Threads of Bipolar Symbolism in Religion

Threads of bipolar Symbolism in Religion Joannes Richter

Fig 1: Initial Ancient History (14th Century)

Introduction The overwhelming number of bipolar symbols found in ancient documents reveals a vast religious movement developing parallel to the mainstream medieval religion. In The Sky-God Dyaeus a chronological overview of bipolar (androgynous) symbols has been listed. In this overview additional information has been grouped according to regional areas to allow the identification of historical threads in European countries. These threads may allow to identify the sequential steps in developing the bipolar symbols. Initially bipolar symbolism seems to have dominated the predecessor religious concept. The system however must have been modified a few centuries before Christ. The former concept of equal and symmetrical generation of man and woman from a bisexual creature (Adam Cadmon) had to be abandoned by promoting the male person to a first-born image of God and simultaneously devaluing the second-born, female partner to a servant. The devaluation gravely disturbed the relation between man and woman and it will take several decades to restore the confidential link between the androgynous partners. In the Middle Age the former concept obviously survived and was to be tolerated more or less in parallel to the official Catholic Religion.

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Most of the medieval, bipolar concepts have been conserved by several groups: •

The artists who were responsible for illuminating the medieval Bibles. These artists have been spread all over Europe. That's why these artists may be seen as the major source for bipolar wisdom and concepts.

•

Various sects such as the Adamites and the masons or Freemasons, who transported the androgynous concept. Several red-white-blue flags have been introduced by Freemasons1.

•

Alchemists, who needed androgyny to explain the chemical forces between elements and substances. Androgynous symbols predominated the arts of alchemy, in which the intercourse and matrimony were extremely popular in describing chemical reactions2.

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Authors like Dante who allowed to publish their works using androgynous symbolism equivalent to the Bibles.

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Jewish Rabbis like Rashi3 and Rashbam4 and Jewish authors like Moses de Leon, who documented the Zohar. The Zohar first appeared in Spain in the 13th century. The Zohar describes the Tetragrammaton's (IHVH) androgynous symbolism in detail.

•

Royals, who ordered paintings applying the bipolar symbolism.

1:

The designing elements of the flag of the Philippines are broadly of Masonic origin. 2: See Patrism, Matrism and Androgyny 3:

Rabbi Rashi 1040-1105, northern Europe (chapter 27)

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Rasbam, Rashi's Great Grandson, 1085-1174, northern Europe (Ch. 27)

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•

Christian spiritualists, who searched purgation and illumination in mysticism.

Although the Church rejected the androgynous concepts they obviously tolerated the illumination of Bibles with red and blue symbols and the symbolic colours in icons and other paintings. The bipolar concept never seems to have provoked a schism although some historical schisms have been based on rather unimportant grounds. Probably the Church tolerated the concepts to avoid discussions, which might have revealed other available secret and powerful documents. Especially alchemy became notable among German nobility, who, on the eve of the German Renaissance, showed great interest in alchemy as a fashionable subject while at the same time rejecting occult magic as impious. Ulmannus' "Book of the Holy Trinity" as an explicitly Christian treatment of alchemy could resolve this dilemma and became a prestige possession in 15th century libraries. The most important of all ideas in alchemy has been Mercurius, personified by an androgynous concept of Hermes. As a remarkable name Hermes has been found in several stages of European evolution: •

According to Julius Caesar5 Mercury (Greek: “Hermes”) has been named as the most important Celtic deity.

•

According to Tacitus6 Mercury (Greek: “Hermes”) has been named as the most important Germanic deity.

5:

De Bello Gallico - book VI, chapter XVII Germania - Chapter IX: “Deorum maxime Mercurium colunt, cui certis diebus humanis quoque hostiis litare fas habent.” 6:

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•

The most important alchemical concept is Hermes Trismegistos

•

The most important alchemical element is mercury.

Like the ancient Roman deity Janus Hermes has been depicted as a bi-faced deity. Alchemy needed androgyny to explain chemical reactions and this idea probably inspired researchers, royals and monks to stabilize their positions in society. Of course these ideas had to be abandoned as soon as modern science arose at the Age of Enlightenment . Still these androgynous concepts may explain some historical events such as the symbolism in various religious concepts. This document will not be overloaded with graphical information to improve loading access and the overview of the topics. Please inspect the graphics in the linked documents or the alternative web-sites.

