Hello. My name is Tony, welcome to The Alternative Tour of the British Museum. Series 1, Part 1. Titled: A Merlin’s Plate. I have been using the British museum as a kind of research laboratory, temple and sensitivity workshop as part of my ongoing journey for over 30 years. This particular video is looking at what some people might call the esoteric or the occult has actually been a part of the human story across many cultures for thousands of year and may be just as relevant today as it was then. It is important to stress that this is an experimental exploration into the medium of video for this kind of work, and I would appreciate your comments and feedback. I hope that your find the following of interest...
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There are lots of stories from folklore that have characters like Merlin. If these stories have any foundation there would need to be an in-depth understanding of how the natural laws work that they could to draw on to become the people that they did.
This particular plate (in the Early European section of the British Museum) is interesting in that it seems to show knowledge of how the daily living of a life can, over a lifetime refine the whole of the experience of a life to what could be called the essence qualities of what that life had done. This plate was put into a grave in southern Germany in about 700 BC. Looking at the overall design on the outer rim it does look like a five pointed star or a pentagram.
We have five fingers on our hands and five toes on our feet and as Leonardo Da Vinci's famous drawing of a man showed, our four limbs and the head also forms up as a pentagram. Could the idea of us humans as a pentagramic structure go back the early cave paintings?
If we highlight the outer rim by extending the major lines to a point then it becomes clear that there are two pentagrams a red one inside a black one. Could this be showing two processes at work an internal and external? If we trace the finer lines we can see that some of these lines radiate out from the black pentagram to form a delicate net or web surrounding the outside while the lines from the red pentagram radiate inside to form a delicate web internally and the space between the black and red pentagrams do not intersect but show a radiation between each other. As we live we generate energies and depending on what it is we are doing the quality of that energy changes, think of the difference between being depressed and feeling inspired. Could this plate be saying that the energies we create affect us internally and radiate externally? And could the external radiation attract energies or power of a similar quality to what is being generated? Thus adding extra to all that we do or think? A healer by being a healer attracts the qualities of healing. A leader leading attracts the qualities of leadership.
However at the death of the physical body this pentagramic powering of life stops. Perhaps this is why the ends of the pentagrams are cut off. To show that no more energy can be generated. Looking at the central region of the plate there is still a section of the design that is intact, not cut off. Is this indicating that something has survived the death of the physical body? Let’s go back a bit to all this processing that was going on whilst the person was alive.
In all natural processes energy usage can be split into 3 parts that which is expended, that which is used in maintaining what has been built already and a small, more refined amount that can be kept. For example Madame Curie had to process tons of pitchblende just to get a teaspoon full of radium. Radium whist in the pitchblende is too dispersed to be effective but when pitchblende is refined into a concentrate of Radium it becomes one of the most powerful substances on the planet.
Marie and Pierre Curie were investigating pitchblende because it could create a conductive atmosphere 300 times stronger than pure Uranium.
Maybe we can read the outer triangles of the central part of the plate as the various concentrates of all the process that went on in the life.
This could be indicating another level whereby the results of a life become such a strong concentrate that it crystallises? Could the seven red triangles be taking about the crystallisation of a person’s self decided life and the seven black triangles the crystallisation of what was attracted to the person because of how they lived their life? Could these crystallized resultants interact to form a unique web upon which a person’s consciousness could anchor thus creating another form that could survive the death of the physical body.
Whist we are alive we constantly have a choice as to what we let into ourselves. At the point of death this changes to where other things now have the choice of whether our configuration can enter their worlds. In esoteric studies this kind of concept is often attached to the number eight. So maybe this is why that at the very centre there are eight black triangles?
Looking at the plate as whole could it be telling us that the culture that this plate came out of understood that life after death was possible and more significantly that each life has a unique journey of discovery to find the purpose of their own life. Because if like our fingerprints the eight triangles at the heart of the plate are unique to each life then ultimately it is down to each person to find and follow their own destiny.
Clearly there is much that can be learnt from the endeavours of others but as this plate indicates the decision and actions will always be your choice.
Link to British Museum Tours Channel site
http://www.youtube.com/user/BritishMuseumtours
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