Planeism: Bronze Age Geometry Theology and Number Philosophy on a Clay Disk

BRONZE AGE PLANEISM:
GEOMETRY THEOLOGY AND NUMBER PHILOSOPHY ON A CLAY DISK

FIGURE 8 SHIELDS, PALACE OF KNOSSOS, CRETE

In the Beginning Phaistos Disk 3,600 Year-Old Animations Containment of Geometrical Arrangements Astronomer-Artist with a Vision As Below, So Above PlaneismCrete Invents Modern Astrology Sexagesimal System on the Phaistos Disk Phi Spiral Astronomical Ages, Bull Worship, and the Minotaur The Watcher Unseen Great Pyramid Minoan Calendars Riddle of the Stone Hermetic Star Solve the Maze Pleiades on the Phaistos Disk Phaistos Disk Pictographs

Out in the deep dark sea there lies a land called Crete, a rich and lovely land, washed by the sea on every side and boasting ninety cities. One of these cities is called Knossos, and there King Minos ruled and enjoyed the friendship of almighty Zeus. (Homer)

The Phaistos Disk is a small round object nearly 4,000 years old, a little larger than a CD, but is like a CD in terms of how much information it holds in such a small space. The Phaistos Disk is a university unto itself, offering classes and insights into the thoughts of the ancient world of Minoan Crete, an island in the middle of the Aegean Sea. Offering classes in geometry, mathematics, archaeology, astronomy, astrology, pictographs, creative design, and the antique science of "containment of geometrical arrangements," the Phaistos Disk is an entire ancient world-view perserved on a tiny disk. The world it describes is so old that the Greek poet Homer in 800 BCE called it ancient and forgotten. The Phaistos Disk is something like a message in a bottle but excavated over 100 years ago beneath the ruins of a palace instead of washed up on a beach.
But a world that old leaves little documentation behind, so that filling in the gaps becomes part of the research. On this subject, Will Durant wrote in his The Life of Greece:

If now we try to restore this buried culture from the relics that remain--playing Cuvier to the scattered bones of Crete--let us remember that we are engaging upon a hazardous kind of historical television, in which imagination must supply the living continuity in the gaps of static and fragmentary material artificially moving but long since dead. Crete will remain inwardly unknown until its secretive tablets find their Champollion.

I recognize the "hazards" of creating my own personal, "historical television" channel onto a civilization in prehistory, and I try to minimize the "the gaps of static" that must necessarily exist as I attempt to supply some of the "living continuity" that is missing in history. Hopefully, I have stayed within the bounds of reason, logic and analysis, even while I have done everything possible to "mystically" connect with that ancient world.

Phaistos Disk, Planeism, Geometry, Theology, Bronze Age

THE PHAISTOS DISK

Far left, tracing side one; left, artifact side one; right, artifact side two; far right, tracing side two.

Click the disks above to see larger images. Excavated 1908 in Phaistos, Crete, the Phaistos Disk is dated about 1,700 BCE. Mathematics is apparent on the disk, and we can discover Minoan concepts of mathematical relationships on this disk just by counting the pictographs and the spirals.
The artifact is terracotta pottery, about 6-1/4" diameter with 2 inscribed sides and 2 spirals per side, each spiral with 5 rings (10). The spirals are divided into 60 line segments (30 side A, 30 side B). The outside spirals have 12 line segments (24 outside); inside spirals have 18 (36 inside). Divided among the line segments and covering the disk are 240 pictograph impressions made with 48 miniature pictographs. 37 are created to appear identical and are repeated. 11 are unrepeated.

This disk comes from Minoan Crete, the ancient civilization historically famous for the Maze of Daedalus and for naming our constellations. The disk is only 6-1/4" in diameter and 1" thick, a little larger than a CD. It was found in 1908 at Phaistos, Crete, beside a tablet of Linear A writing of ancient Crete. There is some possibility the tablet explains the disk, although the writing on the tablet has yet to be deciphered. It might be that, because the disk is not writing but pictographs and so therefore is not readable, then here is the tablet that explains this artifact and perhaps even describes how to solve it.
The disk delivers complex information in a simple and very playful way. Based on the Minoan love of mazes and the ancient method of forming constellations by connecting stars with lines, the disk conceals the constellation Argo and other related images that are revealed when matching pictographs are connected by lines. This makes the Phaistos Disk a type of advanced maze puzzle, the solution of which not only reveals the solution to the maze but also the solution to that ancient civilization.
To begin the solution to the maze puzzle, take a clue from this disk pictograph, left. A man, seemingly a warrior, is holding a shield containing tiny circles in the shape of a hexagram. This is a form of miniaturization of the entire disk, as the shield is two-sided and the dots can be mentally connected to reveal the hexagram. The puzzle is not so simple on the disk itself because the dots or pictographs on the disk are in a crowd of pictographs or dots and thus complicate the puzzle. The dots inside the shield suggest a connect-the-dots approach of viewing the disk. This is the profitable approach, as it reveals in total eight significant and complex images as well as numerous simple geometries that are concealed on the disk. The geometries, though "simple," are not random, as all forms of Euclidean geometry are represented on the disk 1,500 years before Euclid proclaimed them.
It is incredible to me that, for over 100 years, no one has thought to reveal these hidden geometric images. But the funny thing is, if this disk had been presented to us in the Sunday paper connect-the-dots section, we would have found a lot of the images before breakfast was over. This is because of the power that expectation plays in thinking and even in what our eyes see. Archaeologists never expected a connect-the-dots maze puzzle so they never saw it, and the linguists hard at work deciphering the pictographs just flat don't want to see it. Their expectations are for the personal discovery of a hieroglyphic script, like Egyptian hieroglyphs, and they are holding fast to that.

Concealed on the disk and revealed by connecting matching pictographs with lines are 8 major geometrical images and numerous additional geometries:
1 2
3 4

1. exterior view of a pyramid, 2. pentagram inside a heptagon (possibly Sirius and seven planets), 3. constellation Argo, 5. interior view of a pyramid, 4. and triangle inside two pentagons (possibly sacred cave). 6. The Pleiades may also be recorded on this disk. Tracings of the two sides of the disk placed side-by-side reveal two mazes, one in the shape of a 7. Minoan wave spiral and the other, when the sides are overlaid at the matching connecting line segments, a maze in the shape of a 8. Minoan figure 8 shield.

THE PHAISTOS DISK DISPLAYS STARS AND CONSTELLATIONS

3,600 YEAR-OLD ANIMATIONS CREATED
BY THE ADDITION OF FRAMES WITH GIF ANIMATOR TOOL

Wagon Wheel Illusions created with geometry nearly 4,000 years ago.

The disks are spinning clockwise but the geometry produces the illusion of spinning counterclockwise. On the left, the triangle in the center seens to spin counterclockwise. On the right, the star in the center and the disks on the outer ring seem to spin counterclockwise.

To create these animations, I made exact tracings of the Phaistos Disk. To create the animation on the left (and below), I connected all fourteen of the Minyae pictographs (left) with lines to reveal a triangle inside two polygons (see down below). Then, I inverted the color to change it to black, blue and white. Using gif animation software, I spun the disk with this geometry design four times 90 degrees clockwise and then set the animation on a background of twinkling stars. To create the animation on the right, I connected with lines all the disk/shield pictographs on that side (left), then spun the disk four times 90 degrees clockwise.
The artist of the Phaistos Disk, lacking gif animation software, probably composed geometric designs within spirals on pottery on a pottery wheel and then spun the wheel to observe the actions of geometry inside a spinning spiral. (left, pottery wheel excavated in Crete from the Minoan era, back of wheel and front of wheel)

Early astronomy, involving the study of the properties of a circle and the geometry of a sphere, comes under the antique study of "containment of geometrical arrangements." In these animations we see the effects of spin on geometrical arrangments that have been overlaid onto a spiral that is contained within a sphere. As strange as it might seem to us that the Minoan astronomers would be discussing this, it is really not that far-fetched. Anyone in any period of time who studied the stars would observe the movement of the stars as a group and would certainly theorize about how the stars are fixed but also are in motion.
There was during that time a wide-spread number philosophy in the Bronze Age involving containment of geometrical arrangements, and this certainly must have seemed to have application in astronomy. They might have concluded the movement of the stars to be some kind of illusion created by spin. If they did not actually conclude this, then certainly it could have crossed their minds and even been something they talked about. Obviously, they were brilliant astronomers. I admit to the possibility of giving them credit for more than is their due, but for the last 17 years I have been in awe of these people. And they have educated me.

PHAISTOS DISK CONCEALED GEOMETRY

CONTAINMENT OF GEOMETRICAL ARRANGEMENTS
Number Philosophy of the Bronze Age
Comes down through history to us in mysticism as well,
known as "The Emerald Table of Hermes Trismegistus."

The number One The Point within the Circle	The number Two Diameter The Cross within the Circle	The number Three Triangle The Hearth of the Universe
The number Four The Square within the Circle	The number Five Pentagon, pentagram	The number Six Hexagon, hexagram
The number Seven Heptagon, heptagram	The number Eight Octagon, octagrams	The number Nine Enneagon, enneagrams
The number Ten Dekagon, dekagrams	The number Eleven Endekagon, endekagrams	The number Twelve Dodekagon, dodekagrams

THE PHAISTOS DISK DISPLAYS PRE-EUCLIDEAN GEOMETRY

AN ASTRONOMER-ARTIST WITH A VISION CREATES A WORLD DISK

Every culture has its idea of God and of how the world was made. The idea of "God the Geometer" (left, 1220 ce, Bible Moralise of Blanche of Castile) is attributed to a much later age than Minoan Crete. But perhaps Crete was instrumental in making the Western world's religious transition from the ancient Egyptian idea of "God the Potter" to "God the Geometer."
For thousands of years the Egyptians envisioned the idea of God the Potter in their worship of the god Khnum, who created all of humanity on his potter's wheel. (right) In this respect the Phaistos Disk creater is following in the path of the god Khnum in the creation of the Phaistos Disk on a potter's wheel. Maybe the potter had the idea that not only humanity but the Universe is created on the potter's wheel, and the spinning of the wheel would explain the apparent counterclockwise circumnavigation of the stars.

