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Rockefeller Center: La Atlántida Global y sus símbolos
 El Rockefeller Center es uno de los lugares simbólicos más densos del planeta, aunque muy pocos entre sus millones de visitantes se paren a reflexionar sobre lo que significan estas imágenes. Se trata de una simbología relacionada con la historia reciente del capitalismo global, cuyas consecuencias estamos ahora sufriendo. El mito de la Atlántida, resurgida del océano para volver a desafiar a los dioses mediante la ilusión del conocimiento humano sin límites, el poder de la técnica y el dinero, y el individualismo como motor del mundo.
Es una simbología relacionada en parte con España. Según la mitología griega, Hércules en su viaje a la Península Ibérica se atrevió a robar la fruta sagrada que cuidaban las Hespérides, hijas de Atlas, fundador de la Atlántida, cumpliendo así la profecía sobre el fin de ese reino de titanes, como estaba anunciado. Este relieve del Museo de Olimpia muestra maravillosamente este episodio. Hércules sujeta el cosmos ayudado por la diosa Atenea, que le pone un almohadón en la espalda, mientras el mismo Átlas le trae las frutas de las Hespérides. Es una versión muy peculiar del mito, pues Átlas coopera en su propia destrucción, y sitúa en España, Hesperia, ese jardín prohibido.
Durante cincuenta años de su vida, el profesor Schulten efectuó investigaciones históricas y arqueológicas en la Península Ibérica en búsqueda de la Atlántida, y los últimos hallazgos parecen apoyar su hipótesis de que el reino andaluz de Tartessos, desaparecido en el siglo VI antes de Cristo, coincidía con la descripción que nos dejó Platón en el Timeo:
“(…) Sabios reyes habían formado en esta Atlántida una vasta y maravillosa potencia que dominaba toda aquella tierra además de otras muchas islas, y algunas comarcas del continente, apoderándose de todas, desde Libia al Egipto, y de Europa hasta Tirrenia (…) Empero sobrevinieron diluvios y terremotos, y en un solo día y en una sola noche fatal, todos aquellos guerreros fueron tragados por la tierra abierta. Desapareció la Atlántida y he aquí por qué aun hoy no se puede recorrer y explorar aquel mar, encontrando la navegación un escollo en el fangoso lodo que dejó la tierra al abismarse”.
El nombre del océano Atlántico viene de este supuesto reino hundido, que los cartógrafos del Renacimiento situaban entre América y Europa. Jacint Verdaguer en su famoso poemario La Atlántida, defiende que la búsqueda de ese mítico continente originó la aventura de Colón hacia el Atlántico e, indirectamente, el descubrimiento del Nuevo Mundo. Desde entonces, la Atlántida se asocia con América, y así lo describe el catalán José María Sert en los frescos de Titanes que pintó para decorar el vestíbulo principal del Rockefeller Center de Nueva York. Este mismo artista fue encargado por Manuel de Falla, para pintar los decorados de la cantata escenificada Atlántida, que aunque nunca llegó a estrenarse por culpa de la Guerra Civil, es la gran ópera española, escrita sobre todo en catalán, pues está inspirada en los poemas épicos de Verdaguer.
La Atlántida narra la lucha entre los dioses y los titanes hijos de Atlas, una lucha que recuerda bastante a la narración de la lucha entre los ángeles y los demonios, que fueron finalmente vencidos y arrojados al infierno. También la Atlántida fue destruida y hundida en el océano según los viejos mitos griegos. Por eso, el relato de la Atlántida, como el del Génesis sobre el Árbol del Conocimiento del Bien y del Mal en el Paraíso terrenal, simboliza la ambición sin límites del ser humano, y también del origen mismo de la civilización tal como hoy la conocemos, basada en el saber por experiencia, en la ciencia.
Todos los símbolos del Rockefeller Center siguen una estética griega que ha quedado un tanto adulterada para adaptarse al gusto popular del momento: El Art Decó, símbolo por excelencia del capitalismo americano. De hecho, este complejo de rascacielos y plazas fue construido entre 1930 y 1939 por John D. Rockefeller, Jr., al que debe su nombre, uno de los grandes magnates y pioneros de la economía de mercado actual. Se trata del primer conjunto urbanístico diseñado ex profeso en Manhattan, con diecinueve edificios que ocupan una superficie de 89,000 m2, entre las Avenidas Sexta y Quinta, y las calles 48 y 51, justo en frente de la catedral católica de Nueva York, la famosa San Patricio.El Atlas es la escultura más grande y, quizás, la más característica del complejo Rockefeller Center junto con la figura dorada de Prometeo y el Zodiaco, que está situada en la plaza interior, en frente del vestíbulo principal que decorara Sert.
Atlas, según la mitología griega, fue condenado por Zeus a soportar sobre sus hombros los pilares que mantenían la tierra separada de los cielos. La escultura del Rockefeller Center en Nueva York fue realizada en 1936 por Lee Lawrie y Rene Chambellan. En ella, el eje norte-sur del gran orbe de bronce apunta a la Estrella Polar, y en uno de sus anillos se encuentran representadas las 12 constelaciones por las que pasa el Sol a lo largo de un año (visto desde la Tierra). Sobre los hombros de Atlas también puede observarse una especie de viga curvada con los símbolos tradicionales de Mercurio, Venus, Tierra, Marte, Júpiter, Saturno, y Neptuno.
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Prometeo era un titán, hijo de Atlas, que desafió a los dioses robando el fuego sagrado del Olimpo para entregárselo a los hombres. Como los demás hijos de Atlas, Prometeo se enfrenta a los dioses del Olimpo y es castigado a un tormento eterno, encadenado en los montes del Cáucaso, mientras un ave rapaz le arranca las vísceras. Todavía es uno de los héroes nacionales de Georgia, aunque según la mitología fue liberado por Hércules, para enfrentarse después a los dioses del Olimpo junto al resto de los hijos de Atlas. Una de las últimas versiones rusas de Don Quijote, la de Livanov, mezcla este mito con el de nuestro caballero de la triste figura.
Mary Shelley titula Frankenstein o el Moderno Prometeo a su famoso relato que dio origen al mito del cinematográfico monstruo sin nombre propio. Según ella, el moderno prometeo es Víctor Frankenstein, el científico que desafía las leyes del bien y del mal y por tanto se enfrenta al castigo de la naturaleza, que es inexorable. El monstruo creado por su ambición se rebela contra él. Películas como Blade Runner de Ridley Scott (que estrena próximamente una película titulada Prometheus) continúan esta lectura sapiencial, de carácter preventivo. Para los fundadores del Rockefeller Center, sin embargo, este mito no era una advertencia sino un modelo a imitar, pues simboliza las ambiciones de transformar el mundo propias del momento, en este caso mediante la economía global del gran capitalismo. De hecho, en el muro de granito que hace de fondo a la escultura puede leerse una frase tomada de Esquilo: “Prometheus, teacher in every art, brought the fire that hath proved to mortals a means to mighty ends.”
