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LAS DOS COLUMNAS DE JAQUIN=MARIA MAGDALENA=SUR Y BOAZ=JESUCRISTO=NORTE-RELACION CON BOAZ, EL ESPOSO DE RUTH EN UN CONTEXTO A PENTECOSTES
MATEO 12
12:32 A cualquiera que dijere alguna palabra contra el Hijo del Hombre, le será perdonado; pero al que hable contra el Espíritu Santo, no le será perdonado, ni en este siglo ni en el venidero.
12:33 O haced el árbol bueno, y su fruto bueno, o haced el árbol malo, y su fruto malo; porque por el fruto se conoce el árbol.
12:34 ¡Generación de víboras! ¿Cómo podéis hablar lo bueno, siendo malos? Porque de la abundancia del corazón habla la boca.
12:35 El hombre bueno, del buen tesoro del corazón saca buenas cosas; y el hombre malo, del mal tesoro saca malas cosas.
12:36 Mas yo os digo que de toda palabra ociosa que hablen los hombres, de ella darán cuenta en el día del juicio.
12:37 Porque por tus palabras serás justificado, y por tus palabras serás condenado.
12:38 Entonces respondieron algunos de los escribas y de los fariseos, diciendo: Maestro, deseamos ver de ti señal.
12:39 El respondió y les dijo: La generación mala y adúltera demanda señal; pero señal no le será dada, sino la señal del profeta Jonás.
12:40 Porque como estuvo Jonás en el vientre del gran pez tres días y tres noches, así estará el Hijo del Hombre en el corazón de la tierra tres días y tres noches.
12:41 Los hombres de Nínive se levantarán en el juicio con esta generación, y la condenarán; porque ellos se arrepintieron a la predicación de Jonás, y he aquí más que Jonás en este lugar.
12:42 La reina del Sur se levantaráen el juicio con esta generación, y la condenará; porque ella vino de los fines de la tierra para oír la sabiduría de Salomón, y he aquí más que Salomón en este lugar.
12:43 Cuando el espíritu inmundo sale del hombre, anda por lugares secos, buscando reposo, y no lo halla.
12:44 Entonces dice: Volveré a mi casa de donde salí; y cuando llega, la halla desocupada, barrida y adornada.
12:45 Entonces va, y toma consigo otros siete espíritus peores que él, y entrados, moran allí; y el postrer estado de aquel hombre viene a ser peor que el primero. Así también acontecerá a esta mala generación.
12:46 Mientras él aún hablaba a la gente, he aquí su madre y sus hermanos estaban afuera, y le querían hablar.
12:47 Y le dijo uno: He aquí tu madre y tus hermanos están afuera, y te quieren hablar.
12:48 Respondiendo él al que le decía esto, dijo: ¿Quién es mi madre, y quiénes son mis hermanos?
12:49 Y extendiendo su mano hacia sus discípulos, dijo: He aquí mi madre y mis hermanos.
12:50 Porque todo aquel que hace la voluntad de mi Padre que los cielos, ése es mi hermano, y hermana, y madre.
 La idea de un templo fijo surgió hacia el año 1000 a. C., a raíz del traslado de la capital de Hebrón a Jerusalén, cuando David conquistó la fortaleza jebusea; allí David construyó su palacio y un tabernáculo para la instalación del Arca de tal manera que la "ciudad de David" pudiera transformarse en el centro religioso de Palestina.
Correspondió a Salomón realizar el verdadero templo, cuando amplió la capital. Las medidas y su esplendor están descritas en la Biblia y por ello sabemos que su planta se adaptaba a la "casa larga" mesopotámica o templo con vestíbulo, la nave (habitación larga) y el adytum (cámara cuadrada). Estaba orientado en la dirección este-oeste, con un patio para el altar de los holocaustos, frente a la puerta del templo, adornada con dos columnas de bronce que medían 12 codos de alto por 4 de diámetro. La nave constaba de dos espacios: el lugar sagrado o hekal, y un santuario o debir , lugar sagrado por excelencia. En el patio se situaba el altar de los holocaustos a manera de zigurat de tres pisos, a los que se accedía por una escalera; además estaba el Mar de Bronce, pila gigantesca metálica de 10 codos de diámetro y 5 codos de profundidad, que se apoyaba en doce bueyes, dispuestos en cuatro grupos de tres, colocados en la dirección de los puntos cardinales.
 Se dice que el templo fue construido según el modelo de la tienda santa, antes descrita, y que sus medidas, sin los edificios anexos, parecen haber sido el doble que aquella. Hasta el presente no han sido posibles las excavaciones en el Templo de la Roca o Mezquita de Omar, donde estuvo el Templo de Salomón; la "roca sagrada" de la mezquita actual fue la del templo salomónico, y no se sabe con seguridad si sobre ella estuvo el arca o el altar de los sacrificios. Otros elementos de la forma de este templo hebreo vienen de la arquitectura KIfenicia, porque Salomón encomendó al arquitecto Hiram de Tiro su construcción. En cuanto a las dos columnas de la fachada, su origen puede rastrearse ya en santuarios neolíticos; respecto a sus nombres de Jakim y Boaz señala Mertens como probable que deriven de inscripciones que debieron tener y que empezaban por estas palabras: "Que él erija (Jakim) esta casa" y "con poder (Boaz) expulse de estas puertas a todos sus enemigos".
Fue grande el esfuerzo realizado por Salomón en esta construcción religiosa, y como en el pueblo de Israel no había tradición artística, aceptó las formas de otros pueblos con el único fin de dar esplendor al culto. No faltaron las consideraciones políticas pues tal templo era "capilla real" del palacio, en la que debían de converger los sectores de Israel y de Judá, que constituían el reino.