The image below seems to confirm this theory. The pentagram/star inside the heptagram is revealed by connecting the fifteen disk/shields on side one. (left) The disk/shield demonstrates the Number Six Hexagon. (left) The pent/hept geometry, when set in motion, shows this illusion of counterclockwise movement of the geometry, and thus perhaps the stars, when overlaid onto a spiral contained within a sphere. When the disk is spun 360 degrees clockwise, the star and seven planets appear to travel counterclockwise. This fascinates me of course, but a Danish ophthamologist assures me that this is definately not possible to achieve on a potter's wheel. So I will take him at his word but I still think something like that idea was behind the creation of this image.
This containment of geometrical arrangements is a combination of the Number Five Pentagram set inside the Number Seven Heptagram, suggested by mentally connecting with lines the Number Six Hexagons on the warrior's shield. The numbers 5, 6, and 7 are accounted for in this arrangement, and from this arrangement some religious philosophy based on science probably was concluded. (right and see table above).

Phaistos Disk in Motion Milky Way

Anyone can see these geometries on the Phaistos Disk are behaving strangely, and counter to what is expected, but this is because they are overlaid onto a clockwise spinning spiral that is contained within a sphere. The Phaistos Disk creator, and others involved in this geometry theology, might have deduced from this geometry regarding the world "disk" that Khnum not only creates humans from clay on a potter's wheel but also creates a vast universe by using geometry, spirals, spheres and spin.
So, the delineation of constellations on a dark night was humanity's first attempt to make sense of the chaos of stars in motion and even to understand the universe in terms of geometry. Even way back then, when we were Minoans living out in the middle of the Aegean Sea, we realized that geometry was a wonderful, "divine" tool that lets us get a handle on the chaos above as we observe it from below. Easy to see how we could also conclude that geometry was the gift of the goddess so that we could navigate around in a vast, confusing world.

PHAISTOS DISK CONCEALED IMAGES

AS BELOW, SO ABOVE

Standing on this pyramid of knowledge provided by the Phaistos Disk, we can see that the Milky Way (above right) behaves like the Phaistos Disk, and the application of containment of geometrical arrangements might apply. If the Earth is spinning counterclockwise on its axis while contained by a clockwise spiraling galaxy in which the stars and the sun seem to be revolving counterclockwise, then may we not deduce the galaxy is contained by a sphere that is the universe - a Disk of the World? And so, what is it or who is it that contains the sphere?
We still ask this question, but in a different language and without thought of Khnum-Ra as That Which Contains. Simplistic ideas of the universe assert the existence of a large entity -- God -- as larger than the universe and wrapped around it somehow. It is simple to see how these things were considered religion by the Minoans who studied them. We still think it's religion even though modern Science has divorced Mysticism and left it destitute and homeless and even despised unless it can dress up like Science and be bombardable as a subatomic particle.
The Phaistos Disk is perhaps the first attempt on the part of humanity to create a miniaturization of the mechanical universe, to demonstrate the idea that understanding of the macrocosm of the universe can be extrapolated from the small model or microcosm of the universe. In this case, the theory would be "as below, so above." It is not a bad idea either to try to figure out the universe by these methods, lacking modern equipment and the Hubble telescope, since it only makes sense to use the materials at hand, along with our creativity, to make deductions and conclusions about how the larger world is operating. Newton used apples to prove gravity. And Galileo wrote:
Philosophy is written in this grand book, the universe, which stands continually open to our gaze. But the book cannot be understood unless one first learns to comprehend the language and then read the letters in which it is composed. It is written in the language of mathematics, and its characters are triangles, circles, and other geometric figures without which it is humanly impossible to understand a single word of it; without this one wonders about it in a dark labyrinth.

Galileo got the dark labyrinth part right as pertains to the Phaistos Disk because without awareness of the geometry preserved on the disk it is a dark labyrinth, a round maze that captures everyone's imagination who sees it but reveals itself to no one who does not seek further into its mysteries. And one really does need to be immersed in the ancient thinking to even have a chance at understanding what the disk is all about. It took me seventeen years to offload enough of my modern mind to be able to make room for some ancient thoughts about these things.
The ancient thinking involves circles and spheres, triangles and quadrilaterals, all geometrical forms intending both to build us a universe and bring us to knowledge of it via the construction. This seems to have got very lost in our modern age in which physicists inform us of a random, meaningless event that is our world. But in the distant past, so far back we can barely conceive of it, the study of this science of containment was a great privilege because it involves both cosmogony and cosmology - the origin and structure of the universe and our place within it.
Just the idea that we have a function within this universe, that we have a reason for being part of it, seems to become more and more lost in the minds of humanity. And as we continue to slide down the pole of ignorance and disbelief, we embrace what seems to me to be the misguided science of particle physics, which is generally perceived to be too erudite for the common person to grasp. And so we venerate it. But I think this science creates huge negativity on our planet in terms of its belief system regarding the big bang meaningless explosion and also its subatomic particle destruction.
As example, just the one particle accelerator at Cern destroys eight hundred thousand million particles every 22 millionths of a second. And that is so we can find out how the universe was created. And that would also be our perception of our function within it, as destroyers of it in order to understand it. A better function is to participate in it with faith and reason, because when we do we become co-creators of it. The student of this ancient religious philosophy preserved on the Phaistos Disk becomes a participant in the ongoing creation of the universe by merging with the process of creation via inspiration, just as this Phaistos Disk potter has done, and from this can come a great inventor like Daedalus or this potter who reinvents the world by inventing things and ideas for it.
The students of this geometry theology probably believed the triangle to be "sacred" because it represents what the Pythagoreans of a much later age called the "plain of truth," and the "hearth of the universe." The Pythagoreans believed understanding of the universe to be beyond reach unless one's feet had crossed the "plain of truth," meaning the study of geometry and the triangle, particularly the magic 3-4-5 triangle, the perfect right triangle (left), revealed on the Phaistos Disk by connecting the three Wings pictographs on side one of the disk. (2nd left)
If you want to, you can argue with me that the perfect right triangle concealed on the Phaistos Disk is a random event, but my argument will simply be to just point at it and quote something like, "We hold these truths to be self-evident...". I am not sure why this particular pictograph is used to create the right triangle. I theorize it might be an open Egyptian coffin and if so, it probably would symbolize the coffin of Osiris. I can see the Egyptian influences on the Phaistos Disk and that is as it should be, considering how wide-spread and significant the Egyptian religion was in the Mediterranean area. I can also see how the Egyptians would associate the coffin of Osiris with the right triangle, as the coffin was the "perfect" fit for Osiris, and they knew of one thing that was perfect and that thing was the right triangle. And they venerated them both. That being the case, I can also see how the Minoans would adopt that symbol to display the right triangle.
After many years of trying to think like them, to walk around in their sandals and try to imagine their lives, I begin to get an idea of their syncretisms, but that does not make their symbols easy to understand or to explain. I like Manfred Lurker's commentary on the syncretisms, symbols and world-view of these ancient people.
The spiritual world of the ancient Egyptians is not immediately understandable by the western civilizations of the twentieth century...We may find it ridiculous for artists to represent the sky as a cow, or for a beetle to be venerated as a symbol of the sun god, but in past ages, among peoples having a mythical view of the world, the formative principle was not of logic but of an outlook governed by images...The whole symbolic evocation rests upon the supposed, and in the end actual, correspondence of things, on the relationship between microcosm and macrocosm as intuitively understood by the mind and visually by the eye...The ancient Egyptians, the Babylonians, and to some extent the Greeks, used images; their view of the world was a comprehensive one.

...A symbol has manifold significance and therefore its origin and purpose cannot often be explained satisfactorily. Sometimes the symbol seems to contradict itself. There are, in fact, symbols which refer to both poles of existence: life and death, good and evil. (Introduction, The Gods and Symbols of Ancient Egypt, Manfred Lurker, Thames and Hudson, publishers, 1974.)

The universe is vast but if all we need at hand in order to understand it is plane geometry and the acceptance of illusion as created by spin, then the Phaistos Disk will teach us everything we need to know. We can even recreate the religious philosophy that evolved from this scientific philosophic orientation. I do not know what it was called in Minoan Crete but I call it Planeism.

PHAISTOS DISK CONCEALED IMAGES

PLANEISM

This cone, or obelisk, revealed by connecting with lines the four Hand pictographs, really seems to stand straight up off the Phaistos Disk. Click it to see the larger image. To these ancient Minoan astronomers and geometers, containment of geometrical arrangements was religion because it shows intelligent design of the universe that humans can grasp, thanks to three absolutes anyone can recognize - movement, the stars, and geometry. From the point of view of the mind that created the Phaistos Disk, the idea of God the Geometer works very well with God the Potter because God, having scientifically designed the universe with geometry, now needs the technology of the pottery wheel to materially create it.

Other concepts fit in well with this religious philosophy and help explain reality, such as the idea that everything that exists comes out of this great geometer's imagination and intelligent use of geometry. Also built into this system is the idea of illusion as a meaningful part of reality. Miraculously, we live happily inside an illusion of reality, in the space geometry creates, and we know from Hinduism, a contemporary with the Minoan civilization, that there is the possibility that everything in our world is illusion or reflection or projection. Look at the cone again and imagine we live in something like this, a plane of reality that is both real and illusion. (left, cone on the Phaistos Disk, click to see a larger view)

Minoan Geometry Houses and the People of Minoan Crete.
Put the people in their houses.
(One house is for rent but she doesn't like the color:)
(My tracings, color added.)

