zep tepi, poussin and geometrical coincidence

Is Google the ultimate Time Travel? If you read the following do so at your own risk….good grief

…Zep Tepi is the ancient method of Zero Point Alchemy, activating the vacuum dynamics within the Vortex of Creation (Black Hole of Galactic Core), where positive and negative energy collides to destroy matter and recreate new. …

In esoteric Egyptology, Zep Tepi was known as the ‘First Time’, often called the Golden Age of Alchemy, when visiting ‘godlike beings’ inhabited the land and shared their advanced spiritual technology that could shape-shift energy and transform matter.

According to legend, the illuminated beings traveled from the neighboring star, Sirius, and established the original Sirian-Egyptian civilization.

Sirian lineage. The ancient Egyptians could access the untapped power of Zero Point energy, the source of Creation (genesis) in our Universe, and the secret Sirian technology required to shift gravitational fields and particulate matter.

---In the seventeenth century, the French painter Nicolas Poussin (1594-1665) used this pictorial tradition to paint one of his most famous canvasses, known as "The Arcadian shepherds" or as "ET IN ARCADIA EGO" (1647). This painting represents four Arcadians, in a meditative and melancholy mood, symmetrically arranged on either side of a tomb. One of the shepherds kneels on the ground and reads the inscription on the tomb: ET IN ARCADIA EGO,...The second shepherd seems to discuss the inscription with a lovely girl standing near him. The third shepherd stands pensively aside. From Poussin's painting, Arcadia now takes on the tinges of a melancholic contemplation about death itself, about the fact that our happiness in this world is very transitory and evanescent. Even when we feel that we have discovered a place where peace and gentle joy reign, we must remember that it will end, and that all will vanish. Read More:http://donbarone.selfip.net/Poussin%20Thumbs%203.htm

Read More:http://zeptepi-alchemy.com/ancient_egypt.html

Read More:http://alternativearchaeology.jigsy.com/zep-tepi


At the time of the destruction of Atlantis, when the Earth shook, and all was lost in the oceans of creation, the secret knowledge was hidden in crystals, and higher frequency elements to be released at the time of the Zep Tepi. This is that time. It was Tehuti who allegedly left Atlantis in a spaceship, with those who were to recreate the next program of man. They waiting for the seas to settle and the sun to come out upon the glistening water below….

---In this image as you can see I have now placed a cut away of The Great Pyramid on an image of Et In Arcadia Ego and have sized it to meet the approxi

size of the painting. Please note that the right hand King's Chamber shaft hits exactly the intersection of the vertical white line drawn through the eye of Goldie and the horizontal line that defines 23.5 degrees. Hardly meaningful since this is what I set it to. Let's see what other lines might line up from this scale drawing.--- Read More:http://donbarone.selfip.net/The_Giza_Pentagram_Part_I.htm

…And when the sun did shine, it rose in the Age of Leo, and the Lion did roar, and a new creation began, symbolized by the Lion (Sphinx) who sits beside the Great Pyramid (male-female). It was at that time that Tehuti/ Thoth/ Thought/ Time, moved back into the realms of the physical and brought with him those who would walk upon the land.

There were supposedly those who survived the Great Flood, the end of one program and the beginning of another as water means collective unconsciousness. There are those who believe that at the fall of Atlantis souls moved underground guided by a golden light, where they created subterranean cities. This is a metaphor for moving into another grid program. These entities were sometimes referred to as the Deros….

---...having the lines in question highlighted in a much thicker line, we have shown a combination of Gary Osborn's original design of the Giza Plateau and how it interacts with what I have proposed. Again moving up from the bottom of the painting not much is in evidence until we notice that the red horizontal line which defines the center of Pyramid #3 hits the top of The King's Chamber and then also note that the blue line showing the right hand Queens Chamber shaft and where it hits the red horizontal centerline defines the far right border of the temple for Pyramid #3. Moving a but further up we notice that the line which defines 23.5 degrees also now defines the north edge of Pyramid #3. Further please note that the diagonals drawn in black from the tips of the staff of Shepherd #1 defines the corners of both Pyramid #1 and Pyramid #2 and also that the North East corner of Pyramid #3 is the intersection of 5 lines. The yellow 23.5 degree line, the green diagonal line defining 38.17 degrees, the left slope of the main pyramid, the vertical line drawn from the tip of the staff of shepherd #2 downward. and the diagonal of the tip of the staff of Shepherd #1. There are many more intersections and things that line up in this image and I will allow you to find some on your own. However I will say here I find it almost impossible to believe that this can all be simply a coincidence of my over active imagination. too many things fit and as I would point out there is still much more for we have yet to find the pentagram at Giza which is not there apparently. ...Read More:http://donbarone.selfip.net/The_Giza_Pentagram_Part_I.htm

