the one horn how- 
 ever; so the ancients have supplied the other 
 in deriving their sacred animal from this region. 
 His head is very well marked and not difficult 
 to locate. His body extends back through 
 Ursa Major and the Lynx, and the figure of 
 Isis rests upon his back. This bull figure shows 
 plainly its 
 
 IDENTITY WITH THE EGYPTIAN 
 GOD, APIS. 
 
 The winged form of Isis is identified with 
 Hathor, the cow goddess of heaven. The early 
 Babylonian saw the bull in conjunction with 
 the latter figure, or as their winged and man- 
 headed bull. He and a lion figure, which we 
 see immediately below, have been seen as the 
 scriptural great four-faced creatures or beasts. 
 The beasts in question had the face of a man, 
 the face of a lion, the face of a bull, and the 
 face of an eagle, while they were also seen with 
 wings. This fact, like many of the others we 
 deal with, is really too plain for words; for do 
 we not see here the unmistakable evidence of 
 the bull and lion, while the man and eagle, 
 99 
 
ORIOI N OF ARCHITECTURAL DESIGN 
 
 although not definitely marked, are certainly 
 in evidence. 
 
 The Egyptian has seen the winged human 
 figures near Perseus as the paws of these great 
 beasts and may have derived his Sphinx from 
 the figure as a whole. Yet, for the present, we 
 will divide honors with the region of Virgo and 
 Leo as to the location of the starry Sphinx; 
 for the 
 
 GENERAL CHARACTERISTICS OF THE 
 ARRANGEMENT 
 
 of the stars in the latter region present great 
 evidence in its favor as the location of the same. 
 It is true, however, that the polar beast is slowly 
 gaining the balance of evidence in its favor and 
 will, perhaps, be proved eventually to be the 
 real location of the starry Sphinx and abode of 
 Deity, as would naturally follow. We will 
 merely advance both locations for the inspec- 
 tion of the reader until one or the other is con- 
 clusively proved to be such ; they had several 
 forms of the Sphinx, as is well known, and 
 either of these locations has an equal claim 
 upon our attention for the present. 
 100 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 There is a small ladder-like arrangement of 
 stars in the locality of its chin which would ap- 
 pear to have originated the peculiar manner in 
 which the chins of such monuments were de- 
 signed ; while the arrangement of the stars upon 
 the neck of the lion portion of the figure is seen 
 
 TO SUGGEST THE FORM 
 in which the neck portion of their head-dress 
 was represented. The ladder-like object we 
 refer to is also a portion of the starry collar of 
 the bull which the Egyptian has here discerned, 
 while it is easily seen as the chin of the com- 
 pound beast. The lion's rear portion is out- 
 lined by the front part of the Great Bear in 
 Ursa Major, while the rest of it extends into 
 Lynx and Camelopardalis. This is the lion 
 figure which is represented upon one of their 
 constellation charts of the northern heavens, 
 and is seen to agree very closely with it in 
 every detail. Its head is seen almost in con- 
 junction with that of the Great Bear, although 
 extending a little farther into Camelopardalis 
 and the Lynx. It is true that they show a lion 
 in the region of Leo and Virgo which is repre- 
 101 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 sented as riding or lying in a boat-shaped ob- 
 ject, and that it has a number of markings iden- 
 tifying it with the great Sphinx; yet such are 
 what we might term more in the nature of fig- 
 urative evidence and general outline and 
 
 IT LACKS THAT PREPONDERANCE OF 
 NATURALISTIC OUTLINE 
 
 and characteristics which we find this polar lion 
 possessing. (Cf. the Zodiac of Denderah.) 
 
 This polar lion we believe to be identified 
 with those eagle-headed and winged lion fig- 
 ures of Greek mythology as well as with other 
 representations of a like nature. The great 
 beast as a whole is seen as facing Cepheus or 
 Zeus, which fact will explain much with re- 
 spect to the early custom of placing statues of 
 this animal in front of the royal thrones and 
 palaces. Do we not see here, 
 ZEUS HOLDING COURT AND APPARENTLY 
 RULING THE HEAVENS, 
 
 much in the manner that the ancient Greek 
 believed him to do. It is certainly an intensely 
 interesting picture set eternally, as it were, in 
 the heavens where we may view it every night 
 102 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 for the greater portion of the year. Once the 
 full significance and beauty of this scene dawns 
 upon us, we may well fall in adoration before 
 it like the ancients of old, and declare our al- 
 legiance to Him who designed it there. We 
 can now understand to a great extent what a 
 glorious sight was presented to 
 
 THE VISION OF THE PROPHET EZEKIEL 
 in the first chapter of that book of the Bible, 
 where he saw the Almighty sitting upon His 
 throne, with the great four-faced beasts near-by 
 rendering Him praise. In view of the state- 
 ments which he makes, we consider this starry 
 picture too plain for words; for do we not see 
 Cepheus as apparently sitting upon a throne 
 and located in the north. (Cf. Ezekiel, Chap- 
 ter i; also Rev., Chapter iv.) 
 
 Thus we have an abundance of remarkable 
 
 evidence identifying the polar region with the 
 
 MYTHOLOGICAL AND SCRIPTURAL 
 
 DESIGNATION 
 
 of the abode of Deity; yet we consider such to 
 
 be merely a local value of the same, and the 
 
 north pole of the Galaxy as the real and eternal 
 
 103 
 
ORIG-IN OF ARCHITECTURAL DESIGN 
 
 location thereof. Our reason for believing 
 such to be the proper value upon each of these 
 two locations is, as we have stated elsewhere, 
 that the present order of the starry groups is 
 not the original, or as it was meant to be, but 
 that a disarrangement overtook the system of 
 which we are a part, sometime in the ages 
 past, displacing it from that order which was in- 
 tended by the Creator. As a consequence, ev- 
 olution was instituted into the system, and as 
 will naturally follow, death and disorder is the 
 outcome. 
 
 A little above the winged figure in Ursa 
 Major, and apparently joined to the dipper 
 handle by several stars, we find the small but 
 
 INTERESTING CONSTELLATION CORONA 
 BOREALIS. 
 
 The group, as a whole, resembles a crown and 
 is not difficult to find. This crown overhangs 
 the winged emblem of Isis, having one end 
 ornamented with the Egyptian Handled Tau 
 or Ankh. This group, together with the major 
 portion of those stars composing the constella- 
 tion Hercules, and those lying between Hercu- 
 104 
 
ORIGIN OP ARCHITECTtTR AL DESIGN 
 
 les and the small groups Sagitta and Aquila, not 
 only resemble the eagle and Uraeus, but we are 
 also able to detect here 
 
 ONE FORM OF THE FEATHER OR PLUME 
 which was worn upon the head-dress of the 
 Egyptian. The head of the Uraeus adjoins 
 one side of the crown and the feather the 
 other side, while the great eagle's head is 
 merely that of the serpent seen from a different 
 angle. The legs of the eagle extend toward 
 and grasp a head-like object which is quite a 
 conspicuous figure in the Galaxy, and embraces 
 the groups Sagitta and Aquila and portions of 
 both Hercules and Vulpecula. The body of 
 the bird extends through Hercules and embraces 
 the crown; while its head adorns one end of a 
 peculiarly shaped 
 
 FIGURE MUCH RESEMBLING THE 
 HUMAN HEART. 
 
 The object, in its entirety, is a veritable diadem 
 of the gods with an emblematic memento of 
 each embodied therein. 
 
 The head of Serpens, which adjoins Corona 
 Borealis, has undoubtedly originated the Egyp- 
 105 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 tian hieroglyphic hand. It bears a remarkable 
 analogy thereto and is also closely identified 
 with the "Ka," or "Double Name." 
 
 That head-like object, which the eagle ap- 
 parently grasps in its claws, is often represented 
 in many Egyptian sculptures and pictures as the 
 emblem of eternity. We believe this head-like 
 object to have 
 
 ORIGINATED MUCH OF THE SYMBOLISM 
 OF THE AMERICAS, 
 
 such as the gigantic heads found in various 
 localities, especially those designed wearing 
 necklaces. The figure is more that of an open 
 loop with the ends turned outward, having the 
 opening crossed by an arrangement of stars 
 which evidently originated the symbolic neck- 
 lace. This head 
 
 SHOWS A STRIKING RESEMBLANCE 
 to those gigantic heads of stone found in the 
 Easter Islands, and it would not be strange if it 
 were so recognized by the early people on 
 those islands. The face appears looking up- 
 ward somewhat, which is a feature of the gigantic 
 stone heads mentioned above. It may also 
 106 
 
ORIGIN OF ARCHITECTURAL DBBiqN 
 
 be seen as having two faces, and has perhaps 
 originated those deities having more than one 
 face. 
 
 The arrangement of the stars in and near 
 the small constellation Leo Minor, lying be- 
 tween Ursa Major, Virgo and Leo, we see as 
 the Egyptian Scarabseus; 
 
 FOR THE GENERAL APPEARANCE 
 of the figure, as a whole, shows a considerable 
 resemblance to the beetle, and furthermore is 
 so located as to position that such value is made 
 quite plain. 
 