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Contents Introduction.........................................................................2 1 Israel.......................................................................................8 850 b.C.: IHVH at the Mesha-Stele....................................8 450 b.C.: The Book Exodus................................................8 400 b.C.: The Second Book of Chronicles..........................9 200: Jeremiah ben Eleazar...................................................9 2 Germany...............................................................................10 530 b.C.: Hochdorf............................................................10 800: Charlemagne..............................................................11 1100: Rashi's Genesis........................................................11 1168: The purple robe of Svantevit...................................11 1170: Rashbam's Genesis..................................................12 1190: Barbarossa...............................................................12 1305: The Codex Manesse................................................12 1419: The Book of the Holy Trinity..................................13 1420: Aurora consurgens...................................................14 1550: The Rosary of the Philosophers .............................14 3 Italy......................................................................................15 50 b.C.: Cicero..................................................................15 1240: The Bolognese Bible...............................................16 1320: La divina Commedia...............................................16 1360: The Neapolitan Bible..............................................17 1498: The last Supper by Leonardo da Vinci....................17 4 Austria..................................................................................18 600: The Viennese Bible...................................................18 1333: The Kremser Bible..................................................18 1395: The Wenzel Bible....................................................18 1791: The Magic Flute – Mozart.......................................19 6

5 France...................................................................................20 1189: The tomb of Henry II Plantagenet...........................20 1199: The tomb of King Richard I, Lionheart ..................20 1247: Bible Initials in alternating Red & Blue..................20 1275: Bibles moralisées....................................................20 1328: Coat-of-arms of the House of Valois ......................21 1358: Colours of Paris.......................................................21 1794: Defining the French Tricolour.................................21 6 England................................................................................22 1189: The tomb of Henry II Plantagenet...........................22 1199: The tomb of King Richard I, Lionheart ..................22 1340: Coats of arms in England........................................22 1340: Royal Arms of England...........................................23 1399: The coronation of King Henry IV...........................23 1801: Union Jack...............................................................23 7 The Netherlands...................................................................25 1229: The tomb for Gerard of Gelre.................................25 1300: Spieghel Historiael..................................................25 1460: Utrechter “historical” Bible.....................................25 1510: The Garden of Delights...........................................26 1572: The Prince's Flag.....................................................26 1573: Letter #10317 (William of Orange)........................27 1672: Assembly hall for the peers (Leyden).....................28 1954: Red = male & Blue = female .................................28 2009: Publication of Dyaeus.............................................28 8 Appendix – Scribd-Publications..........................................29

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1 Israel 850 b.C.: IHVH at the Mesha-Stele The Mesha-Stele is notable because it is thought to be the earliest known reference to the sacred Hebrew name of God YHWH. The inscription of 34 lines is written in the Moabite language. It was set up by Mesha, about 850 BC, as a record and memorial of his victories in his revolt against the Kingdom of Israel during the reign of king Ahaziah after the death of Israel's king Ahab. The first characters I (or alternatively Y) and V in the name IHVH respectively YHVH refer to the male and female elements in symbolism.

450 b.C.: The Book Exodus According to tradition, the Book Exodus and the other four Books of the Torah were written by Moses in the latter half of the 2nd millennium BC. Modern biblical scholarship sees it reaching its final textual form around 450 BC. The symbolic coding-system for the colours purple, red and blue and the twining technology (Byssus) may refer to bipolar (androgynous) religion, e.g.: 28: 5They shall take the gold, and the blue, and the purple, and the scarlet, and the fine linen. 6“They shall make the ephod of gold, of blue, and purple, scarlet, and fine twined linen, the work of the skilful workman. See the documentation at: The Sky-God Dyaeus 8

400 b.C.: The Second Book of Chronicles The symbolic coding-system for the colours purple, red and blue and the twining technology (Byssus) in Solomon's temple may refer to androgynous religion. See the documentation at: The Sky-God Dyaeus

Purple for Solomon The Queen of Saba did send Solomon 6000 young children (boys and girls), who obviously were born at the same time (hour, month and year). They were all dressed in purple garments7. See the documentation at: Yellow for Judas

200: Jeremiah ben Eleazar Jeremiah ben Eleazar8, a Palestinian scholar of the 2 nd century, inferred that Adam was created with two faces, one of a man and one of a woman, and that God afterwards cleft them asunder. See the documentation at: Secret Color Codings in the Bible

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source in German: "Gesammelte abhandlungen von Wilhelm Hertz" Info from the website: Jewish Encyclopedia

8:

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2 Germany 530 b.C.: Hochdorf Purple has also be found at the garments for the Celtic sovereign, discovered in an untouched grave at Hochdorf. The weaving reveals extremely thin singular threads which may only be identified as red and blue elements under a microscope. Around 530 BC this weaving technology has been exported to Italy and weaving red & blue tor produce purple must have preceded the manufacturing of purple dye in the Mediterranean area.