Emanationism, which is the closest thing I can think of to Planeism, is an ancient religious philosophy that underlies nearly all historical religions and proposes the existence of God in the higher realms of light as emanating the world, which flowed out of God. Emanationism began (historically) in archaic Egypt as a parallel tradition with Sumer in Mesopotamia (ca. 3000 BCE), perhaps earlier. Both were derived from an even more archaic source involving Dualism.
In Egypt, and particularly in Sumer, Emanationism was expressed as the Three Primordial Principles, the beginning of a number philosophy that became widespread later on throughout Egypt, Mesopotamia, Persia and most of the Mediterranean world. The Three Primordial Principles were thought to be the cause of the creation of the universe that came into being as a result of the interplay between the two opposing principles and the intermediate principle of unity. The two opposing principles, found in philosophy as Dualism and as the Doctrine of Two Contraries (Yin-Yang), usually were expressed in antiquity as male and female and as light and dark. The ancients deified the number three, the original Holy Trinity expressed in geometry as the triangle.

Emanationism is a stepped-down version of Planeism in that Emantionism does not include complex geometry as part of its belief structure but is built mainly on numbers 1, 2, and 3. Planeism advances the higher numbers and their geometries to study the phenomenal universe through geometry and view God as a geometer or as the Absolute who is differentiating Self into a phenomenal universe through geometry and then bringing it physical via clay and a potter's wheel.
This would only make perfect since to a Minoan because one glance at the pottery of that age shows the geometric orientation of it as well the incredible creativity on the part of the artists. They were well versed in geometry and certainly inspired. In fact, the massive amount of geometric pottery such as has been excavated seems to indicate that Planeism, or whatever it was called, was a widely known religious philosophy and not just esoteric knowledge held by a priest cast. This is not just limited to their pottery but nearly every aspect of their world.
This vase, for example, is something like the equivalent of a Sistine Chapel if we take into consideration that geometric forms were considered to be divine. But the Minoans spread their ideas of divinity all throughout their art of geometric orientation, whereas later on in the world, we asserted the human form as divine. Minoan art is beyond their capabilities, or what we believe their capabilities to be, and all of it based on an artistic familiarity with geometry that relatively we have not achieved.

MINOAN POTTERY

MINOAN FASHION DESIGN

Minoans wore various fashionable hats and headgear. Their clothing was very fashionable.

Interactive Fashion show in Minoan Crete. Rearrange the models I colorized.

Just as the Phæacian [Cretan] men are skilled beyond others as mariners, so are the women the most accomplished at the loom. The goddess Athene has given them much wisdom as workers, and richest fancy. (Donald Mackenzie, Myths of Crete)
The Cretans had advanced into the later stage of Neolithic culture...and, as it is of special interest to note, clay and stone spindle whorls, indicating that the art of spinning was well known. (Mackenzie)

CLICK TO SEE MORE FASHIONS.

MINOAN FURNITURE DESIGNS

CLICK TO SEE THE QUEEN'S BATHROOM.

CLICK TO SEE GEOMETRY IN ARCHITECTURAL DESIGN OF THE THRONE ROOM

CLICK TO SEE HIGH ART OF THE MINOAN PERIOD

Emanationism in its fullest development is much later in history than Planeism of Minoan Crete, but in its beginning development in Mesopotamia it may have been a less developed contemporary of Planeism. It could be that Planeism lost the popularity race with Emanationism because the scientific aspects of it could not compete with Emanationism's reliance on simple faith: i.e., we have faith that God created the world but we also know we cannot understand how God did it. That lets us off the hook in terms of having to think a lot. Planeism does not give up on our ability to understand how the world is created. In this geometry theology, ultimate reality is numerical, number is the key to the universe, and triangles are the fundamental building blocks of the cosmos.
Emanationism may be humanity's oldest and most widespread religious philosophy with the exception of Bull Worship. Both Emanationism and Planeism approach spiritual knowledge from a scientific philosophic orientation, but Planeism more than Emanationism offers a description of the universe's rational order that is based upon a comprehensible intellectual structure because of geometry, motion and the stars. Still, it was Emanationism and not Planeism that bequeathed us the Three Primordial Principles which Planeism may have been originally built upon.
Emanationism proposed this physical world as existing as a reflection of the higher realms of God in an as above, so below reality, whereas with Planeism we are approaching it from an "as below, so above" point of view. We are looking at it from the bottom up rather than the top down, and this also acknowledges our ability to understand it from our point of view. Emanationism offers the theory of Mind and Idea, the idea that the Creator existed alone in the universe and has the idea to create a world. But the created world is illusory, a reflection of the higher realms of God. The Phaistos Disk shows, way ahead of its time as regards this Mind and Idea religious philosophy, how the illusory world can have reality, so that the solid humans created out of clay by Khnum on the potter's wheel can exist creatively in a home of plane geometry comprised of geometry, stars, spin, and illusion.

In this example of invisible planes of reality/geometry, I connect both sides of the Phaistos Disk together at the matching line segments to produce a vertical figure 8 symbol of infinity and a Minoan wave spiral comprised of two spheres, each containing two spirals. Populating these spirals are a total of 240 pictographs (see right column). The Isis/Rhea goddess pictograph (left) appears four times over both sides of the disk (the four dots). In the ancient Egyptian world, Isis is the goddess of nature who gives us all things in the physical world. By connecting the four Isis pictographs together with lines, I can see how She does it. From out of the Great Geometer's groundplan and using three or four triangles, depending how you view the dimensional plane, Isis/Rhea builds for us a plane of existence, something that is there and not there, a plane geometry realm that rises vertically above the spirals to exist-not. (Click the image to see a larger image. Stare at it and watch it shift perspective.)
The intersecting point, the center of the X as in X marks the spot, is located at the exact position where the two sides of the disk intersect at the connecting line segments. In this geometry representation, Isis is creating a realm for us out of two realms represented by the disks, the realm below and the realm above - the world of earth and the world of the skies. But both these realms are relative in their position; the "above" and the "below" are platforms from out of which arises the geometric structure.

In this ancient version of creation in which the tools of geometry are used, God the Geometer designed a universe out of geometry. In Emanationism, the philosophy is that God had an idea, and the idea is itself the universe. Also in Emanationism the universe is set in motion by God thinking and thus is a moving reflection of the still Mind of God from which it emanated. This is a concept in Planeism as well, as demonstrated by the Phaistos Disk, but more in terms of intersecting planes and spin.
On the Phaistos Disk are two Thysri pictographs (left) on side two. When connected with a line they create diameter (right). From the physical spin of the diameter comes another diameter, a vertical and illusory one. (My exact tracings of the disk, color inverted, animated gif.)

One (Mind)

Two (Idea/Reflection)

The diameter animation creates an equal-arms cross, in which length and width are the same, so that, with the addition of spin, these original two principles, Mind and Idea, produce a third principle -- That Which Contains/That Which is Contained, the whole concept demonstrated by this Minoan symbol of the Goddess of the Double Axes (Axis?) that seems to imply movement and spin. (right)
When we lost the religious philosophy of Planeism, or whatever it was called during Minoan Crete, we gained mysticism. That does not represent a complete disaster but it certainly is a loss because, in mysticism, we have another form of hysterical, I mean historical, religion, in that we "do not understand things except to know we can't understand things, but worship them anyway." Planeism explained to us the universe in terms simple and understandable long ago, but because it included mathematics, geometry and astronomy and required some knowledge of those subjects we may have no choice but to conclude that, as time passed, we lost some intellectual capacity to understand it. At the very least, we got distracted by other things that afforded more gratification with less effort.

Greece had almost forgotten, though the poet [Homer] had not, that the island [Crete] whose wealth seemed to him even then so great had once been wealthier still; that it had held sway with a powerful fleet over most of the Aegean and part of mainland Greece; and that it had developed, a thousand years before the siege of Troy, one of the most artistic civilizations in history. Probably it was this Aegean culture—as ancient to him as he is to us— that Homer recalled when he spoke of a Golden Age in which men had been more civilized, and life more refined, than in his own disordered time. (Will Durant, Life of Greece)

CLICK TO SEE THE SAFFRON PICKER

PHAISTOS DISK GEOMETRY

CRETE INVENTS MODERN ASTROLOGY

Plutarch and Plotinus between them give accounts of the ancient world-view involving numerology and the sexigesimal system of counting that is clearly preserved on the Phaistos Disk. These accounts relied heavily on mathematics and involved the emergence of the physical world from the womb of the goddess Rhea, as in Emanationism with the difference being the sex of God/dess.
Formed in Rhea's womb were 5 main divisions of layers or cosmic stuff (cosmoi), and into these layers or firmaments formed 60 soul spaces made of 60 types of soul-stuff, comprising 240 individual souls made of 48 different archetypes (or constellations). The 5 layers are the spirals on both sides of the disk (right), the pictographs removed to see the spirals better. Each outside spiral has 12 line segments; 8 inside spirals have a combined 36 line segments. The spirals are divided into 60 line segments (30 Side 1, 30 Side 2). The 60 soul spaces in Rhea's womb are the total number of line segments on the disk, the 240 individual souls she creates is the total number of pictograph impressions, and the 48 soul types is the number of unique signs on the disk. These numbers in bold also reveal the mathematics of the times that may have involved the sexagesimal system of counting, perhaps with calendar applications.
And in these sixty spaces dwell the souls, each one according to its nature, for though they are of one and the same substance, they are not of the same dignity. (Plutarch)

The 48 archtypes, or "ark types," probably were the earliest named constellations, which we have inherited from Crete and which remain 48. Since the Minoans' astronomical system included viewing them as "ark types," then we should credit the Minoans with the birth of "modern" astrology, although it was born a very long time ago and become something else before it become itself again. In modern astrology we know our star sign as the constellation under which were born, determined by the month in which we were born. According to modern astrology, our star sign does in fact indicate our "soul stuff" of which we are made and which is supposed to determine our behavior and thought processes.
As example, I am born under the constellation Taurus, a constellation that I believe is "abbreviated," along with the other 47 constellations, on the Phaistos Disk. Taurus is the Bull's Foot pictograph. (left) The Bull's Foot appears twice on the disk, both times on side one and each time with a Heaven-Walker. (left) The Bull's Foot appears upside-down in relation to the Heaven-Walker, so perhaps the indication is the Bull's Foot is above or in the sky. Perhaps this two-pictograph combination also implies Serapis, the sacred Osiris-Apis bull worshipped in Egypt.