 With its base or roots embedded in the 
 Galaxy on the borders of Gemini and Auriga, 
 and with its top extending northward through 
 these groups and that of the Lynx, we note the 
 outline of a tree much resembling the pine. 
 Thus we have a starry tree located upon either 
 bank of the Galactic river, 
 
 WHICH FACT THROWS TREMENDOUS LIGHT 
 upon ancient mythological and religious belief. 
 This tree is quite definitely, though somewhat 
 indistinctly, outlined. 
 
 Lying between the pole-star, Perseus and 
 107 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 Auriga, and within the constellation Camel- 
 
 opardalis, we see an object or figure which 
 
 resembles one or more winged humans and 
 
 MAY HAVE ORIGINATED THE GRECIAN 
 
 MYTHOLOGICAL BELIEF 
 
 as to the Harpies, as well as possibly being 
 identified with the seraphim or angelic beings 
 of scriptural belief. This figure is seen in con- 
 junction with the paws of the great beast near- 
 by, and shows great evidence of wings in con- 
 nection with it. 
 
 The constellation Auriga lies immediately 
 above the northern intersection of the Galaxy 
 with the belt of the Zodiac, thus crowning the 
 northern arch of the heavens. The five princi- 
 pal stars of this group form the 
 
 FIGURE OF A HUGE KEYSTONE, 
 which is a fitting starry emblem for this region, 
 since it is built into the royal arch of the stars. 
 This constellation is designated upon our present 
 charts by the figure of the Charioteer, who 
 holds a goat and her young in one arm while 
 he holds a whip in the other hand. The Egyp- 
 tian symbolic whip we place in conjunction 
 108 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 with the Hyades in Taurus. The small group 
 in question 
 
 BEARS A REMARKABLE RESEMBLANCE 
 to their royal whip and has apparently origi- 
 nated such an emblem. This whip is a com- 
 mon object among their representations of 
 royal personages and had great value placed 
 upon it. Sacred belief relative to this group 
 seems to ascribe to Auriga the dignity of ruler 
 of the heavens, for we believe Moses referred 
 to him when he said: "There is none like unto 
 the God of Jeshurun, who rideth upon the 
 heaven." (Deut. xxxiii:26.) Such belief rel- 
 ative to this group seems well founded, since it 
 is confirmed by the general characteristics and 
 position which it occupies. 
 
 The constellation Perseus lies in the Galaxy 
 between the group just named and Cassiopeia, 
 and is designated upon our charts by the myth- 
 ological figure of him who slew the monster 
 that threatened to devour the ill-fated Androm- 
 eda. This group is certainly one of great inter- 
 est, as will be seen from the following: — 
 
 It presents to our view a figure which per- 
 109 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 haps originated those spiral-shaped serpent 
 figures 
 
 SO COMMON THROUGHOUT AMERICA, 
 
 for it bears a remarkable resemblance to them. 
 The spiral figure though, would embrace not 
 only the group assigned to Perseus, but also the 
 attendant stars. It is in this group that we de- 
 tect one of the rosette figures mentioned else- 
 where in this work. The rosette part of the 
 group is centrally located, and, in general 
 aspect, much resembles the head of a lamb. It 
 is undoubtedly connected with the circles of 
 standing stones, for it is their starry counterpart. 
 These circles of standing stones are found both 
 in America and Europe. 
 
 The constellation Argo Navis, represented 
 upon our present charts as a ship, lies between 
 Canis Major and Hydra, while it intersects the 
 Galactic belt at that point and extends some 
 considerable distance southward into the south- 
 ern heavens. Now we detect the outline of 
 this constellation figure, not in the position 
 shown upon our allegorical star charts to-day, 
 but as lying almost entirely without the limits 
 110 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 assigned to this group, and as embracing the 
 group Canis Major, almost in its entirety. The 
 brilliant first magnitude star Sirius, known as 
 the "King of Suns," apparently rides in the 
 topmost rigging of this starry ship and seems a 
 fitting beacon to light it on its way. The ship 
 is headed eastward and appears as though 
 lodged in the Galactic river at this point, or as 
 lying at anchor. The brighter stars of the 
 group Canis Major outline its stern quite clearly, 
 and present a remarkable resemblance to that 
 portion of a ship. 
 
 Adjoining the constellation Argo Navis on 
 the north, we find the group Monoceros, which 
 is represented upon our star charts by the figure 
 of a horse with a horn protruding from its fore- 
 head. Now the real starry figure of this con- 
 stellation lies within the Galaxy, immediately 
 above and to the east of Orion, and is found 
 almost entirely without the limits of the group 
 assigned to it. It faces west and has for its head 
 the oval-shaped object located in the Galaxy 
 above Orion's head. It appears as wading in 
 the Galactic stream much in the manner that 
 111 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 the Norse mythological horses were wont to 
 do, and this fact seems to clearly identify it 
 with one of those upon which the gods rode to 
 and from Asgard. (Cf. Norse Mythology, by 
 Anderson, page 189.) 
 
 The true value of the constellation Perseus 
 would be difficult of statement at present, yet 
 such will undoubtedly be revealed through 
 A COMPLETE INTERPRETATION 
 
 of the star groups. Its most striking character- 
 istic is a spiral figure with an object of some 
 kind in the center. The position of the rosette, 
 located in the center, bears a close analogy to 
 those springs throughout western America 
 which were enclosed with ornamental stones. 
 
 Perseus, with the attendant stars near-by, is 
 a grouping bearing close identification 
 
 WITH THE SCRIPTURAL HOLY CITY 
 
 or the New Jerusalem. As a whole, the figure 
 impresses one as a head enshrined and as 
 wearing a glittering or jeweled necklace. It 
 shows identity with such mythological per- 
 sonages as the Norse Brynhild and Greek 
 112 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 
 Endymion. Its most distinguishing character- 
 istic is that of a large circular arrangement en- 
 closing a smaller circle, in which we see a small 
 square of stars. 
 
 Cassiopeia, we see not only as part of the 
 starry King's Chamber of the celestial Pyramid, 
 but as a combination of various emblematic 
 figures seen in other parts of the heavens; for 
 illustration, the trapeze, square and other forms 
 which are combined into the one figure, a 
 feature of possibly great significance in a com- 
 parative study. 
 
 The constellation Cepheus has been ascribed 
 a position between the pole and the Galaxy, 
 directly above Cassiopeia, and is designated 
 upon our charts by the figure of the mytholog- 
 ical King Cepheus. Some represent him with 
 
 HIS FEET TOWARD THE POLE 
 and head in the Galaxy, while on the other 
 hand, he is shown by others to be in almost the 
 position in which we find him, yet without the 
 left arm in its proper place or his face turned in 
 the right direction. Now the true figure of 
 Cepheus we place not as shown upon our pres- 
 113 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 ent charts, but with his head marked by the five 
 principal stars of this group, while his right arm 
 reaches off toward the pole-star and his left is 
 folded across his breast. His left arm is marked 
 by a rosette at the elbow and is distinctly out- 
 lined, although by stars of small magnitude. 
 We well know what great value the Egyptian 
 and others placed upon the symbolic position 
 of folding the arm across the breast. Such 
 symbolism we believe to have been derived 
 from this feature of the starry figure. The rest 
 of his body apparently extends lengthwise with 
 the Galaxy some little distance, and lies between 
 Cassiopeia, Perseus and the pole-star; while on 
 the other hand, he has generally been seen as 
 sitting upon a throne, which latter position we 
 consider the true one. His head is quite well 
 outlined, and appears as though wearing some 
 kind of a head-dress. A general view of his 
 head reminds one very much of that of 
 
 AN INDIAN CHIEFTAIN, 
 
 as though wearing plumes of some kind, which 
 
 feature we consider as originating a form of 
 
 head-dress worn by the Egyptian god Ammon. 
 
 114 
 
ORIGIN OP ABCHITECTUR AD DESIGN 
 
 "Down the broad galactic river, 
 
 Where the star beams dance and quiver, 
 
 Flies the swan with grace transcendent, 
 Bearing on its wings resplendent, 
 Sacred cross of death and glory. 
 
 Emblem of redemption's story." — Anon. 
 
 The constellation figure Andromeda has 
 been ascribed a position between Pegasus, 
 Pisces, Lacerta, Cassiopeia and Perseus, and 
 is designated upon our present-day star charts 
 by the figure of the ill-fated princess of that 
 name who, mythology states, was chained to the 
 rocks by the sea-shore and abandoned to the 
 mercies of a sea-monster, while Perseus, whose 
 constellation we see adjoining, was believed to 
 have rescued her. She is represented with arms 
 outstretched, and chained to imaginary starry 
 rocks. 
 
 NOW THE REAL FIGURE OF ANDROMEDA 
 we place, not as shown upon our charts to-day, 
 but with her head embracing the small constel- 
 lation Lacerta almost in its entirety, and with 
 one arm, which is very definitely outlined, 
 reaching off toward Delphinus. We see no 
 markings of the other, yet they seem to have 
 115 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 supplied it and placed it in an outstretched po- 
 sition, somewhat similar to that in which we 
 find its counterpart, and reaching toward the 
 pole of the heavens. The arm which points 
 off toward Delphinus and the south is well 
 marked, although by stars of small magnitude, 
 and is easily noted with the naked eye. Her 
 body apparently extends toward and over- 
 spreads a portion of the constellation Cygnus, 
 the starry swan. The brighter stars of the latter 
 group outline what is popularly known as the 
 
 "NORTHERN CROSS." 
 This cross is well seen in this group and easily 
 detected. We consider the true figure of An- 
 dromeda as symbolic of the Christ, in his cruci- 
 fixion ministry. Further, that object known as 
 "The Northern Coal Sack," which is located 
 upon the upper portion of her body, is not 
 without its significant value in connection with 
 the above. 
 