Fig 2: Dead body found wrapped in red and blue towels The Celtic sovereign had been wrapped in several alternating coloured red and blue blankets. The grave has been erected around 530 BC. See the documentation at: Another Etymology for Purple 10

800: Charlemagne Charlemagne (Carolus Magnus, meaning Charles the Great; 742 – 814) has been described and depicted wearing a light purple robe in Spieghel Historiael by Jacob van Maerlant9. The red & blue colors of his pairs and other nobles in the painting are clearly visible in the miniatures. See the documentation at: Yellow for Judas

1100: Rashi's Genesis Rashi's Genesis (1040-1105) explains: “God created the human being, being both male and female, which was subsequently divided into two beings10.” See the documentation at: The Sky-God Dyaeus

1168: The purple robe of Svantevit Saxo Grammaticus11 describes the fortress Arcona at the cliffs of the island of Rügen, where a wooden temple with a purple roof did contain a four-headed divine sculpture wearing a purple robe. The temple may only have existed 100 years and has been destroyed at the 15th of June 1168 after a siege by Danish Christians. The color purple may refer to the androgynous character of the deity. See the documentation at: Yellow for Judas 9:

Jacob van Maerlant. Spieghel Historiael. West-Flanders, 1325-1335. Shelfnumber KA XX. Fol. 208r. Charlemagne at his court. 10: Chapter. 27 11: quoted from: Ingrid Schmidt ”Götter, Mythen und Bräuche von der Insel Rügen”, Hinstorff Verlag Rostock 2002

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1170: Rashbam's Genesis Rasbam, Rashi's Great Grandson explains: “God created humanity; God included the woman in the man and separated them later12”. See the documentation at: The Sky-God Dyaeus

1190: Barbarossa A painting illustrates the red & blue clothing of Barbarossa and his sons. Obviously the king is wearing a blue overcoat over red garments. His sons wear red overcoats with blue interior colours over yellow garments. Barbarossa ruled the empire between 1155 and 1190. See the documentation at: A compact Overview of Bipolar Symbolism

1305: The Codex Manesse In the Codex Manesse13 emperor Henry has been depicted in a purple-red overcoat and a blue undercoat. His kings have been dressed in red and blue garments. The borderline decorations consist of red and blue elements as well. See the documentation at: A compact Overview of Bipolar Symbolism

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Rasbam, Rashi's Great Grandson, 1085-1174, northern Europe (Ch. 27) Cod. Pal. germ. 848, Codex Manesse, Zurich, 1305 bis 1340

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1419: The Book of the Holy Trinity The Buch der heiligen Dreifaltigkeit ("Book of the Holy Trinity") is an early 15th century alchemical treatise, attributed to one Frater Ulmannus14, a German Franciscan. The following explanation has been given in Wikipedia "Book of the Holy Trinity": The text survives in at least four 15th-century manuscripts, the archetype Cod. 78 A 11 (Berlin), dated to between 1410-1419 . “The treatise describes the alchemical process in terms of Christian mythology. The theme of the book is the analogy of the passion, death and resurrection of the Christ with the alchemical process leading to the lapis philosophorum. The text is one of the most important alchemical works of late medieval Germany. It is not untypically a combination of alchemy and Christian mysticism. Ganzenmüller (1956) speculated that the book may have been known to Jacob Boehme. The Berlin manuscript contains drawings, some of which re-appear in later (16th century) alchemical works such as the 1550 Rosarium philosophorum. The work became notable among German nobility, who, on the eve of the German Renaissance, showed great interest in alchemy as a fashionable subject while at the same time rejecting occult magic as impious. Ulmannus' work as an explicitly Christian treatment of alchemy could resolve this dilemma and became a prestige possession in 15th century libraries.” See the documentation at: Patrism, Matrism and Androgyny 14:

latinization of the German given name Ulmann, from OHG uodal-man

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1420: Aurora consurgens The Aurora consurgens is an illuminated manuscript of the 15th century in the Zurich Zentralbibliothek (MS. Rhenoviensis 172). It contains a medieval alchemical treatise, in the past sometimes attributed to Thomas Aquinas, now to a writer called the "Pseudo-Aquinas". Unusually for a work of this type, the manuscript contains thirty-eight fine miniatures in watercolour. See the documentation at: Patrism, Matrism and Androgyny