Constellation Taurus

Motion
6 Side A, 5 Side B

Connect these identical Heaven-Walker pictographs with lines to draw the Taurus constellation. (Click it to see a larger image.) The Heaven-Walker was renown...

...in those days [of ancient Egypt] of initiate kings and rulers and sages who occupied themselves with the Sacred Science, when the clear Aether spake face to face with them without disguise, or holding back aught, in answer to their deep scrutiny of holy things...In those days so great was their love of the holy mysteries, so high their virtue, that they left the earth below them, and in their deathless souls became 'heaven-walkers' and knowers of things divine. (Thrice-Greatest Hermes, G.R.S. Mead)

Constellation Taurus as it is seen on the Phaistos Disk (above)
and the constellation as it is drawn today (below).

THE SEXAGESIMAL SYSTEM IN ASTRONOMY ON THE PHAISTOS DISK

The spirals on the disk are divided into 60 line segments. This would indicate a relationship of the disk to early astronomy, and it would also indicate the Minoans' reverence for astronomy, the science that maps the skies. In the Minoan world-view, as preserved on the Phaistos Disk, the sky is the womb from which humanity is born, each soul based upon a constellation that determines its soul type. The 60 line segments therefore are "sacred."
The sacred 60 is significant because long before 1,700 BCE the 60-system of counting was used by the Mesopotamians, who were avid astronomers as were the Egyptians. The application of the sexagesimal (60-system) system in astronomy was continued by Greek and Hindu astronomers until about 500 CE. Since most of the constellation names originated in Crete and Greece, it is safe to say that because of the symbols on the disk and the knowledge of the use of the 60-system by Greek astronomers much later, the 60-system was employed by the Minoans in their astronomical calculations. The three 60's--the 60 soul spaces defined by the Phaistos Disk, the 60 of the 3-4-5 triangle (3x4=12x5=60), and the 60-system of counting in astronomy--are inseparable syncretisms, in terms of symbolisms found on the disk.
And they (crocodiles of the Nile) lay sixty [eggs] and hatch them out in as many days, and the longest-lived of them live as many years-which is the first of the measures for those who treat systematically of celestial [phenomena]. (Timaeus of Plato, in Thrice-Greatest Hermes, G.R.S. Mead, Vol.3, p.198)
That is (re: the celestial phenomena), presumably, either the 60 of the Chaldaeans, or the 3x4x5 of the 'most perfect' triangle of the Mathematici. (Israel Regardie, The Golden Dawn)
The most perfect triangle, the right triangle, "has its perpendicular [side] of 'three', its base of 'four,' and its hypotenuse of 'five...' (The Cosmopolite in Les Mystere des Cathedrales, Fulcanelli;)
And one might conjecture the Egyptians [also revered] the fairest of triangles, likening the nature of the universe especially to this... (Regardie)
The Egyptians, millennia before Pythagoras, employed the magic 3-4-5 triangle of the Pythagorean Theorem, c2=a2+b2. The result, 25, was the number of letters in the Egyptian alphabet. (W. Marsham Adams in Mead)
And five makes a square equal to the number of letters among Egyptians, and a period of as many years as the Apis lives. (Mead)
Again, by the relative position of its (the ibis') legs to one another, and [of those] to its beak, it forms an equilateral triangle... (Wallace Budge in Mead ) The equilateral triangle with 20 dots inside is preserved on the Phaistos Disk. 20 such triangles creates an icosahedron, one of the Platonic solids.

Not only the number 60 but also the number five was sacred because it symbolized the hypotenuse of the "perfect" 3-4-5 triangle, the right triangle of the Pythagorean Theorem, divinized on the Phaistos Disk 1200 years or so before Pythagoras proved it.
For the 'three' is the first 'odd' and perfect; while the 'four' is square from side 'even' two; and the 'five' resembles partly its father and partly its mother, being composed of 'three' and 'two.' (Plutarch in Mead, Vol.1, p.234)

We must, accordingly, compare its (right triangle) perpendicular to male, its base to female, and its hypotenuse to the offspring of both; and [conjecture] Osiris as its source, Isis as receptacle, and Horus as result. (Plutarch in Mead, Vol.1, p.234)

And panta [all] is only a slight variant of pente [five]; and they (the Egyptians) call counting pempasasthai [reckoning by fives]. (Plutarch in Mead, Vol.1, p.234)

Seen six times on side two of the disk and five times on side one is the five-branched tree. From "the ancient Chaldaean mystery-tradition of the Fire, 'five-branched' would thus mean man, or rather purified man, and the saying referred to the pruning of this tree." (Wallace Budge in Mead) The tree may also represent the five-branched heather-bush that grew around the coffin of Osiris, which was known as "chen-Osiris" or "Osiris-plant," the ivy consecrated to Osiris. (Wallace Budge in Mead) .

Interesting the geometry that emerges when the five five-branched pictographs on side one are connected with lines. You don't supposed they used envelops to send letters, do you? With this civilization, I begin to believe anything is possible.

SHIELD RITUAL ROOM, PALACE AT KNOSSOS

PHI SPIRAL

Astronomer, Phaistos Disk Pictograph 12 Icosahedron 3 Shield, Phaistos Disk Pictograph 4 Hexahedron 5 6 7 8 910

Did the ancient people (1) in Bronze Age Crete know about the phi spiral? (left) Knowing so much about geometry, why would they not? One of the pictographs on the disk is an equilateral triangle. (2) With 20 dots inside, it could mean icosahedron, the platonic solid made of 20 triangles, described in a hexagon. (3) The shields (4) on the disk each have seven dots in the shape of a hexagram. This could reference another Platonic solid, the hexahedron. Other symbols on the disk seem related to geometry. (6, 7, 8, 9, 10) Remembering that the disk comes from a place with "phi" as part of its name--Phai-stos--(which the Greeks pronounce "fes-tos") the implication is that the people there studied the principles of phi and identified Platonic solids 1200 years before the birth of Plato. I believe they actively pursued knowledge of the sciences of geometry and astronomy and, at the same time, expressed their ideas and discoveries within the context of art. I also think that "Phi-stos" Crete was the center for the study of these sciences and may also have been the center for pottery.

This vase pictograph, for example, is so similar to this vase excavated at Phaistos. Noticably on the vase is a spiral and a design resembling the symbol for f, the Greek letter Phi. (Click the vase for a larger view.)

The magnificent palace at Phaistos was overshadowed by Knossos alone. Phaistos was:
...a palace only less extensive than that of the Cnossus kings. Phaestus becomes a Cretan Piraeus, in love with commerce rather than with art. And yet the palace of its prince is a majestic edifice, reached by a flight of steps forty-five feet wide; its halls and courts compare with those at Cnossus; its central court is a paved quadrangle of ten thousand square feet; its megaron, or reception room, is three thousand square feet in area, larger even than the great Hall of the Double Ax in the northern capital. (Durant)
At Phaestus, about 2000, he builds ten tiers of stone seats, running some eighty feet along a wall overlooking a flagged court. (Durant)
In Middle Minoan I the earliest palaces occur: the princes of Cnossus, Phaestus, and Mallia build for themselves luxurious dwellings with countless rooms, spacious storehouses, specialized workshops, altars and temples, and great drainage conduits that startle the arrogant Occidental eye. (Durant)

This Phaistos Disk pictograph may be the primitive symbol for Pi, 3.1416, to describe the properties of a circle. The short line of the symbol is the radius (r) of a circle and the long line is the diameter (d). The ratio of the circumference of a circle (c) to its diameter (d=2r) is a constant number called Pi, which equals c divided by 2r+3.1416.

MINOAN FASHION SHOW

ASTRONOMICAL AGES, BULL WORSHIP, AND THE MINOTAUR

Overlighting this early human fascination with number and geometry were the stars, and perhaps their participation was not passive at all. There is the possibility of human brain embeddedness of starlight (below), which could account for the enlightenment, development, and expansion of human consciousness. We do not have to concede this intimate relationship with the stars, but we do concede the contribution the stars make in the form of the astronomical ages.

Today the chorus is singing, "This is the dawning of the Age of Aquarius," but when the disk was created it was the dawning of the Age of Aries. The Greek legend of Jason and the Argonauts comes from the Age of Aries. It was preceded by the Age of Taurus, supposed to have been between 4320-2160 BCE (4525-1875, dates vary). An Age, lasting about 2,000 years or so, receives its name from the sign through which the sun passes year after year as it crosses the equator at the Spring equinox (equal night), when night and day are equal in length all over the world, each lasting 12 hours on this day.
In the Age of Taurus the bull was worshipped as divine. After perhaps as many as 25,000 preceding years of bull worship, it is not surprising that the bull figured significantly in the Minoan civilization. A bull's foot appears twice on the Phaistos Disk (left). Egypt had its Serapis, the sacred Osiris-Apis bull. Baal was widely worshipped, later on the Israelites had their golden calf Moshe (Moses), and painted on the walls of buildings in ancient Sumer are humans with horns. The horns tell of their status as gods and goddesses. (Minoan Queen Pasiphae drawn by Picasso, right)