 "The Northern Coal Sack" lies directly 
 above the top of the cross, and is a dark cloud- 
 like object, the nature of which we are ignorant 
 at present. Dark cloud-like objects resembling 
 116 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 this one, although of different shapes, are found 
 in other parts of the heavens, and are some- 
 what of an enigma to Astronomers. 
 
 This object is not without its significance in 
 regard to 
 
 THE PIERCING OF HIS BREAST 
 in the crucifixion, since we find it located upon 
 what would be one side of His breast. The 
 arm that points off toward Delphinus is quite 
 well outlined, however, by stars of small mag- 
 nitude; yet upon an extraordinarily clear night, 
 this portion of the figure stands out distinctly 
 against the surrounding background, and 
 proves one of those objects which we consider 
 marked naked-eye figures. The head is also a 
 naked-eye object, and has for an ear a rosette- 
 like figure somewhat similar to that which 
 marks the left elbow of Cepheus. One shoulder 
 is marked by an object which is but a duplicate 
 of the figure outlined by the principal stars of 
 the constellation Cassiopeia, and which appears 
 to have been taken as 
 
 A JUDGMENT SYMBOL OR EMBLEM, 
 
 since it is located in those groups only which 
 
 117 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 evidently have such value placed upon them. 
 His nose is well seen in a curved line of stars 
 which stands out clearly, while his head, as a 
 whole, reminds one very much of the full 
 Greek heads. 
 
 The starry figure of Andromeda has in con- 
 junction with her mouth or the judgment em- 
 blem, a band which terminates in a small heart- 
 shaped object; which has perhaps originated the 
 custom in America of showing the mouth con- 
 nected with the internal parts or heart, as a 
 symbolism of the departure of life from the in- 
 dividual. 
 
 Resting upon the base of the upright beam 
 of the starry cross, is an object from which 
 
 THE EGYPTIAN "WHITE CROWN" 
 was derived, for the similarity is so apparent 
 that it proves a very marked naked-eye figure. 
 The top of the Crown embraces the small but 
 interesting constellation Lyra, and the combi- 
 nation of the whole into the "White Crown" 
 by the Egyptian makes it a very interesting 
 object. The brilliant first magnitude star Vega 
 adorns its top, and is indeed a fitting ornament 
 118 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 for it. That side of the starry crown which Hes 
 nearest the transverse beam of the cross, is or- 
 namented with a curved line of stars that very 
 evidently originated the practice among the 
 Egyptians of adorning the front of their head- 
 dress with a small serpent. This object is easily 
 detected upon any clear night and stands out 
 in bold rehef. 
 
 Near the top of the cross is an object pre- 
 senting the appearance of a sheaf of wheat, and 
 possibly it is the source of 
 
 THAT FEATURE OF ARCHITECTURAL DESIGN 
 found among the ruins of Yucatan. Much of 
 the architectural ornamentation resembles the 
 form of a sheaf and is undoubtedly derived 
 from this starry object. Lying within the Gal- 
 axy and in conjunction with one end of the 
 starry cross, we see an object that resembles a 
 grain of wheat, and is possibly the source from 
 whence originated the 
 
 EGYPTIAN GODDESS OF GRAIN. 
 This object may bear an analogy to the scrip- 
 tural "corn of wheat" that must fall into the 
 ground and die before it brings forth fruit; it 
 119 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 would be not without significance in regard to 
 crucifixion, as symbolized in the attendant 
 groups. 
 
 Immediately above Cepheus' head and with 
 its beak to the "Northern Coal Sack," we see 
 the rudiments of a bird of some kind. Its tail 
 reaches almost to the head of Draco, and its 
 feet are placed immediately over Cepheus' 
 head. In general outline, it bears close analogy 
 to the raven; yet the Greek appears to have 
 seen it as the mythological vulture, which was 
 believed to prey eternally upon the vitals of 
 Prometheus. They believed Prometheus to 
 have been condemned by Zeus to unremitting 
 punishment, chained to the rocks of Mount 
 Caucasus, where the vulture would torture him 
 continually. Prometheus would then be also 
 but an adaptation from the starry figure of 
 Andromeda; for do we not see her here with 
 arms outstretched, and with the bird apparently 
 preying upon her vitals. The bird figure we 
 believe to be also identified with the ravens 
 which Norse mythology places above the 
 throne of Odin, for we see the starry figure of 
 120 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 Cepheus as their god Odin. We detect evi- 
 dence of a huge vulture head in conjunction 
 with Andromeda's outstretched hand which 
 seems to bear closer identification with the 
 Greek myth. The latter is quite well marked 
 and very realistic in outline. The rosette, 
 which we see marking the left elbow of Ce- 
 pheus, is not without 
 
 ITS SIGNIFICANCE AND VALUE 
 as a mark of identification, for we see a rosette 
 figure in several places upon the throne of 
 Zeus as sculptured by the Greek. 
 
 In the mythology of the heavens then, we 
 would designate the region immediately sur- 
 rounding the celestial north pole as one of great 
 interest and promise. The ancients have placed 
 here a mount which they commemorated in 
 various ways. They wooded its sides with 
 sacred trees and made of it 
 
 THE SEAT OF THE GODS, 
 while its sides sloped gently down to the banks 
 of the Galactic river near-by. What supernal 
 flights of fancy must this picture have inspired in 
 the mind of primitive man when, as we are in- 
 121 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 clined to believe, his was more the state of inno- 
 cence of a child and his mind was not tram- 
 meled by the rigorous conditions under which 
 modern man labors. In the mythology of the 
 Greek, we have a fair sample of the fruits of 
 such an existence; for has it not held us in en- 
 thralled admiration of its beauties of speech 
 and concepts of divinity, which through the 
 ages of the past have remained as fresh as when 
 composed by the immortals of Greece. 
 
 The mounds and tumuli are but 
 
 A COPY OF THIS POLAR MOUNT 
 in the northern heavens and are among 
 the oldest relics of the human race. It is true 
 that there are relics and remains much older 
 than those named above; yet these take us back 
 through bygone ages to a time when man was 
 quite evidently in a very primitive state of 
 existence. They were a symbolical burial 
 mound patterned after that seen in the north- 
 ern heaven. The truncated form of the Pyra- 
 mid is also clearly a 
 
 DERIVATION FROM THE SAME SOURCE, 
 
 and appears to have been built more as 
 
 122 
 
ORIGIN OF ARCHIT ECTURAL DESIGN 
 
 a temple or religious edifice of some kind, than 
 as a tomb. The starry Pyramid in Orion has 
 originated the Egyptian form of such structures, 
 as is clearly seen. The earliest view of this 
 polar mount was evidendy that of a mound 
 with the figure of Cepheus considered as 
 though lying buried underneath; it is easily 
 seen that such a 
 
 SYMBOLIC FIGURE COULD BE 
 DERIVED THEREFROM, 
 for we find him in such position. Thus, we 
 have the origin of such burial customs as but 
 a derivation from the heavens. This manner 
 of burial was very prevalent among the early 
 peoples, for such mound-like structures have 
 been found in almost all parts of the world. 
 
 The early peoples then filled the heavens 
 with rivers, valleys, forests, gods, animals of 
 different kinds, or with conditions similar to 
 those existing upon the earth. They endeav- 
 ored to learn therefrom somewhat of their own 
 destiny. How well they succeeded in so doing, 
 we have produced ample evidence to show; 
 for there is certain evidence to prove that many 
 
 of the ancients had 
 
 123 
 
ORIGIN OP ARCHITECTURAL DESIGN 
 DERIVED THEREFROM THE REAL VALUE, 
 
 or that intended by the Great Architect 
 Himself. 
 
 Various theories have been advanced as to 
 the origin of the great mythologies of the early 
 peoples, such as those of the Greek and Norse- 
 men, none of which have ever been credited 
 with any great degree of authenticity. (Cf. 
 "Age of Fable," by Bulfinch, page 374.) Some 
 have advanced the theory that they are but 
 personifications of the powers of nature and the 
 elements, others that they are derived from the 
 Biblical personages such as Noah and the Ark, 
 Adam and Eve, Cain and Abel, and others of 
 the scriptural characters who bear a close 
 analogy to the different 
 
 MYTHOLOGICAL PERSONAGES. 
 There are still others who believe them to be 
 but a deification of some of the great historical 
 characters of bygone ages who, through the 
 lapse of time, came to be looked upon more as 
 gods than men, by having their deeds of valor 
 and heroism magnified and multiplied in the 
 minds of the people until they really appeared 
 124 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 more divine than human. The general con- 
 sensus of opinion credits them to all of the 
 sources named, or as evolved from the above 
 mentioned theories, and they have a remark- 
 able amount of evidence in their favor; yet it is 
 easily seen that they are lacking in a great many 
 essentials and that we must 
 
 LOOK ELSEWHERE FOR THE 
 REAL SOLUTION. 
 Now in the subject matter of this small 
 book we believe that there will be pre- 
 sented to the world enough of convincing 
 proof as to the origin of the great mythologies 
 of the past, that any question as to their deriva- 
 tion from the empyrean structure surrounding 
 us will be allayed for all time to come. 
 
