Linda, You did the right thing getting out of that place. This Thoth is nothing to mess around with. An extremely strong presence. He won't touch me however. Ask yourself why that is. Could it have something to do with my 'abilities' and that room? But I'm here to tell you I can sense the energy signature a mile away. Another "ability" perhaps? Well, what matters is that this Thoth energy that is so strong that is out there is being recognized for what it is. Pure evil! And don't get me started on Ptah! Another one! However he is long gone, and not a threat anymore.
Now many of these ritualistic Covens will try to call on Ptah, but they are only tapping into the Thoth energy stream I revealed earlier in this thread. Which is bad enough. Disguised as Ptah perhaps but is Thoth for sure.
so I'm going to get back on track for now, and get back to some of these ritual tools of the "trade" and their use. For the purpose of discovering their meaning and the ultimate goal within the dark so called secrets of the mysteries of Egyptian Folklore.
Lets start of with this handy little tool found in Tutankhamen's tomb
Daggers were used by the ancient Egyptians from predynastic times onwards,
though examples dating from the Old Kingdom are exceedingly rare.
During the Middle Kingdom and the New Kingdom they were generally made
of copper or bronze; gold, apart from its use for purposes of
embellishment, was probably reserved for royalty. Queen Ahhotpe, mother of Ahmosis I,
the founder of the Eighteenth Dynasty, had, in her funerary equipment,
a solid gold dagger and sheath, both of which are now in the Cairo
Museum. Tutankhamun's mummy was provided with two daggers encased in
gold sheaths, one with an iron blade and the other with a blade of
hardened gold. It is the latter specimen which is shown here.
As an illustration of the goldsmith's artistic ability and technical
skill, this dagger, and particularly its sheath, are among the
outstanding pieces of the collection. On the top of the pommel are the
king's cartouches in applied embossed gold and a wreath of
lily-palmettes in cloisonne work. On the underside are two figures of
falcons holding in each claw the hieroglyphic symbol for 'eternity'
(shen). The falcon was often represented in Egyptian art holding this
symbol and, with wings outstretched, protecting a king. Probably it was
intended to serve an amuletic purpose in this instance also. A similar
motif appears on the haft of a dagger in the Metropolitan Museum which
bears the name of Tuthmosis I
and it may have been a characteristic feature of royal daggers at this
period. Below the pommel, the haft is decorated with alternate bands of
geometric designs in granulated gold work and lily palmette designs in
gold cloisonne work of semi-precious stones and glass, a central band
of minute red and blue circular disks breaking the regularity of the
palmette ornamentation. At the base of the hilt, applied in gold wire,
is a band of continuous spirals within a rope pattern border, thus
conveying to the eye the suggestion that the haft is bound to the blade.
In striking contrast with the ornate haft, the decoration of the
blade, which is tinged with red, is simple. At the top, incised on both
faces, is a plain horizontal band, which also suggests a tie, over a
design consisting of a diamond pattern chain bordered beneath by two
horizontal lines, the spaces between the diamonds being filled with
dots. Under this frieze is engraved an elegant palmette with poppies
surmounting two perpendicular grooves which converge at the base and
resemble floral stems.
The obverse of the gold sheath is almost entirely covered with a
feather pattern decoration in cloisonne work, relieved at the top by a
palmette frieze and at the pointed base by a jackal's head. Of far
greater interest is the elaborate design on the reverse. First comes a
line of inscription reading: 'The Good God, possessor of a strong arm,
Nebkheperure, given life'. A row of continuous spirals follows and then
two loops of palmette design, by means of which the sheath was attached
to the girdle. The main scene, embossed in high relief, is composed of
the following elements: an ibex attacked by a lion, a calf with a hound
on its back biting the calf's tail, a leopard and a lion attacking a
male ibex from above and below, a hound biting a bull, and lastly a
calf in full flight. Interspersed between the animals are stylized
plants, and a more elaborate floral device occupies the pointed base.
Although there is no reason to doubt that this sheath was made in
Egypt, the decoration of the reverse includes artistic features which
have a foreign appearance. The band of continuous spirals, the style of
the rosette on the shoulder of the second lion, the summary treatment
of the skins of the animals and the floral motif at the base have
parallels in the art of northern Syria at this period and they also
have Minoan or Mycenaean affinities. Scenes of workshops painted on the
walls of private tombs at Thebes sometimes include Asiatic craftsmen at
work side by side with the far more numerous Egyptian artisans; they
were very probably employed on account of their ability to reproduce
artistic styles which were familiar to them but new to the Egyptians.
Like so many other importations in the history of Egypt, however, these
innovations were quickly absorbed and given the general character of
native products.
http://www.touregypt.net/museum/tutl43.htm
Now from the site of a coven that practices ritual magic and their version of this same dagger.........
Copy and paste from the coven site.....
On the active side of the Ceremonial Dagger, a Lotus is
represented with its top pointing outward (on the dagger of king Tut, the Lotus
points inward, toward the hand). This to indicate the use of the Dagger is only
permitted to protect Life, Light and Love, symbolized by the Blue Lotus, never
to operate death, darkness and hatred.
Now notice the use of the Lily, Poppy's and geometric designs. All symbols used in ritual magic. And all for the purpose of "protection for use while traversing to the "underworld". Now at this same site for current use they are designing a dagger for what I'm not too sure..but notice the lily engraved on the blade of this "ceremonial Dagger".........