Los grandes prohombres del capitalismo americano, como los videntes de la revolución socialista y los líderes de los partidos nazis o fascistas del momento, querían emparentarse con la raza de titanes semidioses que dirigen los destinos de los hombres en el dominio del mundo. De hecho, el Prometeo del Rockefeller Center comparte con el Atlas una estética figurativa grandilocuente que tiene muchos puntos en común con en el -mal llamado- realismo socialista o los idealismos fascistas más o menos raciales. Sirvan estos conocidos ejemplos del taller del escultor favorito de Hitler, Arno Breker, en concreto su versión de Prometeo, o una de las muchas esculturas que recoge el Museo de monumentos soviéticos de Budapest.
Pero no sólo es una coincidencia formal: en el Rockefeller Center, tanto las esculturas que lo decoran como los relieves e inscripciones hacer referencia a un tema muy propio del periodo de entreguerras: la fe en el poder de una humanidad autónoma, liberada de la esclavitud de un Dios que se reserva el privilegio de decidir lo que está bien o mal. Es la base de un humanismo ateo que ha alimentado las utopías más destructoras de la historia. Cada vez que el hombre trata de hacer un cielo sin Dios lo que construye es un infierno. |
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Por supuesto, en la religiosa América estas ideas se expresan siempre con más mesura y sentido común. Y también con más libertad. Es sintomático que Diego Rivera fuera escogido para pintar los frescos ‘El hombre en el cruce de caminos’ y ‘El hombre controlador del universo’ para el Rockefeller certer; unos murales que finalmente fueron rechazados por incluir un retrato de Lenin y caricaturizar al propio promotor de la obra: una exposición en el MOMA recuerda este evento).
Adorno previno contra la dictadura del capitalismo, que por ser menos evidente, podría ser más peligrosa que los totalitarismos de su tiempo. De hecho, es conocido que la eficacia de la propaganda es mayor cuanto más pasa desapercibida. Quizás se deba a esta forma sutil de mostrarse que el capitalismo siga vivo, aunque experimente algunos síntomas de enfermedad. De lo que no cabe duda es que, a diferencia de las otras utopías, la ideología que hizo levantar el Rockefeller Center exhibe aún sus símbolos para ser admirados por millones, mientras que los emblemas Nazis, fascistas o soviéticos han sido destruidos o retirados a cementerios de estatuas.
El Atlas de Rockefeller Center es un icono que ha llegado a utilizarse en los sellos postales de EEUU, a pesar de que fue muy polémica su colocación en frente de la iglesia de San Patricio, como si estuviera amenazando a los que salen por su portada principal. Es llamativa esa disposición porque también el contenido, sufriente por la humanidad y con los brazos en cruz, pretende ser un símbolo equiparable al de Jesucristo. El hecho de que aparezca acompañado de un fondo de relieves en los que se representan diversas religiones del mundo, excepto la Católica, añade más claridad al mensaje que los diseñadores del Rockefeller Center querían contar.
Es exagerado pensar que ese mensaje expresaba una ideología siniestra, pero es evidente que San Patricio molestaba a los prometeos constructores del Rockefeller Center. Por eso quisieron anular su escala de catedral, ridiculizándola frente a los enormes rascacielos. Por aquel entonces, en 1936, la catedral católica sólo era una iglesia de las afueras, en una bella avenida que con el tiempo sería principal, pero que entonces no era tan céntrica. Hoy sin embargo es ya el centro de Manhattan, quizás la zona más hermosa de la isla de los rascacielos, y por tanto también la más concurrida. De este modo, como la ostra que trata de anular con su nácar la presencia incómoda de una partícula molesta y crea una preciosa perla alrededor de ella, hoy Rockefeller Center es la causa fundamental de que multitudes visiten cada día la iglesia de San Patricio.
Incluso estéticamente la catedral goticista ha mejorado mucho al combinar la monótona decoración de acantos y crucerías con los mil reflejos y luces contrastadas que recibe de su entorno. Es todo un acontecimiento toparse en medio del espacio urbano más denso y moderno del planeta con una pieza semejante del pasado; un remanso de paz medieval en medio del fascinante bullicio de la gran ciudad. La obra de arte se ha hecho a sí misma, como todo en Nueva York, superando con creces la voluntad de sus artífices.
Por supuesto, en la religiosa América estas ideas se expresan siempre con más mesura y sentido común. Y también con más libertad. Es sintomático que Diego Rivera fuera escogido para pintar los frescos ‘El hombre en el cruce de caminos’ y ‘El hombre controlador del universo’ para el Rockefeller certer; unos murales que finalmente fueron rechazados por incluir un retrato de Lenin y caricaturizar al propio promotor de la obra: una exposición en el MOMA recuerda este evento).
Adorno previno contra la dictadura del capitalismo, que por ser menos evidente, podría ser más peligrosa que los totalitarismos de su tiempo. De hecho, es conocido que la eficacia de la propaganda es mayor cuanto más pasa desapercibida. Quizás se deba a esta forma sutil de mostrarse que el capitalismo siga vivo, aunque experimente algunos síntomas de enfermedad. De lo que no cabe duda es que, a diferencia de las otras utopías, la ideología que hizo levantar el Rockefeller Center exhibe aún sus símbolos para ser admirados por millones, mientras que los emblemas Nazis, fascistas o soviéticos han sido destruidos o retirados a cementerios de estatuas.
El Atlas de Rockefeller Center es un icono que ha llegado a utilizarse en los sellos postales de EEUU, a pesar de que fue muy polémica su colocación en frente de la iglesia de San Patricio, como si estuviera amenazando a los que salen por su portada principal. Es llamativa esa disposición porque también el contenido, sufriente por la humanidad y con los brazos en cruz, pretende ser un símbolo equiparable al de Jesucristo. El hecho de que aparezca acompañado de un fondo de relieves en los que se representan diversas religiones del mundo, excepto la Católica, añade más claridad al mensaje que los diseñadores del Rockefeller Center querían contar.
Es exagerado pensar que ese mensaje expresaba una ideología siniestra, pero es evidente que San Patricio molestaba a los prometeos constructores del Rockefeller Center. Por eso quisieron anular su escala de catedral, ridiculizándola frente a los enormes rascacielos. Por aquel entonces, en 1936, la catedral católica sólo era una iglesia de las afueras, en una bella avenida que con el tiempo sería principal, pero que entonces no era tan céntrica. Hoy sin embargo es ya el centro de Manhattan, quizás la zona más hermosa de la isla de los rascacielos, y por tanto también la más concurrida. De este modo, como la ostra que trata de anular con su nácar la presencia incómoda de una partícula molesta y crea una preciosa perla alrededor de ella, hoy Rockefeller Center es la causa fundamental de que multitudes visiten cada día la iglesia de San Patricio.