 Is it not fitting that such should be their 
 origin and fundamental structure. He who 
 places his eye to the great telescopes accessible 
 to-day views a sight 
 
 SUPERNAL IN ITS GRANDEUR 
 
 and magnificence; yet in order to see as did the 
 
 ancients of old, that structure inspiring their 
 
 sublime concepts of divinity and beauty, he 
 
 125 
 
ORIGIN OP ARCHITECTURAL, DESIGN 
 
 must discard such instruments, and, like his 
 primitive brother, view the starry forms with 
 nature's eye-piece. These starry figures are 
 really best seen with the naked eye, although 
 the condition of the atmosphere plays no in- 
 considerable part. The myriads of stars or 
 suns, as seen through the eye-piece of the mod- 
 ern telescope, cannot but inspire one with some 
 such feelings as experienced by our ancient 
 brothers; yet we have missed much of the 
 
 BEAUTY AND INSPIRATION 
 that could have been derived from the study 
 of Astronomy, which he drank in ages ago. 
 
 126 
 
CHAPTER SEVEN 
 
 The Abode of Evil. 
 
 \ HAT portion of the Zodiacal belt 
 lying between the constellations 
 Aquarius and Virgo contains sym- 
 bolic objects, not only of creation, 
 but also of death and judgment. 
 This is due to the fact that such a 
 condition would be the natural sequence in a 
 
 CYCLIC THEORY OF THE UNIVERSE. 
 Our opinion as to this cyclic destiny of the 
 universe we stated elsewhere, viz: In the sym- 
 bolism of the laws of the heavens, the end must 
 be located where the beginning took place. 
 Thus, at the end of each year the sun appar- 
 ently passed a point in the heavens that it did 
 three hundred sixty-five and one-quarter days 
 previously, and the universal law ascribes such 
 
 a point for 
 
 THE BEGINNING AND END OF TIME, 
 as the southern portion of the Zodiacal belt. 
 Hence it is not strange that we find in that lo- 
 cality many symbols of creation, death and the 
 
 end of time. 
 
 127 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 It is quite appropriate in this connection to 
 quote an excerpt from a very interesting paper, 
 published in The Open Court, November, 1907, 
 by Mr. L. H. Daingerfield of the U. S. Weather 
 Bureau service, on "The Evolution of Climate." 
 It sets forth clearly his theory as to the cause of 
 the glacial periods of the earth's history. The 
 glacial periods evidently were winter divisions 
 of time on a grander scale than our annual 
 period of five months duration, more or less; 
 while there must, of necessity, be still grander 
 divisions on a progressive scale until the ulti- 
 mate winter or night of the cosmos takes place. 
 "The most plausible explanation of the refrig- 
 eration and glaciation of the Northern Hemi- 
 sphere follows: The eccentricity of the earth's 
 orbit is subject to secular variations. At times 
 the orbit is more elliptical than on other occa- 
 sions. When the orbital eccentricity reaches its 
 maximum, the earth is fourteen million miles 
 nearer the sun during perihelion than in aphe- 
 lion, causing a difference of twenty per cent, in 
 the amount of direct heat received from the 
 sun between these two positions. At the pres- 
 128 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 ent time midwinter occurs in the Northern 
 Hemisphere when the earth is in perihelion, or 
 the closest point to the sun, but through what is 
 called the 'precession of the equinoxes' the 
 midwinter of the Northern Hemisphere will 
 occur in aphelion, or the farthest point from 
 the sun, in about ten thousand five hundred 
 years. (NoTE: — The northern midwinter 
 would occur in aphelion in thirteen thousand 
 years except for the fact that the major axis of 
 the earth's orbit makes a complete revolution 
 in about one hundred eight thousand years in 
 the opposite direction to the equinoctial motion, 
 thus shortening the precession period by about 
 two thousand five hundred years for a semi- 
 revolution, or five thousand years for the com- 
 plete revolution of the equinoxes). If, during 
 the Ice Age, the earth's orbit had assumed its 
 maximum eccentricity of fourteen million 
 miles, and the northern midwinter had occur- 
 red in aphelion, or the farthest point from the 
 sun, then the winter's length would have in- 
 creased by twenty-two days, and the summer's 
 shortened by an equal amount. The Northern 
 129 
 
ORIGIN OP ARCHITECTITRAL DESIGN 
 
 Hemisphere would have received one-fifth less 
 direct heat from the sun, daily, during the long, 
 cold winter, but one-fifth more daily during 
 the short, hot summer. The difference between 
 the length of the two seasons would cause re- 
 frigeration, and the hot summer would be too 
 short to melt the constantly accumulating ice 
 and snow of the aphelion winters of the Pleis- 
 tocene Age, and glaciers would have been the 
 inevitable result. If the earth's orbit had re- 
 tained its maximum eccentricity during the 
 Pleistocene period, the precession of the equi- 
 noxes would have carried the earth to aphelion 
 during the northern midwinter, every twenty- 
 one thousand years, and caused periodic gla- 
 ciation of our Hemisphere, thus satisfying the 
 evidence of repeated glacial periods." 
 
 A connecting band of stars passes through 
 the constellation Aquarius midway of its length, 
 uniting the constellation Capricornus with the 
 starry subterranean chamber we see outlined 
 in Aquarius. Aquarius appears to be 
 
 THE STARRY SYMBOL 
 
 for the scriptural "Bottomless Pit," and con- 
 
 130 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 tains also many symbols of death as evidenced 
 by the Egyptian symbolism. A portion of the 
 starry "Boat of the Dead" embraces part of this 
 group, since the bird-head figure in the water- 
 bowl ornaments one end of the boat, the rest 
 extending through Capricornus. The wavy 
 line of stars at the southern extremity of the 
 group impresses one as bottomless. It also has 
 the appearance of waves, and has evidently 
 originated that symbol known as the "Nile 
 Key." Water is not without its significance in 
 the symbolism of the heavens; for it is believed 
 by some that 
 
 ALL MATTER ORIGINATED FROM WATER, 
 and that it will eventually return to the same 
 state; thus recreating the primordial ocean from 
 whence it came in the dawn of time. We be- 
 lieve, then, that this region of the heavens, 
 
 known as 
 
 THE "OCEAN OF THE SKY," 
 is not without its significant value. It is, per- 
 haps, in this region that we should locate the 
 eternal depths of the primordial ocean of the 
 universe. The water-bowl as the head figure 
 131 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 adorning the end of the celestial boat, in some 
 representations was recognized as the hawk- 
 head of Horus. It is here seen to adorn the 
 eastern end of the boat figure, which we con- 
 sider their starry "Boat of the Dead." It is true 
 though, that the same object appears to have 
 been deified, not only as the god Horus, but as 
 other gods as well; and especially that feature 
 of the object suggesting the peculiar neck and 
 shoulder dress of their gods. 
 
 The real figure of the constellation Sagittarius 
 conforms very closely with the position in 
 which our star charts show it to-day. The head 
 is formed by a coffin-shaped figure seen in the 
 borders of the Galaxy at that point and is sur- 
 mounted by a cone-shaped head-dress. The 
 rest of the body is quite clearly outlined. Sagit- 
 tarius seems to be the origin of the Egyptian 
 Khnumu, the god of the first cataract and to 
 have been seen with a ram's head. The tri- 
 angular figure of the group Capricornus is a 
 part of the boat seen in that region; and located 
 at one corner, and in the direct line of the 
 starry route to 
 
 132 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 THE "LANDS IN THE WEST," 
 is a small group of stars presenting practically 
 the same figure as outlined in Cassiopeia and 
 Andromeda, resembling a "W," which is, very 
 evidently, a judgment symbol. Thus the trav- 
 eler would appear to pass the judgment before 
 entering this boat. Capricornus is represented 
 upon our charts as a goat, with its rear portion 
 immersed in the water, out of which the animal 
 is apparently climbing. This figure seems well 
 chosen in many respects, as will be seen in a 
 fuller understanding of its place in the heavenly 
 arrangement. This group shows such 
 A REMARKABLE SIMILARITY 
 to the Egyptian symbolic boat, and especially 
 the "Boat of the Dead," that there can be no 
 doubt as to its origin. The surrounding analo- 
 gous symbols are an additional proof of this 
 statement. 
 
 Not only is the "W" judgment emblem in 
 this group, but also the twin stars, the minute 
 triangle, and a rounded line of stars which, as 
 a duplicate of the nose of Andromeda, is not 
 without its significance as an emblematic figure. 
 133 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 The minute triangle as a miniature of the Pyra- 
 mid, as it were, the Egyptian appears to have 
 recognized as an 
 
 EMBLEM OF THE GOD OSIRIS, 
 for we find two of them in Orion, one in the 
 eagle figure in Hercules, and several elsewhere. 
 But they are always located in those groups 
 only which were associated with the god. We 
 find twin stars as conspicuous objects through- 
 out the heavens, but, as in the case of the minute 
 triangle, they are located in those groups which 
 the Egyptian associated with Isis and Horus, for 
 they appear to have been recognized as an em- 
 blem of the goddess and her son, wherever 
 found. The tree in Taurus is rife with these 
 twin stars. The curved line of stars seen in the 
 nose of Andromeda is duplicated not only in 
 Capricornus but also in Sagittarius, and appar- 
 ently has its counterpart in that feature of the 
 Egyptian funerary ornamentation which is gen- 
 erally seen crowning the booth in the "Boat of 
 the Dead," and was a symbol of great value. 
 