El observador se situaba en el centro del lugar sagrado, de cara al Este, es decir de cara al sol naciente (...) Seguía los desplazamientos progresivos de las salidas del sol en el horizonte, entre los dos límites extremos alcanzados por los solsticios de Verano e Invierno. Se señalaban esos dos puntos esenciales con dos postes, dos menhires en algunas alineaciones prehistóricas de Bretaña o de Inglaterra, o con dos columnas si se trataba de templos más elaborados". 13 Las columnas Jakin y Boaz14 no eran entonces simples elementos decorativos, sino que con ellas se establecía un enmarque espacio-temporal indicado por las distintas posiciones del astro solar, posiciones que determinan el esquema simbólico universal de la cruz cuaternaria, pues al señalarse los solsticios de Invierno y de Verano (correspondientes al eje Norte-Sur) se obtenía también la situación de los equinoccios de Primavera y Otoño (correspondientes a su vez al eje Este-Oeste).15
Busqueda para BOAZ
1. 1 Reyes 7:21: Estas columnas erigió en el pórtico del templo; y cuando hubo alzado la columna del lado derecho, le puso por nombre Jaquín, y alzando la columna del lado izquierdo, llamó su nombre BOAZ.
2. 2 Crónicas 3:17: Y colocó las columnas delante del templo, una a la mano derecha, y otra a la izquierda; y a la de la mano derecha llamó Jaquín, y a la de la izquierda, BOAZ.
1. Rut 2:1: Tenía Noemí un pariente de su marido, hombre rico de la familia de Elimelec, el cual se llamaba BOOZ.
2. Rut 2:3: Fue, pues, y llegando, espigó en el campo en pos de los segadores; y aconteció que aquella parte del campo era de BOOZ, el cual era de la familia de Elimelec.
3. Rut 2:4: Y he aquí que BOOZ vino de Belén, y dijo a los segadores: Jehová sea con vosotros. Y ellos respondieron: Jehová te bendiga.
4. Rut 2:5: Y BOOZ dijo a su criado el mayordomo de los segadores: ¿De quién es esta joven?
5. Rut 2:8: Entonces BOOZ dijo a Rut: Oye, hija mía, no vayas a espigar a otro campo, ni pases de aquí; y aquí estarás junto a mis criadas.
6. Rut 2:11: Y respondiendo BOOZ, le dijo: He sabido todo lo que has hecho con tu suegra después de la muerte de tu marido, y que dejando a tu padre y a tu madre y la tierra donde naciste, has venido a un pueblo que no conociste antes.
7. Rut 2:14: Y BOOZ le dijo a la hora de comer: Ven aquí, y come del pan, y moja tu bocado en el vinagre. Y ella se sentó junto a los segadores, y él le dio del potaje, y comió hasta que se sació, y le sobró.
8. Rut 2:15: Luego se levantó para espigar. Y BOOZ mandó a sus criados, diciendo: Que recoja también espigas entre las gavillas, y no la avergoncéis;
9. Rut 2:19: Y le dijo su suegra: ¿Dónde has espigado hoy? ¿y dónde has trabajado? Bendito sea el que te ha reconocido. Y contó ella a su suegra con quién había trabajado, y dijo: El nombre del varón con quien hoy he trabajado es BOOZ.
10. Rut 2:23: Estuvo, pues, junto con las criadas de BOOZ espigando, hasta que se acabó la siega de la cebada y la del trigo; y vivía con su suegra.
11. Rut 3:2: ¿No es BOOZ nuestro pariente, con cuyas criadas tú has estado? He aquí que él avienta esta noche la parva de las cebadas.
12. Rut 3:7: Y cuando BOOZ hubo comido y bebido, y su corazón estuvo contento, se retiró a dormir a un lado del montón. Entonces ella vino calladamente, y le descubrió los pies y se acostó.
13. Rut 4:1: BOOZ subió a la puerta y se sentó allí; y he aquí pasaba aquel pariente de quien BOOZ había hablado, y le dijo: Eh, fulano, ven acá y siéntate. Y él vino y se sentó.
14. Rut 4:5: Entonces replicó BOOZ: El mismo día que compres las tierras de mano de Noemí, debes tomar también a Rut la moabita, mujer del difunto, para que restaures el nombre del muerto sobre su posesión.
15. Rut 4:8: Entonces el pariente dijo a BOOZ: Tómalo tú. Y se quitó el zapato.
16. Rut 4:9: Y BOOZ dijo a los ancianos y a todo el pueblo: Vosotros sois testigos hoy, de que he adquirido de mano de Noemí todo lo que fue de Elimelec, y todo lo que fue de Quelión y de Mahlón.
17. Rut 4:13: BOOZ, pues, tomó a Rut, y ella fue su mujer; y se llegó a ella, y Jehová le dio que concibiese y diese a luz un hijo.
