Abydo's has flying machine's etched upon it's monument's.
I just finished reading a book about a woman recently living her life in Egypt and claiming to be reincarnate of a priest of Seti I. During that lifetime she took her own life as she was w/child belonging to Seti I. All priest's were to be virgin's .. therefore she took her own life as not to compromise her Pharoah. She stated that he came to her and told her that we return to live amongst the star's.
Found the following info:
THE DEAD AND THEIR CONNECTION WITH THE SKY
You may not have considered this but each person's life echoes the cycle of cosmic order we see played out in the sky. Our ancient ancestors saw a parallel between cosmic creation and each individual birth. For them the ancients realized that man was made in the image of God. Each life meant growth and the preservation of order. Each death was an intrusion of chaos and was a break with the Divine order of the Cosmos as pictured above and around them in Mother Nature. And just as our ancestors saw rebirth, renewal, and restoration of order in the sky, they also believed in an afterlife for the soul, a resurrection. Death, the key transformation in each soul's share of the cycle of cosmic order, initiated a transcendental journey to the realm of the gods and immortality. Very often the destination of the dead was the domain of sacred order-the sky itself. We say the exact same things today as Christains for when we die we believe we go to Heaven (the ancients called this the sky).
For this reason, in culture after culture, we find celestial metaphor in the ceremonies of the funeral, celestial imagery in the paraphernalia of the dead, and astronomical significance in the architecture of the tomb. By recognizing the relation between death and the sky, we can understand what death meant to our ancestors and what they judged was the role of the dead.
THE GREAT PYRAMID....ASTRONOMY...AND THEOLOGY
Death meant no rest for the pharaohs of Old Kingdom Egypt. Their destiny was overhead. Pyramids today stand as a reminder of the ancient Egyptian glorification of life after death, and in fact, the pyramids was built as monuments to house the tombs of the pharaohs. Death was seen as merely the beginning of a journey to the other world. In this society, each individual's eternal life was dependent on the continued existence of their king, a belief that made the pharaoh's tomb the concern of the entire kingdom. Believed to be aligned with the circumpolar stars, the king's spirit is then able to commute between heaven and earth in life after death.
Prayers carved into the stone walls of chambers within Fifth and Sixth Dynasty (ca. 2494-2181 B.c.) pyramids describe the pharaoh's "ascent to the sky among the stars," where he "regulates the night" and "sends the hours on the way." In some of thesePyramid Texts, in the monuments at Saqqara (about 40 miles up the Nile from Cairo), he joins the circumpolar stars and governs them. These stars, called circumpolar, never rise and never set, and so they never die. Circumpolar means to circle around the pole. Circumpolar stars or constellations daily trace circles around the north celestial pole, without setting or dipping below the horizon. They move in a counterclockwise direction.By joining these eternal stars, the pharaoh becomes eternal; he, personified as a star, never sets (allegory for death).
The pharaoh also makes another celestial journey: to Orion. This constellation is a symbol of his soul's rebirth because Orion stood for Osiris and the great cycle of birth, life, death, and resurrection.
Osiris was the Egyptian "god of the underworld." However, he was much more than this, because he also symbolized the Sun. Therefore, he also had a cyclic death and rebirth sequence. Every year he would die, and every winter solstice be "reborn." Hence, the religion of Osiris was essentially sun worship. In the Egyptian Osiris myth, he was killed by his brother and torn into 14 pieces; then resurrected by his sister/wife Isis (after she conceived their son Horus), to become lord of the underworld and Egyptian judge of the dead. The number 14 is further significant to the worship of Osiris because of his other association with the Moon, which has two 14 day cycles (waxing and waning). The waning cycle of the Moon also stands for Osiris’ journey into the underworld (as the Moon grows dark, it goes "into darkness," the equivalent of the underworld), and the waxing cycle as the Moon grows brighter, Osiris’ ascent from the underworld. Without going into too much detail, suffice to say that the number 14 is a very important number to the worshippers of Osiris, for more reasons than his death. Osiris, in his association with both the Sun and Moon, represents the principle of cycles; that everything has a beginning and an ending, but that life still goes on and new life takes the place of the old. Isis, the sister and "wife" of Osiris, was as important to the Egyptians (if not more so) than the god Osiris. She is represented by the star Sirius in Egyptian mythology. A "star configuration" used to sanctify Julius’ new calendar that lacks Sirius or references to Sirius, would not be representative of Egyptian belief and worship. Isis was, for the Egyptians, the great nurturer and source of all "good things."