Incluso estéticamente la catedral goticista ha mejorado mucho al combinar la monótona decoración de acantos y crucerías con los mil reflejos y luces contrastadas que recibe de su entorno. Es todo un acontecimiento toparse en medio del espacio urbano más denso y moderno del planeta con una pieza semejante del pasado; un remanso de paz medieval en medio del fascinante bullicio de la gran ciudad. La obra de arte se ha hecho a sí misma, como todo en Nueva York, superando con creces la voluntad de sus artífices. |
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Últimamente, como si cumpliera la profecía de Metrópolis de Fritz Lang, la Atlántida parece tambalearse de nuevo, y arrastrarnos a todos, Atlas y Prometeo incluidos, a fondo del océano global. Y no es en mi opinión porque se esté cumpliendo la profecía de Ayn Rand en su distopía La Rebelión de Atlas (Atlas Shrugged, literalmente “Atlas se encogió de hombros”), del 1957, sino por causa de estas mismas ideas que ella defiende sobre el individualismo capitalista sin cortapisas, que tanto impacto han tenido en América. Aún así siempre habrá esperanza, como ya escribió Unamuno, cuando libera a Prometeo de sus cadenas, puesto que ya no tienen sentido sus sufrimientos, una vez que Cristo ha venido al mundo y cargado con ellos. De hecho, el Hércules liberador de Prometeo, se vio siempre como prefigura clásica del Mesías cristiano. También el Rockefeller Center frente a San patricio es una muestra evidente de la paradoja de la Cruz: lo que era un símbolo del mal se convierte en la causa de un bien mayor.
La Altántida de Falla termina con una preciosa Salve Marinera, con la que quiero cerrar estas líneas, junto con una diapositiva escaneada (todavía podía hacerse fotografía analógica) que tomé en 2001, poco antes del 11S. En la siguiente entrada hablaré de este acontecimiento histórico que cambió la historia, y lo ilustraré con otras de mis fotos analógicas, diferentes de las ya publicadas en la web nuevayorkantesydespues.
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EL MITO DE LA ATLANTIDA TIENE ORIGEN EN EL CUARTO DIA DE GENESIS, EN EL CONTEXTO A LA CREACION DE LAS DOS LUMBRERAS OSEA JACHIN Y BOAZ, Y LAS ESTRELLAS
Rockefeller Center: La Atlántida Global y sus símbolos
El Rockefeller Center es uno de los lugares simbólicos más densos del planeta, aunque muy pocos entre sus millones de visitantes se paren a reflexionar sobre lo que significan estas imágenes. Se trata de una simbología relacionada con la historia reciente del capitalismo global, cuyas consecuencias estamos ahora sufriendo. El mito de la Atlántida, resurgida del océano para volver a desafiar a los dioses mediante la ilusión del conocimiento humano sin límites, el poder de la técnica y el dinero, y el individualismo como motor del mundo.
Es una simbología relacionada en parte con España. Según la mitología griega, Hércules en su viaje a la Península Ibérica se atrevió a robar la fruta sagrada que cuidaban las Hespérides, hijas de Atlas, fundador de la Atlántida, cumpliendo así la profecía sobre el fin de ese reino de titanes, como estaba anunciado. Este relieve del Museo de Olimpia muestra maravillosamente este episodio. Hércules sujeta el cosmos ayudado por la diosa Atenea, que le pone un almohadón en la espalda, mientras el mismo Átlas le trae las frutas de las Hespérides. Es una versión muy peculiar del mito, pues Átlas coopera en su propia destrucción, y sitúa en España, Hesperia, ese jardín prohibido.
Durante cincuenta años de su vida, el profesor Schulten efectuó investigaciones históricas y arqueológicas en la Península Ibérica en búsqueda de la Atlántida, y los últimos hallazgos parecen apoyar su hipótesis de que el reino andaluz de Tartessos, desaparecido en el siglo VI antes de Cristo, coincidía con la descripción que nos dejó Platón en el Timeo:
“(…) Sabios reyes habían formado en esta Atlántida una vasta y maravillosa potencia que dominaba toda aquella tierra además de otras muchas islas, y algunas comarcas del continente, apoderándose de todas, desde Libia al Egipto, y de Europa hasta Tirrenia (…) Empero sobrevinieron diluvios y terremotos, y en un solo día y en una sola noche fatal, todos aquellos guerreros fueron tragados por la tierra abierta. Desapareció la Atlántida y he aquí por qué aun hoy no se puede recorrer y explorar aquel mar, encontrando la navegación un escollo en el fangoso lodo que dejó la tierra al abismarse”.
El nombre del océano Atlántico viene de este supuesto reino hundido, que los cartógrafos del Renacimiento situaban entre América y Europa. Jacint Verdaguer en su famoso poemario La Atlántida, defiende que la búsqueda de ese mítico continente originó la aventura de Colón hacia el Atlántico e, indirectamente, el descubrimiento del Nuevo Mundo. Desde entonces, la Atlántida se asocia con América, y así lo describe el catalán José María Sert en los frescos de Titanes que pintó para decorar el vestíbulo principal del Rockefeller Center de Nueva York. Este mismo artista fue encargado por Manuel de Falla, para pintar los decorados de la cantata escenificada Atlántida, que aunque nunca llegó a estrenarse por culpa de la Guerra Civil, es la gran ópera española, escrita sobre todo en catalán, pues está inspirada en los poemas épicos de Verdaguer.
La Atlántida narra la lucha entre los dioses y los titanes hijos de Atlas, una lucha que recuerda bastante a la narración de la lucha entre los ángeles y los demonios, que fueron finalmente vencidos y arrojados al infierno. También la Atlántida fue destruida y hundida en el océano según los viejos mitos griegos. Por eso, el relato de la Atlántida, como el del Génesis sobre el Árbol del Conocimiento del Bien y del Mal en el Paraíso terrenal, simboliza la ambición sin límites del ser humano, y también del origen mismo de la civilización tal como hoy la conocemos, basada en el saber por experiencia, en la ciencia.
Todos los símbolos del Rockefeller Center siguen una estética griega que ha quedado un tanto adulterada para adaptarse al gusto popular del momento: El Art Decó, símbolo por excelencia del capitalismo americano. De hecho, este complejo de rascacielos y plazas fue construido entre 1930 y 1939 por John D. Rockefeller, Jr., al que debe su nombre, uno de los grandes magnates y pioneros de la economía de mercado actual. Se trata del primer conjunto urbanístico diseñado ex profeso en Manhattan, con diecinueve edificios que ocupan una superficie de 89,000 m2, entre las Avenidas Sexta y Quinta, y las calles 48 y 51, justo en frente de la catedral católica de Nueva York, la famosa San Patricio.El Atlas es la escultura más grande y, quizás, la más característica del complejo Rockefeller Center junto con la figura dorada de Prometeo y el Zodiaco, que está situada en la plaza interior, en frente del vestíbulo principal que decorara Sert.
