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Bees are often considered a symbol of the Goddess or Divine Feminine because they are ruled by queens. In particular, they are associated with the goddess Venus because part of their labor is the indirect fertilization of flowers, all of which come under the dominion of Venus. Without bees, many species of flowers would die out, and so the bee may justly be considered a handmaiden of that goddess. There is a Greek tradition, too, of the Nine Muses, the divine patronesses or music and poetry, taking on the form of bees. This comports well with the rulership of Venus over the arts.
Another occult tradition states that the mysterious figure Melchizedek, who is mentioned in the Bible in connection with giving communion to the patriarch Abraham, is an entity that brought three gifts to earth from the planet Venus: the bee, wheat, and the mineral asbestos. The tradition is an allegorical one. The meaning of the three gifts may be partially understood as symbolizing three grades of initiation. In the first grade, one serves (bee). In the second grade, the initiate focuses on understanding and practicing the development of the many out of the one (wheat). In the third grade, the initiate becomes a channel of the Divine Fire; he burns, but is not consumed (asbestos).
In the sacred tradition known as the Qabalah, the planet and goddess Venus are associated with the Sephirah Netzach. This Sephirah is also called "Saykel Nesether", or the "Occult Intelligence." Two of the potencies of human consciousness that have their root in Venus or Netzach are creative imagination and desire. These are two sine qua non of occult development. Without knowledge of the right use of creative imagination and desire, the aspirant makes little progress.
The bee is also a symbol for wisdom, for it collects pollen from many flowers and turns it into the nourishing honey, which is the gold of bees. Just so, the occult aspirant collects experience from the varying circumstances of his life and from it extracts spiritual gold. As the spiritual alchemists imply, the life of the occult aspirant is his laboratory, and his consciousness and his body the subjects of his spiritual experiments.
The bee and the hive have long been symbols of industry and regeneration, wisdom and obedience, with a place in Egyption, Roman and Christian symbolism. The hive is often seen in Masonic illustrations of the 18th and 19th century and both Clovis and Napoleon adopted the bee as their symbol. Although "the bee was among the Egyptians the symbol of an obedient people, because, says Horapollo, 'of all insects, the bee alone had a king.'1, its use in Freemasonry was secondary to any number of other symbols based on the working tools of a stone mason.
[Beehive] "Looking at the regulated labor of these insects when congregated in their hive, it is not surprising that a beehive should have been deemed an appropriate emblem of systematized industry. Freemasonry has therefore adopted the beehive as a symbol of industry, a virtue taught in the instructions, which says that a Master Mason 'works that he may receive wages, the better to support himself and family, and contribute to the relief of a worthy, distressed brother, his widow and orphans...' The ark has already been shown to have been an emblem common to Freemasonry and the Ancient Mysteries, as a symbol of regeneration - of the second birth from death to life. Now, in the Mysteries, a hive was a type of the ark. 'Hence,' says Faber (Origin of Pagan Idolatry, volume ii, page 133), 'both the diluvian priestess and the regenerated souls were called bees; hence, bees were feigned to be produced from the carcass of a cow, which also symbolized the ark; and hence, as the great father was esteemed an infernal god, honey was much used both in funeral rites and in the Mysteries. This extract is from the article on the bee in Evans' Animal Symbolism in Ecclesiastical Architecture."2.
"Honey is used to illustrate moral teachings. A man is exhorted to eat honey and the honey comb (Pr 24/13), but warned against surfeit (Pr 25/16.27). It was a simile for moral sweetness (Ezk 3/3), and for the excellence of the law (Ps 19/10), of pleasant words (Pr 16/24), and of the lips (Ca 4/11), and as a figure of love (Ca 5/1). The LXX adds to Pr 6/8 'Go to the bee, and learn how diligent she is, and what a noble work she produces; whose labour kings and private men use for their health. She is desired and honoured by all, and, though weak in strength, yet since she values wisdom she prevails.' This quote exists in the Arabic version, and is quoted by ancient writers." 3.
That the newly converted Clovis would use a bee as his symbol is not surprising. It aligned him with the Christian Roman Empire without alienating those of his subjects who still maintained non-trinitarian or pagan sympathies.