In the company of Osiris and guided by Sirius (in roughly the same part of the sky), the dead king maintains the calendar and administers the seasons. The pharaoh is busy in heaven. According to the texts, he takes "possession of the sky, its pillars and its stars" after death. On earth he maintained order and vitalized the system; in the sky, among the spirits, he activates the great cosmic cycles. His soul, or ba, has become a "living star at the head of his brethren." The tomb in which he was buried was the point of his departure for the sky.
Later Egyptian tombs are filled with astronomical imagery of the journey of the sun, the body of the sky, and the destinations of the stars: like the pyramids that contain hieroglyphic texts, they confirm that the Egyptians sensed a link between death and the sky (our Heaven). The builders of the earliest pyramids, however, and the builders of the greatest-those Fourth Dynasty (ca. 2613-2494 B.c.) mountains of stone blocks at Giza-left no written records of their intentions. Later commentators filled this void with fanciful speculation, downright misinformation, and plain silliness.
About 80 pyramids are known, all built on the Nile's west bank-the realm of the dying sun-but the Great Pyramid outstrips the others in fame as well as in size. The date of its errection is debated today but evidence reveals that it is much older than many want to concede; possibly 10,000 B.C.E. or earlier. It is recognized by Classical writers as one of the seven wonders of the ancient world, and it is the only one of the seven still standing. With amazing success, it has resisted the assaults of the desert, earthquake, quarrymen, and tourists. Herodotus, the Greek historian, marveled at its antiquity-and he visited Egypt in the fifth century B.C. Now with more justification than ever, an old Arab proverb counsels, "Man fears time, but time fears the pyramids."
THE GREAT PYRAMID... ITS ASTRONOMICAL INTERPRETATION
Various astronomical interpretations of the Great Pyramid at Giza have been proposed, involving alignments of its internal corridors and shadows cast by its profile. Some people have even suggested that it was used as an observatory. This pyramid's dimensions also have been said to encode practically everything from the number of days in the year to prophecies of the world's history. In our supposedly rational era, the Great Pyramid-or at least its shape-has been touted as a focuser of an as-yet-unidentified energy that can do everything from sharpening razor blades to mummifying milk.
It has been estimated that the volume of the Great Pyramid is as large as that of St. Peter's in Rome, St. Paul's and Westminster Abbey in London, and the cathedrals of Milan and Florence combined. Nearly 2,300,000 blocks of stone, each weighing on the average 2½ tons (the heaviest being 15 tons with none less than a ton and a half) were piled into an artificial mountain whose four sloping sides originally merged at a point 481.4 feet above the limestone plateau of Giza. Today, the top, including the gold-covered capstone, or pyramidion, is missing, and the Great Pyramid is 31 feet short of its original height.
The sides of the Great Pyramid once competed in brightness with the golden cap, for the rough limestone blocks that comprise the bulk of the pyramid were covered with a fine surface of shiny, white tura limestone. Only a little of the original tura now remains, however, in the bottom course on the north side.
Sheer size qualifies the Great Pyramid as "great," but its architectural details make it unique. First, whatever else may be hypothesized about the pyramid, there is no doubt that it is aligned astronomically, and with extreme precision, the four sides of its immense base (covering more than 13 acres) running north, south, east, and west. The worst agreement of any side with exact cardinal orientation is on the east, and even there the misalignment from a true north-south line is but 5½ arcminutes. The other three sides agree even better. Accuracy of this sort is possible, even with very simple techniques, provided that care is taken in setting out the lines. Preserving this accuracy on the monumental scale of the Great Pyramid, however, means not "twisting" the sides at higher levels, and the Egyptians' success is impressive. The corners of the base are very nearly right angles, and the entire base is almost a perfect square. The greatest difference in length between any two sides is 7.8 inches. This accuracy emphasizes the concern the builders had for the four cardinal directions, what the Pyramid Texts of the later Fifth and Sixth Dynasties call the "pillars" of the sky.
The internal details of the Great Pyramid are equally remarkable. A cross-section reveals a confusing collection of corridors, chambers, and shafts. Numerous claims for astronomical alignment of these vents and passages have been made, and most are wrong. There is astronomy among them, however. To appreciate it we must enter the pyramid.