Atlas, según la mitología griega, fue condenado por Zeus a soportar sobre sus hombros los pilares que mantenían la tierra separada de los cielos. La escultura del Rockefeller Center en Nueva York fue realizada en 1936 por Lee Lawrie y Rene Chambellan. En ella, el eje norte-sur del gran orbe de bronce apunta a la Estrella Polar, y en uno de sus anillos se encuentran representadas las 12 constelaciones por las que pasa el Sol a lo largo de un año (visto desde la Tierra). Sobre los hombros de Atlas también puede observarse una especie de viga curvada con los símbolos tradicionales de Mercurio, Venus, Tierra, Marte, Júpiter, Saturno, y Neptuno.
cuarto dia, las dos lumbreras y las estrellas
jachin y boaz, genesis 1 (gen de isis)
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This was another '(orange) smoking gun', for it was none other than the 'Norway Spiral' (a similar but much more dramatic spiral light sighted in Norway late last year) that I had noted was being highlighted by the Orange Alignment via an earth orbit mirror, which is now 'complete' as you can see:
The official explanation was that the anamolous light was remnants of the SpaceX Falcon-9 rocket launched from the United States. The hidden context here goes back to what I had been paying a lot of attention to since last year (contributing to my assessment of the significance of the Orange window), i.e. the return of the Japanese asteroid probe Hayabusa, meaning 'Falcon', on June 13 in Australia. The connections were obvious and telling:
- SpaceX Falcon-9 rocket successfully launches
- Spiral 'UFO' spotted over Australia - thought to be remnants of Falcon-9 rocket
- Japanese asteroid probe Hayabusa (= 'Falcon') returns home (Australia) - 'contact' with earth
 Hayabusa, presumably bringing back a piece of the asteroid, literally made contact with our earth. It was a 'Contact' event, reiterated by the Australian spiral light/'Falcon' incident. In this way 'Contact' morphed into an 'asteroid impact' storyline a la Armageddon (and Deep Impact) which is a film I already fingered, more or less declaring it the 'script' being followed by the Gulf oil leak disaster...
 Space shuttle Atlantis is destroyed in opening scene - Major disasters caused by incoming asteroid
- Dire threat to planet kept secret until last minute
- Heroes who save Earth are all deep core oil drillers
- NASA/space shuttles stay visible throughout story
- Threat finally neutralized by nuclear detonation
Here's what I wrote about 'Atlantis' back on May 22:
Space shuttle Atlantis, regardless of how the mission ends, is playing a key role in this communication.
And it did/is....
Jun 16 Is BP's Atlantis rig the next disaster?
There is an important underlying meta-message here though that I want to briefly mention, which is that... the legend of the lost island of Atlantis is very much in play in all this in more ways than one.
On one level, what's happening with the oil disaster is a 'simulation' of the Atlantean catastrophe. The sinking of the BP 'island' Deepwater Horizon was Atlantis going down in a 'great flood' (see this in the context of all the major quakes, Haiti, Chile, etc. this year). And more disturbingly, the implication can't be easily avoided that Atlantis in a larger sense alludes to the United States (the 'New Atlantis') and that the disaster in the Gulf is signaling - if not directly causing - its 'end'. The countdown is on and the asteroid is on its way... which can be stopped only by detonating a nuke - according to the Armageddon 'script'.
As I mentioned before, that is exactly what some experts - most notably Matthew Simmons - are already suggesting, that the only solution to the oil leak is to nuke the well! It's already in the process of going mainstream and slowly gaining momentum. The longer it takes for BP and the government to stop or slow down the gushing oil/gas, the more mainstream attention the nuclear option will receive, with still remote but increasingly realistic prospects of the government actually implementing the 'final solution'... creating a subterranean 'second sun' aka 'Lucifer' (per 2010: The Year We Make Contact). That may save or, in a worst case scenario, finish off the United States/New Atlantis...
On another level, perhaps we are experiencing the 'birth pains' of Atlantis being resurrected. In what way exactly? Hard to say. But I wouldn't be surprised if the process involved perhaps as a subset of a larger pattern the actual discovery of ruins of the heretofore only theoretical Atlantean civilization... around the Caribbean, for instance. The Haiti 'Big One' back in January was a quite literal (repeat of) 'destruction of Atlantis' and I'm surprised I haven't seen anyone getting this inference. The Caribbean and Atlantis go hand in hand after all.
Moving forward, keeping Atlantis in mind should prove most useful in discerning multicontextual aspects of relevant coming world events.
Of course, Atlantis itself is a subset of a larger narrative that is... well, we'll go into that perhaps some other time.
[Permalink]
 Jun 30: Just to quickly fill you in on some key multicontextual things happening right now or about to happen...
Also on July 11...
A big-foot(ball) event - World Cup final game (involving Argentina?) - all for the glory of getting the Atlantean trophy...
 
[World Cup trophy (left) & Atlas statue (right)]
['Atlantis' = 'daughters of Atlas']
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So that's Atlantis (shuttle/ISS/Dawn) and the Sun (Ikaros) together whispering 'Solar Atlantis' again on May 20.
Why May 20? Because that's precisely when the Sun glides past the Pleiades star cluster in Taurus every year. And Pleiades is widely thought to derive its name from a word meaning 'to sail', making the stars 'sailing ones'. Juxtaposed with the Sun on May 20... 'solar sail'!
This was also a 'Solar Atlantis' ritual. How? Simple. The Pleiades in Greek mythology were the seven daughters of Atlas ('Atlantides') or the first king of Atlantis! (The name 'Atlantis' can mean 'daughter of Atlas'.)
What? Want more? No problem...
Ikaros fully deployed its solar sail on June 11 coinciding with the start of the World Cup in South Africa. The World Cup, as discussed before, is 'Atlas Cup'. Definitely an Atlantean sporting event, underscored by Spain ultimately winning the trophy a month later during a total solar eclipse, geographically alluding to the 'Pillars of Hercules' inseparable from the legend of Atlantis per Plato.
[World Cup trophy (left) & Atlas statue (right)]
 
Spain (winner) = 'Pillar of Hercules' = Strait of Gibraltar
(Plato: Atlantis situated beyond the Pillars of Hercules)
It was also right around June 11 that there were big headlines about a young sailor Abby Sunderland getting lost at sea while sailing around the world! Atlantis, Atlantis, Atlantis...