Napoleon was initiated, passed and raised into an Army Philadelphe Lodge of the Ecossais Primitive Rite of Narbonne between 1795 and 1798.4. Considering Napoleon’s interest in things Egyptian, his reason for adoption of the bee symbol can only be a subject of supposition. When Napoleon had embroidered bees sewn on his robes it was not as a claim of legitimacy directed at any of his contemporaries; certainly not the aristocracy whose roots were not Merovingian nor sympathies masonic. Certainly not the freemason revolutionaries of the USA who were then embracing republicanism.
The bee is a symbol of systematized industry, an obedient people and of rebirth. It is easier to accept that the Merovingians, freemasons and Napoleon found their way to the symbol by their own path than it is to create a convulated and undocumented connection between them as some conspiracy theorists have tried.
Childeric I (c. 440 - 481/82) was a Merovingian king of the Salian Franks and the father of Clovis.
He succeeded his father Merovech as king, traditionally in 457 or 458 (?). With his Frankish warband he was established with his capital at Tournai, on lands which he had received as a foederatus of the Romans, and for some time he kept the peace with his allies.
Childeric's tomb was discovered in 1653 (May 27) by a Mason doing repairs in the church of Saint-Brice in Tournai, a city in modern Belgium. Numerous precious objects were found, including a richly ornamented sword, a torse-like bracelet, jewels of gold and garnet cloisonné, gold coins, a gold bull's head and a ring with the inscription CHILDERICI REGIS ("of Childeric the king"), which identified the tomb. Some 300 golden bees were also found.
Swarming all over the columns are the bees that are the hallmark of the coat of arms of the Barberini family, for Pope Urban VIII, who commissioned the work, was a Barberini. It is the most famous baldachino in Christendom, and that is somehow fitting for an altar that sits directly above the tomb of St. Peter, Prince of the Apostles
A Black Madonna or Black Virgin is a statue or painting of Mary in which she is depicted with dark skin, especially those created in Europe in the medieval period or earlier. The Black Madonnas are generally found in Catholic countries. The term refers to a type of Marian statue or painting of mainly medieval origin (12th to 15th centuries), with dark or black features. The statues are mostly wooden but occasionally stone, often painted and up to 75 cm (30 in) tall. They fall into two main groups: free-standing upright figures or seated figures on a throne. The pictures are usually icons which are Byzantine in style, often made in 13th- or 14th-century Italy. There are about 450–500 Black Madonnas in Europe, depending on how they are classified. There are at least 180 Vierges Noires in France, and there are hundreds of non-medieval copies as well. Some are in museums, but most are in churches or shrines and are venerated by devotees. A few are associated with miracles and attract substantial numbers of pilgrims.
A Reflection on Black Virgins
Intentionally hundreds of icons of Mary have black faces and hands. In France they are called "Vierge Noires" or Black Virgins. In other countries they are called Black Madonnas. Some call her "the other Mary". Jung said she is Isis whilst others consider her to be the iconic remains of prehistoric Mother Earth worship. She is linked with Cybele/Demeter, Diana/Artemis, Isis and Venus/Aphrodite. Cross-culturally she is associated with Kali, Inanna & Lilith. Historically she has ties to the Crusades and the Moorish occupation of Spain, to the Conquistadors, who brought her to the New World and to the Merovingians and Knight Templars. For modern psychologists she is said to express the archetype of the Dark Feminine. In other words, She represents our individual subconscious in which all the experiences, qualities and distortions of past incarnations are kept, engrained and hidden. They are until such time when the bells of “salvation” reverberate in one's Psyche and the time for transformation appears in one's life. The feminine Principle, like Marie Magdalene, manifests in consciousness and like the essence that she represents, follows the guidance of the Inner Voice... the real Master, or the Cosmic Christ within…
Whoever the enigmatic Black Virgin may be, she holds a powerful attraction for her millions of devotees around the world. Her sacred sites stand on highly charged earth energy centres, enhanced by megalithic ley-lines and sacred architecture. From ancient times to the present, people have undertaken pilgrimages to her shrines as a way to explore her mysteries and to enable her to do her miraculous work of healing, transformation and inspiration. France has more than 300 Black Virgin places of worship and over 150 Black Virgin statues still in existence.
What does the Black Virgin represent?
In the context of esoteric tradition, she represents a collection of all the Feminine Qualities that are hidden but ready to express through an individual. This kind of energy has the qualities of Demeter, Aphrodite, Isis, Marie Magdalena and so on, all in one. Thus, she corresponds to the powers of transformation in each one of us. The hidden part of Nature's characteristics. These different qualities reflect through the mirror of the PSYCHE. In other words the Black Virgin represents the AWAKENING SPIRITUAL PROCESS OF NATURE.
