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CRUZ DE CRISTO = INTERSECCION = VESICA PISCIS = ALQUIMIA DE LA ALQUIMIA = AGUJERO DE GUSANO = SANTO GRIAL
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Message 519 of 519 on the subject |
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EL CONEJO ES SIMBOLO DE FERTILIDAD Y SE REPRODUCE CON EL NUMERO DE ORO
LA LEY DE LA RELATIVIDAD DE EINSTEIN TIENE QUE VER CON LA RELATIVIDAD DEL TIEMPO EN FUNCION A LA MASA Y LA VELOCIDAD DE LA LUZ
OJO DE RA=LEY DE LA RELATIVIDAD DE EINSTEIN
EL DOLAR MISMO ESTA CONECTADO CON LA "MAQUINA DEL TIEMPO"
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KEY OF SOLOMON
SOL = ORO = GOLD=FATHER
MON= PLATA = SILVER=MOTHER
KEY OF SOLOMON= GOLDEN AND SILVER GATE
LETRA M= COLUMNAS DE JACHIN Y BOAZ= SOLSTICIOS = GOLDEN AND SILVER GATE
PIRAMIDE DEL VATICANO= INTERSECCION= "AGUJERO DE GUSANO"= "MAQUINA DEL TIEMPO" = "EXPERIMENTO FILADELFIA" = 22/7=3.14 (DIA DE MARIA LA MAGDALENA)=PI-RAMIDE =PYRAMID =MARY
EVERYTHING IS CONNECTED AND THERE ARE NO COINCIDENCES
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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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LA GRAN PIRAMIDE ESTA DISEÑADA EN FUNCION A LA CREACION DIVINA- EL MISMO "ACELERADOR DE PARTICULAS" TIENE FORMA TOROIDAL (CIRCULO=PI* DIAMETRO =LONGITUD CIRCUNFERENCIA)
La gran pi-ramide (PI=22/7=3.14) esta diseñada en FUNCION AL PATRON DE LA CREACION DE LA TIERRA EN 8 DIAS e INCLUSO TIPOLOGICAMENTE DE LAS BODAS DE CANA, que tambien fueron en un 8VO dia y tambien TERCER DIA E INCLUSO TAMBIEN CON LA RESURRECCION TAMBIEN EN ESE CONTEXTO. ALLI ESTA LA CLAVE DEL "ACELERADOR DE PARTICULAS", del TOROIDE, de las PLEYADES EN LA CONSTELACION DEL TORO, DEL "EXPERIMENTO FILADELFIA", DE TODO EL PATRON CIENTIFICO MUNDIAL Y UNIVERSAL EN FUNCION AL TOROIDE, ETC,ETC.
EL NUMERO 8 TIENE RELACION CON LA RESURRECCION O RECICLAJE YA QUE EL NUMERO 7 SABEMOS TIENE REFERENCIA A PLENITUD ESPIRITUAL. CON EL 8 COMIENZA NUEVAMENTE EL CICLO. OSEA QUE TODA LA REFERENCIA DEL SEÑOR JESUCRISTO A LA CONVERSION DEL AGUA EN VINO, TIENE REFERENCIA AL SANTO GRIAL, insisto en el contexto AL DISEÑO DE LA GRAN PIRAMIDE EN FUNCION A LA TIERRA Y LA LUNA EN EL CONTEXTO AL NUMERO PI=3.14 E INCLUSO EL NUMERO DE ORO PHI=1.618033.
ALLI ESTA LA CLAVE DE MATEO 16:18 DE JESUCRISTO COMO CONSTRUCTOR DEL TEMPLO O IGLESIA, UNA REFERENCIA ESOTERICA A JUAN MARCOS. CONCRETAMENTE LA GRAN PIRAMIDE EN ESTE CONTEXTO ES UN MONUMENTO A LA CREACION DIVINA, TAMBIEN DISEÑADO EN FUNCION AL VERDADERO SABADO O REPOSO EN FUNCION A LAS FASES DE LA LUNA E INCLUSO A PROVERBIOS 25:11, OSEA LA "MANZANA DORADA Y DE PLATA" QUE ES UN NEXO CON LA ESTRELLA DE 5 PUNTAS, QUE TIENE CONNOTACION CON SIRIO Y CON VENUS. OSEA QUE TODA LA REFERENCIA SOPHIA =SABIDURIA = SABADO , INSISTO, EN EL CONTEXTO AL NUMERO DE ORO PHI, TIENE LA CONNOTACION DEL LINAJE DE CRISTO (BODAS DE CANA).
ESE ES EL ULTRASECRETO DETRAS DEL DOMINGO=OCTAVO DIA, OSEA UNA REFERENCIA INSISTO AL CIRCULO DEL HOMBRE DE VITRUBIO. EL CIRCULO=INFINITO=NUMERO 8 =VIDA ETERNA=CIELO Y EL CUATRO=CUADRADO=TIERRA.