18. Rut 4:21: Salmón engendró a BOOZ, y BOOZ engendró a Obed,
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LA LETRA H TIENE LA MISMA FORMA QUE LA CONSTELACION DE ORION
FATIMA, NEXO MATEMATICO CON INDEPENDENCIA DE EEUU Y EL
LA POSICION DE LA VIRGEN ESTA JUSTO EN EL CENTRO ENTRE LAS DOS COLUMNAS, OSEA ENTRE LOS DOS TROPICOS, CONCRETAMENTE EN EL ECUADOR. EL NEXO DE LA VIRGEN, EN CONTEXTO A LAS FESTIVIDADES HEBREAS, ES CON REFERENCIA AL 21 DE MARZO Y 21 DE SEPTIEMBRE, OSEA CUANDO EL SOL ESTA EN FRENTE DEL ECUADOR. LA PIRAMIDE ENTRE LAS DOS COLUMNAS ES UNA REFENCIA IMPLICITA Y EXPLICITA A LA ESFINGE DE GIZE EN EL CONTEXTO A ORION/OSIRIS. JUSTAMENTE ORION ES UNA CONSTELACION ECUATORIAL
O-lympic RINGS = O-RIN-Y = ORIYN = ORION
The Olympic Ring logo is a stylized constellation of Orion:
The Olympic Rings logo is the number 88+88=176 or 888+888=1776 or 8888+8888=17776:
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In Rome, there are a total of 8 Egyptian and 5 Roman obelisks. In the context of this article, we will focus on four obelisks that were re-erected by Pope Sixtus V. Around 1587, all of Rome’s obelisks were toppled down and it was Pope Sixtus V who started re-erecting four of the fallen obelisks in Rome. Pope Sixtus V also redesigned the Piazza in front of the Saint Peter Basilica that was itself under construction at the time. The current oval shaped piazza with the obelisk at the Vatican was designed and built at the orders of Pope Sixtus V. It was part of an overall urban redesign of the city of Rome in which four of the obelisks were given new locations. These four new locations were centered around the obelisk at St. Peter’s Square which became the focal point.
The first Egyptian obelisk was originally shipped by Emperor Augustus in 10 BC from Heliopolis, Egypt (dedicated to Seti I/ Ramesses II) to the Circus Maximus in Rome. Circus Maximus was a Roman hippodrome used for chariot racing. The obelisk was moved by Sixtus V from Circus Maximus to Piazza del Popolo where it still resides today.
The second Egyptian obelisk was originally shipped from Thebes (temple of Amun, Tuthmosis IV) to Circus Maximus in Rome by Constantine II the son of Constantine the Great. The initial plans to ship the obelisk to Circus Maximus (Latin for the greatest circus) in Rome however were made by Contantine the Great who didn’t have the facilities to actually ship the largest of the Egyptian obelisks (32.18 m tall) to Rome. Eventually, his son succeeded in carrying out his father plans. Both obelisks were placed on the Spina of Circus Maximus. The Spina (backbone) is a 217 meter long wall in the centre of the hippodrome. This obelisk was moved by Pope Sixtus V from Circus Maximus to Piazza di San Giovanni (Laterno) next to the Basilica of San Giovanni.
It’s important to realize that both obelisks of Circus Maximus aligned with the Winter Solstice Sun at sunrise, since the Spina on which they were placed also aligned with the Winter Solstice Sun at sunrise! (see Vatican Alignment calculations)
The third Egyptian obelisk was originally moved to Rome in 37 AD by Emperor Caligula and situated at the Vatican Circus. The origin of this obelisk is unclear. It’s the only obelisk without hieroglyphs. This obelisk was again relocated by Sixtus V to St. Peter’s Square where it is seen today.
The fourth and last obelisk is a Roman obelisk that originally stood in Mausoleum of Augustus and was moved by Sixtus V to the piazza in front of the Basilica of Santa Maria Maggiore at the Piazza del Esquillino.
What is interesting in the context of this article are the before and after locations of these obelisks in the overall urban redesign plan of Pope Sixtus V.
Circus Maximus, for instance, was built in a bend on the bank of the River Tiber, and on a Winter Solstice day the Sun would be seen rising over the Tiber River in line with both obelisks at the Spina when viewed from the Vatican. Pope Sixtus V could have restored Circus Maximus and placed the obelisks at their original locations. It’s interesting to notice that viewed from the St. Peter’s Square these obelisks would be aligned with the Winter Solstice Sun! This is because St. Peter’s Square lies exactly in line with Circus Maximus and the Winter Solstice Sun. Instead, Sixtus had chosen to relocate one of the obelisks of Circus Maximus to the Piazza del Popolo.
The obelisk at the Piazza del Popolo, however, aligns with the obelisk at St. Peter’s Square and the summer solstice Sun at sunrise! (See Vatican Alignment calculations)
Like the Equinox Sun, the summer solstice Sun is seen rising over the River Tiber from St. Peter’s Square since the obelisk at the Piazza del Popolo is situated only two blocks away from the river.
The other obelisk of Circus Maximus was Rome’s tallest obelisk and was moved to the Piazza di San Giovanni in Laterno (in southeast direction from the Vatican) which resides at an azimuth of 114° 0’ which is 9 degrees off the Winter Solstice sunrise azimuth of 123° for Rome. While both obelisks in Circus Maximus originally aligned to the Winter Solstice, Pope Sixtus V deliberately altered these alignments and made sure that one of the obelisks now aligned with the Summer Solstice Sun. The other obelisk that previously aligned to the Winter Solstice Sun was now deliberately misaligned.
It’s obvious that the alignment of both the obelisk at St. Peter’s Square and the obelisk at Piazza del Popolo must have been intentional since both obelisks were put there by Sixtus V. While he could have chosen for a Winter Solstice alignment of St. Peter’s Square obelisk by erecting the other obelisk at Cricus Maximus itself, he chose otherwise.
It’s beyond any doubt that Sixtus V was well aware of these alignments since he designed St. Peter’s Square to be a giant sun dial. In 1817, circular stones were set marking the tip of the obelisk’s shadow at noon. Since the Sun moves in between the tropics during a solar year, it enters all of the signs of the zodiac in one solar year, and the marks set out in stone therefore make a gnomon of the obelisk at St. Peter’s Square. But there’s more …
We surmise that Pope Sixtus V was also well aware of the significance of the Great Celestial Conjunction around 2012 and its association with the biblical End Times.
