Above left, Osiris altar, Hermetic Order of the Golden Dawn, 20th c.;
2nd left, ceiling of the tomb of Christian Rosenkreuz, 18th c. CE, Roscicrucian; right, floor of the tomb of Christian Rosenkreuz, 18th c. CE,
Roscicrucian; bottom left, Keys in the Enochian language, geometry design; bottom right, star of the Phaistos Disk.
KEYS IN THE ENOCHIAN LANGUAGE
I found the mysterious Keys in the Enochian Language searching a book of ancient mysteries, a one-off design until I found it on the Phaistos Disk. I used the Keys design as a guide to connect the star image on the disk. The Keys has a fascinating and very mysterious origin, although it seems to me to have some kind of connection with the Phaistos Disk.
When Queen Mary of England,
Bloody Mary, imprisoned her half-sister Elizabeth in a nice country estate, Elizabeth was never sure that she would live to adulthood. In 1551, she
met the renowned scholar, traveler and astrologer John Dee (left) and asked him for a horoscope. Dee correctly predicted Elizabeth would rise to a high place
in the kingdom and live to old age and Queen Mary would die childless. When Elizabeth gained the throne of England, she made Dee court astrologer
and a wealthy man.
In 1581, Dee had an experience in which "there suddenly glowed a dazzling light, in the midst of which, in all his glory stood the
great angel, Uriel." Uriel told Dee that if he would obtain a "shewstone" (crystal) and gaze into it, he could communicate with otherworldly beings.
Dee complied but he never could see anything, so he hired a series of scryers, all unsuccessful until he hired Edward Kelley, an alchemist and
Hermeticist who wrote Theater of Terrestrial Alchemy.
Kelly scryed into a black obsidian disk and said he saw an image in the crystal that hung there while he made a wax copy of it.
Dee called the scryed image, "The Keys in the Enochian Language." He said it contained the language of angels and of the inhabitants of the Garden of Eden. Dee and Kelley believed it to be a pre-Hebraic language, which they learned to speak. Kelley would look into the crystal and see a "Spiritual Creature, like a pretty girl of seven or nine years of age." She called herself Madimi, and Dee named one of his daughters after her. The spirit Madimi pointed out to Kelley letters and symbols on the Keys design (beneath the scrying ball), and Kelley relayed the information to Dee.
The Keys beneath the crystal ball looks like the Phaistos Disk. I think this artist saw my comparison of the disk to the Keys, which has been online since 1997, and made the Keys in this image look like the Phaistos Disk. Perhaps the artists' idea is that the Keys in the Enochian Language is actually the Phaistos Disk brought forward magically and mysteriously by this angel Madimi for Dee and Kelley. That was something I had wondered about as well. Thanks for the feedback :)
Strange writing is associated with the Phaistos Disk as well. It was found with a Linear A tablet (left, but not the one actually found with the disk) containing an indecipherable script that is considered to be the precursor to the Linear B script, which has been deciphered. These scripts evolved into the Greek language alphabet. That both these pent/hept symbols, the Keys and the disk, would involve indecipherable scripts is another commonality they share. Resemblances are obvious on comparison of the symbols on the Keys in the Enochian Language with the symbols of Linear A (left), although it seems neither advances the other in terms of my understanding of what they mean. Maybe someone else would have better luck.
Did Edward Kelley know about the Phaistos Disk? Not possible. Did he know about Minoan Crete? Not possible. Did he scry back in time and see the Phaistos Disk? Possibly. Did a mysterious etheric presence appear and import the Phaistos Disk image to them? Possibly. As for whether Minoan Crete could be considered the Garden of Eden, maybe so. Many people think it was Atlantis. And Linear A qualifies as a pre-Hebraic language. Will Linear "A" ever be deciphered? Will the Keys in the Enochian Language ever be understood? It is all very mysterious indeed.
At Phaestus we find a kind of prehistoric printing: the hieroglyphs of a great disk unearthed there from Middle Minoan III strata are impressed upon the clay by stamps, one for each pictograph; but here, to add to our befuddlement, the characters are apparently not Cretan but foreign; perhaps the disk is an importation from the East. (Will Durant referencing two writers, G. Glotz, Aegean Civilization, 1925, and Jas. Baikie, Sea-Kings of Crete, 1926.)
LINEAR "A FOR ARGOTHIC"?
Is the legendary Argothic Language portrayed on the tablet (above) as Linear A? The Argothic
Language (Langue Argotique, Language of the Argos) is said to be the Secret Language of Jason and the Argonauts. Perhaps there is a
clue here as to the origin of Linear A when wordplaying the name Jason to Jesus.
By those correlations, the language may be the "language of the angels."
Argothic Language, which may have been a type of picture writing, might have involved the Constellation Argos and other
ships of the sky (constellations) that seem to be revolving around the Pole Star and along the ecliptic. As the stars spin overhead, they
create relative positions that were plotted by seafaring Minoans in Crete. Many of these became the constellations we know today. Mariners at
Phaistos, Crete, probably dotted the location of each star and connected the dots with lines. The intersecting lines were an invisible matrix in
space. From this matrix came the constellations and the mariners' ability to predict the movement of the stars.
Perhaps from this matrix came the secret language, a mariners' language based on the movement of stars, star groups, and
constellations, that developed from their special knowledge and that perhaps they wore as skin tattoos. If so, this language, derived from early
nautical methods of keeping time and location while on the Aegean, is a dead language in the most literal sense. It perhaps was written as
skin tattoos worn by Minoan sailors, and when they died, it died with them. This could explain why no archaeological evidence of it can be
found save the Phaistos Disk, on which it was preserved.
But the perishable nature of the materials on which picture-writing, having for most part only a temporary value,
was usually wrought has been fatal to the survival of primitive European pictographs on any large scale. If we had before us the articles of bark
and hide and wood of early man in this quarter of the globe or could still see the TATTOO marks on his skin we should have a very different idea of
the part once played by picture-writing on European soil. As it is, it is right that the imagination should supply the deficiency of existing evidence.
(Sir Arthur Evans, Cretan Pictographs and Prae-Phoenician Script)
Perhaps the Argothic Language was perceived as a gift from the gods who were also perceived to be residents of stars overhead
if not the stars themselves. The language of the stars was divinely given to the Argonauts, but only the mariners could understand it - the
language of the skin tattoos was the language of the stars - and they could, as a result of this great gift, navigate the ocean. They could
also keep track of daytime hours, nighttime hours, and the day and month if they had a version of the Phaistos Disk with them, a clay disk baked so
hard that the spray of salt water could not destroy it.
Therefore, the Argothic Language was not a spoken language, not a
written language, but was perhaps a picture writing language worn on the skin - as in the stars, so on the skin. It was a language that defined the
wearer as an Argonaut, a divine sailor bound to that which is above and that which is below - the ships of the stars on the rolling waves of Oceanus.
EGYPTIAN INFLUENCES ON THE PHAISTOS DISK
The Sunflower pictograph at the center of Side 1 on the Phaistos Disk may indicate influences of Egyptian theology on Minoan ideas. An identical flower pictograph is seen on this fragment of an Egyptian limestone relief. This Flower of Life is protected by the goddess Mut, a vulture-version of the goddess Isis, whose image Egyptians placed in tombs to protect the dead in their embryonic state of re-birth into the afterlife. Above Mut are the stars representing Sirius, the five-pointed star seen on the Phaistos Disk.
The Phaistos Disk star may be Sirius, seen in this Egyptian drawing in which it emanates a power through the connection with Horus that allows the soul of the mummy to fly to the star.
Phaistos Disk Star Animation showing locations of the Shield pictographs