LA CUADRATURA DEL CIRCULO, ES UNA REFERENCIA A LA ALQUIMIA, OSEA LA ESCALERA DE JACOB. DE ALLI SALE EL HOMBRE DE VITRUBIO DE LEONARDO DA VINCI. ESTO TAMBIEN EXPLICA LA RELACION DE LA PIRAMIDE DE LOUVRE CON EL NUMERO 666. TODO EL SECRETO DE LA GRAN PIRAMIDE, INSISTO, TIENE CONNOTACION CON LAS BODAS DE CANA, EN EL OCTAVO DIA (CONVERSION DEL AGUA EN VINO=SANGRE DE CRISTO).
ALLI VA LA RELACION DE LA SANTA CENA RELACIONADA CON LOS 12 APOSTOLES, 12 CONSTELACIONES ZODIACALES, 12 MESES LUNARES, 12 CICLOS PRECESIONALES, ETC,ETC. ES OBVIA LA CONNOTACION SABATICA EN EL CONTEXTO A LA SANTA CENA CON REFERNENCIA AL TIEMPO. LA MISMA CRUZ DE CRISTO ES LA MISMA LETRA T DE TIEMPO. ESTO TAMBIEN EXPLICA LA RELACION DEL VATICANO, TEOTIHUACAN, JERUSALEN, WASHINGTON, LA MECA, ETC,ETC CON EL NUMERO DE ORO. TODO VA AL SEPTIMO / OCTAVO DIA DE LAS BODAS DE CANA. ES POR ESTA CAUSA QUE SOPHIA, EN EL CODIGO DA VINCI, AL FINAL LE HACE REFERENCIA A ROBERT LANGDON, QUE ELLA NO PODIA CAMINAR SOBRE EL AGUA PERO QUE SI IVA A INTENTAR CONVERTIR EL AGUA EN VINO. TODO, INSISTO, ES UNA REFERENCIA A LAS BODAS DE CANA. ESTE PATRON ALQUIMICO ES MUNDIAL CODIFICADO EN TODAS LAS CULTURAS. ¿QUIEN PUEDE DECIR QUE NO EXISTE UN DIOS CREADOR EN ESTE CONTEXTO? ¿QUIEN PUEDE DECIR QUE JESUCRISTO NO FUE EL MESIAS? EL 8=INFINITO TAMBIEN ES UNA REFERENCIA AL JUBILEO /JUBI-LEO / LEON DE LA TRIBU DE JUDA / LEON-ARDO DA VINCI (LEVITICO 25) A SUS SIETE AÑOS SABATICOS Y AL AÑO 50, QUE ERA ADONDE LAS PROPIEDADES VOLVIAN A SUS DUEÑOS ORIGINALES. ESE AÑO ERA EL DE LA LIBERACION. ALLI RADICA EL ORIGEN TEOLOGICO DE LA RELACION DEL NUMERO 8 CON LA CREACION DIVINA E INCLUSO CON TAMBIEN CON LA RESURRECCION.
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Message 110 of 110 on the subject |
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The letter G symbol of freemasonry traces back to the Hebrew letter gimel and interestingly links to the serpent as well. It is said that the letter G also represents the ouroboros, the snake eating it’s tail which represents immortality/resurrection.
MARY MAGDALENE=RESURRECTION =JOHN 20
LA SERPIENTE QUE SE MUERDE LA COLA SIMBOLIZA A LA VIDA ETERNA Y AL LINAJE DE CRISTO Y MARIA MAGDALENA. ESE ES SU MENSAJE ESOTERICO. ESO EXPLICA LA RELACION CON LA MAQUINA DEL TIEMPO
Ecuaciones de Einstein
Las Ecuaciones de Einstein son el centro de la relatividad general. Proporcionan una formulación precisa, utilizando el lenguaje de las matemáticas, de la relación entre la geometría del espacio-tiempo y las propiedades de la materia.
Distancias correspondientes a 30 grados a diferencia de longitud, en diferentes latitudes, sobre la superficie de la tierra.
Estas ecuaciones se formulan utilizando el lenguaje de la geometría riemanniana, en la que las propiedades geométricas de un espacio (o espacio-tiempo) son descritas por una cantidad llamada métrica. La métrica codifica la información necesaria para calcular las nociones geométricas fundamentales de distancia y ángulo en un espacio curvo (o espacio-tiempo).