The idea of the bull-god is foreign to many of us, although it should not be. Even today in India the bull is sacred, and in Spain and Mexico bull sports are still popular, as are rodeos in the U.S. In Crete, the bull apparently was at the center of both religion and sport. This history of bull-worship clears up some of the mystery of the Minoan legend of the Minotaur, a bull being at the center of the bull sports and the maze. It clears up some mystery about Zeus, the Greek god who often appeared as a bull. And it also shines some light on the worship of the bull-born Dionysis. (Left, Bronze Age palace groundplan at Mallia, Crete compared with bull's head)
In the Age of Aries the bull-god gives over to the ram, whose Golden Fleece is the object of the quest of Jason and the Argonauts. They stopped worshipping the bull - in fact, they slayed the bull in Crete, or Theseus did, in the legend of Theseus and the Minotaur. Following the Age of Aries is the Piscean Age in which a divine fish symbolizes the Son of God as the "fisher of men." As we move into the Age of Aquarius, the cup is the symbol of the divine and holds the Water of Life, and the Knights of the Round Table quest for the Holy Grail. One way or another, either directly or indirectly, we are influenced by the stars. Are they really eternal powers? The Minoans apparently believed so.
During the Mediterranean Bronze Age, the Aegean people were making a transition from the Age of Taurus and old religion of bull-worship to the Age of Aries. This was no less a transition from a primitive, idolatrous religion to the beginnings of a scientific-philosophic world-view, their ascendency over the bull dramatized perhaps by the bull sports at the center of their festivities. When the shift comes and the ages change from Taurus to Aries, the worship of the bull is not transferred to the worship of the ram, but instead the worship becomes a quest for god/dess, who is conceived of in such a way as to be sought after. With the Minoans comes the idea of the Seeker and, for them, the Seeker of knowledge is the same thing as the Seeker of God/dess.
Perhaps this seeking after the goddess in the sky motivated the development of astronomy in Minoan Crete, with the idea that if we invent telescopes and binoculars and astronomical measuring devices, we can seek the goddess through seeing her, getting closer to her and knowing her well. Perhaps this astronomical questing for the divine led to our recognition of the universal powers of time and infinity and the higher powers of destiny, and to conclusions about such things we might have drawn from stargazing. For the Aegean people, these eternal powers seemed to emanate from the stars, and it stands to reason that the biggest star, Sirius, must be the most powerful. Therefore, from this star, an eternal and perfect goddess high in the sky, flow all the gifts in heaven and earth.
With this new power of thought and technological capability comes the wealth, ease and abundance that we associate with the Minoan civilization, a phenomenal flower that blossomed in the middle of the Aegean Sea. The Greek creation myth tells the story of how it came to pass that the people were so blessed. It was because the goddess gave them a son--Zeus--who in turn overthrew the old gods. It is not yet the Age of Pisces when the gift is the son of god. It is the Age of Aries when the gift is the son of goddess. (left, palenquin pictograph on the Phaistos Disk, right, Minoan palenquin)

PHAISTOS DISK ANIMATIONS IN COLOR

THE WATCHER UNSEEN

There is an ancient power I call the Watcher Unseen and that I believe encouraged these Minoans and Egyptians in these studies, and perhaps this is actually God responding to those who study God. If we study how God made the universe then perhaps God takes a special interest in the one who studies, and that begins a bond to enable creativity. I have often wondered about the name of the civilization I study -- Crete -- and how similar it is to Create. And then there is Daedalus, the great creator almost as creative as God. To me, these things are all related.
I know about the Watcher Unseen because I manifested one who is in my life and who encourages me to take a profound interest in this. Left is a version of the Watcher as a Winged Disk from the Egyptian Book of the Dead. The Watcher Unseen comes down by penetrating the barrier separating the abstract world from the concrete world. (right) The Watcher showers its earthly counterpart with tiny stars, sealing it against corruption and death and perhaps in response to a prayer. This whole part of my research, and my personal mystical experiences as a result of it, encourage me to think of God as existing entirely in potentia. And it makes God a very considerate being who practices non-interference unless called upon by prayer or by study of "divine things", which is like a prayer. So people who say God is dead are absolutely correct as relates to them. And that's a nice God also that lets people be absolutely correct like that. What a decent, respectful Geometry God/dess is!
Is it possible these studies of mine on this subject are like a prayer? I think so. Prayer does not always have to be about asking God for a favor. Prayer can be something like a Psalm or a chant or even an intense thinking about how God created the universe with geometry. Whatever the case, my studies on these subject summoned the Watcher Unseen who watches me, communicates telepathically with me, makes meaningful and comforting sounds all around me, showers me with soothing vibrations of healing energy which certainly could be disks and stars, but who remains unseen and essentially unknowable. My thinking about these things has evolved and I come to think of this divine being as my Ka or higher self/genius, which everyone has. Yes, everyone has a Ka but not everyone has reconnected with their Ka. I like the way Joseph Campbell puts it. "The God is within YOU." That satisfies my understanding of Ka.
The manifested Watcher Unseen is rare now, not like in the old days of ancient Egypt and Minoan Crete where I believe it was fairly common, probably because of how people perceived their relationship to God and the universe and even the efforts they made to comprehend it. We may have actually lost a close relationship to God that we used to have thousands of years ago. I can see how that could happen. I don't think we can assume that God is always present regardless how badly we behave or how erroneously we think. If God is not an active, communicating presence in one's life, there is a remedy but it requires a major change of focus. Not many people are willing to do that.
In these images above, the deity is a winged being, something we identify as an angel. The Minoans probably conceived of Goddess Rhea as being the star Sirius, the star called Sopdu by the Egyptians (and Sothis by the Greeks) who conceived of it as being the goddess Isis. The Egyptians set their Sothic calendar according to the movement of this great goddess in the sky. The Phaistos Disk may also be a Minoan Sothic calendar that reckons time according to the movement of this star, as perhaps observed at the Great Pyramid by the Minoans.
Much later on in history, the Greek name for god was Zeus. The Minoans had another name for God, but what was it? According to Will Durant in Life of Greece, the Minoan name for Zeus was Velchanos (Vel-ka-nos). Whatever name they gave god, it surely acknowledged the feminine and might have meant movement and infinity.
There is a Minoan myth about the Minotaur, a bull-being son of Zeus and King Minos and child of Pasiphae, who was destroyed by Theseus with the help of his half-sister, Ariadne. Likewise Dionysis, son of Zeus and the king of Crete and the child of Persephone, was destroyed by Titans with the help of his sister. His mother had been seduced by Zeus, who appeared to her in the form of a serpent. After his birth and the strange death of his mother (she was burned to a crisp upon glimpsing Zeus), Dionysis as a fetus was rescued by Zeus from the ashes. Zeus slashed a hole in his thigh and stowed the fetus away in the wound. I think this is what is portrayed on a facted stone of green Jasper from Siteia, Crete, where we see the fetus inside the thigh. (below) In nine months a baby was born from the thigh of his father.

The symbols (right) that preceed the fetus in the thigh are catalogued by Sir Arthur Evans many times because they recur so often and with so many various or alternate depictions. They look like a comb (Evans originally called it a fence) and a smoking cucumber. Then the thigh is surrounded by three images, all similar, that appear to be nails but that probably are stars. Most likely, this grouping indicates a constellation, possibly Taurus, and the comb and smoking cucumber spell out the name of the constellation which also could be the Minoan names, whatever they were, for Zeus and Dionysis.
We think of the constellation Taurus as a bull, but classical Greeks apparently thought of it as Zeus disguised as a bull. Perhaps the Minoans thought of the constellation as Dionysis concealed in the thigh of Zeus, who was disguised as a serpent. Suppose this is the fetus of Dionysis (said to have been called Rhadamanthus by the Minoans) in the thigh of his father Zeus or Velchanos. This picture writing sign therefore shows something about the merger of these two gods, written in early script as the merger of the comb with the cucumber. In nine months a baby was born from the thigh of his father, and perhaps the comb and cucumber indicate nine months time, as well. Perhaps this series of pictographs shows how long one expects to be with child, although it seems pretty remarkable that it has to do with two men, one of them pregnant with the other.
The "comb" in Linear B has been deciphered as Ja. To make the sound, bring the "fence of the teeth" together to pronouce "Ja." Next, bring the lips together and blow a little, like the smoking cucumber, to say "Wa." Jawa. What we just said is the Biblical name of God - Jahwah - or Jehovah. Now we see what perhaps was originally meant by Jahwah - Father-Son or Zeus (Jah)-Dionysis (Wah) and the beginnings of the patriarchy - the beginning of His-story - both in civilization and in religion. In Crete, therefore, the patriarchy and His-story is born from the matriarchy and Her-story.
Whether the Watcher Unseen is Ja-wa or Rhe-ah or Who-ah ever it is, I am glad to have the benefits of the company of such a distinguished Presence at the center of my life and encamped in my house.

Perhaps the Phaistos Disk artist had this design above in mind but lacked the materials to create it. My apologies to the original artist(s), but I just went ahead and colorized the Phaistos Disk pictographs and star and planets design, with the shield/disk locations indicated by circles of white light.

PHAISTOS DISK ANIMATIONS

GREAT PYRAMID

In the ancient world of Mesopotamia, the top of the ziggurats were marked with a pictograph identical to the letter E. It meant "house of the God." A place was prepared there for the residence of the god on Earth, and the god would descend to take up residence in the house prepared for it. On the Phaistos Disk on side one are two such "E" pictographs but with additional information attached. (left) The E now indicates a mirror image relationship of the house of the god with the cosmic realms, in which the additional information is "as below, so above." As there are two "E's" on side one of the Phaistos Disk, there must be two houses of the god concealed on side one. On discovery of these concealed pyramids, I feel encouraged to make new suppositions about the purpose of the Great Pyramid, as I have gone too far to stop now :).

Exterior of the Great Pyramid, House of the God

Connecting the six matching Pyramid signs (left) on side one reveals a pyramid.

Interior of the Great Pyramid, House of the God

Connecting the ten matching Golden Fleece signs (left) on side one reveals another pyramid, at the bottom of which we see Isis/Rhea (right) illuminated by a door leading to the lower level. The Great Pyramid has an entrance leading to a subterranean chamber. This pyramid probably has its counterpart in a cosmic pyramid, most likely the sails of the constellation Argo.

Although the spirals on the disk appear to be flat concentric circles in a two-dimensional plane, the possibility exists they represent height as well, especially considering the evidence offered by the two pyramids concealed on the artifact. The intention might be for the spirals to represent something like this ziggurat above, right.
Cheops has long been claimed as one of the most famous archaeoastronomical sites, and here we see a record of its use. This familiarity with the Great Pyramid might also indicate that the Minoan astronomers knew the pharaoh, which could have been any one of them from Khufu (Cheops) to Merneferre Ai.

