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

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!

Santa Maria Piazza del Popolo (coat of arms of Pope Sixtus V), eight-pointed cross over the four mountains.

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!

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.

We therefore suggest that the eight-pointed cross at St. Peter’s Square symbolically represents a Great Celestial Conjunction.

St Peter’s Square

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 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!

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.

How many of these ‘ ~ ‘ notches can  we count on the circumference of this Celtic brooch?

source of image: Walter Russell

Recall that the two Platonic solids the octahedron and the cube share unique relationships with each other.

http://euler.slu.edu/escher/index.php/Spherical_Geometry

But in the Great Pyramid we encounter a 55 vs. 56 anomaly in the Grand Gallery.

Why 56?

The number 56 looks like it may have been significant to the architects:

1. 56 x 56 x 56 times the size of the Great Pyramid: Here the circumference of the earth = length of the pyramid base.
2. 1/56 of the pyramid is the size of the missing capstone described by several sources
3. 1/(56 x 56) times the size of the pyramid is the tiny one of Figure 1 with a base approx. 7 x 7cm.

• http://myweb.tiscali.co.uk/pyramidiocy/

Coinciding with the unprecedented height of Cheops’s Pyramid there is also an unprecedented feature in its inner layout,
the Grand Gallery.

The length of the Grand Gallery is 91.37 cubits or 47.877 meters.

The middle of the grand gallery is 13.79 cubits (7.22 meters) east of the pyramid’s centre axis.

The Grand Gallery has 7-step corbeled side walls, 2 RC wide at the top and 4 RC wide at the floor.

The floor has a central groove 2 RC wide, flanked by 1 RC floor-ramps on each side.
The Grand Gallery is about 18 RC high vertically, or about 16 RC high perpendicular to its floor.
It is about (200/sqrt(5)) = about 89 RC long.

The Grand Gallery contains two grooves, one in the east wall and one in the west wall. They are 7 inches high, 1 inch deep, and 5 inches up from the 3rd overlapping corbel. They run the entire length of the gallery. Click for a diagram

There are a total of 55 ramp-holes on both sides of the floor-ramps. 

Architectural Analysis of the Great Pyramid
http://www.ancient-wisdom.co.uk/Ghizaarchitecture.htm#2.25

Our Inheritance in the Great Pyramid

by Piazzi Smyth (pdf)
http://www.archive.org/stream/ourinheritancein00smytuoft#page/ii/mode/2up

Piazzi Smyth, Ramps, Ramps Holes, Well’s Upper Mouth
http://www.archive.org/stream/ourinheritancein00smytuoft#page/378/mode/2up

The absence of the twenty-eighth slot in the western banquette, whose place is now taken up by the opening of the ‘well’, serves to confirm the views expressed by Petrie; to wit, that the connection of the Grand gallery with the primitive shaft used by descending stonecutters, a hole drilled through the masonry, was a task undertaken after the pyramid had been built.

http://www.ancient-wisdom.co.uk/Ghizaarchitecture.htm#2.27

The details of the Grand Gallery are extremely important and have no parallel in any other structure on Earth*

Its geometric design predicts that sound originating within its space is focused through a passageway past the Antechamber and into the granite complex known as the King’s Chamber.
This phenomena has been noted by musicians, acoustical engineers, military scientist and laypeople alike.
Some of the more puzzling features of this architectural acoustical miracle, however, are not adequately explained by conventional literature or, indeed, in any other literature.

There are the 27 pair of slots that are cut into the ramps that traverse both side of the Grand Gallery.

* except this next image which contains 56 people of history.

In the center Plato (#1), holding the Timaeus and pointing to the heavens, speaks with Aristotle (#2), holding the Ethics and gesturing towards the earth. They are framed by the triumphal arch above as well as by barrel vaults and sky; they are also surrounded by the largest number of people (#3-10, 52-56). In addition, #11 is ascending the stairs, leaving the geometers and astronomers below, while #12 points out Plato and Aristotle to him. Figure #13 is intently writing while a friend (#14) looks on in interest. At the far right, others are coming in, the younger two (#17 and 18) looking curiously at those below. The old man (#16) is eagerly moving in a different direction, apparently towards Plato and Aristotle. Above the thoughtful old man (#15) who gestures downward like Aristotle, is the statue of Athena, goddess of wisdom, crafts, and war. She is dressed in military garb and on her shield is the terrifying face of the Gorgon. Below her is a relief of Virtue elevated upon clouds, holding one hand at her breast, the seat of valor, while extending the other toward the earth with the scepter of her empire.
http://thomasmorestudies.org/cu_history.html

* and except this well … and its accompanying myth regarding ‘CR’

‘Well of Initiation’, into the interior of the earth; picture shows also the Rose of the Winds over the Templar Cross, the Rose Cross, in “Quinta da Regaleira”,Sintra, Portugal (built ca. 1904-1910).

