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!

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.

Iglesia de Saint-Sulpice

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Vista general del edificio.

Gnomon en el interior de la iglesia de Saint-Sulpice de París.

Vista interior de la iglesia.

Organo de Saint-Sulpice.

La Iglesia de Saint-Sulpice, situada en la plaza de Saint-Sulpice, es un edificio histórico de París, la segunda iglesia más alta de la ciudad, construida en honor a Sulpicio Pío, que alberga en su interior un sistema para la determinación astronómica de los equinoccios diseñado por Henry Sully.

Erigida sobre los cimientos de un antiguo templo románico del siglo XIII, que sufrió sucesivas ampliaciones hasta 1631. En 1646, el sacerdote parisino Jean-Jacques Olier encargó la construcción de un nuevo edificio, que se alargó durante más de un siglo. El resultado fue un edificio sencillo, de dos plantas, con una fachada oeste formada por dos filas de elegantes columnas. La armonía del conjunto sólo la rompen las torres de los extremos, que no son parejas.

Unas enormes ventanas llenan el interior de luz. Las dos conchas que hay junto a la entrada fueron un regalo de la República de Venecia a Francisco I. La base de piedra sobre la que se encuentran fue realizada por Jean-Baptiste Pigalle.

Hay dos obras de Delacroix en la iglesia, más exactamente en la capilla lateral a la derecha de la puerta de entrada: Jacob luchando con el ángel y Heliodoro expulsado del templo.

Una de las particularidades de esta iglesia es su gnomon de la meridiana solar, o columna que marca la hora del día proyectando una sombra en el suelo. Languet de Gercy, sacerdote de Saint-Sulpice, que necesitaba un sistema para controlar los equinoccios y poder predecir cuándo caía la Pascua, se la encargó al astrónomo y relojero inglés Henry Sully, quien construyó una línea de latón en el suelo, paralela a los meridianos de la Tierra, que se extendió hasta un obelisco de mármol en la pared (que data de 1743) y asciende 11 metros por la pared. Al mismo tiempo, se instaló en la ventana sur un sistema de lentes. De esta forma, al mediodía del solsticio de invierno (21 de diciembre), la luz del sol pasa por la ventana incidiendo en la línea de latón del suelo hasta el obelisco, y en los equinoccios (21 de marzo y 21 de septiembre), a mediodía la luz toca un plato oval de cobre delante del altar. Debido a que esto sirvió para realizar mediciones científicas, la iglesia se salvó de ser destruida durante la Revolución francesa.

La iglesia está situada en la Place Saint-Sulpice, construida en la segunda mitad del siglo XVIII. Cabe destacar la Fuente de los Cuatro Obispos, de Joachim Visconti (1844), y los castaños de flores rosas. El Café de la Mairie es famoso por haber aparecido en numerosas películas francesas.

La Antigua Catedral de Managua, Nicaragua, se inspiró en ésta estructura para su construcción.

[editar] El órgano

En Saint-Sulpice se celebran regularmente conciertos de órgano. El que hay concretamente aquí data de 1862. Fue construido por Aristide Cavaille-Coll y tiene 15.836 tubos.^[1] Uno de los más renombrados organistas de esta iglesia fue Charles-Marie Widor quien ocupó este puesto desde sus 26 años. Disposición:

http://es.wikipedia.org/wiki/Iglesia_de_Saint-Sulpice

11 Be not far from me; for trouble is near; for there is none to help.

12 Many bulls have compassed me: strong bulls of Bashan have beset me round.13 They gaped upon me with their mouths, as a ravening and a roaring lion .

14 I am poured out like water , and all my bones are out of joint: my heart is like wax; it is melted in the midst of my bowels.

15 My strength is dried up like a potsherd; and my tongue cleaveth to my jaws; and thou hast brought me into the dust of death.16 For dogs have compassed me: the assembly of the wicked have enclosed me: they pierced my hands and my feet .17 I may tell all my bones: they look and stare upon me.

18 They part my garments among them, and cast lots upon my vesture.19 But be not thou far from me, O LORD: O my strength, haste thee to help me.

20 Deliver my soul from the sword; my darling from the power of the dog .21 Save me from the lion's mouth : for thou hast heard me from the horns of the unicorns . 22 I will declare thy name unto my brethren: in the midst of the congregation will I praise thee . 23 Ye that fear the LORD, praise him; all ye the seed of Jacob, glorify him; and fear him, all ye the seed of Israel.

