And so we have sailed the seas and arrived at that moment in Christian Liturgy when it is right before the rebirth of the light. It's Holy Saturday night, just before Midnight and the dawning of Easter and the rising of the Christ. The ceremony thus far has extinguished the old fire, rekindled the new fire and lighted with that the Paschal Candle. But remember, it's dark in the church and in the world to which the church corresponds. All the lights and candles were snuffed on Maundy Thursday. So now the whole flock of bishops & priests & deacons & subs & acolytes like Iwojima and Skippy, they all line up with the altarboy Thurifer leading and wildly swinging the incense burner to spread the smoke and cast out demons from the surrounding darkness. They start from the rear of the church and one by one the procession lights his own individual candle from the Paschal Candle while for the 1st time the Priest intones in a low voice: Lumen Christi. And everybody in the joint responds back in a low voice: Deo Gratias. They creepy-crawl up the knave and stop in the Apse where the vertical meets the horizontal and the Priest intones, for the 2nd time, in a higher tone of voice: Lumen Christi. And the assemblage responds in a Mirror Neuron mimicry of the higher tone: Deo Gratias. Finally they reach the Altar where the Priest stops for the 3rd time and now shouts it out in a loud and aggressive tone: Lumen Christi! And all the little people shout it back into the heart of the Shekhina: Deo Gratias! Light of Christ! Thank god. Then they light all the right candles for the rest of the ritual and then turn on lights in the church.

Above, is the American researcher Martin Brennan's conception of what Newgrange looked like when it was first built around 3200 BC. There is no mistaking Brennan's conception of the Mound at Brú na Bóinne as Presenting a Female Attitude as well as a Female AOA. Brennan, like Skippy, and many other Etics, are not satisfied with the purely functional explanation of these Neolithic structures: they are Tombs and they are Astronomical Observatories, as well as cool places for people to gather to celebrate some kind of ritual, or liturgy. Yes, we all say, they are clocks, calendars, and tombs. But Brennan and others say that they are also Wombs. Tomb and Womb are the polar oppositions of life and such oppositions are nearly always marked and celebrated at the same topos, temenos, and time. Ritual brings Opposites together as it must, to create Unity. Here it is in Plain Text - with only the alphabet as a Cover Text - Newgrange is a Womb. It's a Cosmic Sex Organ. Newgrange is what the Etics call an Earth Cunt when the digging's done for the day and they're all sucking Guinness in McDaid's Pub in Dublin or punching tourists out at the Temple Bar. Anyone who has taken a class or an interest in Primatology looks at the drawing above and says: Presentation. Rump-Proferral. When the Female Primate invites the Male Seed, she hunches up as if she were wearing High-Heel shoes and sticks her ass up in the air so as to present the pussy to the male. I think that's probably decrypted enough. Brennan, in his book The Boyne Valley Vision presents his case like this: "The basic premise of the following remarks is that the spatial arrangement of Newgrange symbolizes the Cosmos, demonstrating its governing laws. The interpenetration of 2 opposing forces - Spirit and Matter - is fundamental to this structure. The union of these forces constitutes the Universe." Yin/Yang. You and your Tantric Other. "It is possible to interpret Newgrange as a symbol of this union. The moment of creation, the sexual union of male and female, heaven and earth, spirit and matter, is depicted in one stroke on the day of the winter solstice." Newgrange is the inviting Womb, the Shekhina as the Visible organ of regeneration. Sky Father - Earth Mother. The second oldest Faith of Man as man developed and periodically reimagined the Mask of God. These are the reasons for the Phallic Festivals tying themselves to the story of the Sun. These are the reasons that Sex Acts always follow the relighting of the sacred fires. People used to fuck in circles like Pooler and Savitri Devi because by doing so they were Nourishing the Cosmos and not just answering a need. Newgrange is the Womb of the World - poised exactly, aligned perfectly, to accept the first Divine Seed of the Reborn Sun as it Rises from the Underworld. Light is Male. Earth is Female. They fuck like rabbits if you provide them with Sex Organs. And that, in a nutshell is the purpose of religions. To provide the Cosmos with the means of Regeneration. The cold earth, which has lain dormant thru the frozen winter, now receives the warmth and the seed and life returns to the Middle-World. Christ is the Seed in Christianity. Pan used to do it for the Greeks but Jesus put a hit out on Pan. And so the world turns.

