Tuesday, 16 June 2015


Ancestral European tribe Delmati.
Dalmatia or Dalmacija in Slavic means
Dala - give
Matia - Mother
(ancient version Del is same as Dala,
Da is root word with meaning -to give - and positive afirmation in Slavic
Dala is verb in past tense)
3000 years of continuity.

Dalmatia was ancient in the ancient times.
Timothy 4:10

Named after Illyrian tribe Delmati over 1000 BC
is a fact that breaks all records on herritage of name as well as position.

Antique Ptolemaic map of  Rhaetia, Helm (Balkans-Brittish given toponim since 1920)
and Dalmatia by S. Munster.
first edition- 1540
this map- 1542

 (Ptolemai period from 323 BC to 30 BC)
Toponims on Ptolemaic map such as Ambilici, Latobici, Varciani
are tipical Slavic names in same usage today, child of Ambil is Ambilic, in plural "i" is added as in Ambilici or Latobici. Varciani is also Slavic, child of Varci is Varcian, with i is plural.
Arabisci and Scordisci have tipical SKI extensions.
Bregetiu means bregoviti , breg or brig is hill.
Slavic language was in those times called Illyrian language
for much larger groups of nations then just Illyria.
Dalmatian language became equated with Illyrian in most of the history, up to the 1970 when Pope ascribed Illyrian to Croatian herritage and language.

Ancient Rhaetia's real name was Rassa or Rassenia, this is how they called themselves.
Rasa means a race of people in Slavic tongue.
What did THEY meant by that name is not known, what is known is that it was real name of Etruscans, it appears again in names of medieval states such as Rashka, Korushka, Rvacka, Rascia and off course Russia and Bjelorussia today.
Considering that Ptolemai map had areas that could have same meaning as a state today or kingdom then it is not claryfied by officials (meaning Amero-British history authorities) why is such large area under one name groupation.
I must add that Amero-British history authorities surely didn't read ancient writers.

Equation of Dalmatian with Illyrian language is found very often in most of ancient books.

Excerpt from the Byzantian cronicle states that
during visit to Emperor Vasilis
Basil II "the Bulgar-Slayer"
(Βασίλειος Β΄ ὁ Βουλγαροκτόνος)
Scytian delegation
composed of Croatian and Serbian representatives
demanded to become subjects to the Byzant
after terrible raids of Romans in Dalmatia.
Skylitzes Chronicle
original transcript and translation on the pictures.

Dictionarivm Septemdiversa
from Petro Lodereckero
at the year 1558 in Praha
there is no referance to existance of Croatian language, it is primarily Dalmatian tongue.

Dalmatia as creator of old ways resisted to join newly created Catholic Church. 
Pope Leo VI is urging Dalmatian archbishops, especialy those in Split to accept new division
and give away their areas to Western Rome.
Bishops of Rab, Dubrovnik and Osor also resisted new church order
Pope called on respect they had to Salonae.
Letter was writen in threatning tone.
In future Popes will raid on Dalmatia, several times including fifth or so called Child Crusade where crusaders tossed Dalmatian children into a fire and killed all young in it.
Events from around 10th century with this division of Church powers have been one of the biggest turmoils in European History.
All churches that belonged to old ways were later proclaimed pagan!
First Church took power over Emperors.
Then new Rome was created in order to rule.
But not just seat of power changed, Christianity was changing with it.
Today it is at the point of no recognition from what it was.

Proposed name of Byzant most likely stems from Dalmatian Emperors
with prevalence of name Beusas or variations on the name and fact that Byzant is Illyrians were founders of Byzantion in Thrace.
Julius Beuzas Dalmatia
Titus Beusanis Bradua
Julius Beusas Salonae
Batoni Beusantis Dalmatia
Beusas Sutti Delmat

Sclavonia, Croatia and Bosnia with parts of Dalmatia. (not full picture of Dalmatia)
Rascia is in Slavonia in this period.
„Theatrum Orbis Terrarum, sive Atlas Novus in quo Tabulæ et Descriptiones Omnium Regionum, Editæ a Guiljel: et Ioanne Blaeu“
 „Sclavonia, Croatia, Bosnia cum Dalmatiæ parte.“
Johannes-Jan (Joan) Willemsz. Blaeu (1596-1673)
J. & G. Blaeu
map download here;

first crest is Venetian then Austrian and third Illyrian

Dalmatia and it's additional regions;
Croatia, Bosnia, Slavonia,
Servia and Albania.
Map of Dalmatia 1746. - 48.

Swedish map 1899 shows that area wider then Dalmatia 
was still considered as Illyria in this times.