Jun 10 Teenage girl sailor 'in trouble' in Indian Ocean
Jun 11 Abby Sunderland, Teen Sailor, Found Safe at Sea
Jun 12 US teenage sailor Abby Sunderland rescued
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Thanks again, take a look at this diagrams  CHAOS PROTRUDED TOWARDS GOLDEN QUINCE 15 APPLES = 1111 From pomegranate/beehive rhombic dodecahedron chaos 9 + 6 = 15 =1111 on to the Knight Templar regular octagon and the cross of Malta - Solomon's temple and the new Jerusalem. Hyades 11 chaos towards Pleiades 11 order abyss - back to 9 clockwise rotation, sun rises on the west. Underworld contact and giants - Titan Gods back - Gog and Magog return. From actual 60 magnetic degrees component in light green confirmed by Voyager to 45 degrees magnetic component in the regular octagon in yellow. Number 9 mantains the blue colour because of the 6 to 9 shift - the scarab beetle pushes the dung ball-sun backwards in the middle of the Arch-i-medes St John/Oannes summer solstice - bonfires key. Same concept with the crab that walks backwards, remember Cleopatra's needle has 69 feet and is supported by four crabs and Washington monument is 1-69 meters.   
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Roscoe this is the Nebra sun disk  It was found in 1999 is a bronze disk of around 30 cm diameter, with a blue-green patina and inlaid with gold symbols. These are interpreted generally as a sun or full moon, a lunar crescent, and stars (including a cluster interpreted as the Pleiades). Two golden arcs along the sides, marking the angle between the solstices, were added later. A final addition was another arc at the bottom surrounded with multiple strokes (of uncertain meaning, variously interpreted as a Solar Barge with numerous oars, as the Milky Way or as a rainbow). The disk is attributed to a site near Nebra, Saxony-Anhalt in Germany, and associatively dated to c. 1600 BC. It has been associated with the Bronze Age Unetice culture. http://en.wikipedia.org/wiki/Nebra_sky_diskIt is fascinating reading Initially the disk had thirty-two small round gold circles, a large circular plate, and a large crescent-shaped plate attached. The circular plate is interpreted as either the Sun or the full Moon, the crescent shape as the crescent Moon (or either the Sun or the Moon undergoing eclipse), and the dots as stars, with the cluster of seven dots likely representing the Pleiades.
At some later date, two arcs (constructed from gold of a different origin, as shown by its chemical impurities) were added at opposite edges of the disk. To make space for these arcs, one small circle was moved from the left side toward the center of the disk and two of the circles on the right were covered over, so that thirty remain visible. The two arcs span an angle of 82°, correctly indicating the angle between the positions of sunset at summer and winter solstice at the latitude of the Mittelberg (51°N). Given that the arcs relate to solar phenomena, it is likely the circular plate represents the Sun not the Moon.
The final addition was another arc at the bottom, the "sun boat", again made of gold from a different origin.
By the time the disk was buried it also had thirty-nine or forty holes punched out around its perimeter, each approximately 3 mm in diameter.
The disk is possibly an astronomical instrument as well as an item of religious significance.  the Maya understood that they came from the Pleiades... In Greek mythology, Atlantides was the name given to the Pleiades, who were fabled to be the seven daughters of Atlas. and Pleione. The Pleiades were Alcyone, Eletra, Celaeno, Maia, Sterope, Merope, and Taygete. In the Regalia of Sauniere is the Lamb over the book with the seven seals there is the menorah with its seven candles It seems the Pleiades are a very important player in Ancient Astronomy
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Not saying that Comet Enelin is a spaceship and/or that Elenin is literally a doomsday comet. The pattern, however, is real and the underlying storyline is evidently important (otherwise we wouldn't be seeing this pattern convergence steadily increasing layers and coherence). There is a "message" in all this...
Timing-wise, needless to say, the latter half of October should be interesting to watch. Personally though I continue to be more interested in the coming period closely matching the traditional Dog Days with a number of anchor dates including ~July 27 and ~August 16. We're looking at some sirius stuff there.
In the meantime, the royal newlyweds (William/Kate) will be touring Canada June 30 to July 8, then the Los Angeles area July 8-10. Meaning they will physically (more or less) touch the San Andreas Fault running through California... where the phoenix - quite potentially in the form of another "Birthquake" - is rising from the Underworld per Lucifer's Destiny. As you may recall, the theme gave us an "11:11" signal back on April 29 (Royal Wedding)...
 :
...evoking the phoenix perched on the twin obelisks perhaps alluding to the resurrection of Atlantis from the Underworld via the "Pillars of Hercules" (= Strait of Gibraltar = traditionally considered a gateway to the legendary island). In this context it hardly seems like a coincidence that it's precisely on July 8 or the day of the royal couple arriving in California that NASA plans to launch its final space shuttle mission - Atlantis STS-135.
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 [Hat tip to reader 'dd' for noting Arlington position.] |
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Rex Deux
Resurrection of the Dragons
By Goro Adachi
March 11, 2002
What the...
Very much aware of the symbolic significance of the Salt Lake City Winter Olympic Games as discussed in The Labour of the Sun, I sat down on the night of February 24 to watch its closing ceremony, an openly ritualistic event, to see if there was any 'clue dropping'. Having recognized the existence of an esoteric undercurrent in the opening ceremony, I was curious as to what kind of encoded 'message' might be present in the second 'ritual'. Of course, my view is that reality itself is an encoded message, or a 'game', so this was not anything new; I'm always scanning for clues. But high-impact world events, accidental or not, I have observed, are usually symbolic expressions of important themes that underlie physical phenomena that surround us, hence my special interest in the international event of the Olympics.
As the two gigantic T-Rex's at the Olympic stadium were shown on the TV screen, I inevitably went 'what the...' I mean, these were clearly out of place and, simply, bizarre (not to say scary). Of course, the exoteric justification (= 'excuse') was probably that the general region of Utah has large deposits of dinosaur remains, but still those dinosaurs had almost no apparent relevance to the themes of the ceremony and were just... bizarre. To me, this was a 'Hermetic device' having the function of prompting questions consciously or subconsciously. This, in other words, was potentially a 'clue' planted, again consciously or subconsciously, by some intelligence.
Messianic Resurrection
Later in the show, the dinosaurs were revealed to be operated from behind the walls (not really, but that was the story line) by the Osmond brother and sister singing 'We Are Family!...' By this time, I began to get the gist of the shrouded 'message'. T-Rex's are 'kings', as rex means 'king' and they were certainly the king of dinosaurs. And since the term 'dinosaur' means 'terrible lizard', the T-Rex could easily be considered a 'terrible king', or 'King of terror' a la Quatrain X-72 discussed in previous articles.
Century X-72
L'an mil neuf cens nonante neuf sept mois,
Du ciel viendra vn grand Roy d'effrayeur:
Resusciter le grand Roy d'Angolmois,
Auant apres Mars regner par bon-heur.