…When the Gods and Goddesses returned to the planet, this was in truth another program or reality created by a new blueprint or sacred geometry that would create the effect of linear movement through passages called time. It was just an experiment.

Tehuti allegedly arrived through a portal, in his pyramid-shaped spaceship, in the land that the Egyptians would call Khem. There he would build the foundation of his new reality program. Above would be a pyramid in which he and the Zep Tepi, as a race of gods, would reside. Below would be its counterpart another Great Pyramid perfectly encoded and placed at the center of the mathematical design to create an illusion in which the souls would experience. The Zep Tepi supposedly remained on the planet long enough to create a new race, humans….

---The 'Celestine' painting is believed - but not proved - to be by Barthélemy van Eyck. He was a nephew of the famous Hubert and Jan van Eyck, who painted the stunning Ghent altarpiece. Hubert and Jan were the Harlem Globetrotters among the painters of their time. Not even the later renaissance artists could match their skill on, for instance, perspective and geometry. Barthélemy van Eyck was “peintre et valet de chambre” (painter and chamber lord) at the court of René d'Anjou. Although popular and romantic belief have it that Good King René illustrated and painted his written manuscripts himself, the more professional art view is that he could not have possibly done that (he started way too late in life to achieve that level of skill) and that the works in books like “Le Cuer d'Amours Espris”, are more likely from the hand of Barthélemy. Interesting to note that René d'Anjou was at the time imprisoned by Bourgondian duke Philip the Good. Guess who was “peintre et valet de chambre” at that court.... Jan van Eyck. Barthélemy van Eyck has also been linked to The Annunciation triptych altarpiece at The Cathederal of Ste Marie-Madeleine at Aix-en-Provence..---Read More:http://donbarone.selfip.net/The_Giza_Pentagram_Part_II.htm

…The Zep Tepi or Ancients would visit their creation coming through their pyramids on the planet or arriving in great spaceships that would be part of humanity’s recorded history. They would leave behind great reminders of humanity¹s creational forces, the Zep Tepi. Read More:http://www.crystalinks.com/zeptepi.html

Read More:http://www.kara.co.za/Profs%20public/Origins%20of%20Human%20Civilisation%209th%20African%20Renaissance%2023-24%20ICC%20Durban%201.pdf


---The Shepherds of Arcadia. 1627. Oil on canvas. The Duke of Devonshire and the Chatsworth Settlement Trustees, Chatsworth, UK. Now many call what was shown on the previous pages as co-incidence or meaningless and I guess if that was the only place they occured I might tend to agree but the EXACT same angles and relationships are to be found in this painting which was painted some 12 years before the other.---Read More:http://donbarone.selfip.net/Poussin_coincidence_3.htm

The main thing to notice here is the scale. The Celestine painting is very small. The Poussin painting is by no means a giant but what we are seeing here is the exact relationship in size between the two paintings. It is the exact same geometry. It is freaky in it’s neatness and it can not ever, under any circumstances be deemed a fluke. The pattern is exact in size and scope yet they were painted 200 years apart. Either Poussin copied directly from this painting or the grid (which is absolutely the same) was drawn first on his canvas ! And the cut cross on Celestine’s “key” matches exactly the pointing finger and the ‘X’. It is amazing ! And I love it ! And the yellow “eye line”. Beautiful ! Read More:http://donbarone.selfip.net/The_Giza_Pentagram_Part_II.htm

Read More:http://www.zeptepi-alchemy.com/vortex_of__creation.html

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