To enhance this argument, it’s interesting to realize that the coat of arms of Pope Sixtus V contained an eight-pointed cross above four stacked mountains (or hills). The coat of arms of Sixtus was sometimes also depicted with three instead of four hills.
As explained before, in ancient Egypt and freemasonry mountains, pillars and clouds all represent the Milky Way. The four mountains in Pope Sixtus coat of arms could therefore represent the four Great Celestial Conjunctions or the four Milky Way Equinox/Solstice alignments that occur in a Great Year!
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Santa Maria Piazza del Popolo (coat of arms of Pope Sixtus V), eight-pointed cross over the four mountains.
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Pope Sixtus V used the eight-pointed cross in abundance in architectures and; in many cases he even placed the four-pointed Christian cross on top of an eight-pointed cross! The obelisk at Piazza di Giovanni, for instance, was adorned with both a four and eight-pointed cross by Pope Sixtus V. It was also a reference to this coat of arms!
The four Great Celestial Conjunctions in a Great Year are the four mergers of the two superimposed four-pointed crosses (Earth Cross and Galactic Cross) to form a single four-pointed cross!
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Obelisk at Piazza di Giovanni, four-pointed cross on top of the eight-pointed cross! Although a symbol of the Great Celestial Conjunction, this obelisk no longer aligns with the Winter Solstice Sun as viewed from the Vatican.
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We therefore suggest that the eight-pointed cross at St. Peter’s Square symbolically represents a Great Celestial Conjunction.
It’s the alignment of the Earth Cross with the Galactic Cross that is being symbolized at St. Peter’s Square. Notice that there is a small four-pointed cross in the center around the obelisk (the Sun) that is aligned with the outer eight-pointed cross. The eight-pointed cross is the superposition of the Galactic Cross and the Earth Cross. This is why Pope Sixtus V placed a four-pointed cross on top of the eight pointed cross! The crosses are recognized as follows:
- The axis on which the two fountains at St. Peter’s Square reside is the Galactic Equator of the Milky Way since the Milky Was is associated with water.
- The cardinal direction of this Galactic Equator axis corresponds with the Milky Way that straddles the East horizon from North to South.
- The Earth Cross aligns closely (but not perfectly) with the two solstice axis
The esoteric significance of the Summer Solstice alignment of St. Peter’s Square obelisk with the obelisk at the Piazza del Popolo is that it symbolizes a Summer Solstice Galactic Alignment. Since the sky chart over St. Peter’s Square with the Pleiades residing over the Seven Hills symbolizes the Silver Gate, we postulate that the Vatican alignments represent a Summer Solstice Galactic Alignment at the Silver Gate. This alignment occurs right now in era 2012!
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Summer and Winter Solstice alignments as viewed from St. Peter’s Square. The white arrows show the displacements of the obelisks from Circus Maximus by Pope Sixtus V.
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The rhombic dodecahedron is Da Vinci's and Solomon't temple doomsday key, why do granades-Latin spanish granada -pomegranates explode   http://en.wikipedia.org/wiki/Solomon's_TempleBoaz and Jachin Two brass pillars named Boaz and Jachin stood in the porch of the Temple. (1 Kings 7:15; 7:21; 2 Kings 11:14; 23:3). Boaz stood on the left (the north) and Jachin on the right (the south). The Bible records their measurements as 27 feet (8.2 m) high and 6 feet (1.8 m) wide (18 by 12 cubits) with a hollow of 4 fingers thick. (Jeremiah 52:21–22). Their 8-foot (2.4 m) high brass capitals were each decorated with rows of 200 carved brass pomegranates, wreathed with seven chains and topped with lilies. (1 Kings 7:13–22, 41–42; 2 Chronicles 4:13) According to most translations of 1 Kings 7:13–22, these two pillars were cast of brass, though some believe the original Hebrew word used to describe their material, "nehosheth", is actually either bronze or copper, because the Hebrews were unfamiliar with zinc which, along with copper, is required to create brass.[12][13] The two pillars had their parallel not only at Tyre but at Byblus, Paphos, and Telloh (see, however, De Sarzec, "Découvertes en Chaldée," pp. 62–64). In Egypt the obelisks expressed the same idea. Those were phallic emblems, being survivals of the primitive Hamito-Semitic "maẓẓebah". Jachin and Boaz were really isolated columns, as Schick has shown, and not, as some have supposed, a part of the ornamentation of the building. Their tops were crowned with ornamentation as if they were lamps; and W. R. Smith supposed that they may have been used as fire-altars. This assumes that they contained cressets for burning the fat.[9] Zinc the philosopher's stone, the galvanic natural organic battery of life that for sure Hebrews knew.
