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Von Hammer-Purgstall associated a series of carved or engraved figures found on a number of supposed 13th century Templar artifacts (such as cups, bowls and coffers) with the Baphometic idol. In all of these images, it portrays the Baphomet to be that of a man's head placed on top of a woman's body.
Texts describe Shaushka as similar to Ishtar, as an ambiguous goddess who supervised married love and harmonious relationships but, unpredictably, could turn love into a dangerous endeavor. According to Hittite texts she was of ambiguous sex also and given to wearing the clothes of both sexes. In addition, she could alter a person's sex. One ritual credited her with the ability to deprive men of "manliness and vitality," to replace their bows and arrows with distaffs and spindles, and to dress them in women's clothes. From women she could take away motherhood and love
A reconstruction of the Ishtar Gate and Processional Way was built at the Pergamon Museum in Berlin out of material excavated by Robert Koldewey and finished in the 1930s. It includes the inscription plaque. It stands 47 feet high and 100 feet wide (14 meters by 30 meters). The excavation ran from 1902 to 1914, and, during that time, 45 feet of the foundation of the gate was uncovered.
It was a double gate; the part that is shown in the Pergamon Museum today is the smaller, frontal part. The larger, back part was considered too large to fit into the constraints of the structure of the museum; it is in storage.
European alchemy was to a large extent a chaotic exercise in fantasy, chimerical experiments, and wacky metaphysical speculation. Due to the close link between the Grail Quest and the Great Work, many motifs and symbols from one genre show up in the other. The cauda pavonis or peacock's tail represents the "psychedelic illumination" achieved at the end of the Work. With the epiphany of the Organic Light, all the colors of nature are seen differently. Objects appear to be nothing more than palpable stains in the White Stone, like water colors on plaster or soft chunks of colored glass embedded in alabaster. The cauda pavonis vision recalls Shelley's line from Adonais, "Life, like a dome of many-colored glass / Stains the white radiance of Eternity."
Originally posted by Kantzveldt
With the epiphany of the Organic Light, all the colors of nature are seen differently.