That paved the way for the Parliament-centered rule of the incoming Germanic House of Hanover which would morph into today's House of Windsor. In that sense, the British Royal Family as it exists today stands in opposition to the supposed 'Grail bloodline' (the Stuarts), reflected in the Windsors' not-so-friendly relationship with Princess Diana. The Diana family in this context would at least symbolically (possibly literally) represent the special strain of the House of Stuart crawling its way back to the throne, with Prince William now just one or two steps away from destination. Reenacting, in a sense, the 'Return of King Arthur' - 'Once and Future King'.

Given the critical role played by King William III AKA 'King Billy' in driving the 'Grail bloodline' underground, we can't help but notice one of Michael Jackson's biggest hits called 'Billie Jean'...

[Watch video]

• 'Billie Jean' = 'Billy Gene' (bloodline of King Billy)
• Famous tennis player named Billie Jean King
• MJ = 'King of Pop' & 'Moonwalker' (Diana)
  • Moonwalk TV debut during 'Billie Jean'
• Music video emphasis on MJ's 'big foot'
• Lyrics about paternity (bloodline) of baby

Is this it? The long-awaited moment of the resurrection of the phoenix? A somewhat ironic rebirth of 'King William'?

Will they allow it?

Keep in mind that Michael Jackson was on the verge of a major comeback via 'This Is It' concerts in London when he died. The opening night was scheduled for July 13 or the day after King Billy's 'Orangemen's Day'. I'd call that an omen.

Speaking of omens, a phoenix crop circle in England...

[cropcircleconnector.com]

...discovered on June 12 (2009), accompanied by Moon/Diana...

June 11 - Kaguya Moon Impact	June 12 - Film 'Moon' release

...closely preceded by a figure-8 crop formation appearing on the first anniversary of NASA's Phoenix landing on Mars (May 25)...

	[cropcircleconnector.com]
May 25, 2008 - NASA Phoenix Mars landing	May 25, 2009 - Figure-8 crop circle discovered in England

...alluding to the G8 summit (July 8-10) in L'Aquila, Italy or the epicenter of the April 6 'Bigfoot' earthquake. ('Aquila' means 'eagle', practically interchangeable with the phoenix). The G8 logo once decoded pinpoints June 12-13, i.e. the phoenix...

[cropcircleconnector.com]

It even knew where it was in time via the analemma.

[analemma]

Whispering 'Princess Diana' and 'Moon Impact'...

[Sun symbol]

...with the sun symbol precisely marking where the Sun was the day Princes Diana was killed, August 31, 1997! (Plus Michael Jackson's birthday August 29.)

The phoenix and the death of Diana... A combination unmistakably alluding to a 'resurrection'... presumably through Prince William, which is the Monolith emerging from the Moon.

That's more than a casual metaphor. The Monolith is from '2001' and '2010'. That's next year...

2010: The Year We Make Contact

[From 'Whisper of the Fifth Sun']

On board the Jupiter-bound spaceship Leonov in 2010 is Commander Kirbuk played by Helen Mirren. She is Queen Elizabeth II in the 2006 film 'The Queen' - all about the aftermath of the death of Princess Diana!

It's as if we are in for a major shift in the British Royal Family starting 2010 just in time for the 2012 London Olympics. A scenario or timeline I've been speculating on since the unveiling of the logo back in June 2007. (Following interpretation all done in July 2007 on STRUG.)

What I saw was a coronation scene with an allusion to ZZ Top and in particular their 1999 album 'XXX':

• Crown on cover (placed on 'Top'/head)
• In Roman numerals XXX = 30
  • In 2012 Prince William will be 30 years old
  • 2012 Olympics = 'Games of the XXX Olympiad'
  • 'XXX" in flag of Amsterdam which is capital of Netherlands, home to House of Orange/King William III

Amsterdam flag

• ZZ Top is from Houston AKA 'Space City' linked to Apollo program and Moon/Diana
• ZZ Top's main guy is Billy (Gibbons)
• ZZ Top derives its name from blues musician B.B. King ('King of Blues')

A straightforward interpretation would be that Prince William will become King William in or around 2012. If not literal, then this should at least be a major symbolic storyline set to (if not already) drive key world events in/around 2010-2012.