Why pork was forbidden for the Hebrews ? because of it's high zinc content  http://www.chinasmack.com/2011/pictures/blue-glowing-pork-meat-found-in-shanghai.html Jachin and Boaz construction from the rhombic dodecahedron state of the hypercube 6 + 9 = 15 = 1111 binary - the cubes of the hipercube crash in the pyra-midd-le through the s-piral-led axis. Pira stands for Latin fire. Mark 15.33 - Mark the Lion symbol of Judea And when the sixth hour was come, there was darkness over the whole land until the ninth hour. 15 = 1111 3 = binary 11 - 33 = 1111  6 June 2012 Venus sun transit over the bull Taurus horns, the birth of the sun Christ study. Constructed over the rhombic dodecahedron hexagonal beehive Da Vinci pomegranate key the pentagram, heptagram and the Enneagram or Nona-gram. Component of 7 and 5 is the Galactic equator at 60 degrees mangnetic string component the Uranus seventh planet axis mon-key and also confirmed by Voyager actual 60 degrees magnetic component striking the solar system. Mercury first planet mon-key and messenger of the Gods will be on the galactic equator. Number 7 Gate of man mon-key on our actual Gemini ecliptic position, below the same over Sagitarius with the Gate of the Gods. The great pyramid 51,42 angle matching with the heptagram singularity 1-7 mon-key vesica Pi-scis TT arch of Arch-i-medes. The obelisk goes down up to grown 0 with it's 69 feet of Cleopatras needle. The nonagram touches all the inside yellow ring points, the third ring of fire of the Lord together with its two Twin Gemini towers Jachin and Boaz constructed on other diagram. So 9 is re-nova-tion, death and regeneration concept, the grandmother in Italy is the Nonna. 7 Pleiades, 7 Hyades sons of Atlas galactic center mon-key same as Praesepe counterpart symmetry in Cancer, the 777 codex. S- EVEN being S the changing spiral 6 to 9 when tides of the seven seas get even http://andrewgough.co.uk/forum/viewtopic.php?f=1&t=3596&start=375 |
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COLUMBIA ES EL ESTADO ADONDE ESTA WASHINGTON D. C
LOS DOS PIES DE CRISTO, SIMBOLIZADOS POR LAS COLUMNAS DE JACHIN Y BOAZ, QUE ESTABAN EN EL TABERNACULO Y EN EL TEMPLO DE SALOMON E INCLUSO EN LA ESFINGE. LA REINA TENIA QUE UNGIR AL REY. SALMOS 45:9
1. 1 Reyes 7:21: Estas columnas erigió en el pórtico del templo; y cuando hubo alzado la columna del lado derecho, le puso por nombre Jaquín, y alzando la columna del lado izquierdo, llamó su nombre BOAZ.
2. 2 Crónicas 3:17: Y colocó las columnas delante del templo, una a la mano derecha, y otra a la izquierda; y a la de la mano derecha llamó Jaquín, y a la de la izquierda, BOAZ.
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Mystery, Babylon the Great
By Goro Adachi
October 25, 2001
Come hither; I will shew unto thee the judgment of the great whore that sitteth upon many waters... And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH... And the ten horns which thou sawest upon the beast, thees shall hate the whore, and shall make her desolate and naked, and shall eat her flesh, and burn her with fire... and the woman which thou sawest is that great city, which reigneth over the kings of the earth.
(Revelation 17:1-18)
And after these things I saw another angel come down from heaven... And he cried mightily with a strong voice, saying, Babylon the great is fallen, is fallen... And I heard another voice from heaven, saying, Come out of her, my people, that ye be not partakers of her sins, and that ye receive not of her plagues. For her sins have reached onto heaven, and God hath remembered her iniquities... Therefore shall her plagues come in one day, death, and mourning, and famine; and she shall be utterly burned with fire... And the kings of the earth, who have committed fornication and lived deliciously with her, shall bewail her, and lament for her, when they shall see the smoke of her burning. Standing afar off for the fear of her torment, saying, Alas, alas, that great city Babylon, that mighty city! for in one hour is thy judgment come. And the merchandise of gold, and silver, and precious stones, and of pearls... The merchants of these things, which were made rich by her, shall stand afar off for the fear of her torment, weeping and wailing... For in one hour so great riches is come nought. And every shipmaster, and all the company in ships, and sailors, and as many as trade by sea, stood afar off, And cried when they saw the smoke of her burning, saying, What city is like unto this great city! ... And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth.
(Revelation 18:1-24)
Gate of the God
Is New York City -- plausibly the greatest city on earth -- the city called 'Babylon' personified by a 'great whore'? Does the scriptural passages concerning the fall of Babylon have some relevance to the 911 terrorist attacks that destroyed the World Trade Center twin towers? Indeed, since many had long compared NYC to the scriptural 'Babylon', the 'prophecies' in Revelation quoted above can quite naturally be considered applicable to the first major attack on the US homeland - one of the biggest, and most shocking, terrorist incidents in all history. Although some may object to the resultant implication that NYC is the city of sinners that had to be destroyed by 'God' himself, I'd point out that the sense of 'good vs. evil' in the Bible is quite a murky one that should not be taken too literally. (In fact, nothing in religious writings is to be taken literally - it's a trap that ape-brained men can't seem to get past... and this has caused so much trouble for the world throughout history. This is what happens when a powerful 'gift' is given to those who are not ready to handle it. History of mankind since c. 4000 BC -- when 'Pandora's box' was opened -- is the story of humans struggling to co-exist with the divine 'gift'.) A case in point: in Genesis, we read that at one time men were all united, spoke one language, and worked together in harmony toward reaching 'heaven':
And they said, Go to, let us build us a city and a tower, whose top may reach unto heaven; and let us make a name, lest we be scattered abroad upon the face of the whole earth. (Genesis 11:4)
In other words, mankind was thriving in peace and had high hopes. And what does 'God' do?