Origins of Dalmatic tunic

Madonna di Loreto on the picture with Black Madonna
(the statue was rebuilt in 1921 
because the older statue was burned in the same year).
The colors (white-red-black are the big mother's colors)
white-red-black stands for birth-blood/life-death
and so are all the icons on the dress. 
 That pleated WM in the middle is so called Baphomet sigil but also st Michaels sigil. 
Illyrian star on top of the crown, cross is Labda or slavic Labud
and Lilly pattern first black line from top.
Most important is that her child is a girl. 
Shapes like U at the picture are of the Moon and Venus , crescents.
Red Delta that dominates is oldest symbol for Vulva.
These types of Icons are also called Dalmatica, beside tunic.
Dalmatia's kapitol was/is Split
I mentioned in previous posts that oldest catedral in Europe
is built over Kybele's or Juno's (Jovi) temple. 

Split is also known for very stigmatised emperor Diokletian
who fought christians mercilessly!
Diokletian worshipped Mother Goddess,
his statue from Ephesus is stolen or in private collections.

Dalmatica tunic
is worn by Hebrew rabbi, Orthodox and Vatican Pope.

Dalmatia remained 'pagan' thus it worshipped Goddess or Gospe up till Crusades amongst which 5th crusade or "child crusade" was the worst.
 Crusaders speared babies and tossed children into fire in Dalmatia.

Wolf in sheeps clothes.

Dalmatian Vocabulary

Faust Vrancic was a chancellor on the Court of king Rudolph II in Prague (Hradcany) from 1581 to 1594, where also a famous musician Adrian de Vries, astronomer Tycho Brache, mathematician and astrologer Johannes Kepler were present. He also wrote about logic and ethics. However, his major contributions are related to numerous technical inventions.

An interesting and surprising fact about Faust Vrancic's "Dictionarium quinque nobilissimarum Europeae linguarum: Latinae, Italicae, Germanicae, Dalmaticae et Hungaricae", published in Venice in 1595, (i.e., from Dictionary of Five Most Noble European Languages: Latin, Italian, German, Croatian and Hungarian), is that it provides a long list of Croatian (Dalmatian) words which entered into Hungarian vocabulary:
Dictionarium quinque nobilissimarum Europeae linguarum: Latinae, Italicae, Germanicae, Dalmaticae et Hungaricae

It is surprising that at that time (16-17th centuries), among most noble European languagues in Vrancic's dictionary, there is neither English, nor French, nor Castillian nor Portugese.

Dictionarium quinque nobilissimarum Europeae linguarum- Latinae, Italicae, Germanicae, Dalmaticae et Hungaricae, Faust Vrancic, published in Venice in 1595

Russian discoveries of very ancient Goddeses

4 ton Giant relief, found in the sea near Gelendzhik, claims to scientific sensation
Just strolling along the city's waterfront, and suddenly noticed that sticks out of the water a giant boulder, and it is carved as if some pattern. Crept closer and saw a picture of a woman - not a mermaid, not the goddess. Moreover, it is applied on the three faces of stone: one - itself silhouette, and the other two - hand of the beautiful maiden, with one sitting in her owl, she strokes the other deer. Born assumption: stone about 2.5 thousand years, and it belonged to the Scythians.

Portrait of a Goddess 4-ton
- Studies of ancient cults do fifteen years and during that time found some unique sculptures - the God of heaven, Snake, Wolf. Why is this relief can not relate to that era? As for the image of a woman, the dolmens, in particular, have been built in honor of the Mother Goddess. She has many different names and all surprisingly in tune with the city name - Gelendzhik. I think I found a stone dedicated to her, - shares his version of Vladimir Kosolapov.



The VOYDI Stone


(a passage from my letter to Slovenian professor Anton Perdih)

V. Čudinov

Dear professor Perdih. Thank you for your letter which I have recently received with a photo of a small stone (unfortunately I don’t know its dimensions). On the first look it is a surface of a right foot of a man (with no toes) where there is an inscription, and you are quite correct to attribute its script as Runica. The inscription stounes-r.gif is traditional, VOYDI, that means ENTER! It is interesting to mark that in Medieval time in Russia instead of ENTRANCE on the threshold of a building was written ENTER (the verb in imperative instead of a noun). I wish to mark that in my book “Runica and the secrets of Russ archaeology” on the page 285, Fig. 208 we see the same inscription VOYDI on the threshold of the Uspenski cathedral in Rjazan, stounes-r.gif, but with some inclination to the left. It is the level of traditional investigation — the macroscopic description of the object.

But we can go further to the semi-microscopic investigation and to some operations with the photo, for example to reverse the colors, Fig. 1.