The Great Pyramid reveals much of the relgious beliefs of the Egyptians. There are 4 mysterious shafts emanating from the King's and Queen's Chambers of the Great Pyramid. Two of these shafts, once thought to be only "air ventalation shafts," are aligned perfectly to due north and the other two are perfectly to due south. They thus target, at varying altitudes, what astromomers refer to as the "meridian" - an imaginary line "dividing the sky" that is best envisioned as a hoop connecting the north and south poles and passing directly over the observer's head. What is terribly interesting is the theology that is written into the architecture of this Great Pyramid which not only instructs us but the precise alignments of these 4 shafts with key astral bodies operates as a time clock to pinpoint the time frame when this great wonder of the world was built. Recent investigators have established beyond any shadow of doubt that in circa 2500 B.C.E. - the era recognized by Egyptologists as the "Pyramid Age" - each of these shafts targeted a special star as it culminated at the meridian:
THE QUEEN'S CHAMBER
From the Queen's Chamber, the northern shaft is angled at the star Kochab (Beta Ursa Minor) in the constellation of the Little Bear - a star associated by the ancients with "cosmic regeneration" and the immortality of the soul.
The southern shaft, on the other hand, was aimed at the bright star Sirus (Alpha Canis Major) in the constellation of the Great Dog. This star the ancients associated with the goddess Isis, cosmic mother of the kings of Egypt.
THE KING'S CHAMBER
From the King's Chamber, the northern shaft was aimed at the ancient Pole star, Thuban (Alpha Draconis) in the constellation of the Dragon - associated by the Pharoahs with notions of "cosmic pregnance and gestation."
The southern shaft was angled at Al Nitak (Zeta Orionis), the brighest of the three stars in Orion's belt - which the ancient Egyptians identified with Osiris, their highe god of resurrection and rebirth and the lengenday bringer of civilization to the Nile Valley in a remeote epoc referred to as "Zep Tepi," the "First Time" when the Elohim walked the earth (see Genesis).
Both shafts, then, are oriented toward celestial zones that are mentioned in the Pyramid Texts. Thuban, as the North Star, was in a sense first among the circumpolar stars or "Imperishable Stars," as the Egyptians phrased it to acknowledge their ability to circuit eternally without ever setting. Its importance is further highlighted in that it is the Alpha star of Draco (the Dragon). Thuban, then, made an appropriate target for the north shaft. Meanwhile, the stars in Orion's belt, the objective of the south shaft, were among the decans, the stars whose risings or transits marked the hours of the night throughout the Egyptian year. Orion (as Osiris), of course, was Osiris, who presided over the resurrection of souls.
These celestial alignments don't make an observatory out of the Great Pyramid, for neither Thuban nor Orion's belt could actually be seen through the shafts' openings inside the King's Chamber. Both shafts bend horizontally for a short distance before they reach the King's Chamber and also at their other ends, prior to opening on the north and south faces of the pyramid. The shafts are symbolic references to the pharaoh's celestial destinies and to the starry realms that ordered heaven and earth. They mark the Great Pyramid as the site of his celestial transformation (Graham Hancock and Robert Buval, The Message of the Sphinx, Crown Publishers, New York, pp. 58-82).
Starry Tombs in the Valley of the Kings
Allusions to the same stellar destinies of the pharaoh appeared in the royal tombs of the New Kingdom, 1,500 years after the building of the pyramids. Most of these tombs are cut into the cliffs in the Valley of the Kings, near the old capital of Thebes on the Nile's west bank, across from modern-day Luxor.
Numerous representations of the "Northern Group," a figurative portrayal of the circumpolar constellations, were painted on the corridor ceilings in the tomb of Ramesses VI, a Twentieth Dynasty pharaoh. Perhaps the finest version of this theme appears overhead in the burial chamber of the tomb of Seti I, a member of the Nineteenth Dynasty, who ruled to about 1292 B.C. Against a rich blue field, we see the tawny forms of the constellations of the "northern Heaven." One of these, an upright hippopotamus with a crocodile on her back, leans upon an odd instrument, most often translated from references in the texts as a "mooring post." It is the north celestial pole, and the golden lines attached to it lead through the hands of an unidentified human figure to a bull. Sir Norman Lockyer, the British astronomer who discovered helium in the sun, devoted time and energy to astronomical interpretation of Egyptian myths and monuments, and he equated the hippopotamus with at least some of the stars of Draco the Dragon, the site of the north celestial pole in the early period of Egyptian civilization. It is actually broader than that and encompasses most of the northern heavens.