Rublev Black Madonna
A Symbolic Icon of the Black Virgin
painted by St Andre Rublev
The meaning of this important feminine symbol becomes obvious and we can relate and understand her power intuitively when the "inner energies" unfold their varied characteristics allowing the possibility to become more intuitive and transforming grosser feelings and mental processes to more refined and spiritual ones. The unfolding of these qualities, are inherent in the Soul. As for the location of these venerated icons and statues, we should examine the places where they are found. The Black Virgins are usually placed in strategic ley-line paths and points where the earth’s power radiates its most potent energies. Each one of these power points has a unique quality that affects the subtle bodies of pilgrims. These specific energies of the earth penetrate and are activated in their subtle bodies, thus harmonizing the chakras of the earth with that of prepared and sensitive pilgrims.
Hence, the Black Virgins represent the process of inner TRANSFORMATION. The transformation and changes that take place in an individual. Transmuting his/her limited human nature to an unlimited and ever growing Spiritual one. The Black Virgin can be seen as the awakener who manifest and brings to life the hidden qualities within each one of us. This means that a completely new level of understanding of” being” in the world occurs.
The adoption of bee symbolism in Egyptian society developed rapidly, and by the start of the First Dynasty, Egypt was known as the ‘Land of the Bee’, and the Pharaoh carried the title ‘Beekeeper’, with a bee prominently displayed in his cartouche. Additionally, Egyptians used honey as an offering to the gods in the afterlife, as well as in the mummification process. In fact, the gold and black horizontal stripes on the desk mask of Tutankhamen, and other Egyptian regalia, reference the bee’s similarly striped body. Clearly, the seed of bee veneration that was sown by the Sumerians had been harvested by the Egyptians
Minoan and Greek mythology soon followed, and adopted the sacred bee as a vital element of their society, depicting bees on the statues of their most important gods and goddesses. They also developed the coveted position of female bee shamans, called Melissa’s, which later evolved into priestesses known as Sybil’s. On the other side of the globe, Mayan culture venerated the bee and depicted gods in its image in their most sacred temples, and bee-hut styled structures sprang up from Africa to Ireland.
The early Catholic Church adopted the bee as a symbol of the Popes authority; evidence of which can be seen in Vatican City in the beehive inspired papal headdress of past popes. Political movements, such as Communism, drew upon the altruistic, drone like, ‘proletariat’ behavior exhibited in beehives, as a blueprint for their ideologies. An example of the bee’s appreciation by those formulating and influencing the politics of the day, is the Order of the Illuminati,a ‘secret’ society founded by the German philosopher Johann Adam Weishaupt on 1 May, 1776 – Labor Day in modern times – the day of the worker, or drone. Amazingly, Weishaupt had considered naming his order ‘Bees’ – not ‘Order of the Illuminati’.
[An] anomaly is recounted in Lincoln’s 1998 book, ‘The Key to the Sacred Pattern’. Essentially, the photo depicts a wooden panel on a dining room door with four bees, one in each corner, and in the middle, a winged female standing on a globe holding a wreath above her head like an Egyptian dancing goddess – a motif we now understand to represent bee goddesses, Melissa’s and Sybils. Later, de Sède provided Lincoln with material for his BBC television special about Rennes-Le-Château, including photos taken by Plantard that de Sède had used in his book.
In ‘The Key to the Sacred Pattern’, Lincoln recounts how the back of the photos were stamped with a seal saying “PLANTARD”, along with an explanation of how the woman in the centre of the photograph was Europa, the legendary priestess who was seduced by Zeus while he was in the form of a bull (‘Apis,’ the most sacred bull in antiquity, is Latin for ‘bee’), and that the accompanying images of bees represented apiculture. Fair enough, but what is most intriguing is that the notation on the back of the photographs is said to have included the phrase, “We are the Beekeepers”, a detail not revealed by Lincoln in his book. The expression recalls the ‘Beekeeper’ title held by Egyptian Pharaohs and begs the question, was Plantard inferring the he was a Beekeeper – and if so, of what – the Priory of Sion?[/quote]
Pierre Plantard's family Coat of Arms: (notice the 11 bees and 1 fleur de lis in the center)
My assumption is possibly the 11 bees represent the 11 disciples PLUS the 12th (bee) in the center being Mary Magdelene
More to come...