The stone photo in negative imagination

Fig 1. The stone photo in negative imagination

On the Fig. 1 in the middle on the right I place a fragment of main inscription behind the last syllabic sign — it is syllabograph with the meaning V. Such is the clear end of the main inscription.

We can read big inscription written as background around the main inscription — now the script is Cyrillic and the inscription of background is MARY. Mara is the name of very powerful Slavic goddess, the goddess of Illness and Death. Mara had her own underground temple and her own temple workshop where some cult things were made. I believe that this stone was made in such workshop. Some small inscription we can see under the main one. It is the word HRAM, or TEMPLE. Therefore the whole main inscription is VOYDI V HRAM MARY, or ENTER IN THE MARA TEMPLE, where first half of inscription (VOJDI V) was written clear, dark in light, and in runica, and the second half (HRAM MARY) was written unclear, as light background around the main dark inscription and in Cyrillic.

The same inscription, but with the word Mara in Genitive we can see on the inscription in the frame (turned on 900 to the left). My reading is MARY HRAM in Slavic or THE TEMPLE OF MARA in English. Now we can consider the stone as invitation to visit the Temple of Mara, as some kind of advertising of her temple.

My reading of the microscopic inscriptions
Fig. 2. My reading of the microscopic inscriptions

Now we can read the microscopic inscriptions, Fig.2. Here we can read the words MASTERSKAYA (WORKSHOP) — on the top and near the second vertical line of the sign DI. We see also the word HRAMA (OF THE TEMPLE) and the words MARY (OF MARA) in the frames. It is an artisan’s formula: MASTERSKAYA HRAMA MARY (THE MARA TEMPLE WORKSHOP) as the modern inscription of a maker.

There are some other micro inscriptions with the same text, MASTERSKAYA HRAMA MARY (THE MARA TEMPLE WORKSHOP), but such is tradition. For my computer scanner the photo is rather dark and I cannot obtain good copy of the signs VO and I. But by my eye I can see that the sign VO consists from the inscription MASTERSKAYA (right diagonal), and that under the horizontal line of the sign I see the word MARY. And the word MASTERSKAYA was repeated on the left vertical line of the sign DI, meanwhile on the right vertical line of the same sign DI we can see vertical characters of Cyrillic, containing the inscription HRAMA MARY.

The composition of the character M from some smaller inscriptions

Fig. 3. The composition of the character M from some smaller inscriptions

On the Fig. 3 we can see the composition of the character M from some small inscriptions where I can read the same words: MASTERSKAYA HRAMA MARY (THE MARA TEMPLE WORKSHOP). Therefore nothing else I cannot find here.

I thank you and Mr. Leopold Silver for interesting photo, but I am afraid that in Moscow libraries I cannot find the book of him “Iskal sem prednamce” published in Torjak in 2003. The relations between Russian and Slovenian libraries are very poor or in general absent. But for me it is interesting when and where this stone was found.

I am glad to inform you that under recommendation of our Commission was published as reprint (by Pavel Tulajev and Just Rugel) the first book — “Starodavni in današni slovenci” of Jurij Venelin (in Russian; the Preface of P. Tulajev “Vrnitev Jurija Venelina” is printed in two languages, Russian and Slovenian). — Moscow, 2004, “D-r France Prešern”, 382 s. The first and unique publishing of this book was only in 1841. Therefore our Commission began to work.

Now I am starting to work on the book about Slavic inscriptions in the Stone Age. I have some my articles for this purpuses, but there not exist microscopic analysis, and I have to do it too.

22 May 2004

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Kleopatra's stelae from Louvre translated with Slavic Language/Ancient Macedonian

Queen Cleopatra Making an Offering to the Goddess Isis | Louvre Museum | Paris
The final Pharaonic dynasties and the Ptolemaic period (circa 1069 - 30 BC)

Translation is made by Marija Koneska & Sanda Vukelic

Macedonian Slavic language is used to translate the text.