Just as the orientation of the Fourth Dynasty pyramids to the four cardinal directions stressed the cosmic order, so the burial chamber of Tutankhamun (Ca. 1345 B.c.) incorporated north-south and east-west alignments. References to the stellar destiny of this pharoah may now be seen in Cairo's Egyptian Museum. The inscriptions on the four gold-covered, boxlike shrines that formerly encased the sarcophagus of the deceased identify the king with Osiris, and Isis is described as following behind him, just as Sirius follows Orion across the sky. On the door of one of the shrines, Isis is portrayed as a bird with extended wings; on another she says: "I am thy protection, I am behind thee."
The tomb of Seti I, whose burial chamber ceiling illustrates the Northern Group, the stars around the north celestial pole, on one half, includes Sirius and Orion (as boat-borne figures of Isis and Osiris) on the other. Both stellar destinations of the pharaoh, portrayed here, repeat the traditions expressed in the Great Pyramid's "air shafts." On the ceiling of another burial chamber, that of Ramesses VI, The Book of the Day and The Book of the Night frame, each on its own side, the double body of the sky goddess. These texts chronicled the sun's journey, hour by hour, through the day and the night. They imply yet another celestial destiny for the pharaoh: the path of the sun.
Accompanying the images of Sirius and Orion in the tomb of Seti I, and on the ceilings of many other temples and tombs as well, are lists of the decans. The Decans were groups of stars from which the night sky was divided - these Decans were used as a calendar by the ancient Egyptians: each decan would rise above the dawn horizon for ten days every year (symbolic of rising from the darkness of death). There were 36 decans (36 X 10 = 360 days), + plus 5 added days to make up to 365 days. Diagonal "star clocks" listed the names of the timekeeping stars inside the lids of coffins from the Ninth through Twelfth Dynasties (2160-1786 B.c.). These clocks are really grid diagrams of the decans in the sequence of their appearance. A single star shifts its position in the grid, up one square and over one, to mark an earlier hour of the night every ten days. Each name, in hieroglyphs, traces a diagonal path through the grid and gives the design its name. Additional decorations usually include images of the Bull's Leg (that is, Set, the Big Dipper), Isis, and Osiris. Another type of star clock was painted in the Twentieth Dynasty tombs of the Ramesside pharaohs, from about 1300 to 1100 B.C. These, too, appeared together with the Northern Group, Sirius, and Orion. There is no reason to think Egyptian astronomers ever entered tombs to consult the star clocks. Their purpose was funereal. They belonged to the dead.
The decans themselves were selected because they imitated the behavior of Sirius and disappeared from the nighttime sky for 70 days. During this time they were up in the daytime, with the sun, and remained, therefore, invisible (they were "alive" but you could not see them...as in life after death). In Egyptian texts, a decan's departure from the night sky was called its death. It resided in the dangerous realm of Tuat, where the sun traveled each night. An astronomical treatise from the second century after Christ, the Papyrus Carlsberg I, quotes inscriptions from the cenotaph, or symbolic tomb, of Seti I at Abydos. Explicit references liken the decanal cycle to death and resurrection:
Here the language of the decans is the language of the mortuary. In a direct turnabout the mortuary customs mirrored the stars. The deceased was said to be a star, and mummification, also a process of purification, took 70 days. Then the dead pharaoh was reborn, like the decans.
In a similar manner it makes sense that the moon-which first appears as a crescent, grows full, and then wanes-is linked with the afterlife and immortality as we see this same cycle of birth, life, death, rebirth. In that celestial cycle of birth and death there is always another new moon. Through the cycle of cosmic order the moon guarantees its own immortality, and it is a fitting image for the belief of mankind of birth, life, death, and rebith from the dead which has been understood by the ancients since the beginning of time.
So as you can see the dead were associated with the sky. This may seem strange at first, but we can understand the ideas behind it. The souls of the dead journey to a celestial paradise; as Christians we call it "Heaven." Paradise is a realm of immortality and divinity, and that is what people see in the sky. Celestial objects, through their cycles of rising and setting, coming and going, waxing and waning, seem to die but are always reborn. They are the immortal gods, and the patterns of their movements establish order in time and space. The dead have access to their kingdom. Tombs are points of the soul's departure for the celestial realm. The astronomical components of these tombs are intimations of immortality (Dr. E.C. Krupp, Echoes Of The Ancient Skies, New American Library, 1983, pp. 100-125).