The Merovingian kings were noted sorcerors in the manner of the Samaritan Magi, and they firmly believed in the hidden powers of the honeycomb. Because a honeycomb is naturally made up of hexagonal prisms, it was considered by philosophers to be the manifestation of divine harmony in nature. Its construction was associated with insight and wisdom – as detailed in Proverbs 24:13-14: “My son, eat thou honey, because it is good… So shall the knowledge of wisdom be unto thy soul…”
From Roslyn Chapel in the north, the mythical Rose-Line reunites with Rennes-le-Chateau in the south, the village with alleged Merovingian connections. Although history informs us that the Merovingian dynasty died out with Dagobert II, this has not prevented others from claiming descent, such as Pierre Plantard, a Frenchman who in the 20th century promoted his association with the Merovingian’s, as well as Rennes-le-Chateau, and was regarded by some as the last direct descendant of Jesus Christ. Plantard also claimed to have been a Grand Maser of the Priory of Sion, a controversial society with considerable interests in the Merovingian lineages commissioned by Napoleon. Curiously, Plantard’s family crest featured both the Fleur-de-lys and 11 bees.
After reviewing several, rather obtuse links between bees and Rennes-Le-Château, there is another association that stands apart from the rest in it’s implications, and it involves Henry Lincoln and the french author Gerard de Sede, whose 1967 book, ‘The Accursed Treasure of Rennes-Le-Château’, first catapulted the mystery to prominence in France. The story goes that Lincoln purchased de Sède’s book while on holiday in France and succeeded in deciphering one of it’s peculiar parchments, giving spark to the flame that still burns today; what if anything do the coded parchments conceal? Lincoln later came across a ‘Book Club’ version with a strange photograph of bees not referenced in the text. Incongruously, the title beneath the photo simply stated, ‘Rennes-les-Bains – Thermes Romains’, and no other reference to the photograph was made.
The anomaly is recounted in Lincoln’s 1998 book, ‘The Key to the Sacred Pattern’. Essentially, the photo depicts a wooden panel on a dining room door with four bees, one in each corner, and in the middle, a winged female standing on a globe holding a wreath above her head like an Egyptian dancing goddess – a motif we now understand to represent bee goddesses, Melissa’s and Sybils. Later, de Sède provided Lincoln with material for his BBC television special about Rennes-Le-Château, including photos taken by Plantard that de Sède had used in his book.
In ‘The Key to the Sacred Pattern’, Lincoln recounts how the back of the photos were stamped with a seal saying “PLANTARD”, along with an explanation of how the woman in the centre of the photograph was Europa, the legendary priestess who was seduced by Zeus while he was in the form of a bull (‘Apis,’ the most sacred bull in antiquity, is Latin for ‘bee’), and that the accompanying images of bees represented apiculture. Fair enough, but what is most intriguing is that the notation on the back of the photographs is said to have included the phrase, “We are the Beekeepers”, a detail not revealed by Lincoln in his book. The expression recalls the ‘Beekeeper’ title held by Egyptian Pharaohs and begs the question, was Plantard inferring the he was a Beekeeper – and if so, of what – the Priory of Sion?
“The Prieure de Sion recruits its own special ones from the upper reaches of the Scottish Rite. After the Scottish Rite men can procede to the Rite of Mizriam, which also has ties to the Prieure de Sion. The upper grades of the Scottish Rite are the lower degrees of the Prieure de Sion, according to M. Jean-Luc Chaumeil, a man who had contact with the Grand Master of the Prieure de Sion and was familiar with that Society. Also according to Jean-Luc Chaumeil, whose knowledge of the Prieure de Sion is obviously of merit and worthy of attention, the Prieure de Sion is generally Jewish but a few non-Jewish members are admitted.
It was a handbreadth in thickness, and its rim was like the rim of a cup, like a lily blossom. It held two thousand baths.
This image of the Rosa Mundi, or Rota Mundi, is the solar wheel of Apollo, the Lord of movement, of the ever passing/present moment. It is the Solar Citadel, the abode of the Heart, the symbolic center of the Supreme Center which is everywhere centered at once. It is a door through which this invisible place may be accessed by one with a pure heart and an unblemished soul. If one gains access to the center of the rose, it speaks the "lost word" of Masonic lore, the Master Word which throws open the lodge doors of every sacred society.
In DAT ROSA MEL APIBUS the Solar Rose represents the labyrinth, the path and pilgrimage of a particular lifetime. The journey into the center can be thorny, but the destination is sweet, like honey to the bee.
