Post 41. The Multiple Inspired Source, "Lascaux Cave" (Figure 1) (The Creation, Volume II: Chapter 1, Subhead 2)

The Multiple Inspired Source, “Lascaux Cave” (Figure 1) (Post 41. CVIIC1S2)

In Volume I of The Creation, we saw that the multiple inspired source, “Lascaux Cave” (Figure 1) possesses symbolism that pertains to transfer activity by the people of the Magdalenian culture in the fifteenth millennium B.C.  The same multiple inspired source  designated Figure 1 in Volume I, is designated Figure 1 in Volume II, as well.  It concerns, once more, transfer activity by the same people, mentioned above.   However, as stated in the previous post, in Volume II, this activity by these people will be discussed in greater detail.  The three inspired sources that comprise this multiple inspired source are designated in the same way as they were in Volume I, that is, inspired source 1-1 (the map of the Lascaux cave), inspired source 1-2 (the two horses),and inspired source 1-3 (the aurochs).  In most cases, alignments are involved in the study of these three inspired sources, and when they are, the inspired source involved is usually referred to as the inspired source 1-1 (or 1-2, or 1-3) of Figure 1. 

Figure 1, in this regard, refers to the multiple inspired source, “Lascaux Cave” (Figure 1).  However, Figure 2, comprised of inspired sources 2-1, 2-2, and 2-3, is the same inspired source as Figure 1, with the exception that in Figure 2 the alignments are not drawn.  This is done for better viewing of the features of the inspired sources for sometimes the alignments hide these features. Therefore, both Figures 1 and 2¹  can be considered to be multiple inspired sources.  However, it is Figure 1 with its three inspired sources and associated alignments that will be studied in this volume of The Creation.   Figure 2, because its alignments are not drawn, can be considered to be the three inspired sources that comprise this figure as they appear in the article entitled, ‘Lascaux,’ by S. and T Champion in The Atlas of Archaeology, edited by K. Branigan.²
 

 

Figure 1.  The three illustrations

(inspired sources: 1-1, 1-2, and

1-3) that are collectively referred

to as the multiple inspired source,

"Lascaux Cave" (Figure 1).  Click

on the picture to enlarge.  Photo-

graph of the aurochs, ©AAAC/

TopFoto/The Image Works. 

 

 

Figure 2.  The three illustrations

(inspired sources: 2-1, 2-2, and

2-3) that are collectively referred

to as the multiple inspired source

"Lascaux Cave" (Figure 2).  Click

on the picture to enlarge.  Photo-

graph of the aurochs, ©AAAC/

TopFoto/The Image Works.

 

As noted above, Figure 1 is a multiple inspired source.  This means that the three inspired sources that comprise it, that is, inspired sources 1-1, 1-2, 1-3, are inspired sources that can be studied as if they were one inspired source.  Alignments that, normally, would be expected to originate and terminate within the borders of one of these inspired sources, in most cases, continue beyond those borders, and terminate within the borders of another inspired source.  It is this phenomenon that accounts for the term, “multiple,” in the multiple inspired source, Lascaux Cave” (Figure 1).  The alignments of the three inspired sources that comprise Figure 1 intersect with various features within the borders of these three inspired sources, and these intersections are all very precise.  As we shall see, this precision is a characteristic of the alignments of inspired sources, and is believed to be compelling evidence that the placement of these alignments is not simply random, but is the result of the divine will of the Creator.  Because of this, it is believed that the most reasonable explanation for inspired sources, in general, and multiple inspired sources, in particular, is a divine, supernatural explanation.

The multiple inspired source, “Lascaux Cave” (Figure 1) possesses eighteen alignments and one line.  The alignments are designated A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, X, Y, and Z.  In addition, one line is present, and is designated line P.  These alignments and one line are distributed among the three inspired sources that comprise Figure 1. However, the inspired source 1-2 (the two horses) of Figure 1 possesses several anomalous features of significance that are useful to begin this study.  Therefore, we shall begin with these. 

 

 

Commentary 

No comments are deemed necessary. 


Credits

1.     Branigan, K., Consultant Editor:  The Atlas of Archaeology, ©1982, from the article:  ‘Lascaux’ by S. and T. Champion, 30-31 (St. Martin’s Press);  Photograph of the
aurochs, ©AAAC/TopFoto/The Image Works

2.     Branigan, K., Consultant Editor:  The Atlas of Archaeology, ©1982, from the article:  ‘Lascaux’ by S. and T. Champion, 30-31 (St. Martin’s Press);  Photograph of the
aurochs, ©AAAC/TopFoto/The Image Works



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