 The top of this triangular figure in Capricornus 
 134 
 
ORiaiN OF ARCHITECTURAL DESIGN 
 
 RESEMBLES THE LOTUS FLOWER 
 in the bowl of the polar dipper, and that in 
 conjunction with the handle of the "Big Dip- 
 per." Further, it also bears a close resem- 
 blance to the lotus bud. Somewhat above this 
 boat figure we see several inverted bell-shaped 
 objects which also have found their way into 
 their funerary symbolism as a conventional form 
 borrowed from the lotus. These were seen 
 possibly as the seed pod or leaf of that flower, 
 for they greatly resemble that part of the plant. 
 
 Whether they recognized a lotus flower 
 here or not, we cannot say at present, yet the 
 lotus plays quite a prominent part in the funer- 
 ary services as 
 
 REPRESENTED UPON THE WALLS 
 of their temples and tombs, and such a custom 
 may have easily originated from this figure that 
 crowns the top of the starry "Boat of the Dead." 
 In fact, they seem to have recognized in Capri- 
 cornus, the figure of a gigantic lotus plant as 
 well as the objects named above. 
 
 The arrangement of the stars in the region 
 of the lower fish in Pisces will be seen to pre- 
 135 
 
ORIGIN OF ARCHITECTURAL. DESIGN 
 
 sent not only the head of the god Thot, but of 
 that sacred ape which was believed to be asso- 
 ciated with him. His beak follows the trend of 
 the streamer which unites this fish with the one 
 farther north, and his head as a whole is quite 
 easily seen in the body of the fish. By omit- 
 ting his beak we have the life-likeness of that 
 dog-eared ape which was held sacred to Thot. 
 It is also seen to bear a close resemblance to 
 the head of an elephant, where we see the beak 
 part of it as the trunk of that animal, and the 
 rest of the figure as its head. In passing we 
 might state that such may be said as equally 
 true with respect to the constellation Scorpio, 
 for the wings of that figure easily present the 
 ears of the elephant, and its tail the trunk. It 
 is, perhaps, due to this fact, that the elephant 
 occupies the place it does in the religious belief 
 of India. The starry head of Thot is located 
 in close proximity to 
 
 THE GREAT JUDGMENT SCALES, 
 which explains somewhat the conspicuous place 
 he was believed to occupy in their judgment 
 scene. He was believed to record the findings 
 
 136 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 in the case of each one of the dead who passed 
 through the Judgment Hall. They also cred- 
 ited him with being the father of letters. As to 
 the latter significance, we are unable to state the 
 source; yet regarding his connection with the 
 judgment of the dead we have ample proof to 
 show where such a belief originated, when we 
 note the position which he occupies with re- 
 spect to the other judgment figures which we 
 see adjoining. The ape portion of the figure 
 has been seen as presiding over the weighing of 
 the heart of the deceased. Anubis and the 
 hawk-headed Horus have also filled a like 
 ofiSce in some of their representations, which 
 is not strange since we see their heads also in 
 conjunction with the great scales. 
 
 We see an arrangement of stars as the sem- 
 blance of smoke issuing from the open mouth 
 of the whale in Cetus, and curling upward 
 toward the western side of Pegasus, which 
 feature we believe to have 
 
 ASSOCIATED FIRE WITH THIS REGION 
 
 of the heavens. Such may be said as equally 
 
 true of the feather seen in Equuleus, and Del- 
 
 137 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 phinus, for it presents much the appearance of 
 smoke, while many of the ancients seem to 
 have so regarded it. We believe the Greek 
 and Norseman placed such a value upon this 
 region of the heavens. It is apparently 
 
 THE GREEK HADES AND TARTAROS 
 as well as the Norse Hel. As the ocean of the 
 sky, it is very clear what relation it bears to the 
 different mythologies where we see it peopled 
 with so many realistic figures and animals. In 
 the Egyptian and Norse belief, we find deities 
 who were believed to catch the unwary or ill- 
 fated in a net or sieve. These are very evi- 
 dently but a derivation from the three Cyno- 
 cephali at the feet of Aquarius. In the Greek, 
 Norse and Egyptian religious beliefs we find 
 that a dog was associated with the realm of 
 death, which animal is also in evidence here 
 as either the one seen as Anubis or the dog- 
 eared ape. 
 
 It is not strange then, that Osiris was repre- 
 sented as 
 
 SITTING IN JUDGMENT 
 
 over the dead in this locality, since we detect 
 
 138 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 SO many of their judgment emblems between 
 Aquarius and Cepheus. Tiie "Court of the 
 Double Truth," or Egyptian Judgment Hall 
 was located in this region, it would seem, 
 and perhaps embraces a very considerable 
 area; yet, as to exact delineation of the same, 
 we cannot state definitely. 
 
 We certainly recognize a wealth of emble- 
 matic evidence that points to location in this 
 region, and it will be but a matter of time and 
 study until we can 
 
 DETERMINE ITS LOCATION 
 with absolute certainty. The emblematic "W" 
 figure was identical with that Egyptian symbol 
 resembling the steps of a stairway and popu- 
 larly known as the "Step Emblem." The 
 "Step Emblem" was a symbol of great value, 
 as will be seen in a more comprehensive study 
 of the subject. The Great Square of Pegasus 
 resembles the above named emblem also, where 
 we see it joined to another smaller square object 
 directly over the bird-headed figure in the 
 water-bowl. This gigantic object stands out 
 distinctly from the surrounding star groups, and 
 139 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 we consider it a judgment symbol of some kind. 
 Its full value seems very clear as the starry judg- 
 ment scales, which fact is amply borne out by 
 the surrounding analogous figures. 
 
 The head seen in the water-bowl readily 
 impresses one as that of a being gazing across 
 
 THE ETERNAL VISTAS OF THE COSMOS, 
 and reminds the observer of those sinister 
 hooded personages who are the executioners 
 of their fellow men. Whenever we see this 
 starry figure with the face to the east, appar- 
 ently spanning the boundless realms of space 
 with its vision, we do not wonder at the value 
 placed thereon by the early Egyptian. It is a 
 fitting ornament for the top of that starry cham- 
 ber or pit which they saw directly below and 
 seems to guard the entrance thereto. It seems 
 closely identified with the "Helmet of Hades" 
 in Greek mythology. 
 
 The head of the Egyptian jackal-headed 
 god Anubis, is seen within the enclosure of the 
 Great Square of Pegasus. His ears are seen in 
 conjunction with the envelope-shaped figure 
 which marks the north-west corner of the 
 140 
 
ORIGIN OF ARCH ITECTURAL, DESIGN 
 
 square, and the nose is easily seen in its south- 
 eastern part. This head is quite well marked, 
 especially the nose and forehead of the animal. 
 His head is, of course, in conjunction with the 
 huge scales seen here, which position identifies 
 him with the 
 
 EGYPTIAN JUDGMENT SCENE. 
 He faces the entrance to the starry region of 
 Hades, which fact is not without its significance 
 with respect to the Greek mythological belief 
 as to Cerberus, the three-headed dog guarding 
 the entrance to the abode of death. Such value 
 may also be said to be associated with the dog- 
 eared ape where we see him as in conjunction 
 with the entrance. 
 
 Both the Egyptian and the Greek placed a 
 hill in the future abode of death, which hill we 
 consider as identified with a gigantic triangular 
 figure lying below Aquarius, and much re- 
 sembling that seen in Capricornus. The boat 
 seen above is apparently entering this hill, or 
 has its western end resting upon its top. The 
 
 Egyptian generally represented the 
 141 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 "MOUNTAIN IN THE WEST" 
 in a triangular shape, which form agrees well 
 with this figure, while by its location it shows 
 identity with the hill of Hades, in either Gre- 
 cian or Egyptian belief. Piscis Austrinus marks 
 its upper side and it embraces the contiguous 
 groups, while it is easily detected. It seems the 
 Egyptian dead must climb this hill after passing 
 the judgment. 
 
 The body of Cetus or the whale is easily 
 seen to present the crocodile head of Ammit, 
 or the "Eater of the Dead," that plays a very 
 important part in the Egyptian judgment scene 
 in their "Book of the Dead." The rest of its 
 body lies farther south and east, and where 
 seen as a whole, easily presents such a figure as 
 that which they have derived therefrom, or 
 
 A FEROCIOUS MONSTER 
 which was believed to devour the heart of the 
 unlucky dead who failed to pass the judgment. 
 It was seen as having the head of a crocodile, 
 the fore part of its body as that of a lion, and 
 the rear portion as that of a hippopotamus. 
 We see it located immediately below the gigan- 
 
 142 
 
ORIGIN OF AECHITBCTUR AL, DESIGN 
 
 tic judgment scales, with its mouth open and 
 head upturned expectantly, which position 
 agrees closely with their belief regarding it. 
 This starry whale is also seen with a winged 
 head protruding from its back, and with a long 
 curving star-band joined to its mouth, which 
 terminates in a small head-figure near the 
 serpent in Eridanus. These features of the ob- 
 ject identify it with another of their monsters 
 which were believed to inhabit the desert 
 country adjoining Egypt. A head-like pro- 
 trusion from its western end also gives it a close 
 resemblance to a huge turde. 
 
