The Golden Dawn can themselves be connected, at least once, and in all likelihood many more times, to the Priory of Sion. One of the most powerful connections, however, or some of the most notable evidence thus far, seems to connect the Priory of Sion to the Golden Dawn by way of a mutual connection to Mars.

Numerous pages of this site have already included the subject of references to space themes, and prior knowledge of the burgeoning field of hyperspatial physics that forms perhaps the most solid cornerstone of the premise that the features of Mar's Cydonia region are artificial and extremely intelligent in their design and their message.

The Thoth tarot of Aleister Crowley in particular has proven to be remarkably evocative of many themes of planetary colonization and exploration, in spite of any prevailing notions that these cards are exclusively magickal or divinatory in nature. I have referred to whole Trumps from the Thoth many times in the pages I have written referring to an esoteric history of Mars, beginning with my very first, the seldom-visited "The Face On Mars- I'm Not Kidding".

The theme of the Tarot as a picturebook or set of "flash cards" exploring and preserving themes of ancient spacefarers independently realized and developed here has also been explored in detail by Brian Crowley and Anthony Pollock in the highly commendable "Return to Mars".

Since my initial explorations of the subject, many many anomalies have been found in standard images of other bodies of the solar system, most recently expanding beyond those found on the Moon, Mars, and Venus, to as many as seventeen other solar system members.

A detail from Aliester Crowley's Thoth tarot, from the "Universe" card, one of the most suggestive of the theme of space travel, in many subtle ways.

This temple, appearing in the foreground before a strange set of pyramids, also characteristic of Waite's tarot as Crowley and Pollock have observed, is physically representative of the periodic table of elements, as the retentive Aliester Crowley nonetheless freely acknolwedges in the accompanying text, "The Book of Thoth".

The same configuration might be found in this strange mound that appears on Venus, seen in this enlarged detail from Magellan image MG 0003 F45S349;1, upon which rest many anomalous objects which could easily be spacecraft, and upon whose summit rests a very human figure, seeming to be replete with Egyptian headdress and uraeus, and appearing above what may well be a clear example of the Egyptian ankh.

Other versions of this same image reveal even more astonishing detail.

Has Aleister Crowley's Thoth foretold the existance of such extraterrestial stuctures, or has his "Universe" card unfolded a universal embodiment of knowledge that should be freely expected to be found amongst the ancient monuments that embody the knowledge of past, highly advanced races, or both?

Regardless of the question of scale in this image, the same form (in blue) may appear in effigy on the surface of the moon as well, but one of countless apparent links between lunar artifacts and artifacts appearing throughout the solar system.

It is time to return again to the initial question, armed with the new discoveries, and see if we can establish the knowledge of these particular discoveries in the magical traditions, as Crowley and Pollock compellingly do in so many instances. Here, unfortunately, some beforehand awareness of those new discoveries and of the Thoth tarot are presumed or encouraged, due to limitations at present of both time and available webspace. The hope is of course that establishing the tenuous connections will lead directly to far greater insights by exploring the symbolism of the card and their companion volume, Aleister Crowley's "Book of Thoth", and by focussing on those card in particular that show any of the anticipated signs.

At uppermost left and right are two sections taken from the Thoth's Empress trump. While meaning could be assigned the nearly abstract "decorative" features (Crowley in fact denotes them as the uprights of the throne, which "suggest twisted blue flames symbolic of her birth from water", the winding spirals at the left of the card, and the intricacies of the "decorations" at it's right bear resemblance to the twisting metal ribbons that comprise some of the ships's extensions, as can be seen in the Apollo Lobachevsky image and many others; the center of the detail from the right of the card implies the wishbone-like shape that by far comprises the majority of the anomalous objects of unnatural symmetry that appear on virtual every body of the solar system boasting anomalies.

Beneath the sections from the "Empress" trump are two details of the "Fool" card. Both the curious twist of the wing in the left detail, and the shape of the foot, hint at the shapes of so many of the objects in the space photos which appear to be spacecraft.

Even if the proposition may seem questionable, it is exactly what we should expect that a handling of the topic would indeed appear in the form of hidden pictures and shapes concealed within shapes, or curious features in other appropriate symbols... even no matter what Crowley's description of the cards may say at face value. There is very little mention of what are very clearly intended expressions of contents of the Cydonia mystery.

We also find in the text of "The Book of Thoth" as it elaborates upon this card, that Crowley refers to the reconciliation of Quantum mechanics with "the Electro-magnetic equations", and may refer to the spinor coherer, a figure with a form that is voticular as are so many of the elements of the science and the esoteria that manage to involve themselves.

(Until several days ago at the time of this writing, the Enterprise Mission BBS carried a thread devoted to exploring the possible relevance of hyperdimensional physics to spacecraft, or "hyperships"), of which the best graphic example might remain the gleaming high-reflective twisted ribbons of metal that appear in NASA's chronically mistitled image of the Lobachvksy crater from Apollo 16.

A hand-colored version of some of the glaring anomalies of the Lobachevsky crater image, Apollo 16 image AS16-10075825.

In the Hierophant card, at above left we find very strange elephants, perhaps inviting further study. In the one at left, there are features that extend down to mysteriously include parts of the bull. This constitutes one of the clearer and most intact representations of what seem to be ancient spacecraft that can be found in the Thoth Tarot.