*      *      *

Additional data points:

• The Aquila G8 summit July 8-10 closely coincides with Michael Jackson's funeral (July 7) and what would have been his first 'This Is It' comeback/farewell concert (July 13) as well as a lunar eclipse (July 7), Obama meeting the Pope (July 10), the launch of space shuttle Endeavour STS-127 (July 11 or later), and the sunset alignment of Manhattan's street grid ('Manhattanhenge') around July 12/Orangemen's Day (NYC for a short time called 'New Orange' in honor of King Billy of Orange

• June 2009 began with the crash of Air France Flight 447 en route from Rio (Brazil) to Paris - Rio is famous for its Jesus statue and Paris is all about Mary-Isis-Diana, together evoking the 'Grail bloodline' (and something going wrong with it)

*      *      *

Epilogue

The death of Michael Jackson was a magma eruption from the underground stream Alpheus in Arcadia. We're talking The Da Vinci Code... or the Rennes-le-Chateau mystery that inspired the Dan Brown bestseller. In this more real-life modern Grail saga in southern France, one painting embodies the whole saga like The Last Supper does The Da Vinci Code. It's called Les Bergers d'Arcadie ('Shepherds of Arcadia') or 'Et in Arcadia ego' by Nicolas Poussin.

The theme is essentially the same but slightly time-shifted: Christ/King is here already in the tomb and Mary Magdalene is looking pregnant. (Or at least that's the popular, unofficial interpretation.) It's the timeless tale of the phoenix - the death and rebirth of the 'Once and Future King'.

It gets a little philosophical with the enigmatic phrase 'Et in Arcadia ego' engraved on the tomb. It literally means 'And in Arcadia I' or 'I am even in Arcadia', implying that death exists even in paradise (Arcadia). In other words, death is inevitable - even for Michael Jackson.

A walking Peter Pan syndrome, Jackson refused to grow up and for a long time lived in his private amusement park 'Neverland Valley/Ranch' named after Peter Pan's blissful island. He was in 'Arcadia'. Michael Jackson wasn't supposed to grow old, let alone die. On some level perhaps we all wanted to believe that too. Beneath all the ridiculing and genuine puzzlement, part of us secretly hoped he was Peter Pan who could conquer time and death so that maybe we could too.

On June 25, that unconscious wish was mercilessly snuffed out. It was more than just a passing of a great entertainer, it was time devouring Peter Pan, it was a morbid triumph of death. It had a profound archetypal resonance which made the death of the King of Pop all the more shocking.

Death comes to all - whispered the 'angels'. Jackson, Fawcett, Neda, and others - each presented to us as an 'angel' (of death) as discussed - collectively pointed at the tombstone in Arcadia. The delivery of the message was decidedly 'angelic' because, as Lynn Picknett & Clive Prince point out in The Sion Revelation (2006, pp.237-8), 'Et in Arcadia' has historically been something of an 'angelic' 'calling card:

The motto Et in Arcadia ego, highlighted from the very beginning of the Dossiers Secrets [of the Rennes-le-Chateau saga], remains open to interpretation in the context of the Priory [of Sion]. On a literal level, in their reconstruction of history, Arcadia in Greece is said to be where the Benjamite ancestors of the Sicambrians settled after leaving Palestine. On a symbolic level, attention is drawn to Nicolas Poussin's The Shepherds of Arcadia, which features the phrase on a tomb against a rural background; the painting is also alluded to in the coded parchment message, and the decoding in turn is said to have prompted Sauniere to study the painting in the Louvre. [...]

So why was this phrase... deemed so essential to the Priory myth?

It is relatively easy to identify the source and tradition from which the creators of the Dossiers Secrets drew the significance of the motto: it comes from a nonfiction work of Maurice Barres. In a collection of essays entitled The Mystery in the Open (La mystere en pleine lumiere), published posthumanly in 1926, he wrote of a kind of mystical brotherhood that has existed across the centuries to which artists of a particular spiritual mind-set - characterized by the prominence of angels in their work, implying they were inspired or even influenced by spiritual entities themselves - belong. Although Barres writes of these artists as simply sharing a common inner vision and artistic intent - a kind of mystical, rather than literal, solidarity across the centuries - many have seen this as a veiled reference to a rather mysterious confraternity of artists, the Angelic Society (Societe Angelique) of the seventeenth and eighteenth centuries, to which Poussin has also been linked. Barres seems to be hinting that the Angelic Society still existed in his day. [...]