 Lying between Aquarius and Aquila, and 
 with its top marked by the well known figure 
 "Job's Coffin," is outlined an object none other 
 than the starry counterpart of the Egyptian 
 feather, 
 
 THE SYMBOL OF TRUTH. 
 
 It apparently stands as a plume over Aquarius' 
 head, and embraces the small constellation 
 known as Delphinus and Equuleus. This starry 
 feather is such a conspicuous figure that it is a 
 naked-eye object and easily found. It bears a 
 143 
 
ORIOIN OF ARCHITECTURAL DESIGN 
 
 remarkable resemblance to an ostrich feather, 
 
 and 
 
 SHOWS A CLOSE SIMILARITY 
 
 to that emblem of truth so common among 
 Egyptian sculptured figures. It apparently 
 stands in one end of that gigantic object which 
 we described above as a huge "W" emblem, 
 or the scales in which the heart of the deceased 
 was supposed to be weighed. It is an interest- 
 ing fact in this connection, that one corner of 
 the "Great Square" of Pegasus is marked by a 
 figure bearing a close resemblance to the object 
 symbolizing the heart of the deceased. It is 
 found in that corner of the square which con- 
 stitutes the head of Anubis, and is quite well 
 marked. It really comprises a portion of his 
 head, or the ears and back part of it. This 
 portion of the group seems quite clear as source 
 for those 
 
 SYMBOLIC FIGURES RESEMBLING 
 AN ENVELOPE 
 which are found both in American and Egyp- 
 tian symbols. The heart of the dead was 
 placed in one end of the judgment scales 
 
 and the symbol of truth in the other. 
 
 144 
 
ORIGIN OF ARCHITECTURAL DBBIGN 
 
 We would emphasize the fact that the ma- 
 jority of the symbolic figures with which we 
 deal are so vividly real and clear in regard to 
 their identity, that there can be no doubt what- 
 ever as to their value. Those versed in both 
 Astronomy and Egyptology will readily note 
 the truth in this, and agree with us that the 
 evidence produced herein 
 
 CONSTITUTES THE FUNDAMENTAL 
 STRUCTURE 
 
 of Egyptian symbolism. Any correction to be 
 made later will but add to the strength of this 
 material rather than detract. 
 
 That arm of Andromeda pointing off toward 
 Delphinus reaches to within a few degrees of 
 the feather object mentioned above, and lends 
 added significance, when we consider An- 
 dromeda 
 
 A SYMBOL OF THE CHRIST 
 
 in his crucifixion ministry to mankind, for it 
 appears to point toward the destination of 
 lost souls in the southern region of the 
 heavens. (Cf. Odys., Book XII.) His other 
 arm, which is the right, appears to designate 
 145 
 
ORIGIN OF ARCHITECTURAL. DESIGN 
 
 the future of the redeemed, since it apparently 
 would point toward the north. Thus, an added 
 beauty would be lent to that verse about the 
 Hyperboreans in Greek mythology, who were 
 supposed to live beyond the fabled "Mountain 
 of the North." We quoteit here and consider 
 it exquisitely beautiful : — 
 
 I come from a land in the sun-bright deep, 
 
 Where golden gardens grow; 
 Where the winds of the north, becalm'd in sleep 
 
 Their conch-shells never blow.— Moore. 
 
 The figure of Andromeda, together with 
 that of the "Northern Cross" and the "North- 
 ern Coal Sack," originated much of the 
 RELIGIOUS CEREMONIAL RITES 
 and customs evidenced upon the walls of the 
 ruined cities of Yucatan, since they appear to 
 have had a practice of compressing the head 
 into a peaked shape. This was done while the 
 person was young, in a manner similar to that 
 by which the feet of young Chinese girls are 
 kept as small as possible, by compression. The 
 head of this starry figure, where seen in part, 
 strikes the eye as having a somewhat peaked 
 appearance and as having a large nose and 
 146 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 sloping forehead, which features of the object 
 agree remarkably well with the manner in which 
 
 THE EARLY MAYAS 
 sculptured those of their religious personages. 
 Such a custom may have been prevalent among 
 their priesthood only, and may also have been 
 merely existent in their sculptured figures. The 
 sacrificial custom, so prevalent among the 
 Aztecs of Mexico, of cutting out the victim's 
 heart while still alive may have been derived 
 from the dark spot, the "Northern Coal Sack," 
 which lies upon one side of his breast. The 
 above named figures certainly bear a remarkable 
 
 RESEMBLANCE TO THE SYMBOLS 
 of the early peoples of Central America and 
 Mexico. 
 
 There is an abundance of evidence to prove 
 that the Egyptian saw in the arrangement of 
 the heavens a celestial counterpart of his own 
 beloved Nile country. The Delta, he placed 
 in the immediate region of Auriga and Orion, 
 and the location of Sagittarius marked the re- 
 gion of the first cataract. The intervening 
 region he saw as the Nile valley from Cairo to 
 
 147 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 the Nubian border. The Galaxy, he saw as 
 the celestial Nile. Each of its banks is marked 
 by the starry emblems of the different nomes. 
 Indenting the western side of the feather-like 
 figure that we described as the Egyptian symbol 
 of truth, we see two small circles that possibly 
 are of considerable significance with respect to 
 the "Court of the Double Truth," for they 
 adorn the side of the "Symbol of Truth" 
 feather, and are in the judgment region. These 
 twin circles are quite indistinct, yet definitely 
 outlined as to the surrounding stars, and not 
 difficult to locate. The "Court of the Double 
 Truth" must, of necessity, be located in the 
 region we have just^mentioned. However, we 
 can not define it exactly; nevertheless, we shall 
 certainly do so a little later when our evidence 
 is more complete in the smaller details. We 
 would place this court or chamber between 
 Aquarius and Cepheus. In fact there is every 
 reason to believe that the Egyptian judgment 
 scene embraces a major portion of the northern 
 heavens and lies between the two groups 
 named above. Cepheus, seated on his starry 
 
 148 
 
ORIGIN OP ARCHITECTURAL DBSIQN 
 
 throne, seems to fill every requirement as 
 Judge. We believe we have in him, "Osiris 
 the Judge of the Dead." 
 
 THE JUDGMENT HALL 
 
 apparently embraces the whole intervening 
 region or the principal portion of it. The 
 polar lotus then would be identical with that 
 which the Egyptian represented as growing 
 from the lake underneath the judgment throne. 
 The traveling dead were thought to pass the 
 judgment before climbing the mountain. The 
 uraeii facade adornment which was quite com- 
 mon in Egyptian representations, especially 
 in those of the judgment chamber or shrine 
 of Osiris, was simply an adaptation from 
 the peculiar figure seen near the top of the 
 polar mount. (Cf. "History of Egypt," by 
 Maspero, Vol. I., pages 265-71.) 
 
 The figure in the water-bowl is also the head 
 of one of the monsters the Egyptian believed 
 to roam the desert adjoining Egypt. The body 
 should be placed accordingly, and should em- 
 brace the greater portion of the contiguous 
 region below. This monster has a bird's head, 
 149 
 
ORIGIN OF ARCHITECTURAL DB8IQN 
 
 and a spike protruding from its breast. Its front 
 feet should extend some little distance below 
 the southern border of Aquarius. The wavy 
 line of stars at the southern extremity of Aquarius 
 has suggested the saw-edged form of the lower 
 part of its body. The general arrangement of 
 the stars in the region with which we are deal- 
 ing shows quite a resemblance to the monster, 
 and has very evidently been the source of such 
 figure. The Egyptian likened this region to 
 the desert country adjoining the Nile valley, for 
 the sacred sycamores were supposed to be 
 located upon its borders, and their starry coun- 
 terpart in the heavens really occupies such a 
 position with respect to the starry desert. The 
 constellation Aries, included in the desert of 
 the sky, appears as 
 
 ONE FORM OF THE GOD SET, 
 for the ram's head and tail both bear a remark- 
 able resemblance to the form of the god in 
 question. It was represented with a straight 
 arrow-like tail, and with a head similar to that 
 which we see in this constellation. The gen- 
 eral characteristics of this starry figure bear a 
 150 
 
ORIGIN OF ARCHITECTURAL. DHBION 
 
 remarkable resemblance to that form of the 
 god Set. 
 