Inside the Great Pyramid, two Phaistos Disk pictographs

The astronomers most likely climbed Cheops to view the night sky from the top of the world's tallest building, which would not have helped nearly as much as having a telescope, but it does seem to be a good idea to go up there to get closer since, as a Minoan, you have no idea at all how close or far away are the stars. The Fleece (5) pictograph (the Argonauts in search of the Golden Fleece) at the apex of this pyramid (see disk pyramid above) would seem to indicate a view of the Constellation Argo from the pyramid. The boat (4) and oar (3) to the left of the fleece (or to the right, see above, apex of the pyramid) seem to confirm this, and to the right of the fleece (5) might be a Minyae (6), an oarsman of the Argo. To the left of the oar is a symbol that could be a telescope (2), and certainly looks like one, and to the left of that is the pyramid (1) pictograph. This exact series of identical pictographs in a line segment also occurs at the right base of the pyramid.

(1) (2) (3) (4) (5)(6)

It is tempting, of course, to read these pictographs like a language, but given the four images that appear on crowded side one of the disk--the cave, the two pyramids, and the big star--we have to allow that the pictographs were placed in their respective places in order to anchor these occulted images and were never a language. Linguists will eventually have to concede this, and even Sir Arthur Evans, early on, identified the Phaistos Disk signs as pictographs rather than script. I will take it a step further and say I think they are abbreviated constellations.
To view and be able to portray a perfect image of the constellation Argo on the Phaistos Disk (above right and down below), the Minoans could have made telescopes, and even binoculars (left), using rock crystals with optical quality for lenses. It seems likely that many of these pictographs on the Phaistos Disk represent the stars and constellations viewed through those lenses. The Archaeological Museum in Herakleion, Crete has many such lenses on display, several of them found in a sacred cave on Mt. Ida in Crete (3rd left).
In this cave, King Minos received his instructions directly from Zeus, according to mythology. Perhaps there was a secret cave cult having to do with astronomy. The hoodwink of a robe pictograph (third left) on the Phaistos Disk also resembles the entrance to a cave. The hoodwink might also symbolize rituals held inside the cave, where sacred knowledge was shared but kept secret.
I think the pictographs on the disk are "abbreviated" constellations. The disk is only about 6.25" diameter, a little bigger than a CD, yet contains 240 tiny pictographs (121 one side, 119 the other), 37 of which are repeated to produce geometric designs. To put 48 constellations on something this small would require that some of the pictographs of constellations be "abbreviated," which would make these pictographs, already difficult to define, even more challenging. For example, the entire constellation Taurus might be represented by the bull's foot on the disk (left) or all of Capricorn could be represented by the horn (left).
The constellations were significant to the Minoans, who are credited for identifying and naming our constellations. They only needed a small part of the constellation in order to identify it. A pictograph that made perfect sense to the Minoans and was immediately recognizable by them might make no sense to us at all. Furthermore, while the number of constellations, 48, still remains the same and is the number of unique pictographs on the Phaistos Disk, the Minoans may have drawn the constellations differently or the constellations may have evolved into something quite different over time. Constellation Canis Major, right, is revealed by connecting the four Boat pictographs on side two.
Based on the intimate knowledge of the Great Pyramid, both inside and out, preserved on the Phaistos Disk, I think the Minoans' observations at the Great Pyramid of the circuit of Sirius could have helped them create their own unique calendars.

GOD OWNS THE PHAISTOS DISK

MINOAN CALENDARS

Long after the Phaistos Disk was created, the Greeks gave the name Helios to the god of the measurement of time. He had several sister goddesses called Horai. (right) They were goddesses of the cycles of Time, presiding over the revolution of the circling constellations by which the year was divided and measured. They were honored by farmers, who would hoe the ground, plant and tend their crops according to the location of the stars in the skies. (The Horai, right, hold pomegranates/stars, and left on the disk.) The passing seasons were measured by the position of the stars. Because the Horai surrounded and attended the throne of Helios, this method of timekeeping is a heliocentric horai-scope or horoscope, meaning to observe time or the seasons.
When all these matching pictographs of pomegranate/stars are connected with lines on side one of the Phaistos Disk, a constellation is revealed, the constellation Argo. This pomegranate/star pictograph (above left), in association with the Horai, might therefore be a reference to timekeeping as well.

Modern map of the constellation Argo

Constellation Argo with mooring and oars on the Phaistos Disk
Minoa's Ark?

This method of keeping "star" time might point to the Sothic calendar, (see below) a wide-spread Egyptian method of keeping time by tracking the star Sirius instead of the sun. The matching shield pictographs, also on side one, (left) when connected with lines reveal a pentagram inside a heptagon, perhaps the star Sirius surrounded by the seven planets. This might strongly indicate the Minoan use of a Sothic calendar.

Star Sirius and 7 Planets, Phaistos Disk

MINOAN LUNISOLAR CALENDAR

If the two sides of the Phaistos Disk have application as Minoan integrated calendars, taken together they might be a Lunisolar calendar with 12 months and, every two years, the periodic intercalation of a 13th month, the interlinking line segments. Side one, the solar calendar, keeps track of the three seasons, each of four months duration, along the 12 line segments of the outer edge. A count of the daylight hours or divisions of each day could also be kept on this side of the disk, counting 12 divisions/hours along the outside edge with the 12 months and the seasons of the year.
Side two, the lunar calendar, keeps time in lunar months (moonths), a moonth being the time between each of the four phases of the moon - new, waxing, full and waning. The lunar calendar has 12 moonths of 30 days for a 360-day year. The first moonth and new year might begin in the summer on the heliacal rising of star Sirius in 1700 BCE, approximately the equivalent of our July 1. (Alternately, the Minoans may have had 30 months of 12 days – the 30 line segments each side, 12 of them on the outside spiral. Every two years the 13th month would occur and it would be only 2 days shorter than the others.)
The combined Lunisolar calendar might have worked this way; one month solar, one month lunar, moving from to side to side of the disk, until 24 months had passed, at which time the intercalary or 13th month would begin the biennial festival of Dionysis in Minoan Crete in which the drama of his life was re-enacted.

ZODIAC STELLAR CALENDAR

Side two might also contain a zodiac stellar calendar based on star groups. The star groups might be arranged in groups of 12, along the outer edge in the same location as the lunar months. These might be the 12 constellations we are familiar with today, which come to us from Greece, and also would include 18 more spiraling out from the center of side two, for a total of 36 groups or decans, each one rising above the dawn horizon for 10 days, totaling 360 days. On side two, the star groups spiral into the center as they begin their move into the underworld of Tartarus/Hades (go below the horizon) for 70 days/signs before they appear again.
With the addition of a 10 day intercalary month every two years, a 365-night stellar year can be accounted for. Observation of the movement of star groups would let the Minoans tell time at night because the decans would rise 40 minutes later each night. When reckoning time at night, only 12 decans (and annual divisions) were used (our signs of the zodiac), although 18 were taken into account, those in the center of the disk, side two.
Set all the calendars to the first sighting of Sirius each year to keep them current. The Sothic (Sirius) year lasted from one sighting of Sirius in the dawn of a new year until the next year on the same day. With these calendars working together, with Oceanus (the wave spirals below) connecting all these calendars together, and thus all time, in a neverending wave spiral, infinity is accounted for, and this may account for the infinity symbol created by interlocking both sides of the disk and may also imply the meaning of the Minoan wave spirals in architecture.

The integrated calendars may not have worked this way, but if we wanted to keep time in all these different ways we could if we had the Phaistos Disk. Another calendar possibility would be a Minoan Sothic Calendar with a 366-day year.

THE MINOANS

MINOAN SOTHIC CALENDAR

Sothic is the Greek word for Sirius, which the Egyptians called Sopdet or Sopdu. A Minoan calendar/Phaistos Disk would be unique in that it may have solved the problem of keeping accurate time when tracking star Sirius.
Sirius rises with the sun on about the same day every year, July 19th. Just like we add one day in February every leap year to make our calendar and our sun work in conjunction, the Egyptians added 5 days at the end of their year and tracked the movement of a star rather than the sun. The star's movement is so close to that of the sun that the star calendar worked the same as a sun calendar. One is a lunar calendar and the other is a solar calendar. And just like night follows day, the Egyptians and perhaps the Minoans had calendars with solar months and lunar months.
All Sothic calendars were known to have 12 months of 30 days. Some Sothic calendars may have had 30 months of 12 days. That presented the timekeepers with a problem -- a year of 360 days -- so they had to add 5 days at the end of the year to have a 365-day year so that the calendar would work right.
The Egyptians had a whole mythology that went with these 5 extra days, which were festival days in Egypt and perhaps Crete, when the birth of these gods was celebrated. With the extra 5 days added, the Egyptian Sothic calendar would start again the following year on or about the same important day -- the heliacal rising of Sirius -- July 19th or 20th, the day the star first rises with the sun. But the Sothic cycle was 1468 years because that is how long it takes for the calendar to recoup that day that was lost every 4 years from having a 365 day year.
How the Phaistos Disk comes into it is this: the Phaistos Disk may be a Sothic calendar that keeps accurate star time, and it may be the only physical one in existence. There may be something unique about this Sothic calendar. Instead of having 12 months of 30 days, it may have alternating months of 30 and 31 days, (counting the connecting line segment as a day of the month rather than an intercalary month) more like our calendar than like the Egyptian calendar. Around the outside edge of the disk are the 12 solar and the 12 lunar months. This is how one knows which month we are in when using this calendar. The solar months have 31 days and the lunar months have 30 days. The 2-sided disk/calendar represents a two-year period, at the end of which was held the festival of Dionysis in which is life was celebrated.
This method of keeping time is incredible if you consider what is known about Sothic calendars. It means that the Minoans may have figured out how to adjust a Sothic calendar so it kept proper star time and avoided the "Sothic cycle" of 1468 years.