Barres also reveals the "code" - a sort of call sign or password - by which members of the Angelic Society advertise themselves: "It must always be that we arrange for there to be, in some corner of our work, a tombstone with the famous inscription Et in Arcadia ego."

In a roundabout way the 'angels' were drawing our attention to the 'bloodline of the Holy Grail' storyline and tying that to Princess Diana and her bloodline/offspring. Presumably because certain things are about to be set into motion that will involve the British Royal Family through which Cupid's arrow will point at something more profound. Something cosmic.

Michael Jackson is an arrow, Moon is an arrow, Bigfoot is an arrow, crop circles are an arrow, Diana is an arrow, Et in Arcadia ego is an arrow, the Monolith is an arrow, Jupiter is an arrow... it goes on like time itself, marching forward slowly but surely toward the heart of the matter which is truth in the tomb, where we all end up one way or another. The great mystery...

...of the phoenix.

Death and Rebirth

I guess it's almost time...

Let the Games begin. 

Beijing's acute awareness of her imminent birth was also evident in its emphasis on the number '8' (the Games commencing on 8/08/08 at 08:08:08 pm). The Sun, via an analemma, draws a  figure-8 shape in the sky wherein the Sun comes to the intersection around August 29.

It's also eight years from 2004 to 2012 - presumably signifying the gestation period of the 'Babylon Baby' in the womb of the Goddess.

Temple of Diana at Ephesus

 

“The temple of Diana was the chief glory of the city. The style was Grecian. The length of the ground-plan was four-hundred and twenty-five feet and the breadth two-hundred and twenty feet. The structure was thus four times as large as the Pantheon at Athens. The statue of the goddess was one of the finest works of art ever produced. It was wrought of ivory and gold, and was a marvel of costliness and beauty. The temple was decorated with sculptures by Praxiteles and one of the masterpieces of Apelles. A representation of the temple was stamped on the coins and medals of the city."—Ridpath, 1885

La diosa Ártemis-Diana

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According to Macrobius who cites Nigidius Figulus and Cicero, Janus and Jana (Diana) are a pair of divinities, worshipped as Apollo or the sun and moon, whence Janus received sacrifices before all the others, because through him is apparent the way of access to the desired deity.^[51][52]

A similar solar interpretation has been offered by A. Audin who interprets the god as the issue of a long process of development, starting with the Sumeric cultures, from the two solar pillars located on the eastern side of temples, each of them marking the direction of the rising sun at the dates of the two solstices: the southeastern corresponding to the Winter and the northeastern to the Summer solstice. These two pillars would be at the origin of the theology of the divine twins, one of whom is mortal (related to the NE pillar, nearest the Northern region where the sun does not shine) and the other is immortal (related to the SE pillar and the Southern region where the sun always shines). Later these iconographic models evolved in the Middle East and Egypt into a single column representing two torsos and finally a single body with two heads looking at opposite directions.^[53]

Numa, in his regulation of the Roman calendar, called the first month Januarius after Janus, according to tradition considered the highest divinity at the time.

Numa built the Ianus geminus (also Janus Bifrons, Janus Quirinus or Portae Belli), a passage ritually opened at times of war, and shut again when Roman arms rested.^[54] It formed a walled enclosure with gates at each end, situated between the old Roman Forum and that of Julius Caesar, which had been consecrated by Numa Pompilius himself. About the exact location and aspect of the temple there has been much debate among scholars.^[55] In wartime the gates of the Janus were opened, and in its interior sacrifices and vaticinia were held, to forecast the outcome of military deeds.^[56] The doors were closed only during peacetime, an extremely rare event.^[57] The function of the Ianus Geminus was supposed to be a sort of good omen: in time of peace it was said to close the wars within or to keep peace inside;^[which?] in times of war it was said to be open to allow the return of the people on duty.^[58]

A temple of Janus is said to have been consecrated by the consul Gaius Duilius in 260 BC after the Battle of Mylae in the Forum Holitorium. It contained a statue of the god with the right hand showing the number 300 and the left the number 65—i.e., the length in days of the solar year—and twelve altars, one for each month.^[59]

The four-sided structure known as the Arch of Janus in the Forum Transitorium dates from the 1st century of the Christian era: according to common opinion it was built by the Emperor Domitian. However American scholars L. Ross Taylor and L. Adams Holland on the grounds of a passage of Statius^[60] maintain that it was an earlier structure (tradition has it the Ianus Quadrifrons was brought to Rome from Falerii^[61]) and that Domitian only surrounded it with his new forum.^[62] In fact the building of the Forum Transitorium was completed and inaugurated by Nerva in AD 96.