 "The "Bottomless Pit" chamber outlined in 
 Aquarius is quite well marked, and really sug- 
 gests such a place as the Subterranean Chamber 
 of the Great Pyramid, for the wavy line of 
 stars at the southern extremity of that group 
 marks the bottom, while two upright lines of 
 stars constitute the two walls. Within this 
 chamber and a little above the heads of the 
 Cynocephali, there is a starry figure much re- 
 sembling the head of the god Set in one of his 
 forms, that one representing him as having the 
 head of a goat. Upon a very clear night this 
 object can be seen distinctly outlined, and was 
 very evidently the source from which sprang 
 this particular form of the god. Their charac- 
 terization of the god Set as a being similar to 
 the Christian prince of evil, Satan, lends added 
 significance to this object, for 
 
 HE IS APPARENTLY SHUT UP 
 in this starry bottomless pit. This fact can not 
 but greatly interest us in the light of that scrip- 
 tural statement, "And I saw an angel come 
 151 
 
ORIGIN OF ARCHITECTURAL DBSIQN 
 
 down from heaven, having the key of the bot- 
 tomless pit and a great chain in his hand. And 
 he laid hold on the dragon, that old serpent, 
 which is the Devil, and Satan, and bound him 
 a thousand years, And cast him into the bot- 
 tomless pit, and shut him up, and set a seal 
 upon him, that he should deceive the nations 
 no more, till the thousand years should be ful- 
 filled;" (Rev. xx:l, 2, 3.) As a symbol, we see 
 him apparently locked up in the starry bottom- 
 less pit, and evidently receiving all those of the 
 ill-fated dead who are unlucky in passing 
 through this region or who miss their way, fall- 
 ing where the Cynocephali are ready to devour 
 them. 
 
 The Cynocephali are certainly in evidence, 
 and their position among the other figures cor- 
 responds exactly with that in which the Egyp- 
 tian represented them. We detect three of 
 these heads here and find them to be as repre- 
 sented, or two facing west and the other one 
 east. The one farthest east, which is more dis- 
 tinctly marked than the others, has been seen 
 as bidding the evening boat of the sun god- 
 152 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 Speed, in one of their representations of it. It 
 is not strange then, that the ancients, both 
 Egyptians and others, placed such great value 
 upon this animal. This arrangement of the 
 stars at their feet resembles 
 
 THE NET OR LATTICE WORK 
 that the Egyptian represented them as using to 
 catch the ill-fated victims. (Cf. "History of 
 Egypt," by Maspero, Vol. I., pages 274-85.) 
 The particular point or region closely asso- 
 ciated with the end of man and the universe, 
 we would locate somewhere between Aquarius 
 and Virgo, while it seems to be closely identi- 
 fied with Aquarius and Capricornus in partic- 
 ular. The scriptural lake of fire mentioned in 
 Revelation appears to be located in this region, 
 and perhaps is identical with that feature known 
 as the "Stellar Floor." which is seen immeas- 
 urably distant and beyond the Galaxy. This 
 feature of the heavens, as viewed in our great 
 telescopes, much resembles a great lake of fire 
 of perhaps eternal extent, and is pierced by 
 dark openings or holes through which we ap- 
 parently look into "outer darkness." No star 
 153 
 
ORIGIN OF ARCHITBCTURAL DESIGN 
 
 or even a ray of light is seen through these dark 
 openings, although subjected to a photographic 
 plate of all night exposure. This is a very sig- 
 nificant fact in the light of scriptural teaching; 
 for a lake of fire is destined to be the fate of all 
 who fail to pass the judgment successfully. It 
 is located in the region of Sagittarius and 
 Scorpio, and will certainly prove a very inter- 
 esting study when we shall have succeeded in 
 constructing more powerful telescopes than are 
 available at present, for we do not doubt but 
 that these symbolical markings upon the face of 
 the heavens are connected in a material way 
 with the destiny of the universe. 
 
 One sun by day, by night, ten thousand shine, 
 
 And light us deep into the Deity; 
 How boundless in magnificence and might! 
 
 —Young, "Night Thoughts." 
 
 154 
 
CHAPTER EIGHT 
 
 Egyptian Symbolism of the Moon. 
 
 O ye delicious fables! where the wave 
 And woods were peopled, and the air, with things 
 
 So lovely! why, ah! why has science grave 
 Scattered afeu* your sweet imaginings? 
 
 — Barry Cornwall. 
 
 [HE Egyptian deified the Moon as 
 ruler not only of Night, but also of 
 the southern heavens. Others than 
 the Egyptian have deified the 
 Moon as ruler of the Night and 
 of the Abode of Darkness, as would 
 naturally follow. The southern heavens were 
 considered the Realm of Death as well as the 
 Abode of Evil. 
 
 From time immemorial, the Moon has been 
 credited with strange powers over the destiny 
 and minds of men, and her praises have been 
 sung by all nations in a wealth of prose and 
 poetry. Even our very materialistic age of ed- 
 ucation and science cannot but recognize the 
 unquestionable power which she seems to exert 
 over vegetation and animal life, as well as the 
 part which she plays in the destiny of the Earth. 
 155 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 Were it not for the Moon, the Earth would 
 perhaps rotate but the one time upon its axis in 
 its annual journey around the Sun, and would 
 turn but the one side to the Sun. (Cf. "Evo- 
 lution of Worlds," by Lowell, page 80.) It 
 would be difficult to state just what such a 
 condition would exert upon the Earth at pres- 
 ent, yet we cannot but believe that annihila- 
 tion of plant and animal life would ensue. In 
 support of this theory, we advance the fact that 
 those planets which, to the best of our knowl- 
 edge, rotate but the one time upon their axis 
 during a complete circuit around the Sun, are 
 known to have no satellites. Thus, it would 
 seem that between the two forces, the Sun and 
 the Moon, the Earth is kept rotating upon its 
 axis in a period smaller than a complete revo- 
 lution around the Sun, and an approximately 
 equal temperature is the result. It would be 
 difficult to state just the conditions that would 
 exist upon the Earth were it to turn but one 
 side to the Sun, yet we cannot but believe that 
 a total destruction of both plant and animal life 
 would ensue. 
 
 156 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 Mercury and Venus, of the larger planets, 
 are known to have no satellites, and to the best 
 of our knowledge, these two turn but one side 
 to the Sun in their annual circuit. (Cf. "Evo- 
 lution of Worlds," by Lowell, pages 65-93.) 
 The rest of the larger planets, with the excep- 
 tion of the two outer ones, Uranus and Nep- 
 tune, whose axial period rotation is unknown 
 at present, rotate more than once upon their 
 axes during a complete circuit. The larger 
 planets, with the exception of Venus and Mer- 
 cury, have one or more satellites revolving 
 around them. We believe that when we shall 
 have determined the axial period of rotation 
 not only of Uranus and Neptune, but also of 
 the Asteroids, we shall find them to conform to 
 the theory stated above. Nevertheless, it is 
 very patent that not only the Earth, but the 
 other planets as well, are influenced to a great 
 extent in their life course by the satellites re- 
 volving around them; and this influence is cer- 
 tainly not all a superstition, as some have 
 thought. In fact, Darwin's theory as to the 
 tides credits the Moon with a no inconsiderable 
 157 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 part in the life course of the Earth. The early 
 Egyptian possessed no such instruments as do 
 our present-day Astronomers, yet he had a 
 wonderful fund of knowledge as to the Moon's 
 influence over the affairs of Earth; a knowl- 
 edge that bears a remarkable analogy to the 
 more materialistic relative facts. It is not as- 
 sumed, however, that the Moon in her several 
 phases appreciably affects the weather of the 
 Earth. We shall now name a few of the sym- 
 bols derived from the orb of night which, 
 though of a somewhat superstitious nature, yet 
 show a remarkable resemblance to the more 
 materialistic duties that she seems to fulfill in 
 celestial arrangement. 
 
 It is well known what objects the strange 
 fancies of men have pictured upon the face of 
 the Moon, such as the "Man in the Moon," the 
 "Lady in the Moon," "Jack and Jill," and a 
 number of others. (Cf. "The Stars in Song 
 and Legend," by J. C. Porter, pages 13-2D 
 Yet little seems to have been known of what 
 was there seen by the early Egyptian. Their 
 animal deities, represented as sitting with the 
 158 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 ore-feet braced, in the characteristic pose of a 
 fdog or cat, we believe to have been derived 
 from a dark object upon the western limb of 
 the Moon, which is almost an exact counterpart 
 of an animal sitting in that attitude. This strange 
 figure is best seen when the Moon is in first 
 quarter, or about half full, and bears a remark- 
 able resemblance to those animals that were 
 worshipped as Moon deities, such as the Cyn- 
 ocephalus and others. The Moon Cynocepha- 
 lus is seen to have a small white spot both upon 
 the side of its head and its haunch, which the 
 Egyptian generally shows upon representations 
 of this animal. This feature of the object is 
 perhaps an identifying mark distinguishing it 
 from those taken from the stars. It is not 
 strange then that they associated this orb of 
 night with the Realms of Death, or the south- 
 ern hemisphere of the heavens where we see 
 the three Cynocephali at the feet of Aquarius, 
 and know what duty they were supposed to 
 fulfill in that region. 
 
 The dark animal-like object named above 
 seems to have originated the vulture head-dress 
 159 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 worn upon the head of the Egyptian, for where 
 we see it from a different angle it quite easily 
 presents the figure of a bird as crowning the 
 head of the "Lady in the Moon." One wing 
 will be seen as extending down back of her left 
 ear, while its head protrudes a little over her 
 
 Aetna] Contour The Face accentnated 
 
 The LiXtJ m t^b Moon 
 
 forehead. It shows quite easily its identity with 
 the head-dress in question; while on the other 
 hand they appear also to have derived there- 
 from another symbolic bird, or that which we 
 see upon one of the "shield" stones of King 
 Narmer of the I Dynasty. The bird in ques- 
 tion is shown as having its claw joined to the 
 160 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 mouth of a man-headed figure by a cord or 
 band, as though leading him. The man-headed 
 figure is but an adaptation from the man-headed 
 serpent object which we see upon the eastern 
 limb of the Moon, and the bird but an adapta- 
 tion from the bird-figure named above; while 
 the cord is quite clearly outlined upon the left 
 side of .the woman's face and unites the man- 
 headed serpent's mouth with the claw of the 
 bird; That portion of the figure constituting 
 the cord has been seen by the ancients as strands 
 of hair hanging down the side of her face, and 
 has been symbolized in different ways. Some 
 of the sculptured figures found in Yucatan have 
 a like symbolism displayed upon their faces 
 which we believe to be but a derivation from 
 this Moon object. 
 