This is a forceful witness of the lord's crucifixion as Psalm 22:1 and 22:18 directly attest, being quoted in all the gospels, [ Matt. 27:3, 46, Mk. 15:24,34 Lk. 23:34, John 19:24 ]. We have found references to the four cardinal points of the horizon in Numbers 23:21-24, 24:1-9 . They are listed with specific mention of the "strength of a unicorn" the [reem], in reference to Taurus the Bull, Leo the great Lion and Aquarius the water bearer, whose seed was poured out of many buckets . In the 22nd Psalm we find the same references with some important differences. The context of Numbers 23-24 refers to Balaam's prophecy of the coming promised seed, whose glory is referenced in Numbers 23:21, 24:8 . The "shout of a king" was certainly among the seed of Jacob, who would "eat up the nations of his enemies, and shall break their bones, and pierce them through with his arrows." This refers to his triumphant return as the King of kings, the mighty conquering judge that no element of darkness will ever withstand. We find this image of the Lord clearly expressed in the sign Sagittarius seen in the arrows of Numbers 24:8 . We will cover this in greater detail in our look at Sagittarius next. The context of the 22nd Psalm however is the suffering of the Lord at his crucifixion and death. This was the height of the enemy's hour, who holds the power of the sting of death. It was the agents of the evil one who crucified the Lord, both the spiritual agents embodied in the "four winds" of the host of heaven and the human agents, or the circling dogs, ravening lions and gaping bulls who surrounded him bringing about his tortured death. These human agents of the evil one are pictured with the enlivened astrological faces of their false ensigns, bringing the desires of their evil father to pass in the world. In the midst of this assembly of the wicked was Jesus Christ who was poured out like water, a reference to his holy sacrificial offering, as he selflessly endured the excruciating pain of his death, laying down his life as the essence of Israel's High Priest. The end result of his ultimate sacrifice brought the "all truth" of "the Comforter" of John 16:7 , the gift of holy spirit that became available as a result of the New Birth, seen for the first time on the day of Pentecost. This is the liquid seed that was poured out of the bucket known in the stars as Aquarius' Urn , the living waters that truly quench men's souls, seen in Numbers 24:7. Even as these agents of the enemy encircled the Lord, bringing about his sufferings, these shadows of the Cherubim are bold in defiance of the Son of the Living God, infused with the four dark winds of the cardinal points, activating the power of the dog [ Ps. 22:20 ], as the fullness of the evil desires of the lord of darkness. The double meaning of these related passages of Scripture becomes clear as we take a closer look at the word for " wicked " in the 16th verse of Psalm 22. Lets take a detailed look at this word and its Hebrew root employed in Job 38 .

The following is a reference note in Revised English Version of the Bible on the "Dog-star" in Job 38:13 & 15 . ¹ This is translated as "the wicked" in the majority of other versions, thus on the surface "Dog-star" does not seem to fit in Job 38 , but as we allow God's Word to speak for itself we will uncover some long obscured and priceless gems of truth. To clarify this lets look at a marginal note in the Companion Bible, ² where it says "the wicked" is the same as "lawless" [* H7561 , rasha]. In both Job 38:13 & 15 , the Hebrew letter "ayin" is suspended, without it the word means "head, top, cheif" [* H7222 , rosh]. With "Ayin" supplied it is "the wicked." All the ancient versions and early printed editions read "the Lawless."
In Bullinger's related note on Judges 18:30 , in reference to "Mannasseh" the letter "nun" is suspended, written partly in the line and partly above the line, to show that originally it formed no part of the word, but was put in to make it spell "Mannasseh" instead of "Moses." This was done for two reasons, first to spare the honor of Moses memory and name and secondly, to put sin upon one [Mannasseh] who committed so gross a sin. The Authorized Version follows the Septuagint & Chaldee by putting "Mannasseh" in the text; while the Revised Version follows the Latin Vulgate and those codices and early editions, which have "nun" suspended, by putting "Moses" in the text and "Mannasseh" in the margin. ³ [ emphasis mine ]
If the usage of this suspended letter " ayin " in Job 38 follows suit with " nun " Judges 18 , then "originally it formed no part of the word," and should properly read " rosh " instead of " rasha ". This would change the text from the wicked or lawless to "head, chief, prince, leader, point, top, first rank, the highest, supreme." From the astronomical viewpoint evident in the Revised English Version of Job 38 , this etymology is enlightening because the in Egypt's Denderah zodiac , the star Sirius or Canis Major, the Dog-star is called " Apes " which means " the head ". Since the Dog-star is the brightest star in all the heavens from earth's perspective, the meaning of the " head or prince " is a precise fit. This " prince of the Heavenly host " was also referred to in the sacred books of Persia as " Tistar, " the " Chieftain of the East." This is not only a symbol of the sunrise embodied in the new light of the world, but it also refers to the Pyramid's capstone or " Chief cornerstone, " [ Ps. 118:22, Eph. 2:20, 5:23 ] as it catches the first rays of the dawn and sunrise of a new day. In Zech. 4:7 "headstone"- *H7222 [ roshah ] from rosh *H7218 means the "topmost stone at the corner." We will see this concept fully developed Biblical Astronomy of the Great Pyramid . We have seen this as a recurring theme of our study of the celestial signs surrounding the birth of Christ. The fact that Lucifer was the original light of the world, the "faithful witness in Heaven," [ Ps. 89:36-37, Mal. 4:2 ] and Sirius , the brightest star in the Heavens, shows us a correlation to the first bright and morning star, as the original sun of the First Heaven and Earth. This reflects an early time when the celestial calendars of 360-day sacred solar year and 365.25-day Sirius- Sothic Calendar were running in synch, before Lucifer attempted his coup in heaven. As the angel of light, all temporal matters and the timekeeping of all Creation ran under his watch. After he was cast down however, there was a needed a separation between what had become profaned, in the fallen Lucifer and what would remain sacred and holy in the coming promised seed, the rising light of the world, embodied in the sun. It is this powerful truth that is reflected in the suspended letter "ayin" in the Hebrew, revealing a double truth related to the star Sirius as a symbol of Lucifer, the original embodiment of the bright and morning star. Before his revolt and fall from his position as the head (rosh) of Creation, he was the "head, chief, prince, leader, point, top, first rank, the highest, supreme." However once iniquity was found in him [ Ezek. 28:15 ], he became "the lawless," [Heb.-rasha] the wicked one. He is the embodiment of the activation of the principle of evil [ra'a], also understood in the spiritual Entropy of his original sin, the incept point of all darkness. This would also explain the extremely negative mythological connotations of Sirius . Burnham's states: "In the ancient Greek and Roman world, the influence of Sirius was regarded as extremely unfortunate, as the allusion to the wrathful Achilles in the Iliad would seem to suggest. In Virgil's Aeneid we read of the Dog Star, that burning constellation, when he brings drought & disease on sickly mortals, rises and saddens the sky with inauspicious light." ⁴

Job 38:1-42:6
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