According to legend, Christian Rosenkreuz was a doctor who discovered and learned esoteric wisdom on a pilgrimage to the Middle East among Turkish, Arab, and Persian sages, possibly Sufi or Zoroastrian masters, supposedly in the early 15th century (see section below on Symbolism) ; returned and founded the “Fraternity of the Rose Cross” with himself (Frater C.R.C.) as Head of the Order. Under his direction a Temple, called Sanctus Spiritus, or “The House of the Holy Spirit”, was built.

The legend presented in the Manifestos has been interpreted symbolically (as were all hermetic and alchemical texts of those times). They do not directly state Christian Rosenkreuz’s years of birth and death, but in two sentences in thesecond Manifesto the year 1378 is presented as being the birth year of “our Christian Father”, and it is stated that he lived for 106 years, which would mean he died in 1484.^[5] The foundation of the Order can be supposed in similar terms to have occurred in the year 1407. However, these numbers (and deduced years) are not taken literally by many students of occultism, who consider them to be allegorical and symbolic statements for the understanding of the Initiated. The justification for this relies on the Manifestos themselves: on the one hand, the Rosicrucians clearly adopted through the Manifestos the Pythagorean tradition of envisioning objects and ideas in terms of their numeric aspects, and, on the other hand, they directly state,

“We speak unto you by parables, but would willingly bring you to the right, simple, easy and ingenuous exposition, understanding, declaration, and knowledge of all secrets.”

“from the year of Our Lord 1378 (in which year our Christian Father was born)“, in Confessio Fraternitatis

The significance of 137–8 and 147 is best understood if NOT taken literally, I agree … allow me to illustrate.

The metaphorical nature of these legends lends a nebulous quality to the origins of Rosicrucianism. The opening of Rosenkreuz’s tomb is thought to be a way of referring to the cycles in nature and to cosmic events; and as well, to the opening of new possibilities for mankind consequent on the advances of the 16th and early 17th centuries. Similarly, Rosenkreuz’s pilgrimage seems to refer to the transmutation steps of the Great Work.

Similar legends may be found in Wolfram von Eschenbach‘s description of the Holy Grail as the “Lapis Exillis“, guarded by the Knights Templar, or in the Philosophers’ stone of the alchemists, the “Lapis Elixir“.

http://en.wikipedia.org/wiki/Christian_Rosenkreuz

Here comes the AHA!!!

Important to note the following: Especially since I have a habit of suggesting LEvIturned upside down becomes I^37

The word EXILLIS rotated 180 degrees appears as:

SI77IX3 or 51771X3

51771 X 3

What is the significance of those numbers 157?

Jesus Mihi Omnia 157

Some occultists including Rudolf Steiner, Max Heindel^[3] and (much later) Guy Ballard, have stated that Rosenkreuz later reappeared as the Count of St. Germain, a courtier, adventurer, and alchemist who reportedly died on February 27, 1784. Steiner once identified Rembrandt’s painting “‘A Man in Armour’” as a portrait of Christian Rosenkreuz, apparently in a 17th century manifestation. Others believe Rosenkreuz to be a pseudonym for a more famous historical figure, usually Francis Bacon.

Jesus mihi omnia

It is described that on the Sarcophagus in the centre of the Crypt of Christian Rosenkreutz were written, among other inscriptions the words, “Jesus mihi omnia, nequaquam vacuum, libertas evangelii, dei intacta gloria, legis jugum,” (being in translation, “Jesus is everything to me, by no means a vacuum/a vacuum by no means exists, the freedom of the good news/gospel, the inviolate glory of god, the yoke of the law”) testifying to the builder’s Christian character. Rosenkreuz’s crypt, according to the description presented in the legend, seems to be located in the interior parts of the Earth, recalling the alchemical motto VITRIOL: “Visita Interiora Terrae Rectificando Invenies Occultum Lapidem

“Visit the Interior Parts of the Earth; by Rectification Thou Shalt Find the Hidden Stone.”

157 sources:

• FRACTALS – KEYHOLE – DNA – ANKH – LAPIS EXILLIS
• 157 – Geometry of the Zeitgeist – the Maltese Cross – the Jain Matang – the Polynesian Mattang
• Marko Rodin VBM 2 Fish and 5 Loaves of Bread

Cosmology

The evolution of man is divided into seven Periods:

• involution: the Saturn Period, the Sun Period, the Moon Period;
• the Earth Period (first half still involution, second half towards evolution);
• evolution: the Jupiter Period, the Venus Period, the Vulcan Period.

We are presently in the second half of the Earth Period: we have just passed the end of our involution and are beginning our evolution, or the spiritualization of matter and our return to God our Father.

http://en.wikipedia.org/wiki/Rosicrucian_Fellowship

Note the associations above given by Rosicrucian doctrine.

What happens if we add the magic squares associated with each planet listed?

• 369 is related to involution: Saturn 3×3, Sun 6×6, Moon 9×9
• 58 is related to the Earth Period and Caput 58 the head of St. John the Baptist
• (note Rosicrucian doctrine does NOT mention Mars 5×5 and Mercury 8×8)
• 4710 is related to evolution: Jupiter 4×4, Venus 7×7, Vulcan 10  

 The above Rosicrucian cosmology bears a close resemblance to how those numbers are divided by concentric rings on the …