And the LORD came down to see the city and the tower, which the children of men builded. And the LORD said, Behold, the people is one, and they have all one language; and this they begin to do: and now nothing will be restrained from them, which they have imagined to do. Go to, let us go down, and there confound their language, that they may not understand one another's speech. So the LORD scattered them abroad from thence upon the face of all the earth: and they left off to build the city. Therefore is the name of it called Babel... (Genesis 11:5-9)
If the biblical 'God' represents all that is 'good', then this episode does not make much sense, does it? If 'good' represents men not living in harmony and striving to become something better, then what good is being 'good'? Hence, the overlay of NYC and Babylon the 'whore' need not be viewed as an 'evil' city versus those representing the 'good'. And there is, of course, a direct parallel between the NYC-Babylon juxtaposition and the biblical tale concerning the building of the Tower of Babel just quoted above.  According to tradition, the Tower of Babel was built in the ancient city of Babylon - in fact 'Babel' and 'Babylon' are practically interchangeable terms. How fitting is it that it was the twin towers -- by far the tallest in the city -- of the modern Babylon, i.e. NYC, that were destroyed in the recent terrorist attacks? NYC is the ultimate melting pot of all peoples of this planet where they interact in harmony (well-exemplified by NYC being the home of the United Nations) and produce something great -- just like the builders of the Tower of Babel. And even the designation of 'whore' is quite applicable as at the entrance to NYC is found the welcoming Statue of Liberty, a great woman symbolizing the great city.
There are further correlations to be yielded by the label 'whore'. A character in the scriptures that would best fit the description is Mary Magdalene - an enigmatic female companion, or quite likely the lover/wife, of Jesus Christ. Although Mary Magdalene is never described as a prostitute in the New Testament, it has been the prevalent view that she was. Chances are, though, the Magdalene is to be considered a 'whore' only in the symbolic sense that she was a version of the ancient Egyptian goddess par excellence, Isis, the wife-sister of Osiris, who was both a 'virgin' and a 'whore' as well as a goddess of wisdom and magic. (Isis' companion Osiris was killed and later resurrected to nicely parallel the Magdalene's companion, Jesus.) Isis, in turn, was represented in the sky by the great star Sirius -- a star of utmost importance to the ancient Egyptians as its 'rebirth' (i.e. 'heliacal rising') in mid-summer had the function of marking the New Year and signaling the beginning of the life-giving annual flooding of the Nile, roughly coinciding with the summer solstice. Curiously, the biblical tale about the Tower of Babel immediately follow those concerning Noah and the Great Flood as if to echo the correlation.
Esoterically, Sirius is represented by a five-pointed star, i.e. a pentagonal form -- thus ending up strongly resonating with the fact that the '911' terrorist attacks hit not just the WTC towers but also the Pentagon (whose construction, by the way, began on 9-11). Sirius, moreover, may be considered a 'stargate' par excellence for in ancient Egypt 'star' was interchangeable with 'doorway'. Sirius being the brightest star in the night sky, it can thusly be viewed as the ultimate 'gate of heaven', or 'gate of the god' - which just happens to be the very meaning of the name 'Babylon'. Similarly, the name given to the historical Tower of Babel, Etemenanki, meant 'the house of the foundation of heaven and earth', i.e. a gate to heaven. This link is then further enhanced by the fact that the name 'Magdalene' (as Magdala) can mean 'tower' as in the Tower of Babel and the WTC twin towers. Reinforcing the connection even more, amazingly, is the groundbreaking date of the WTC twin towers being August 5, that is, the very date of Sirius' heliacal rising/'rebirth' in our epoch! The Magdalene's name can also mean 'place of the dove' - which is still quite intriguing as it relates to the flood theme; it was a dove that signaled for Noah that the flood had ended (see Gen. 8:8-12).
The Fallen
In Genesis, the cause of the biblical Flood is -- rather mysteriously -- associated with 'fallen angels', or 'giants'/'sons of God', more properly called the 'Nephilim':
There were giants in the earth in those days; and also after that, when the sons of God came in unto the daughters of men, and they bare children to them, the same became mighty men which were of old, men of renown. And God saw that the wickedness was great in the earth, and that every imagination of the thoughts of his heart was only evil continually. And it repented the LORD that he had made man on the earth, and it grieved him at his heart. And the LORD said, I will destroy man whom I have created from the face of the earth...
This is a typical English translation of Genesis 6:4-7 that contains some errors, including the last phrase, ‘men of renown’. It may be more accurately rendered as ‘the people of the shem’. What, then, is the ‘shem’? Zecharia Sitchin writes:
The persistence of biblical translators to employ "name" wherever they encounter shem has ignored a farsighted study published more than a century ago by G. M. Redslob… in which he correctly pointed out that the term shem and the term shamaim ("heaven") stem from the root word shamah, meaning "that which is highward." (The 12th Planet, pp.147-8)
The shem was also closely linked with fire and a stone; the shem thus was a ‘highward fire-stone’. It is, in other words, apparently a reference to a meteorite. This is strongly corroborated by the fact that:
Shems were particularly associated with something called an-na, which meant ‘heavenly stone’, a term that was also used to define a shining metal. The use of the word shem in respect of its ‘shining’ aspect is apparent in the alternative name for Prince Utu, brother of Inanna… His epithet was Shem-esh: the Shining One. (Laurence Gardner, Genesis of the Grail Kings, p.120)
So, what we have here is this: the shem was a ‘heavenly shining fire-stone’ while the Nephilim, i.e. the ‘fallen angles’ (also called the ‘Shining Ones’), were the ‘people of the shem’.
The shem also figures in the tale of the Tower of Babel:
…let us build us a city and a tower, whose top may reach unto heaven; and let us make us a shem, lest we be scattered abroad upon the face of the whole earth.
Again, the shem is directly associated with heaven, and here it is additionally linked with the top of a tower – which makes the shem very much comparable to the Egyptian Benben Stone which too is thought to have been a meteorite and was placed at the very top of a pyramid or obelisk. It may also be noticed that the Babel story conceptually parallels the saga of the 'fallen angels' who were punished by ‘God’ for overreaching just as was the case with the builders of the Tower.