In three scenes from Crowley's "Lust" card, whose licivious implications merely belie a variation on the "Strength" card of the Ryder and other Tarot, we can find the twisting ribbon shapes of the ships as the leftmost and rightmost two "snake" or "worm" shapes; twice in the card we can find faces as they appear in the artistic earthworks of other planets, such clustering of faces even as at left does indeed appear to have occured even at Cydonia.

The "wheel-like" spoked features here are also suggestive of a mysterious design that has been found over and over again in photographs from Apollo missions, colloquially known as "the hubcap", which may have many meanings but may additionally refer to a form of spacecraft which is astonishingly rare but apparently present in the space images, of a hexagonal or octagonal disc style. By now, while still rare, this form has been noted in images from Mars and Venus as well. (It's very interesting that as yet, hundreds of possible ships have been noted, but there is yet to be a "flying saucer" per se in the entire lot.)

The text that accompanies the "Lust" card, in describing the tapeworm like protrusions of the ships as they are symbolized in the card, refers to "horns of the Beast, sent forth in every direction, to destroy and re-make the world". It is an intriguing reference when, for want of any other finds to explain the gigantic, deliberate earthworks art, one begins to surmise that these ships may have possessed the earth-moving power to be the primary tool responsible for it, and may have indeed had such a power as to "re-create" worlds, most literally.

This scene from the "Magus" trump may make a reference to the appendaged disc craft in the mysterious forms around the Magus's feet, but more importantly, to their possible mode(s) of operation. Other detials of the image are suggestive of flying devices, a winged disc and a "flying carpet" with the electrode-ended protrusions so common in the extraterrestial ships. Yet another possible form of same may be made from the bow of Artemis in the "High Priestess" card, shown below.

This section from the hanged man, while perhaps possessing such a geometry in a persective form, contains strong suggestions of the tetrahedral arcology that is found not only at Cydonia, but repeated elsewhere, including the shark-like figure in the Mars image MOC2-105.

Whatever the precise intent of the tetrahedra centered within the form of a fish, and the lines of scoring at the bottom of these triangles, they are suggested here, and may elborated in depth by the study of this card, its meanings, and the conversion of mythical themes into scientific or utilitarian ones.

Even though the shape of this object in the "High Priestess" card, conventionally representing the bow of Artemis or a musical instrument (as per the text of the "Book of Thoth") may be somewhat distorted, they may still be recognizable as a representation of certain features of the extraterrestial spacecraft artifacts. One of the outright science themes that underly the card, the great degree of optical interferometry that is seemingly depicted in it, may be easily connected to the premise that the primary manner in which the spacecraft operate may be on the order of the scalar interferometers which are featured in Tom Bearden's work which elaborates on that of Nikola Tesla.

Here is a rotated section of Uranus' moon, Oberon, darkened for contrast to bring out the highlights of a possible figure that appears on its face, of which even the most basic outlines are uncannily like that of Aleister Crowley's "High Priestess". This occured to me as I looked carefully at the shape, likely to be alledged to be the result of streaking from a meteoric impact, and observed a disquietingly unnatural symmetry and possible deliberacy. The very same has been partly borne out already for Miranda's huge shape, the Inverness Crater, also called "The Chevron".

With careful study, the shape on Oberon is indeed discernable, despite of the poor quality of the original image, and further degradation through the necessary use of a jpeg image here, although it may also be noted that the form may be a complex one, with the typical layering so often found in extraterrestial artifacts, actually containing possibly several humanoid forms.

In the course of this examination, Oberon, in this very same source image, has indeed appeared to possess the same kind of smaller, secondary artifacts that allows it to be included in the potentially 20 bodies of the solar system.

It is intriguing that the first investigation of the same source image of Oberon, investigated with imaging tools, gave a tenuous appearance of having another large figure, in the upper right of the source image. Compensating for the extreme brightness of parts of the image, there is a semblance of a full, skeletal figure whose knees seem to bow inward.

The observation of this possible "apocalyptic" figure proceeded from working with traces of designs that suggested that there may have been a scales or balance, the form which commenced the findings of artifacts on Venus recently.

The scales seem as if they may dangle from the elbows of the pale figure, which is endlessly fascinating as we consider that this would imply the apocalyptic character, "Famine" and yet Aleister Crowley's "High Preistess" card contains a perfect and ultimate antithesis to famine in the form of a variety of the magickal tablecloth, a common substitute for the horn-of-plenty or corncopia in myth and folklore.

The numerous possible connections to apocalyptic literature imply that the Bible has not been exempted from service in the common practice of using religious-oriented material in keeping a possible history of ancient life in this solar system, and perhaps, other systems. It may even be that the material presented as prophecy is done so with the deliberate idiosyncracies to imply in fact a view of the past and perhaps past catastrophes as opposed to the future; this is still another area that deserves thorough and careful attention.

While the moons of Jupiter have not yet as a whole been given careful study in considering the exact total of bodies of the solar system which bear extraterrestial artifacts, both the fact that it can be safely estimated at around twenty, near to the twenty-two Trumps of the Tarot, and the fact that the "High Priestess" card seems as if devoted heavily to Uranus' moon, Oberon, exclusively, hint at an intriguing possibility.

In addition to the other layers of meaning, and even the other space themes, in spite of possible conflict between the astological signs of the cards and the celestial bodies they may also represent, did Crowley nonetheless also arrange that each of the Major Arcana of his Thoth should represent one of the members of this solar system on which artifacts can be found?

What, then, of the rest of his striking work, the Thoth Tarot, and other Tarot sets as well, and how much else remains to be found that has not fallen within the grasp of this first initial investigation?