1550: The Rosary of the Philosophers The Rosary of the Philosophers (Rosarium philosophorum sive pretiosissimum donum Dei) is a 16th century alchemical treatise. It was published in 1550 as part II of De Alchimia Opuscula complura veterum philosophorum (Frankfurt).

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3 Italy 50 b.C.: Cicero According to Macrobius and Cicero, Janus15 and Jana are a pair of divinities, worshipped as the sun and moon. For this reasons they were regarded as the main gods and received their sacrifices before all other deities. Janus and Janua are variant forms of Dianus and Diana. Both refer to the root of dies "day", deus "god" (see also “Dyæus ”, the Indo-European Sky-God). See the documentation at: The Sky-God Dyaeus Purple stripes (named clavi) were reserved for the knights and senators. As a divine emperor Nero reserved purple clothing for the imperial family. Claviger is the attribute for the ancient Roman deity Janus as a key-bearer. Originally the keys to be carried by Janus may not have been the standard metal keys. Instead they must have been religious keys to be stored in the purple Clavi-keys at the tunic. These symbols are as old as Janus him- respectively herself. The original gender of Janus is quite obscure. As most of the most ancient gods he or she is reported to have been an androgynous deity and predecessor of the androgynous skygod Jupiter. The androgynous character would explain the male and female attributes in the symbolic color purple. See the documentation at: Yellow for Judas

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Information from: Wikipedia-entry (Janus)

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1240: The Bolognese Bible The header-lines in the Bolognese Bible (1240) apply alternating red and blue letters. See the documentation at: The Sky-God Dyaeus

1320: La divina Commedia The Vatican's illuminated manuscript of La divina Commedia starts with a coloured line in gold, red and blue: La Divina Commedia: See the documentation at: Paint It Purple - A short History of painting Red and Blue

Fig. 3: La Divina Commedia

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1360: The Neapolitan Bible The numbering system will also follow the same colouring system as the header lines, e.g. the following number (for line #49) of Genesis in the Neapolitan Bible: Line 17 starts with a blue letter and line 18 with a red letter. In contrast both Line #49 and #50 start with a red letter. See the documentation at: The Sky-God Dyaeus

1498: The last Supper by Leonardo da Vinci A great number of Last Supper-paintings have been created in the Middle Age. These artworks represent the scene of The Last Supper from the final days of Jesus as narrated in the Gospel of John 13:21, when Jesus announces that one of his Twelve Apostles would betray him. The majority of these paintings are applying similar codes for colouring the garments. As in The last Supper by Leonardo da Vinci Jesus will usually be depicted in red and blue. In contrast Judas will often wear yellow, green or black (or combinations of these medieval “evil” colours). Sometimes the artist will dress Judas in “good” colours (blue and red) and applies “evil” colours for other disciples, in order to trigger the attention of the observers. See the documentation at: Colour Codings in the Last Supper (Overview) and Yellow for Judas

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4 Austria 600: The Viennese Bible The following painting depicts a red sun and a blue moon from the Viennese Bible (sixth century AD). See the documentation at: Another Etymology for Purple

Fig. 4: Joseph observing a red sun and a blue moon

1333: The Kremser Bible The initial lines and the headerlines of the Kremser Bible apply the standard colouring code in alternating red and blue letters. See the documentation at: The Sky-God Dyaeus

1395: The Wenzel Bible In the Wenzel Bible the Creator God is wearing garments combining red and blue colors. See the documentation at: The Sky-God Dyaeus

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1791: The Magic Flute – Mozart The Magic Flute (German: Die Zauberflöte, K. 620) is an opera in two acts composed in 1791 by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that included both singing and spoken dialogue. The Magic Flute is noted for its prominent Masonic elements; Schikaneder and Mozart were Masons and lodge brothers (see: (see: Mozart and Freemasonry). For the last seven years of his life Wolfgang Amadeus Mozart was a Mason. The Masonic order played an important role in his life and work. The story itself portrays the education of mankind, progressing from chaos through religious superstition to rationalistic enlightenment, by means of trial (Tamino) and error (Papageno), ultimately to make "the Earth a heavenly kingdom, and mortals like the gods". Male and female elements in the androgynous couple are animus and anima, Tamino - Pamina, Papageno - Papagena.