Complete stela is in Louvre Museum, Paris
The final Pharaonic dynasties and the Ptolemaic period (circa 1069 - 30 BC)

here is full text with translation;

E Per Vasilis's

Kleopatra s 'EA (th se ne izgovara) 

Az(ja) Filiopatorto (titula) Fili - pat-vtoro (otvori,stvori,4)

pozna nitija  
stara prelja (poznana)(ref. Isis cvor)

go nosi, sino doj

on sin ko gos (gospe, gospodin)

On nofris alaj sonish 

alaj opeva

with added translation in Croatian language;
E Per Vasilis's / Je Pero (Faraon) Vasilis's

Kleopatra s 'EA / Kleopatra sa 'Ea (Θ-th se ne izgovara) 

Az(ja) Filiopatorto (titula) Filo - pat-vtoro (otvori,stvori,4)
/ Ja Filopator /

pozna nitija  / pozna prelja niti
stara prelja (ref. Isis cvor)
go nosi, sino doj / ga nosi, sina doji
on sin ko gos (gospe, gospodin) / on sinak je kao gos (august-bog)

On nofris alaj sonish / On Nofrije alaj snivas

alaj opeva / alaj opjevash

with added translation in English language;
E Per Vasilis's / Is Pero (Pharaoh) Basileos

Kleopatra s 'EA / Kleopatra with 'Ea
Θ-th is glottal stop, not pronaunced) 

Az(ja) Filiopatorto (titula) / I Filopator
pozna nitija  / aged knitter - spinster

go nosi, sino doj / ga nosi, sina doji
she is holding him, breastfeeding him
on sin ko gos (gospe, gospodin) / on sinak je kao gos (august-bog)
he the son is like god

On nofris alaj sonish / On Nofrije alaj snivas
He Nofris dreamed you

alaj opeva / alaj opjevash
and made you as epic

additional records;
Louvre expo site;


Letellier Bernadette

Egyptian Antiquities 
The final Pharaonic dynasties and the Ptolemaic period (circa 1069 - 30 BC)

This limestone stele was dedicated to Cleopatra VII Philopator on 2 July 51 BC by Onnophris, the Greek "president of the association of Isis Snonais." This association of temples was placed under the protection of a form of the goddess Isis worshiped in Faiyum (Al-Fayyum). Surprisingly, to modern eyes, the celebrated Egyptian queen is represented here as a traditional, male sovereign.
Perhaps surprisingly, the figure depicted and honored here is very probably the celebrated Lagid queen Cleopatra, as indicated by the Greek inscription: "the Queen Cleopatra, goddess Philopator." The face of Cleopatra VII, daughter of Ptolemy XII Auletes, is familiar primarily through effigies on coins and a few rare Greek portraits; these obviously have nothing in common with the seductive images presented in films and nineteenth-century paintings. Clearly, the conventional, male image on the present relief cannot be taken as a reliable likeness.
A clearly-dated, recycled artefact
Aside from its historical interest, this artefact demonstrates the gulf between the modern perception of pictorial representation, and that of the ancient Egyptians: the traditional representation of the pharaoh was not intended as a realistic likeness, but as a kind of "pictogram." In this context, there was nothing anomalous about the use of a male image to represent Cleopatra. 
The stele follows the usual conventions: a winged disk surmounts a ritual scene in the upper section, in which the sovereign faces the goddess across an offering table; a dedication is inscribed in the lower section. Cleopatra is represented as a traditional male pharaoh, wearing the double crown of Upper and Lower Egypt, and a triangular loincloth. Two vases are offered to the goddess Isis, who nurses her baby, Horus. The Egyptians knew nothing and cared little about the appearance of their Greek sovereigns, and continued to depict them according to the prescribed Pharaonic models. The relief's composition and iconography are purely Egyptian, but the text is written in Greek, the language of the conquerors.
On close observation, it appears that the stele has been re-engraved. The thin, straight lines around the edge, drawn to facilitate the correct alignment of the signs, do not coincide with those in the recessed areas containing the inscription. In addition, partially erased signs are still visible on the right edge.
The stele is dated year 1, the first day of the month "epiphi," which Greek scholars translate as 2 July 51 BC. It was initially erected in honor of one of the Ptolemies, in all likelihood Cleopatra's father, and was re-worked following her accession.
Traditional Pharaonic portraiture
This representation of Cleopatra harks back to an old tradition. As early as the Eighteenth Dynasty, the Egyptians represented Queen Hatshepsut, an ambitious regent who ultimately claimed her royal birth-right, as a male Pharaoh.
This stele was commissioned in honor of the new sovereign by an association of temples, whose protrectress was Isis Snonais, a local form of the great goddess, probably worshiped in the oasis of Faiyum. The association's president, Onnophris, was administrator of the temple.
Bernand Étienne, Inscriptions grecques d'Égypte et de Nubie au musée du Louvre, Paris, Éditions du CNRS, 1992, n 21, p. 62, pl. 17.
Vandier Jacques, in Revue du Louvre, 1973, pp. 113-115, fig. 16. 
Wagner G., "Une Dédicace à la Grande Cléopâtre de la part du synode snonaïtiaque, 2 juillet 51 av. J.-C.", in Bulletin de l'Institut français d'archéologie orientale, n 73, 1973, pp. 103-108.