Another way of investigating the complex nature of Janus is by systematically analysing his cultic epithets: religious documents may preserve a notion of a deity's theology more accurately than other literary sources.

The main sources of Janus's cult epithets are the fragments of the Carmen Saliare preserved by Varro in his work De Lingua Latina, a list preserved in a passage of Macrobius's Saturnalia (I 9, 15–16), another in a passage of Johannes Lydus's De Mensibus (IV 1), a list in Cedrenus's Historiarum Compendium (I p. 295 7 Bonn), partly dependent on Lydus's, and one in Servius Honoratus's commentary to the Aeneis (VII 610).^[63] Literary works also preserve some of Janus's cult epithets, such as Ovid's long passage of the Fasti devoted to Janus at the beginning of Book I (89–293), Tertullian, Augustine and Arnobius.

As may be expected the opening verses of the Carmen,^[64] are devoted to honouring Janus, thence were named versus ianuli.^[65] Paul the Deacon^[66] mentions the versus ianuli, iovii, iunonii, minervii. Only part of the versus ianuli and two of the iovii are preserved.

The manuscript has:

(paragraph 26): "cozeulodorieso. omia ũo adpatula coemisse./ ian cusianes duonus ceruses. dun; ianusue uet põmelios eum recum";

(paragraph 27): "diuum êpta cante diuum deo supplicante." "ianitos".

Many reconstructions have been proposed:^[67] they vary widely in dubious points and are all tentative, nonetheless one can identify with certainty some epithets:

• Cozeiuod^[68] orieso.^[69] Omnia vortitod^[70] Patulti; oenus es
• iancus (or ianeus), Iane, es, duonus Cerus es, duonus Ianus.
• Veniet potissimum melios eum recum.
• Diuum eum patrem (or partem) cante, diuum deo supplicate.
• ianitos.^[71]

The epithets that can be identified are:

Cozeuios

i.e. Conseuius the Sower, which opens the carmen and is attested as an old form of Consivius in Tertullian;^[72]

Patultius

the Opener;

Iancus or Ianeus

the Gatekeeper;

Duonus Cerus

the Good Creator;

rex

king (potissimum melios eum recum – the most powerful and best of kings);

diuum patrem (partem)

^[73] father of the gods (or part of the gods);

diuum deus

god of the gods;

ianitos

keeping track of time, Gatekeeper.

The above-mentioned sources give: Ianus Geminus, I. Pater, I. Iunonius, I. Consivius, I. Quirinus, I. Patulcius and Clusivius (Macrobius above I 9, 15): Ι. Κονσίβιον, Ι. Κήνουλον, Ι. Κιβουλλιον, I. Πατρίκιον, I. Κλουσίβιον, I. Ιουνώνιον, I. Κυρινον, I. Πατούλκιον, I. Κλούσιον, I. Κουριάτιον (Lydus above IV 1); I. Κιβούλλιον, I. Κυρινον, I. Κονσαιον, I. Πατρίκιον (Cedrenus Historiarum Compendium I p. 295 7 Bonn); I. Clusiuius, I. Patulcius, I. Iunonius, I. Quirinus (Servius Aen. VII 610).

Even though the lists overlap to a certain extent (five epithets are common to Macrobius's and Lydus's list), the explanations of the epithets differ remarkably. Macrobius's list and explanation are probably based directly on Cornelius Labeo's work, as he cites this author often in his Saturnalia, as when he gives a list of Maia's cult epithets^[74] and mentions one of his works, Fasti.^[75] In relating Janus' epithets Macrobius states: "We invoke in the sacred rites". Labeo himself, as it is stated in the passage on Maia, read them in the lists of indigitamenta of the libri pontificum. On the other hand, Lydus's authority cannot have consulted these documents precisely because he offers different (and sometimes bizarre) explanations for the common epithets: it seems likely he received a list with no interpretations appended and his interpretations are only his own.^[76]