The following description of the original engraving upon which the DAT ROSA MEL APIBUS painting is based is given in Joscelyn Godwin’s definitive work on Robert Fludd.
The Rose and the Cross: "The Rose gives the bees honey" (DAT ROSA MEL APIBUS). tThis explicitly Rosicrucian symbol was first used at the head of Joachim Frizius’s Summum Bonum, then adopted for (Robert) Fludd’s Clavis. (ETA: Joachim Frizius is the alias Robert Fludd used to pen Summum Bonum)
A rose with seven petals each alludes, in all probability, to secret doctrines of septenary emanation such as were later to be publicized in the theosophical works of H.P. Blavatsky. The Rose surmounts the thorny cross, the whole resembling the sign of Venus in which the solar circle triumphs over the cross of matter. We may interpret the motto as saying that "spiritual knowledge gives solace to souls," of whom bees are a venerable symbol. The spider’s webs (also with sevenfold divisions) strung on a grape arbor in the background, and the wingless insect on the rose (a spider?) may represent negative, lunar forces, as oppossed to the positive, solar one of the bees, both of which are reconciled by the philosophic rose.
-Joscelyn Godwin, in Robert Fludd - Hermetic Philosopher of Two Worlds. Shambala, Boulder, 1979: 10 [w/illustration.]
It is curious that Dr. Godwin fails to see the wings on the bee that has arrived at his destination, the rose! This winged bee is clearly represented in every reproduction of the rose engraving that your author/painter has seen...All of the other speculative symbolic observations hold, especially the observation that the image is one of the alchemical symbols of Venus, the goddess of Love.
The seven circles of seven petals each symbolize the number of squares (7 squared = 49) of the magic circle of Venus, of the "intelligence" (as opposed to the Spirits) of the goddess. Seven in the Hebrew alphabet/number system represents Dagh, the Fish, symbol of Christ. Seven is also the number of the Babylonian God of good Fortune. Seven is of course the number of the Liberal Arts and also of the Deadly Sins.
Without doubt, this rose engraving has over time become the consummate emblem of the order of the Rosy Cross, or the Rosicrucians, an essentially "invisible"order. Many individuals and groups have made claims to be the "true" rosicrucians, however, since the original manifestos appeared in the early 16th century the jury has been out concerning who they might actually be. These documents were designed to give the appearance of a Christian utopian group based on the model of the organization of Freemasonry working clandestinely within society to effect world-wide change. These changes were meant for the overall good of humankind, while at the same time being anarchistic in their view of a one world economy and government.
Probably the work of one man, most likely Lutheran minister Johannes Valentine Andrae, the documents have had the effect of change upon the imagination, and metanoia upon the hearts of those receptive readers in every succeeding age. Whether this has also caused an effect upon world governments is open to speculation, however, the Rosicrucian utopian vision has not (yet ?) taken concrete hold upon mankind.
"The Rosicrucian Order is a state of mind. One becomes a Rosicrucian: one does not join the Rosicrucians..." -Paul Foster Case
Robert Fludd, also known as Robertus de Fluctibus (17 January 1574 – 8 September 1637), was a prominent English Paracelsian physician. He is remembered as an astrologer, mathematician, cosmologist, Qabalist and Rosicrucian apologist.
Fludd is best known for his compilations in occult philosophy. He had a celebrated exchange of views with Johannes Kepler concerning the scientific and hermetic approaches to knowledge.
Between 1598 and 1604, Fludd studied medicine, chemistry and hermeticism on the European mainland. His itinerary is not known in detail. On his own account he spent a winter in the Pyrenees studying theurgy (the practice of rituals) with the Jesuits.
originally posted by: CAPT PROTON
Your one source says: Seven in the Hebrew alphabet/number system represents Dagh, the Fish, symbol of Christ.
Thats blatantly wrong! Seven in hebrew is Zayin which means sword. The letter Nun means Fish and has a value of 50, its the 14th letter in the Hebrew Alphabet, it also has a final value of 700. And sorry, but the letters have specific number values and therefore come in a specific alphabetic order because of it.
Learn the basics people, because some of these sources are intentionally misleading, and you need to know where to catch their blatant attempts to mislead, like now.
The larger drone bees, the males, do not have stingers. The female worker bees are the only ones that can sting, and their stinger is a modified ovipositor. The queen bee has a smooth stinger and can, if need be, sting skin-bearing creatures multiple times, but the queen does not leave the hive under normal conditions.