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5 France 1189: The tomb of Henry II Plantagenet At his tomb in the abbey Fontevrault Henry II Plantagenet King of England has been dressed in red and blue. See the documentation at: Red and Blue in the Middle Age

1199: The tomb of King Richard I, Lionheart At their tombs in the abbey Fontevrault King Richard I, Lionheart and Isabella of Angouleme have been dressed in red and blue. See the documentation at: Red and Blue in the Middle Age

1247: Bible Initials in alternating Red & Blue Johannes Grusch Workshop publishes a medieval manuscript folio Bible with illuminations. Latin gothic script, hand-written in brown ink, on animal vellum. Rubricated chapter numbers, initials and marginalia in red and blue. 48 lines of text in double columns. France: Paris, c. 1247.

1275: Bibles moralisées The Creator God in the illuminated manuscript “Bibles moralisées” (dated 1275) has been dressed in red and blue garments. Please also note the upper line in alternating blue and red letters illustrating the Creator God. See the documentation at: The Sky-God Dyaeus

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1328: Coat-of-arms of the House of Valois In 1328, the coat-of-arms of the House of Valois was blue with gold fleurs-de-lis bordered in red. During the Middle Ages these colours red, blue and gold came to be associated with the reigning house of France. From this time on, the kings of France were represented in vignettes and manuscripts wearing a red gown under a blue coat decorated with gold fleurs-de-lis. See the documentation at: A compact Overview of Bipolar Symbolism

1358: Colours of Paris The blue and red of the flag have been the colours of Paris since 1358 when they were used by the followers of Etienne Marcel, then leader of a Parisian revolt against the King of France and the Dauphin. See the documentation at: A compact Overview of Bipolar Symbolism

1794: Defining the French Tricolour In 1794, the Convention officially adopted the tricolour, the Commander of the Guard, Lafayette, having reputedly added the royal white between the blue and the red. See the documentation at: A compact Overview of Bipolar Symbolism

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6 England 1189: The tomb of Henry II Plantagenet At his tomb in the abbey Fontevrault Henry II Plantagenet King of England has been dressed in red and blue. See the documentation at: Red and Blue in the Middle Age

1199: The tomb of King Richard I, Lionheart At their tombs in the abbey Fontevrault King Richard I, Lionheart and Isabella of Angouleme have been dressed in red and blue. See the documentation at: Red and Blue in the Middle Age

1340: Coats of arms in England 16 The first known English Royal arms, a golden lion, rampant, on a red field was first used by King Henry. The first arms of King Richard I "The Lionheart", revealed two golden lions, combatant, on a red field. However King Henry and King Richard I "The Lionheart" had previously been buried in red and blue robes at the Fontevraud Abbey. Please check the colours for the tombs of Henry II, Richard I and Eleanor of Aquitaine in Fontevraud Abbey.

16:

See the overview in: Royal coat of arms of the United Kingdom

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1340: Royal Arms of England In 1340 King Edward III quartered the Royal Arms of England with the ancient arms of France, the fleurs-de-lis on a blue field, to signal his claim to the French throne. King Henry IV updated the French arms to the modern version, three fleurs-de-lis on a blue field. Starting from 1340 the redand -blue-combination has been used in the coats of arms up till today. See the documentation at: Red and Blue in the Middle Age

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

1801: Union Jack The current design of the Union Flag dates from the union of Ireland and Great Britain in 1801. It consists of the red cross of Saint George (patron saint of England), edged in white, superimposed on the Cross of St Patrick (patron saint of Ireland), which are superimposed on the Saltire of Saint Andrew (patron saint of Scotland).