Now many of these ritualistic Covens will try to call on Ptah, but they are only tapping into the Thoth energy stream I revealed earlier in this thread. Which is bad enough. Disguised as Ptah perhaps but is Thoth for sure.
so I'm going to get back on track for now, and get back to some of these ritual tools of the "trade" and their use. For the purpose of discovering their meaning and the ultimate goal within the dark so called secrets of the mysteries of Egyptian Folklore.
Lets start of with this handy little tool found in Tutankhamen's tomb
Daggers were used by the ancient Egyptians from predynastic times onwards,
though examples dating from the Old Kingdom are exceedingly rare.
During the Middle Kingdom and the New Kingdom they were generally made
of copper or bronze; gold, apart from its use for purposes of
embellishment, was probably reserved for royalty. Queen Ahhotpe, mother of Ahmosis I,
the founder of the Eighteenth Dynasty, had, in her funerary equipment,
a solid gold dagger and sheath, both of which are now in the Cairo
Museum. Tutankhamun's mummy was provided with two daggers encased in
gold sheaths, one with an iron blade and the other with a blade of
hardened gold. It is the latter specimen which is shown here.
As an illustration of the goldsmith's artistic ability and technical
skill, this dagger, and particularly its sheath, are among the
outstanding pieces of the collection. On the top of the pommel are the
king's cartouches in applied embossed gold and a wreath of
lily-palmettes in cloisonne work. On the underside are two figures of
falcons holding in each claw the hieroglyphic symbol for 'eternity'
(shen). The falcon was often represented in Egyptian art holding this
symbol and, with wings outstretched, protecting a king. Probably it was
intended to serve an amuletic purpose in this instance also. A similar
motif appears on the haft of a dagger in the Metropolitan Museum which
bears the name of Tuthmosis I
and it may have been a characteristic feature of royal daggers at this
period. Below the pommel, the haft is decorated with alternate bands of
geometric designs in granulated gold work and lily palmette designs in
gold cloisonne work of semi-precious stones and glass, a central band
of minute red and blue circular disks breaking the regularity of the
palmette ornamentation. At the base of the hilt, applied in gold wire,
is a band of continuous spirals within a rope pattern border, thus
conveying to the eye the suggestion that the haft is bound to the blade.
In striking contrast with the ornate haft, the decoration of the
blade, which is tinged with red, is simple. At the top, incised on both
faces, is a plain horizontal band, which also suggests a tie, over a
design consisting of a diamond pattern chain bordered beneath by two
horizontal lines, the spaces between the diamonds being filled with
dots. Under this frieze is engraved an elegant palmette with poppies
surmounting two perpendicular grooves which converge at the base and
resemble floral stems.
The obverse of the gold sheath is almost entirely covered with a
feather pattern decoration in cloisonne work, relieved at the top by a
palmette frieze and at the pointed base by a jackal's head. Of far
greater interest is the elaborate design on the reverse. First comes a
line of inscription reading: 'The Good God, possessor of a strong arm,
Nebkheperure, given life'. A row of continuous spirals follows and then
two loops of palmette design, by means of which the sheath was attached
to the girdle. The main scene, embossed in high relief, is composed of
the following elements: an ibex attacked by a lion, a calf with a hound
on its back biting the calf's tail, a leopard and a lion attacking a
male ibex from above and below, a hound biting a bull, and lastly a
calf in full flight. Interspersed between the animals are stylized
plants, and a more elaborate floral device occupies the pointed base.
Although there is no reason to doubt that this sheath was made in
Egypt, the decoration of the reverse includes artistic features which
have a foreign appearance. The band of continuous spirals, the style of
the rosette on the shoulder of the second lion, the summary treatment
of the skins of the animals and the floral motif at the base have
parallels in the art of northern Syria at this period and they also
have Minoan or Mycenaean affinities. Scenes of workshops painted on the
walls of private tombs at Thebes sometimes include Asiatic craftsmen at
work side by side with the far more numerous Egyptian artisans; they
were very probably employed on account of their ability to reproduce
artistic styles which were familiar to them but new to the Egyptians.
Like so many other importations in the history of Egypt, however, these
innovations were quickly absorbed and given the general character of
native products.
http://www.touregypt.net/museum/tutl43.htm
Now from the site of a coven that practices ritual magic and their version of this same dagger.........
Copy and paste from the coven site.....
On the active side of the Ceremonial Dagger, a Lotus is
represented with its top pointing outward (on the dagger of king Tut, the Lotus
points inward, toward the hand). This to indicate the use of the Dagger is only
permitted to protect Life, Light and Love, symbolized by the Blue Lotus, never
to operate death, darkness and hatred.
Now notice the use of the Lily, Poppy's and geometric designs. All symbols used in ritual magic. And all for the purpose of "protection for use while traversing to the "underworld". Now at this same site for current use they are designing a dagger for what I'm not too sure..but notice the lily engraved on the blade of this "ceremonial Dagger".........
Last edited by Brook on Thu Dec 23, 2010 6:28 pm; edited 2 times in total
Thank You Carol 
Without you it would take me longer to discover it. But it was a different target 
....... I am sure that you know now.
It is another example how God works in our lives. They are not that smart as I thought and they use the same methods with others. Well, quite primitive methods, but cruel. It is freeing, however, to be aware of it. 