The year 1999 seven months,
From the sky will come a great King of terror:
To resurrect the great King of Angolmois,
Before after Mars to reign by good luck
At the Olympic stadium in Salt Lake City, then, the 'King of terror' was symbolically 'resurrected' to accord with my previous interpretation that this quatrain, in conjunction with II-41 etc., relates to the 9/11 event and the Winter Olympic Games. Note that this 'King' of the Olympics could also easily be viewed as the 'King of the Rings' -- as the Games are symbolized by the familiar multi-colored five rings -- which may be rephrased as the 'Lord of the Rings'. And The Lord of the Rings is a phrase very much fresh on people's minds today because of the very popular film by the same title that came out late 2001 after the 9/11 event (it was the first of the trilogy, so it's an on-going project). [Update: the second volume/installment of The Lord of the Rings is titled 'The Two Towers' (!) and the third 'The Return of the King' -- needless to say, the correspondence is incredible.] This curious coincidence is compounded by the fact that, in Greek mythology, it is Prometheus, the provider of fire and a version of Saturn-Osiris, that would be considered the 'lord of the ring', as we read that:
Finally [Hercules] reached the Caucasus Mountains, where Prometheus had been fettered for thirty years... Zeus had long repented of his punishment, because Prometheus had since sent him a kindly warning not to marry Thetis, lest he might beget one greater than himself; and now, when Hercules pleaded for Prometheus's pardon, granted this without demur. Having once, however, condemned him to everlasting punishment, Zeus stipulated that, in order still to appear a prisoner, he must wear a ring made from his chains and set with Caucasian stone - and this was the first ring ever to contain a setting... Mankind now began to wear rings in Prometheus's honour... (Robert Graves, The Greek Myths, 133.l-m)
This event, remarkably, is said have taken place during Hercules' journey of the '11th labor', i.e. the very labor we have linked to the current world events, including the Olympics (see The Labour of the Sun). Note also that the Salt Lake City Games had a very Promethean official slogan/theme, 'Light the Fire Within'.
But here we need to take into consideration the idea of 'family' musically attached to the kingly dinosaurs. A 'royal family' -- was this the implication? Or, since the 'King of terror' has been equated with Osiris (see Labour), was it an allusion more specifically to the messianic family, i.e. the family of Jesus, the biblical Osiris? To use Christian terminology, it was a symbolic 'Second Coming'. This association is intriguing as it has been said that Jesus was crucified on a T-shaped cross (the 'tau') (Christopher Knight, et al, The Hiram Key, pp.241-2), and thus Jesus, the 'King of the Jews', may be described congruently as a 'T-king', that is, 'T-Rex'. And then there is the intriguing fact that the messianic bloodline, signified in medieval literature by the Holy Grail (Sangraal, which can also be translated as 'Blood Royal'), is entangled with the myths of the 'Ring', including The Lord of the Rings:
J. R. R. Tolkien's The Lord of the Rings is one of the most enchanting and successful tales of all time. First issued in the 1950s, this famous trilogy could just as well have emanated from the Dark Ages or medieval times, for it has all the qualities and attributes of the most ancient Grail and Ring traditions. (Laurence Gardner, Realm of the Ring Lords, p.1)
To express it esoterically, then, it was an allusion to the return of the wounded 'Fisher King', or King Arthur, the medieval Osirian-messianic character who is inseparable form the Grail romances. It is fitting that the Gaelic word uther, from which the name 'Arthur' apparently derives, means 'terrible' (according to Gardner) and Arthur's father was called 'Uther Pendragon' (actually a title) which would mean 'Terrible head of Dragons' (though it has also been translated as 'Wonderful head of Dragons'). The 'terrible dragons' are, of course, clearly evocative of the dinosaurs, the 'terrible lizards'. Traditionally, 'dragons' are associated with kingship and crocodiles/serpents; in ancient Egypt, for example, pharaohs were anointed with the fat of the holy crocodile, or 'Meseh' from which derives the term 'Messiah', i.e. Jesus/Osiris. Correspondingly, Osiris' death is associated with a crocodile in Egyptian tradition (E.A. Wallis Budge, The Gods of the Egyptians, vol.II, p.358).
Deux Dieux
The messianic family, stemming from Davidic royal lineage and the offspring of Jesus and Mary Magdalene (i.e. Sangraal) according to esoteric tradition, is said to carry the title, Rex Deus, meaning 'King of God' (see Marilyn Hopkins, et al, Rex Deus, 2000). Now, it is curious to notice here that the term 'Deus' (God) closely resembles the word for 'two' in various European languages. As Boyd Rice writes:
The Latin word for God, Deus, seems to retain a vestige of the ancient understanding of the dual nature of deity. In many languages, the word denoting "Two" has either a spelling or a sound very similar to the word Deus, for instance, deux, dos, dua, deuce, and so forth. This becomes even more explicit when examining the specific terms some of the countries apply to God. For example, the French Dieu [or its plural form, Dieux] echoes deux (two) very closely, and the Spanish Dios is derived from the word dos by the mere addition of an "I." (www.dagobertsrevenge.com/articles/undivided.html)
This would then nicely relate to the two T-Rex's of the Olympics and the biblical 'T-Rex', Jesus, being a twin (Judas Thomas/Twin was almost certainly Jesus' twin brother, based on non-canonical sources such as the Acts of Thomas). And, of course, we are reminded here of the twin nature of Hercules, antediluvian pillars, the Sphinx/Horus and such -- underlying all of which is the notion of the Sun/Ark/lion, as explained in The Labour of the Sun. (In terms of Nostradamus -- who, by the way, may well have been a member of 'Rex Deus' -- this motif is potently expressed in our 'two suns' quatrain, II-41.) Indeed, Rex Deus, or the Messianic bloodline, is Davidic which in turn means the bloodline is of the 'lion king' -- as the tribal symbol of King David's, Judah, was the lion. Moreover, the Davidic 'Fisher King' is called in Arthurian literature Anfortas (in fortis) meaning 'in strength', which is also the Latin name for one of the two pillars of the Temple of Jerusalem (i.e. the 'Boaz' pillar). These twin pillars are a version of the antediluvian/Atlantean pillars, the New World version of which was destroyed on 9/11/01. The Catholic theologian Margaret Starbird writes:
The name of this [Boaz] pillar, which is also the name of the ancestor of King David, is a clear and obvious reference to the promises made to the Davidic bloodline, the line of the princes of Judah, that the dominion of its princes would be established forever "in strength," since Judah was the strongest of the twelve sons of Israel's patriarch Jacob. The name Anfortas is thus associated with the broken left pillar of the Temple of Jerusalem, which is symbolic of the broken Davidic succession... [T]he "Fisher King" Anfortas -- that is, the Davidic "Fish-King" Jesus -- can be healed only when the Grail is restored... (The Woman With the Alabaster Jar, p.86)
The reference to the broken succession/pillar here is interesting as it potentially relates to the fact that the Great Sphinx is missing its 'twin' and also to the darkening of the sun (= lion/sphinx/Fisher King) on the day Jesus/Osiris died as per tradition.