The Benben Stone connection then brings us back to Osiris, the husband-brother of Isis, as ancient Egyptian theology equated the heavenly stone with the soul of Osiris as well as the phoenix. Since the phoenix signifies the concept of resurrection, it may be inferred that the Benben/shem is symbolic of Osirian resurrection which mythologically takes place with the help of Isis. And similarly, Jesus -- in theory, the biblical Osiris -- is identified in the New Testament with the cornerstone of the Temple that the ‘builders rejected’:
…Jesus Christ himself being the chief corner stone… (Ephesians 2:20)
Be it known unto you all, and to all the people of Israel, that by the name of Jesus Christ of Nazareth, whom ye crucified, whom God raised from the dead, even by him doth this man stand here before you whole. This is the stone which was set at nought of you builders, which is become the head of the corner. (Acts 4:10-1)
This notion of a rejected cornerstone can easily be compared to the ‘rejected’ capstone/benben of the greatest Egyptian ‘Temple’, the Great Pyramid. Combined with a cornerstone’s significance as the transition from the underground realm to the upper realm, the rejected cornerstone even echoes the Benben Stone being symbolic of Osirian resurrection (thus further reinforcing the Osiris-Jesus identification).
Antediluvian Pillars
Osiris was considered the ruler of the Golden Age known to the ancient Egyptians as the Zep Tepi, or 'First Time'. This mythical realm in turn has been often associated with the supposed great antediluvian civilization that Plato called 'Atlantis'. In Plato's accounts of this lost world, the only clear reference to its geographical position is that it was situated beyond the 'pillars of Hercules' (an ancient name for the Straits of Gibraltar at the western end of the Mediterranean Sea). Osiris, correspondingly, was often depicted in the shape of a pillar by the ancient Egyptians. Could the two 'pillars of Hercules' that represented a gateway to the paradisiacal realm be now considered analogous to the Tower of Babel/'gate of the god' or more specifically the twin towers/pillars of NYC destroyed in the 9-11 terrorist attacks?
The imagery of two pillars is also clearly evocative of the two pillars of Jachin and Boaz (symbolizing individual power and life) that stood at the entrance to Solomon's Temple in Jerusalem, the home of the Ark of the Covenant. They were made of brass (1 Kings 7:15) - which has a most fitting implication as brass/bronze is considered to signify 'the indissoluble compact between Earth and Heaven and the pledge of the everlasting stability of this covenant' (Chevalier & Gheerbrant, Dictionary of Symbols, "column"). Representations of these pillars are still found in lodges of Freemasonry, a large semi-secret and esoteric organization which carries within its mysterious tradition that of the medieval warrior-monks, the Knights Templar.
After its sudden dissolution initiated by the French king Philip the Fair in 1307, the Templar survivors apparently made their way into Scotland where they and their tradition found a sanctuary and were maintained by certain interlocking families including the Sinclairs, the patron of Scottish Freemasonry, who had a close connection with the Templar knights. Among the Templar legacies were almost certainly things they had obtained at the site of Solomon's Temple which they had been allowed to use as their headquarters. It is known that the knights excavated the site and probably found something of great importance which may have contributed to the rapid rise to the top of the power structure in Christendom. So it was quite obviously through the incorporation of Templarism that Freemasonry came to adopt the Solomonic twin-pillar symbolism.
That these pillars are relevant to our discussion is effectively confirmed by the imagery on one of the tarot cards called the 'High Priestess' or 'Papess' which shows a high priestess/female pope along with the pillars of Jachin and Boaz marked 'J' and 'B'.
The Papess almost certainly represents none other than Mary Magdalene (= Isis, Babylon, tower, etc.) who actually had a power struggle with Peter the first pope according to Gnostic Gospels. Also, tellingly, the term ‘prostitute’ (a description often applied to the Magdalene), as hierodulae, would refer to the ‘sacred women’-- or 'priestesses' -- of the temple of the Goddess who performed a ritual practice resembling the anointing of Jesus by Mary of Bethany (often equated with Mary Magdalene). In ancient times, anointing of the king was a ritual – called the ‘Sacred Marriage’ in Greek – performed by a royal bride; the implication being that Mary Magdalene married Jesus, just as Isis was the wife of Osiris, resulting in the 'Holy Grail' which is the 'Blood Royal'.
The pillars of Jachin and Boaz also nicely relate back to the themes of the Flood and Atlantis as originally these Masonic pillars represented the 'Antediluvian Pillars' erected by Enoch, Noah's great-grandfather, who is considered one of Freemasonry's founders. According to legend, Enoch had the foreknowledge of the coming Deluge and constructed nine hidden vaults in which he concealed certain knowledge. He then placed two columns at the site upon which were inscribed the 'seven sciences' of mankind and such. The vaults were later found by Solomon while building his Temple. Enoch, therefore, can be viewed as a prototype of Noah and the vaults/pillars are another form of the Ark containing antediluvian, or Atlantean, 'knowledge'.
It is interesting to point out here that it is the 'Book of Enoch' that contains the most detailed account of the affairs of the 'fallen angels'/'Watchers' briefly mentioned in Genesis. Also, that the number of Enoch's vaults was nine, combined with the twin pillars visually forming the number '11', raises the possibility that the date of the terrorist attacks on the NYC twin towers (9-11) was in reference, at least in part, to the Antediluvian Pillars and its connection to the WTC 'pillars'. Seemingly supportive of this, numerically, also is the fact that there are exactly 111 days left in the year after 9-11. As it happens, the Sumerian version of Noah's Ark "was a cube - a modest one, measuring 60x60x60 fathoms, which represents the unit in the sexagesimal system where 60 is written as 1" (Hamlet's Mill, p.219). In other words, the original Ark could be considered to have measured 1x1x1 or '111'.