MINOAN 366-DAY YEAR

If you look at our calendar you see something odd about it. The months don't alternate 30 and 31 days every time, and February has only 28 days. Then, every four years we add a day to make up for the fact that our year is really 365 and 1/4 days, and that ends our cycle. But since our sun rises each and every day and since our calendar is only off by a 1/4 of a day each year, we are unaffected by that as long as we correct periodically.
The Minoans may have taken exactly the same approach. The difference is, while the Egyptians had years of 360 days and we have years of 365 days, the Minoans may have had years of 366 days. Rather than add 5 days at the end of the year and then have a calendar that rights itself every 1468 years, the Minoans had alternate months of 30 and 31 days, and then they subtracted a day at the end of every two years. That kept them within a 1/2 day of accuracy. The heliacal rising of Sirius would always occur for them on or about July 1. At the end of 4 years they subtracted 2 days, and that ended their cycle. Their lunar months of 30 days followed their solar months of 31 days. Then, instead of adding 5 festival days at the end of the year, like the Egyptians and their civil calendar, they celebrated them as festival days that occurred for them at the beginning of their year with the heliacal rising of Sirius, and every 2 years they held the festival of Dionysis.
By this subtraction method of timekeeping, the Minoan calendar was simple and correct. This would have given them a huge advantage over the rest of the Aegean world and would explain in part their fantastic civilization. Their calendar was always a little ahead instead of a lot behind. Additional to their world-view might have been this grand idea that when we command the power of Time, we can reinvent the world.

KHNUM RA

THE RIDDLE OF THE STONE

Minoan astronomy may have taken into account the position of the planets and given birth to classical astronomy. The seven dots within the shields of the disk form a hexagon and might represent the seven planets known at that time, including the sun and the moon and excluding Earth; they are Saturn, Jupiter, Mars, Mercury and Venus. A round shield nearly identical to those of the Phaistos Disk is seen on the Riddle of the Stone, also known as the Vitriol Acrostic (below), which alchemists, after the 16th century, held in "superstitious reverence." (John Read, F.R.S., Through Alchemy to Chemistry)

On the Riddle of the Stone, also a good name for the mystery attached to the Phaistos Disk, are various symbols for the seven planets. Top left are seven small circles representing the seven planets; top center are seven symbols, one for each planet; and at the bottom are various shields. Nearly identical to the shields on the disk is the round shield, bottom left, within which are seven dots of hexagonal arrangement representing the seven planets. To the right of this shield is the seven-pointed Hermetic Star, each of the seven points representing one of the seven planets.

The round shield to the right of the Hermetic Star contains the Ring Cosmos and Ring Chaos of Ring-Pass-Not (limits the spread of the fiery cosmos) and symbolizes the Limit of the Hebdomad, the material universe of the seven lower spheres or planets. The two outer shields of the Riddle of the Stone contain alchemical symbols in the form of mythical beasts connected by chains. They symbolize the planets as being "living creatures having bodies fastened by vital chains," which hold them to the "appointed task of their orbits," (Plato, Timaeus) an idea I see expressed on the Phaistos Disk pent/hept design in the way the outer shields are connected by the lines of the heptagram.

STAR AND PLANETS - HERMETIC STAR

These designs from much later on in history seem related to the Phaistos Disk pent/hept pattern. Top left, Keys in the Enochian Language by John Dee (16th c. CE); second from left, Osiris altar, Hermetic Order of the Golden Dawn, 20th c.; third from left, ceiling of the tomb of Christian Rosenkreuz, 18th c. CE, Roscicrucian; fourth from left, Phaistos Disk Pictograph; bottom left, floor of the tomb of Christian Rosenkreuz, 18th c. CE, Roscicrucian; second left, Keys in the Enochian language, geometry design, third left, star of the Phaistos Disk.

SOLVE THE MAZE

Above is an artist's representation of disks and Figure 8 Shields in Palace of Minos, Knossos, Crete, Bronze Age (The Palace of Minos, Sir Arthur Evans).
Left is a vase from Knossos dated 1500 BCE that displays Figure 8 Shields. The top of the vase is ringed with disks. Beside this vase is the same vase onto which I have super-imposed the Phaistos Disk, its two sides placed side-by-side, the connecting line segment highlighted.
The shields on the original vase appear to be composed of two disks. Each disk is filled with dots that might represent pictographs on the Phaistos Disk, and the disks are joined by a connecting line path. I wonder if the artist who made the Phaistos Disk also made this vase? If not, then perhaps this design, so carefully preserved by the Phaistos Disk, represents a legendary shield or maybe it represents the Phaistos Disk itself.
Below is the Phaistos Disk that I traced as exactly as I could and then created gif transparancies of the disk. I added a drag and drop script to this web page so that these two images are dragable. The two sides of the Phaistos Disk, placed side-by-side this way, appear to be a type of maze.
The solution to a maze is the uninterrupted path through an intricate pattern of line segments from a starting point to a goal. The disk has a combined 60 line segments and 2 large spirals, each with 5 levels. The starting point of this maze is the center of Side A (top disk with flower at the center), the goal is the center of Side B (bottom disk with wave at the center). To solve the maze, find the uninterrupted path through the line segments of all the spirals, from A to B and back.

OUT OF THE LOOP? SOLVE THE PHAISTOS DISK MAZE AND GET BACK IN

I believe the Phaistos Disk is a Bronze Age record of the ancient religion we now call Hermeticism. One side of the disk is Ba and the other side is Ka. Joining them together at the connecting line segments producs La, or the union of Ka and Ba. This union creates immortality represented by infinity or the figure 8. We see this figure 8 represented in art throughout the Minoan civilization, especially in their Figure 8 Shields. This entire civilization, like the Maya, considered themselves to be immortal.
Before reading the solution, notice that the images above are dragable and take a clue from this Phaistos Disk pictograph of a bald man with the figure 8 on his cheek (astronomer-priest). An astronomer-priest would know about infinity.

The Minoan wave spirals (see below) are created by moving from the center of Side A and crossing over to the center of Side B and back via the 4th level spirals on both sides. The matching connecting line segments direct the movement from Side A to Side B but also prevent travel in the outer spirals on either side. To see the Minoan Figure 8 shield and incorporate those spirals, merge the two sides of the disk by overlaying the perfectly aligned connecting line segments. To achieve this, drag the bottom image onto the top image and overlay the connecting line segments. Now all the spirals are connected and the movement of the figure 8 shield is discovered.
Start at the center of Side A and trace the spiral around to the 4th level, cross over to the outer spiral on Side B, cross from that outer spiral to the outer spiral on Side A, cross from the outer spiral on Side A into the 4th spiral on Side B and travel to the center. Then make the same journey in reverse, each time creating the movement of a figure 8.

To emphasize the spirals, I erased the pictographs from the disk, leaving only the spirals and line segments. Then I placed the two sides together at the matching line segments.

Wave spirals and Figure 8 shields in the art of Minoan Crete.

Now you can see how to start at the center of side one, the side with the flower in the center, and trace the spiral around to the 4th level, cross over to the outer spiral on side two, cross from that outer spiral to the outer spiral on side one, cross from the outer spiral on side one into the 4th spiral on side two and travel to the center. Then make the same journey in reverse, each time creating the movement of a figure 8.

The two sides of the disk connected create a flowing figure 8 wave spiral that moves uninterrupted from the center of one side of the disk to the other and back again and incorporates all parts of the spiral. In the horizontal position, it creates a Minoan wave spiral. In the vertical position, it creates a Minoan figure 8 shield (right). (Left, Minoan pottery with geometric orientation - wave spirals and figure 8 shields.)

Click to see Minoan wave spirals ceiling design with 8-petaled flower at the center
(as seen on side one of the Phaistos Disk).

PHAISTOS DISK PATTERNS COMPLETE THE HOLY TRINITY OF EARLY ASTRONOMY - SIRIUS, ARGO NAVIS, THE PLEIADES

8 Side B

According to ancient beliefs, the axis of the universe is the Pleiades in Taurus. The idea is that our bodies are somehow intimately connected to a point far away in space, in the Taurus constellation of the bull. Did these astronomers use the lion to create an image on the Phaistos Disk of the Pleiades? If they did, perhaps it comes from the Egyptian lion goddess Sekhmet, the inference being the Pleiades are goddesses. We know the Pleiades as the Seven Sisters but perhaps the Egyptians and Minoans deified them so they were the seven goddesses, or eight goddesses as there are eight lions on this side of the disk. The Pleiades on the Phaistos Disk completes the ancient astronomy holy trinity of Sirius, Argo Navis, and Pleiades.

THE PHAISTOS DISK SPINNING

PHAISTOS DISK PICTOGRAPHS - UNIQUE RAISED STAMPS
Including Pictograph Drawings by ARTHUR J. EVANS, M.A., F.S.A.
Keeper of the Ashmolean Museum, and Hon. Fellow of Brasenose College, Oxford

The pictographs below are exact tracings by me of the pictographs on the Phaistos Disk, and apparently I am the only person to ever do this. Before I began working on the disk I traced each pictograph because the only other pictograph images I could find were Sir Arthur Evans' freehand drawings of the pictographs, which obviously he did in a hurry. But Evans did not have the advantage of a copy machine and I did. I duplicated each pictograph tracing the number of times it appeared on the Phaistos Disk, and then I taped each one onto my tracing of the disk spirals, to pinpoint their exact locations. Because each repeated pictograph on the Phaistos Disk was (supposedly) made by a clay stamp and is supposed to be exactly identical, the only way to exactly duplicate the disk is by using a copy machine to duplicate each pictograph. Much later on I enlarged the Phaistos Disk to study the pictographs more closely and saw they are not identical but are only intended to seem that way. Instead, they are matching. I include Evans' pictographs drawings below, to the left of each one that I traced.