All combined, we can derive the symbolic implication that the two towering T-Rex's signified the resurrection of the messianic king, or Osiris-Horus, the fall of which was earlier expressed by the destruction of the WTC twin towers on 9/11.
Proof of the Vikings
Let's take a look at Quatrain VI-97 which I have repeatedly correlated with the world events of our own time including the 9/11 attacks.
Century VI-97
Cinq & quarante degrez ciel bruslera
Feu approcher de la grand cite' neuue
Instant grand flamme esparse sautera
Quand on voudra des Normans faire preuue.
Forty five [or 'five and forty'] degrees the sky will burn,
Fire to approach the great new city
In an instant a great scattered flame will leap up,
When they want to have proof of the Normans.
This quatrain's relevance to 9/11 and related events can be summarized as follows. First, 'five and forty' (cinq & quarante) of Line 1, if interpreted as 40.5, would correspond to the latitude of New York City where the WTC towers stood. And NYC is insinuated by Line 2 mentioning 'the great new city'. The abundant references to burning fire, needless to say, evoke the burning towers still hauntingly fresh on our mind. (The "great scattered flame" is actually even evocative of the grand firework show of the Olympic ceremonies.) What is most remarkable, however, is the implication of Line 4: 'When one will want to want proof of the Normans'.
 "Normans" is essentially another name for the Vikings (or 'Norsemen'). "Viking," in turn, was the name given to the twin space probes NASA sent to Mars in 1976 (Viking 1 & 2). This Viking mission made the very first successful landing on the Red Planet and, more significantly, it gave us the first pictures of the potentially artificial "monuments of Mars" at Cydonia, an issue still very much controversial and relevant today. This association is particularly important here because the Cydonia region of the 'fire planet' is situated approximately at 5°W. 40°N. -- that is, "five and forty"! The 'monuments' themselves are located on latitude 40.5-41°N., which happens to be the very latitude of NYC _and_ Salt Lake City! As if these weren't enough, the most prominent features of the Cydonia complex are the popular 'Face' and the geometrically sound 'D&M Pyramid'.  The 'Face', as revealed/confirmed in 2001, is of dual nature, having a hominid side and a leonine side, just as does the Sphinx (= sun, Hercules, 'Fisher King') which has a body of the lion and a head of man. (The connection between the two is corroborated by the fact that the tangent of Cydonia's latitude equals the cosine of the latitude of Giza/Sphinx, both equaling e/pi.) The partially collapsed 'D&M Pyramid', on the other hand, is pentagonal -- echoed by the U.S. Pentagon partially destroyed in the 9/11 attacks.
Line 4, 'When one will want to have proof of the [Vikings]', then, would have the implication of people wanting to know the truth about Cydonia and/or more generally about the existence of life on Mars. And, sure enough, presently around the turn of the millennium we are rapidly getting more evidence indicative of the existence of past/present life, as well as intelligently designed structures, on the Red Planet. (Most recently, the Mars Odyssey spacecraft gave us, on 3/1/02, more evidence of water on Mars, more pictures of strikingly artificial-looking features, and amazing confirmation of Richard Hoagland's 'Mars Tidal Model' which I consider a brilliant piece of work.)
As it turns out, the 'Norman/Viking' reference also nicely brings together 9/11 and 'Rex Deus' as we learn that the Viking leader, Rollo (Hrolf), came to France and obtained Normandy (becoming the first Duke of Normandy) in _911_ AD. And Rollo, interestingly enough, was genealogically linked to the 'Rex Deus' clan:
[Rollo] extended his lands by conquest and his influence by alliance and marriage with the leading aristocratic families of the time. He sought to establish strong bonds with the local aristocracy and, in particular, matrimonial links with dynasties of the Rex Deus tradition, such as the families of Chaumont, Gisors, d'Evreaux, Blois, the Counts of Champagne and the ruling House of Flanders, whose younger sons were the Counts of Boulogne. Was he [Rollo himself] also Rex Deux, from a family outside the confines of early Christian Europe? (Hopkins, et al, Rex Deus, p.107)
From this angle, the phrase 'When one will want to have proof of the Normans' would come to mean 'when people become aware, and want proof/'resurrection', of 'Rex Deus' or the 'Grail'/messianic bloodline -- that is, our own time.
Now, the 'resurrection' of this hidden bloodline/tradition would also imply the fall of the Church as its existence today is the result of the Roman Empire 'hijacking' the 'Fisher King' tradition. The Catholic Church or Papacy, in other words, is just a poser on the throne with no legitimacy what so ever. The 'king' is naked and the people have been too conditioned and timid to openly acknowledge this awkward fact. When the true 'Fisher King' is publicly acknowledged, therefore, it would automatically leave the Church and its manipulative doctrine nowhere to go but down. This situation brings us back to Quatrain II-41, the 'two suns' prophecy already applied to the current events, the last line of which indicates the fall/shift of the papacy: "When the great pontiff changes his abode."
In The Labour of the Sun was discussed how Quatrain II-41 pertains to 9/11, the 'King of terror' (Fisher King), and the inevitable end of the reign of Pope John Paul II, the 'Labor of the Sun' pope, in the near future. Since writing the article, it came to my attention that there is one particular date that may be seen as a window through which the smoldering archetypal story line could potentially manifest itself physically because of intense symbolic convergence. The date in question is May 1st -- i.e. 'May Day'. First, notice that just as the date '9-11' numerically had the implication of emergency ('911' being the emergency phone number), 'May Day' is similarly the international radiotelephone code used for indicating trouble and requesting help. Second, in Europe May Day is Labor Day which in the United States is celebrated in September (the month of 9/11) -- 'labor' being a code word for Pope JPII, as well as Hercules' 11th Labor that has been found to closely relate to 9/11 and Prometheus along with his fire and ring. May Day, in fact, is also the festival of Belenus, the Celtic god of fire and the sun, and a pagan festival of rebirth and renewal. The first day of May, therefore, is a time with strong 9/11 resonance and particularly relevant to the 'Labor of the Sun', i.e. Pope JPII, though I am not ready to predict that the papacy will actually suffer a loss on that date.
Update: According US intelligence sources, as reported by The Washington Times (May 13), Islamic terrorists were planning to attack a nuclear power plant and this "was initially scheduled for May 1..." So, there indeed was a high potential for a 9/11-related major incident on May Day 2002.