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Wales, however, is not represented in the Union Flag by Wales' patron saint, Saint David. Info from the Wikipedia entry Union Jack

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7 The Netherlands 1229: The tomb for Gerard of Gelre The sculptured body of Gerard of Gelre at the tomb in the Munsterkerk at Roermond has been created as dressed in blue and red coloured garments. The dynasties of Gelre have been related to the Plantagenet dynasties. See the documentation at: Red and Blue in the Middle Age

1300: Spieghel Historiael A miniature painting reveals the Flemish-Dutch author Jacob van Maerlant sitting at his desk, at which an open book may be identified. The author is wearing a light purple robe over a red dress. The initial applies exclusively red & blue signifying the author as a truthful religious guide for the divine path to heaven. See the documentation at: Yellow for Judas

1460: Utrechter “historical” Bible Around 1460 Evert van Soudenbalch illuminates the Utrechter “historical” Bible17 (in Dutch language) which does contain a great number of initials applying alternating blue and red coloured letters. See the documentation at: Genesis - Weaving the Words in Red and in Blue 17:

Codex 2772, fol. 198v (III Maccabeorum = Josephus Flavius, Antiquitates XIII-XVI)

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1510: The Garden of Delights The Triptych by Hieronymos Bosch (Madrid, Prado) has been dated 1510, or even earlier 1503-1504. Philip II had the Garden of Delights in his collection. The first owner of the triptych may have been Henry III, Count of Nassau (by 1517), inheriting the work 1538 to William I, Prince of Orange. In this triptych Bosch has extensively been applying the androgynous colours red and blue for the fountains, towers, birds and fruits. The triptych also reveals two kingfishers in red and blue (The kingfishers are the favourite birds for the Prince of Orange). Bosch may have been a member of a sect (the Adamites ?) and as a member he may have been forced to hide some of the secret codes of the sect's message. Particularly as the androgyny of the Adamites may have influenced the painter's symbolism and his work. The secret colour code for androgyny has been: red (as a male symbol), blue (as a female symbol) and purple (as a divine or androgynous symbol). See the documentation at: Symbolism in the Garden of Delights by Hieronymos Bosch

1572: The Prince's Flag The kingfishers (in orange-red & blue) are the favourite birds for the Prince of Orange. Around 1572 the provinces of the Low Countries, rose in revolt against King Philip II of Spain, and the Prince of Orange placed himself at the head of the rebels.

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The Watergeuzen (pro-independence privateers), acting on his instructions, harassed the enemy everywhere they could and they did this under a tricolour Orange White Blue (in Dutch: Oranje, Wit, Blauw or Oranje, Blanje, Bleu, from French Orange, Blanche, Bleu), the colours of the Prince's coat of arms. It was thus a flag easily associated with the leader of the rebellion, and the association was also expressed in the name: "the Prince's Flag." See the documentation at: Symbolism in the Garden of Delights by Hieronymos Bosch

1573: Letter #10317 (William of Orange) In a letter18 sent from Delft, Thursday, 26 February 1573 to the Dutch Churches in England. prince William (Prince) of Orange applies the majestic singular in writing •

the 1st person-pronouns "Ic", "Ick" in (preferred) majuscule letters and

•

the 2nd person pronouns “U”, “u”, "Ulieder19", "ulieden" – mixing majuscules & minuscules for the letter “u”.

See the documentation at: The Majestic Singular in William of Orange's Letter

18:

Letter #10317 (William of Orange) in archaic Dutch language U has been written as V; U-lieden has been written as Vlieden, in which the letter V generally is identical to U (you) 19:

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1672: Assembly hall for the peers (Leyden) Two documents from 167220 and 174221 reveal references to the words „Paars“ respectively „Pers“. Both documents describe an assembly hall for the peers of Leiden, called „Paars“ or „Pers“. Basically these words have been derived from Latin „Pares“, the “Pairs” or the “equals”. See the documentation at: Another Etymology for Purple

1954: Red = male & Blue = female At elementary school in Eindhoven a Catholic teacher orders the children to draw male persons (Jesus, Adam & God) in red colours and female persons (Eve and the virgin Mary) in blue. After the Fall of Man the couple is to be drawn in purple. See the documentation in German at: Religionsunterricht 19541955 and in Dutch language at: Godsdienstles 1954-1955.

2009: Publication of Dyaeus At the 15th of may 2009 I publish the thesis of a common androgynous religion in a Scribd-document: The Sky-God Dyaeus to be detailed in a number of other documents (see appendix for an overview).