Exact Tracings With Suggested Definitions
Including Their Number of Occurrences and their Positions on the Phaistos Disk
Position = location of the sign on the disk
Segment = the line segment in which the sign occurs
Both are relative to the center of the disk spiraling out, A = side one, B = side two
Click the text links to see the Argotypes (Arktypes, Ships of the Sky, Constellations)

4 Flower Island of Crete Heliacal rising of Sirius The number One, Geometrical point within the circle 8-petal flower at center of wave spiral on ceiling (see link above) 8-petal Flower of Life guarded by goddess Mut, Egyptian limestone relief 3 Side A Positions - 1, 13, 76 Segments - A1, 4, 19 1 Side B Position - 72 Segment - B19 As Above, So Below Watch the geometry flip The hood of the initiate looks up, then down	2 Man with Shaved Head Figure 8 on the cheek Daedalus, Icarus Astronomer-Priest 2 Side A Positions - 2, 14 Segments - A1, 4 0 Side B Points connected by a line	4 Oar of the Argo 3 Stars in Argo that make the Oar, Aspidiske and Markeb 4 Side A Positions - 3, 15, 46, 71 Segments - A1, 4, 11, 18 0 Side B Wings of Icarus
11 Evans gave his runner a little something extra. Constellation Herakles/Hercules Runner Mural, Knossos 6 Side A Positions - 4, 19, 41, 66, 84, 118 Segments - A2, 6, 10, 17, 20, 30 5 Side B Position - 51, 60, 71, 88, 94 Segment - B14, 16, 19, 23, 24 Constellation Taurus	6 Evans really modified this pictograph. Spindle 3 Side A Positions - 5, 20, 119 Segments - A2, 6, 30 3 Side B Position - 44, 89, 95 Segment - B12, 23, 24 Acute Triangle Isosceles Triangle	2 Evans may have pointed this pictograph in the direction that made sense to him. As Above, So Below House of the God Ja-Wa 2 Side A Positions - 6, 56 Segments - A3, 15 0 Side B Points connected by a line
4 Evans must have thought this pictograph was a papyrus. Thistle or Thyrsi 2 Side A Positions - 7, 57 Segments - A3, 15 Diameter 2 Side B Position - 85, 109 Segment - B22, 28 Points connected by a line	11 Five-Branched Tree 5 Side A Positions - 8, 16, 57, 85, 90 Segments - A3, 5, 15, 21, 22 Envelop 6 Side B Positions - 9, 29, 58, 66, 79, 111 Segments - B3, 8, 15, 18, 21, 29	15 Golden Fleece 10 Side A Positions - 9, 10, 30, 34, 47, 58, 59, 72, 99, 103 Segments - A3, 3, 9, 9, 12, 15, 15, 19, 24, 25 The Inner Plane 5 Side B Positions - 35, 52, 74, 104, 114 Segments - B9, 14, 19, 27, 29
17 Evans did not orient the shield to the hexagonal pattern. Shield of the 7 Planets 15 Side A Positions - 11, 21, 23, 35, 39, 51, 60, 64, 79, 88, 95, 100, 106, 114, 120 Segments - A3, 6, 7, 9, 10, 13, 15, 16, 19, 21, 23, 25, 26, 29, 30 Star Sirius with 7 Planets and the Moon 2 Side B Positions - 100, 118 Segments - B26, 30 Points connected by a line	19 Minyae Crested Dancer 14 Side A Positions - 12, 22, 36, 40, 48, 52, 61, 65, 73, 80, 89, 96, 107, 121 Segments - A3, 6, 9, 10, 12, 13, 15, 16, 18, 19, 21, 23, 26, 30 Cave of Zeus Spinning World-Disk 5 Side B Positions - 11, 54, 78, 110, 119 Segments - B3, 14, 20, 28, 30 Octahedron	3 Evans may have seen this as the intersection of a road. Adjacent Angle 3 Side A Positions - 17, 26, 86 Segments - A5, 9, 21 Obtuse Triangle
9 Telescope 5 Side A Positions - 18, 44, 53, 69, 77 Segments - A5, 12, 14, 18, 19 In and Out 4 Side B Positions - 4, 24, 98, 108 Segments - B2, 6, 25, 26 Illusion	6 Constellation Capricorn Horn 5 Side A Positions - 24, 37, 49, 62, 91 Segments - A7, 10, 13, 16, 22 Flip it 1 Side B Positions - 77 Segments - B20	5 Constellation Aquila Winged Disk, Vulture 5 Side A Positions - 25, 38, 50, 63, 92 Segments - A7, 10, 13, 16, 22 Flip it again 0 Side B
1 Did Evans think this is a UFO? A Star 1 Side A Positions - 27 Segments - A8 0 Side B	12 Evans may have used a straight edge to draw this pictograph. Pyramid 6 Side A Positions - 28, 31, 43, 68, 93, 117 Segments - A8, 9, 12, 18, 23, 30 Palace in the Desert 6 Side B Positions - 13, 23, 30, 63, 87, 97 Segments - 4, 6, 8, 17, 23, 25 Where We Study Stars	4 Goddess Rhea 2 Side A Positions - 29, 94 Segments - A8, 23 2 Side B Positions - 10, 59 Segments - B3, 15 Rise Above It
3 Constellation Corvus 2 Side A Positions - 32, 78 Segments - A9, 19 Points connected by a line 1 Side B Positions - 57 Segments - B15	2 A yoke at the least, but it seems Evans saw breasts. Astronomy Glasses Binoculars 1 Side A Positions - 33 Segments - A9 1 Side B Positions - 64 Segments - B17 Winged Disk	2 Evans perhaps recognized it as a bull's foot but drew it facing the wrong way. Constellation Taurus Bull's Foot 2 Side A Positions - 42, 67 Segments - A11, 17 Points connected by a line
7 Constellation Argo 2 Side A Positions - 46, 71 Segments - A12, 18 5 Side B Positions - 3, 32, 73, 83, 105 Segments - B2, 9, 19, 22, 27 Open and Shut	6 Evans drew this as a Sawfish. Constellation Pisces Sharp-Snout Fish 2 Side A Positions - 54, 90 Segments - A14, 26 4 Side B Positions - 55, 61, 92, 103 Segments - B15, 16, 24, 26 Sharp-Snout Fish	1 Evans apparently identified this pictograph as a bow. Constellation Cancer Nile Crab 1 Side A Positions - 74 Segments - B18 0 Side B
4 Evans modified this pictograph to a type of trident. Grass 1 Side A Positions - 75 Segments - B18 3 Side B Positions - 14, 56, 93 Segments - B4, 15, 24 Scalene Triangle	18 Pomegranate/Star Starseed Evans perhaps saw this pictograph as a woman's breast. 3 Side A Positions - 79, 87, 97 Segments - A20, 25, 28 Acute Triangle 15 Side B Positions - 1, 7, 12, 18, 25, 26, 28, 31, 37, 41, 48, 82, 90, 112, 115 Segments - B1, 3, 4, 5, 6, 7, 7, 8, 10, 11, 13, 21, 23, 29, 30 Constellation Argos	6 Daedalus Wings of Icarus 3 Side A Positions - 97 Segments - A24 Right Triangle 3 Side B Positions - 75, 80, 118 Segments - B20, 21, 30 Obtuse Triangle
2 Roll-Up 2 Side A Positions - 81, 85 Segments - A20, 21 Points connected by a line 0 Side B	5 Dactyloi 1 Side A Positions - 97 Segments - A24 4 Side B Positions - 17, 36, 45, 47 Segments - B5, 10, 12, 12, 13 Cone	1 Stylized Pig, A Star 1 Side A Positions - 98 Segments - A24 0 Side B
6 Tsunami Wave 2 Side A Positions - 102, 112 Segments - A25, 28 4 Side B Positions - 2, 27, 42, 113 Segments - B1, 7, 11, 29 Volume	1 Evans removed the shield this warrior is holding and portrayed him as a captive instead. Very early concept of Zeus Constellation Orion Could be the signature of the artist of the disk, whose name might mean "Hand Shield," like King Pacal of the Maya 1 Side A Positions - 106 Segments - A26 0 Side B	1 Evans omitted this pictograph. Constellaton Canis Major Dog Scratching 1 Side A Positions - 108 Segments - A27 0 Side B
10 Constellation Leo Lion, Goddess 2 Side A Positions - 109, 112 Segments - A27, 28 8 Side B Positions - 6, 20, 39, 43, 46, 50, 62, 70 Segments - B2, 5, 10, 11,12,13, 16, 18	1 Evans did not distinquish between these two pictographs. Constellation Canis Minor Dog 1 Side A Positions - 110 Segments - A27 0 Side B	6 Evans gave the second level four sections instead of three. Palenquin Pasiphae's Bed? Minoan Palenquin, Knossos Fresco 1 Side A Positions - 116 Segments - A29 5 Side B Positions - 22, 68, 69, 81, 102 Segments - B6, 18, 18, 21, 26
2 Evans seemed to think this pictograph is a bug. Sacred Ivy Sacred Ivy from a mural at Knossos 0 Side A 2 Side B Positions - 5, 34 Segments - B2, 9	2 Evans omitted this pictograph. Hoe 0 Side A 2 Side B Positions - 8, 33 Segments - B3, 9	1 Evans gave the ram an ear and omitted the nose. Constellation Aries Ram 0 Side A 1 Side B Positions - 15 Segments - A4
2 Sacred Cave Entrance Hoodwink of a Priest's Robe 0 Side A 2 Side B Positions - 16, 53 Segments - B4, 14	4 Evans saw this pictograph as an olive branch. Plant 0 Side A 4 Side B Positions - 19, 38, 49, 76 Segments - B5, 10, 13, 20 Symmetry	6 Gauge 1 Side A Positions - 33 Segments - A9 5 Side B Positions - 21, 40, 86, 106, 117 Segments - B5, 10, 22, 27, 30 Pyramids
2 Shell, Trumpet 0 Side A 2 Side B Positions - 65, 99 Segments - B17, 24	2 Constellation Aquarius 0 Side A 2 Side B Positions - 67, 101 Segments - B18, 26	1 Evans did not count the 20 inside dots. Milky Way Half Moon 0 Side A 1 Side B Positions - 84 Segments - B22
1 Axe Typhon's Hatchet Labrys or Labyrinth (Maze) also meant "Axe" 0 Side A 1 Side B Positions - 91 Segments - B22	1 Evans did not count the 20 dots inside the triangle. Volcano 0 Side A 1 Side B Positions - 96 Segments - B23	1 Constellation Gemini Divine Child 0 Side A 1 Side B Positions - 107 Segments - B28