Echoes of Lost Paradise
Dinosaurs, the kings of the earth at the time, were suddenly wiped out about 65 million years ago. Rocks from outer space, it is often theorized, hit the earth and devastated all life upon the surface. Quite recently, Tom Van Flandern (formerly the Chief of the Celestial Mechanics Branch of the U.S. Naval Observatory) put forward the theory that it was the 'explosion' of what he calls 'Planet V' between Earth's orbit and the Asteroid Belt (which is the remnant of the theoretical 'Planet K' that exploded about 250 million years ago) that caused the extinction of the dinosaurs. The planet Mars, in this radical model, was formerly a satellite of Planet V that survived the catastrophe and became an independent planet. Richard Hoagland's more recent 'Mars Tidal Model' was an extension of Flandern's 'Exploded Planet Hypothesis', and so the new data from the Mars Odyssey probe just released 3/1/02 that dramatically corroborated Hoagland's theory was also confirmatory evidence for Flandern's. By inference, then, it may be postulated that those dinosaurs -- analogous to the 'King of terror', 'Fisher King', etc. -- and the Red Planet have an inseparable historical connection.
The reader may recall that I have previously stressed the intense correlation that exists between the 9/11-related events and the destruction of the antediluvian world, 'Atlantis', in connection with Mars/Cydonia. Here, then, we have the implication that there also is a link between the prehistoric 'dragons' and Atlantis. Remarkably, this strange association actually resonates well with the fact that in ancient traditions the angelic wisdom-providers of the antediluvian paradise, including Osiris, are usually associated with the serpent, i.e. 'dragons'. The coherence is intensified when it is added that the essence of Osiris was equated in ancient Egyptian theology with the Benben Stone (the capstone of the pyramid/obelisk) which in turn was, or represented, a meteorite -- i.e. a rock from outer space (Planet V). Correspondingly, we may recall that, in Mystery, Babylon the Great, the antediluvian tower (Babel) and the Osirian 'fallen angels' (Nephilim) were found to be the embodiment of a heavenly stone. And to top it off, the Nephilim were 'fallen ones' (as in fallen meteorites), and were also called awwin denoting 'serpents' (as in dragons/dinosaurs) and gibborim meaning 'strong ones' (as in Davidic 'Fisher Kings'). The messianic association is echoed strongly by the Holy Grail/Blood Royal: in Wolfram von Eschenbach's Parzival from around 1200, the Grail is called lapsit exillis which, as lapis ex caelis, means 'stone from the heavens'!
So we now have entangled themes involving dinosaurs, Exploded Planet Hypothesis, Mars, Atlantis, heavenly stone, messianic tradition... What does this all mean? While I have my own hypotheses, it is wise at this time to just wonder about it rather than force a shortsighted and linearly conceived conclusion out of the partially disjointed pieces of the puzzle. I have faith in the idea of 'if you ask, the answer will come'. This appears to be how the 'game' is played 'down here'. Truth requires patience, and patience here requires unwavering respect for truth.
Foreshadowing
 I'd like to end this article by pointing out that the next Winter Olympic Games (2006) will be held in Turin, Italy. Turin is the home of the single most important and controversial relic associated with Jesus -- the Shroud of Turin, the linen cloth in which Jesus was supposedly wrapped after the crucifixion. On the Shroud is seen, somehow, a seemingly photographic image of Jesus. While ostensibly a Christian relic, the Shroud has much to do with the esoteric 'underground' tradition that aligns with the 'Fisher King' rather than with Pauline counterfeit Christianity headed by the Papacy. Indeed, the Shroud first surfaced soon after the suppression of the medieval warrior-monks, the Knights Templar, who were accused, among other things, of worshipping a strange head -- which may well have been the head portion of the Shroud. The first known owner of the relic, Geoffrey de Charney, is in fact thought to be the nephew of Geoffroi de Charney, the Templar preceptor of Normandy who was burned to death with Jacques de Molay, the last Templar Grand Master. And some have theorized, with good reason, that the Shroud was actually created by Leonardo Da Vinci who has been claimed to have been Grand Master of the Priory of Sion, supposedly the parental organization behind the Templar order (see Lynn Picknett, et al, Turin Shroud). The Priory of Sion, extensively discussed in the groundbreaking book Holy Blood, Holy Grail (1982), is practically analogous, or attached, to 'Rex Deus'. This combined with the fact that the Templar knights in the Grail lore are depicted as the guardians of the Holy Grail/Blood Royal which, in theory (based on "heretical" traditions), stemmed from the dynastic 'Sacred Marriage' between Jesus and Mary Magdalene, it may be inferred that the Shroud is in a sense a form of the Grail which in turn represents the hidden messianic succession.
Is it just a coincidence that Turin, the very place where this 'Rex Dues' relic rests, has been selected for the next Winter Olympics? Perhaps. But consider the following. Turin is at latitude 45°N. so as to echo the opening line of the 'Olympic/Martian quatrain', VI-97 ('Forty five degrees the sky will burn'). The last line of the same quatrain, 'When they want to have proof of the Normans', may also now denote 'when people want to find out the truth about the origin of Christianity, about the suppressed messianic legacy, and about the true nature of the Turin Shroud which was first possessed, as far as we know, by the 'Normans' (i.e. the Templar Master of Normandy). The Shroud even resonates with 9/11. The relic, as well as Leonardo/Priory of Sion, is associated with John the Baptist as it is, for example, kept at the Cathedral of St. John the Baptist in Turin. And the saint's birthday was celebrated on the summer solstice just as the date 9/11 corresponded in the early Christian times to the original summer solstice day of the ancient Egyptian calendar.
Also, the demonstrated Martian/Cydonian nature of Quatrain VI-97 incites the thought that the head imprinted on the Shroud might relate to the more or less similar-looking 'Face on Mars'. This is clearly a silly notion -- except there are various clues that are supportive of it. This leads into an area that overlaps my 'other' research that I do not want to discuss yet. But I'll just mention two curious coincidences: the Shroud is called sydoine/sindone/sindon in other languages ('Cydonia' anyone?), and John the Baptist was decapitated and his severed head became an object/idea of great esoteric importance. This is only a small hint. I don't want to open Pandora's Box yet... :) But I will say that Mars/Cydonia anomalies and the Grail-Ark-Shroud-Fisher King theme are to merge in a startlingly direct and elegant way.
The Quest for the Grail is an interplanetary saga.
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El Rockefeller Center es uno de los lugares simbólicos más densos del planeta, aunque muy pocos entre sus millones de visitantes se paren a reflexionar sobre lo que significan estas imágenes. Se trata de una simbología relacionada con la historia reciente del capitalismo global, cuyas consecuencias estamos ahora sufriendo. El mito de la Atlántida, resurgida del océano para volver a desafiar a los dioses mediante la ilusión del conocimiento humano sin límites, el poder de la técnica y el dinero, y el individualismo como motor del mundo.