Lost and Found
On the Etemenanki website, I have long pointed out the persistent symbolic connection that apparently exists between high-impact world events -- especially airplane crashes -- and the theme of the Ark-Grail (see 1999: The Ark of Sirius for example). The '911' event involving airplane crashes, needless to say, fits the pattern very well.
After some contemplation, I have now finally found a reasonably sound explanation as to why such a symbolic link exists. An 'airplane' is a perfect vehicle to carry the notion of the 'air-plane' as in the 'dimension of air' that is sandwiched between the planes of earth and heaven. Its relative position therefore is implicative of the familiar theme of the unification or 'gate' of earth and heaven. In support of this interpretation, we find that in ancient Egypt it was conceptualized that the air god Shu was sort of a pillar that held the vault of heaven above. This imagery is strikingly evocative of Atlas of Greek mythology who was condemned to bearing the heaven on his shoulders for eternity after the great war with the Olympians. Atlas, in turn, is said to have been the first king of Atlantis and in effect the embodiment of this legendary civilization!
Airplane crashes would therefore be analogous to the destruction of the antediluvian world, i.e. none other the the Great Flood, which may be conceptually thought of as the collapse of great pillars/towers/gate -- and that is exactly what took place at the World Trade Center in NYC!
The planes crashing into the WTC towers and the Pentagon was of course like no other plane crashes. The magnitude of devastation and symbolic coherence was off the scale. Does this imply something? Why so strong an echo of the 'Atlantean' destruction in 2001?
Could it be that like Osiris and the phoenix, Atlantis is getting ready to rise again from its ashes now? Is the Ark about to be opened? Is the discovery of the fabled Atlantean 'Hall of Records' imminent?
In 2000, an underwater city with pyramidal structures was detected off the coast of Cuba. Researchers have been quietly examining this most enigmatic archaeological find behind the scenes. We are at this time simply awaiting the news of this paradigm-shattering revelation to break. Could this be relevant? It seems so.
Indeed, long before the '911' attacks I had already detected a curious pattern. In the 'View from Here' section of the Etemenanki website, for example, I have made the following remarks:
- June 20: "Looks like this is going to be a summer of Atlantis."
- July 06: "...the undercurrent esoteric theme of this summer was to be the 'rising' of Atlantis... I'd say 'the timetable', the template of history, is dictating that 2001 be the beginning of the 'resurrection of Osiris' (which has many levels of meaning)."
Along with these I had also noted how this theme appeared to be entangled with Mars at which NASA's latest probe, Mars Odyssey, just arrived on Oct. 23, '01.  All summer long, Mars was very close to Earth -- in fact, closest in over a decade -- and was a dominant object in the night sky. And since 1998, Mars Global Surveyor had been giving us new photographs of the controversial Cydonia "monuments" on Mars in an attempt to confirm or refute the claim of the Cydonian structures being artificial - a question that still has not been settled but is getting more and more intriguing. Perhaps Odyssey will help solving the enigma soon.
It cannot be ignored that NYC, where the 'Atlantean pillars' stood, is situated at ~40.8°N latitude which happens to be the very latitude of the Martian 'monuments' in Cydonia.  And one of the most intriguing Cydonia structures happens to be a pentagonal pyramid called the 'D&M Pyramid' which is very much evocative of the Pentagon hit by a plane on 9-11. The Martian Pentagon is even partially collapsed to reflect the US Pentagon, or vice versa.
What are we to make of all these and other connections? Atlantis... Mars... Was Atlantis on (gasp) Mars? Did mankind first started on the Red Planet before the "Flood"? One telling clue is the fact that the humans ‘free-running circadian rhythm’ (i.e. the natural sleep-awake cycle without any external time cues such as sunrise, sunset, clock, daily routine, etc.) is not 24 hours as expected, but about 24.7 hours long instead – that is, almost precisely the length of a Martian day.
Did man 'fall' to Earth in an "Exodus" from the Red Planet like a life-seeding meteorite and knowledge-providing 'fallen angles'? The shem was a 'fire-stone' - isn't this a potent allusion to Mars, the planet/'stone' of fire?
What was placed in the Ark of Moses, according to some scholars, were actually meteorites. Could the tale of Moses and his Ark, then, be another version of Noah and his Ark? Was the 'Exodus' of the Israelites led by Moses, then, actually a parabolic story about an interplanetary migration of man in the forgotten past?
The 911 event being a symbolic reenactment of the Flood (i.e. destruction of 'Atlantis'), wouldn't the pattern dictate that the next event be a mass 'Exodus'? Could it be just a coincidence that I conceptually equated President Bush with Moses in The Two Suns of Election MM last year?
But where would be the destination of this 'Exodus'? Where is our 'Promised Land'?
You guessed it: Mars.
The world events today appear to be symbolically anticipating mankind's imminent migration to the Red Planet on which will likely be found enough water to sustain a full-blown civilization soon (this is probably where Mars Odyssey comes in).
We are going back to our Genesis, the First Time, the Golden Age, the Age of Osiris.
America is no longer the 'New World'. Mars is. And this is actually part of what I had in mind when I stated in early 2000:
Now, I'm not sure if I want to say this... but here is something that the data I have is suggesting to me. It's that the year 2000/2001 is to bring to the United States one of the biggest events the country has ever experienced. This is not something I 'believe' or based on 'millennial' mentality; it's just what the data I have (not presented on this website) is suggesting to me. The key concepts attached to this are termination and 'New World'.
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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.
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.”
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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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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.