"That you too may see something you've not seen before," Rizzoli wrote, right across the top of the Rendering. He called this Architectural Drawing: "The Primalglimse at Forty." Because that's how old Rizzoli was when the Queen of Mysteries - Sex - was revealed to him. It was April 12, 1936 and he was 40 years old and living with his mother. Since he seldom spoke unless he was spoken to - classically autistic - no one had ever gotten around to telling Rizz about Sex. So he had only vague, instinctual gnosis and the slender, steganographic information which his culture then provided did little to connect the dots. And then - on Easter Sunday - he saw the genitalia of a 3 year old neighbor girl who was playing next door. ALLELUIA! The light came on. That night he wrote in his obsessive journals: "Hold everything! How the heart throbbed puzzlingly trying desperately to escape thru . . . at the thought that at the old age of 40 one should finally get a glimpse of the Veeaye." Rizzoli was possessed by the need to do "Narrative Architecture." He ensouled his fantasy buildings. His Opus was the "Conversion of the Soul into objects of monumental character." For days after his Easter Epiphany he did Renderings in Architecture of the Moment of his Transfiguration. Finally he came up with the drawing on the left - his concretization of the primal glimpse. It is obviously Phallic but it sports an Honest Yoni also. It has what appear to be Testiculos and they are bene pendentes. Look at the contrasting shapes to the ascending series of vitraux - of stained glass windows. Their asymmetry creates an emergent figure of a Serpentine form crawling up the edifice. On one of the preliminary drawings for this Rendering Rizzoli wrote in perfect blue-print block script: "The more we feel that when you have seen her you have seen everything." And to announce the sketch: "In the face of present day society being unable to accord us the privilege of seeing the veeaye we have sketched hereby our impression of what a chastely view of the feminine form would leave upon our minds." On a scroll philactery: "We feel there's no substitute for honest truth." At the bottom of that prelim, where the delineators are recorded, Rizzoli wrote: That Phallism May Be Revived. And on the plinth of the bottom stair which leads to the Yoni he scribed: Perpetual Virginity for Perpetual Youth.

I'm sure that the "V" the Krew is flashing must be for Victory. Once we hit the "On" switch there was a deep rumbling sound from somewhere beneath the hellish sod and then a sudden "pop" - like a Mercury Vapor Transformer & Voila - the Miskan did a Brú and "burst forward" into light. Skippy caught the moment exactly in this shot. Slag bleeds on his knee to baptize the spike and everything is all right between Heaven and Earth. And after the Lumen Christi, the last part of the Holy Saturday Night Ritual takes place: The Blessing of the Baptismal Water within the Sanctuary. After the Epistles and the reading of Genesis and while the Litany of the Saints is being sung, the entire Procession winds its way back to the Baptismal Font. There are prayers and responses to prayers and now the Celebrant puts his Blessing Hand in the font's waters and "divides the water in the form of a Cross" while asking Yahweh to "render this water fruitful for the regeneration of men." Unclean spirits are cursed and driven away. The Priest makes the Sign of the Cross 3 times over the water and calls the water "creature." Then he divides the water again and throws some of it to the north, south, east and west and thanks god for the miracle of Moses who brought forth water from the Rock and for the miracle of Christ who changed the water into Wine at the Wedding Feast of Cana. Then he breathes 3 times upon the surface of the water in the form of a Cross. Then comes the Christian Sex Act which models the Human Sex Act: the Celebrant dips the lighted Paschal Candle just a little into the water and sings to the Shekhina/Holy Ghost to descend into the waters of the font. He takes the candle out, then plunges it back into the water - deeper this time - and repeats his prayer to the Spirit to "Fructify the Waters." Then he withdraws the candle and then plunges it again into the water, this time ramming it thru the water all the way to the bottom of the font and repeating his plea for Shekhina to descend and "render the whole substance of this water fruitful with the quality of regeneration." And finally - while the lighted Fire of the new year is throbbing within the body of the water - the Priest bends to the font and "breathing 3 times over the water in the form of the Greek letter "Y" he continues" to ask the Spirit to impregnate the Living Waters. Then he slowly withdraws the Fire from the Water which is now Living and Pregnant with the Spirit of God. Then everybody smokes. They add Oil of Catechumens to the water in the form of a Cross, fill a sprinkling container with the Water and the whole procession wanders thru the church splashing all present with the pregnant waters of Shekhina.

The Etics figure that with a workforce of 300 it took 30 years to build the mound. 550 huge boulders were used for the kerbstones, the passage, and the burial chamber. None were quarried. All had to be brought to the site from the fields around the Brú and muscled into place.