20:

Korte besgryving van het Lugdunum Batavorum nu Leyden by Simon van Leeuwen – 1672 (in Dutch language) 21:

Hedendaegsche historie... - Seite 523 by Thomas Salmon, Jan Wagenaar, Matthias Van Goch – 1742 (in Dutch language)

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8 Appendix – Scribd-Publications Publications have been sorted according to publishing date. The applied colouring code is: • • •

Yellow = English Blue = German Pink = Dutch

1. The Sky-God Dyaeus 2. Der Himmelsgott Dyaeus 3. Laus Fragilitatis - Lob der Gebrechlichkeit 4. Castra Doloris - Auf Den Punkt Gebracht 5. Nederlands Voor Gevorderden 6. Die Heathrow Tagebücher 7. The Heathrow Hassle - and the Heathrow Hysteria 8. Der Brenner Codex - die Bernsteinstraße 9. Meine Erfahrungen Mit Lulu 10. Heathrow's Dagboeken 11. Der Hellweg nach Holland 12. The Hellweg to Holland 13. Woordenlijst Brabants 14. The Brabantian Dictionary 15. Hochdorf Revisited - A reconstructed Celtic Site 16. The Fundamental Color Symbols Blue and Red 17. De boekenfluisteraar 18. Randnotizen eines Buchflüsterers 19. Kanttekeningen van een boekfluisteraar 20. Core Dump (Nederlandse versie) 21. Core Dump (English version) 22. Notizen zu "Die Heiligen Symbole Von Mu" 23. Notes to the Sacred Symbols of Mu 29

24. Secret Colour Codes in the Bible 25. Dyaeus - über die Farbcodes der Prachtbibeln 26. Overview of my manuscripts in a Nutshell 27. The inflationary use of the verb "love" 28. Ich liebe Dich 29. A Book of Art 30. Genesis - Weaving the Words in Red and in Blue 31. Paint It Purple - A short History of painting Red and Blue 32. Die Kaisertracht in Rot und Blau 33. De Bijbelse Kleuren Purper, Rood en Blauw 34. Etymologie van het woord "Paars" 35. Another Etymology for Purple 36. Eine neue Etymologie für Purpur 37. Etymology for Flags 38. Gender References for Purple, Red and Blue 39. Tractatus der Unwörter - zur Etymologie unseres Wortschatzes 40. A compact Overview of Bipolar Symbolism 41. Kurzübersicht der bipolaren Symbolik 42. Der Symbolverlust in der Kommunikation 43. Godsdienstles 1954-1955 44. A Loss of Symbolism in Communications 45. Religionsunterricht 1954-1955 46. The Symbolic Colour Green in Islam 47. Täuschung und Enttäuschung 48. Illusion and Disillusion 49. Eine Qualitätsanzeige für Webdokumente 50. Patrism, Matrism and Androgyny 51. Dies Fasti - Understanding the Fastened Sculptures 52. Dies Fasti - Das Entfesseln der Götter 53. Cross-references for Deities and Man 30

54. Technologie Oder Evolution - Von der Suche nach einem Schöpfe 55. Gedankensplitter über die Täuschungsgewalt 56. The Power of Deceit - an essay on violence and deceit 57. Summary of some religious Colour Codes 58. Übersicht der religiösen Farbcodes 59. Afleiding van de Religieuze Kleurcodes 60. Body Mirroring at Burials 61. Die Verwebung als religiöses Symbol 62. Blue and Red in Medieval Garments 63. Blau und Rot Im Mittelalter 64. Language and Religion 65. Paars 66. Yellow for Judas 67. Die Farbcodierung in Leonardos Abendmahl 68. Color Coding in the Last Supper (by Leonardo Da Vinci) 69. Color Codings in the Last Supper (Overview) 70. Rood en Blauw in Roermond 71. Dagboekfragmenten (Roermond) 72. Blue and Red in Roermond 73. The Kingfisher 74. Dagboekfragmenten (1960-1972) 75. Red and Blue in the Middle Age 76. The Majestic Singular in William of Orange's Letter 77. Symbolism in the Garden of Delights by Hieronymos Bosch 78. Threads of Bipolar Symbolism in Religion 79. Een Kleine Legende Van Rood, Wit en Blauw

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