 The Moon as the ruler not only of Night, 
 but also of the Realm of Death, the Sun as the 
 ruler of Day and the Realm of Life, would be 
 a very simple conception of the surrounding 
 universe, and such a belief was very prevalent 
 in ancient times. Directly above the head of 
 the Moon Cynocephalus, there is an object that 
 X61 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 has been seen as a globe or fruit of some kind. 
 It holds a position of prominence in the dif- 
 ferent mythologies of the past and plays no in- 
 considerable part in Egyptian belief, as will be 
 readily perceived. They have apparently 
 viewed it as symbolic of the Sun. Another 
 small dark object which appears as the tip of 
 the Moon Cynocephalus' tail has probably 
 been considered as symbolic of the Moon itself; 
 while they have been noted as the two eyes of 
 the "Man in the Moon," — the larger disk or 
 globe would appear as his right eye and the 
 smaller as the left. We believe them to be 
 identified with a sculptured figure found in 
 Yucatan, that of a god having one eye larger 
 than the other. The god in question is known 
 as Tlaloc, the god of rain. (Cf. "Prehistoric 
 Architecture," by Peet, page 408.) We also 
 believe them to be associated with the figure 
 known as the Manitou Face which is found in 
 various parts of America, especially in Yucatan. 
 (Cf. "Prehistoric Architecture," by Peet. page 
 307.) It is an interesting fact in this connection 
 that we see two starry eyes, which bear a re- 
 162 
 
ORIGIN OF ARCHITECTURAL DESIGN 
 
 markable analogy to those seen upon the 
 Moon, for one is considerably larger than the 
 other; that one which we see in the polar group, 
 Ursa Minor, being the larger, and that seen in 
 Delphinus, the smaller eye. They are appar- 
 ently the starry counterpart of those seen upon 
 the Moon. 
 
 The long dark object near the eastern limb 
 of the Moon, much resembling a man-headed 
 serpent, or the attenuated form of a lion, seems 
 to be the source of that symbolic couch upon 
 which the dead were laid in preparation for 
 burial. (Cf. "The Book of the Dead," Budge, 
 Vol. II, page 47.) It certainly bears a remark- 
 able resemblance to the above mentioned 
 couch, especially as to that part where the char- 
 acteristic fold is a feature. These couches were 
 but the attenuated form of a lion with the tail 
 curved upward over its back; the fold was de- 
 rived from the head and neck of the Moon- 
 object, and has had place in the designing of 
 their throne and chairs, for these we see with a 
 fold which forms the back. 
 
 The object popularly known as the "Lady 
 163 
 
ORIGIN OF ARCHITECTURAL, DESIGN 
 
 in the Moon" was associated with the goddess 
 Isis. Her face is conspicuously marked and 
 easily found; it is outlined in white, and lies 
 with the mouth in close proximity to the larger 
 disk. The dark figure, near the Moon's west- 
 ern limb, crowns her head; and the man-head 
 of the figure, seen on the eastern limb of the 
 Moon, has his mouth in close proximity to her 
 left breast; while both of them have apparently 
 originated the Egyptian religious belief regard- 
 ing Isis as suckling her son Horns. This fact is 
 really too plain for words, when we view them 
 in their relative positions. A dark protrusion 
 from his mouth is easily seen as his tongue 
 thrust out, and has been recognized by others 
 than the Egyptian; for many of the early peo- 
 ples were known to salute each other by pro- 
 truding the tongue as a mark of respect, which 
 custom we consider a derivation from this fea- 
 ture of the object. The top and front part of 
 his head outline her chin and neck, while he 
 may be seen as wearing a turban. It may be 
 that this latter feature of the figure has been the 
 origin, among many of the eastern peoples, of 
 
 164 
 
ORIQIN OF ARCHITECTURAL DESIGN 
 
 the custom of wearing the turban. The woman 
 is seen with her face slightly upturned and as 
 facing east. Her face, viewed from a different 
 angle, presents a close likeness to the form in 
 which the Buddha is represented, where we see 
 her nose as his bald head and her face as his 
 body. This object is outlined in white, and 
 easily presents a marked likeness to the god in 
 question. His head showing as bald, possibly 
 has originated the sacred custom among not 
 only Egyptian, but other priesthoods as well, 
 of the shaving of the head. Even some present 
 day priesthood orders observe such a custom, 
 and it may be that they and the Egyptian have 
 derived such from a like source. The Egyp- 
 tian god Imhotep, who was represented in a 
 sitting posture and with a bald head, is appar- 
 ently a derivation from this Moon figure; also 
 the same may be considered equally true of 
 their god Ptah, who was shown with his head 
 bald. 
 
 There is, of course, a depth to their symbol- 
 ism regarding the Moon that we have not suc- 
 ceeded in penetrating; for we have been en- 
 165 
 
ORIGIN OF ARCHITECTURAL. DESIGN 
 
 gaged principally in determining the symbolized 
 objects connected therewith, rather than learn- 
 ing their value. Such will, probably, become 
 clear later when we have delved deeply enough 
 into the subject. It is an interesting fact in con- 
 nection with these Moon figures that they ap- 
 pear to have their counterparts among the stars; 
 we detect sufficient evidence of such to warrant 
 us in advancing this statement. When we shall 
 have succeeded in placing the real value upon 
 each figure, and have arranged them in their 
 proper sequence and order, we shall uncover 
 a thing of great beauty and value; and with re- 
 spect to the laws of the heavens, it will prove 
 of more material value than is apparent upon 
 the surface. 
 
 Summarizing, we would state that the value 
 most apparent as attached to these Moon fig- 
 ures, is that of portraying a picture which is but 
 a page from the Edenic story; for do we not 
 see here, a woman's face, a man-headed serpent 
 and the fatal fruit. It seems fitting that such an 
 event should be commemorated in this manner 
 where it would be a perpetual reminder to man 
 166 
 
ORIGIN OF ARCHITECTURAL. DESIGN 
 
 of his fall from a glorious estate in primal times. 
 Once we catch the outlines of these figures and 
 note how naturalistic and real they appear, we 
 do not wonder that the ancient Egyptian gave 
 them the place which they occupy in his relig- 
 ious belief and symbolism. He is not alone in 
 that respect, for it will be shown conclusively, 
 later, that others of the early peoples valued 
 them as highly. It is only too evident what 
 place the Norsemen gave this wonsan in their 
 mythological belief, for we see her as closely 
 identified with the goddess Idun. She has 
 been seen invariably as the Goddess of Night, 
 and her contemporaries generally as Deities of 
 Darkness. Where we see this picture as a page 
 from Eden's story, it cannot but arouse great 
 interest and pleasure as a bit of the world's 
 history which has hitherto escaped the notice 
 of all but a favored few, who, through the ages 
 of the past, have kept it in inviolable secrecy 
 from the rest of humanity. 
 
 We certainly have abundant grounds for 
 believing the Moon figures and the starry 
 structure to have had a prominent place in all of 
 167 
 
ORIGIN OF ARCHITECTURAL. DESIGN 
 
 the religions and mythologies of the ancient 
 world, and that a close study of this feature of 
 the heavens will greatly aid in learning more of 
 the early history of this Earth. It will be found 
 to have marked value with relation to the deci- 
 pherment of many of the unknown languages 
 engraved upon ruins of the early races; for, 
 when we shall have worked out the values upon 
 the different symbolisms, it is very reasonable 
 to believe that they will aid in gaining a key to 
 the languages also. 
 
 * * * Are they here — 
 
 The dead of other days? — * * « 
 
 * * * Let the mighty mounds 
 That overlook the rivers, or that rise 
 
 In the dim forest, crowded with old oaks, 
 Answer. A race, that long has passed away. 
 Built them; a disciplined and populous race 
 Heaped, with long toil, the earth, while yet the Greek 
 Was hewing the Pentelicus to forms 
 Of symmetry, and rearing on its rock 
 The glittering Parthenon. These ample fields 
 Nourish'd their harvests. 
 
 — Bryant 
 
 FINIS 
 
 168 
 
"* * * how excellent is thy name in all 
 the earth! who hast set thy glory above 
 the heavens. * * * When I consider thy 
 heavens, the work of thy fingers, the moon 
 and the stars, which thou hast ordained; 
 What is man, that thou art mindful of him, 
 and the son of man, that thou visitest him? 
 * * * Thou madest him to have dominion 
 over the works of thy hands; thou hast put 
 all things under his feet" — (Psalms viii:l, 3, 
 4,6.) 
 
MEMORANDA 
 
MEMORANDA 
 
^^^^^^,,