Una superficie esférica como la de la Tierra proporciona un ejemplo sencillo. La ubicación de cualquier punto de la superficie puede ser descrito por dos coordenadas geográficas: latitud y longitud. Sin embargo, a diferencia de las coordenadas cartesianas del plano, las diferencias de coordenadas no son lo mismo que las distancias en la superficie, tal y como se muestra en el diagrama de la derecha: para alguien en el ecuador, moverse hacia el Oeste por 30 grados de longitud (línea magenta) corresponde a un distancia de aproximadamente 3300 kilómetros; para alguien mucho más al norte, a una latitud de 55 grados, al moverse 30 grados de longitud hacia el oeste (línea azul) se cubre una distancia de sólo 1900 kilómetros. Las coordenadas, por lo tanto, no proporcionan suficiente información para describir la geometría de una superficie esférica o la geometría más complicada del espacio-tiempo: se necesita información adicional para convertir las diferencias de coordenadas a distancias reales. Este es, precisamente, la información codificada en la métrica: se trata de una función definida en cada punto de la superficie (o espacio, o espacio-tiempo) que describe hasta qué punto el espacio se curva o estira en el entorno de ese punto. Todas las demás cantidades que son de interés en la geometría, tales como la longitud de cada curva, o el ángulo en que dos curvas se encuentran, se puede calcular a partir de esta función métricas.[15]
La cantidad de curvatura que hay en cada punto de un espacio (o espacio-tiempo) determina la curvatura del espacio. Más precisamente, la función métrica y la rapidez con que cambia de un punto a otro se puede utilizar para definir una cantidad geométrica llamada Tensor de curvatura de Riemann, que describe exactamente la forma en que el espacio (o espacio-tiempo) es curva en cada punto . En la relatividad general, la métrica y el tensor de curvatura son las cantidades definidas en cada punto en espacio-tiempo. Además, el contenido de materia del espacio, como se ha indicado, define otra cantidad, el tensor energía-impulso T, y el principio de que "el espacio-tiempo le dice a la materia cómo moverse, y la materia le dice al espacio-tiempo cómo curvarse", significa que estas cantidades deben estar relacionados de alguna manera. Einstein formuló esta relación usando el tensor de curvatura y la métrica para definir otra cantidad geométrica G, que ahora se conoce como el tensor de Einstein, que describe algunos aspectos de la forma en la que el espacio-tiempo se curva. La ecuación de Einstein entonces se establece que
es decir, hasta un constante múltiple, la cantidad G (que mide la curvatura) se equipara con la cantidad T (que mide el contenido de materia). Las constantes que participan en esta ecuación reflejan las diferentes teorías que se usaron para deducirlas: G es la Constante de gravitación universal que ya está presente en la gravedad de Newton;c es la velocidad de la luz, la clave constante de la relatividad especial, y π es una de las constantes básicas de la geometría. La aparición de π en la ecuación se asocia con la zona (4 π) de la unidad de materia, mientras que las constantes c y G se necesitan para convertir la cantidad T (que tiene unidad físicas) en unidades puramente geométricas.
Esta ecuación es referida a menudo en plural como ecuaciones de Einstein , puesto que las cantidades G y T son determinados por un conjunto de diez funciones de las coordenadas del espacio, y las ecuaciones equiparan cada una de estas funciones componentes. Sin embargo, a causa de la libertad de cambiar las cuatro coordenadas en las que las ecuaciones se expresan, en realidad hay sólo seis ecuaciones físicas que deben cumplirse en cada punto en espacio.[16] describe una geometría particular de el espacio y el tiempo. Por ejemplo, la primera solución que se encontró, apenas un mes después de que Einstein publicara su teoría, fue la métrica de Schwarzschild, que describe la geometría esférica alrededor de una única masa no giratoria, como una estrella o un agujero negro, mientras que la solución de Kerr describe un agujero negro giratorio. Otras soluciones pueden describir una onda gravitacional o en el caso de la más compleja solución de la Métrica de Friedman-Lemaître-Robertson-Walker, la expansión del universo. La solución más sencilla es por supuesto el espacio-tiempo plano o espacio de Minkowski, que es el espacio-tiempo descrito por la relatividad especial.[17]
NOTABLE LA RELACION DE G, CON EL NUMERO PI=3.1416..
PYRAMID / MARY
MARY MAGDALENE DAY=22/7 =3.1416 =EXPERIMENTO FILADELFIA (MAQUINA DEL TIEMPO= "AGUJERO DE GUSANO")
LA MISMA SANTA CENA ES UNA REFERENCIA A LA "MAQUINA DEL TIEMPO" EN EL MARCO A SU RELACION CON LAS 12 HORAS DEL RELOJ, 12 CONSTELACIONES DEL ZODIACO, 12 CICLOS LUNARES, 12 CICLOS PRECESIONALES, ETC,ETC
martes, 20 de marzo de 2012
De izquierda a derecha: Galileo Galilei, Marie Curie, J. Robert Oppenheimer, Isaac Newton, Louis Pasteur, Stephen Hawking, Albert Einstein, Carl Sagan, Thomas Edison, Aristoteles, Neil deGrasse Tyson, Richard Dawkins y Charles Darwin.
EL ORO REFINADO ES EL GRIAL MISMO
714. Mateo 23:17: ¡Insensatos y ciegos! porque ¿cuál es mayor, el ORO, o el templo que santifica al ORO?
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¿PORQUE LA RELACION DE SIRIO CON LA "MAQUINA DEL TIEMPO"?
POR SU CONEXION CON LA SANTA CENA, EN EL MARCO AL CENACULO, EN JERUSALEN, EN EL MISMO CONTEXTO A LOS 12 DISCIPULOS, QUE ES UNA REFERENCIA COMO HE EXPUESTO ANTERIORMENTE A LAS 12 HORAS, 12 CONSTELACIONES, 12 MESES LUNARES, ETC,ETC. LO QUE QUIERE DEJAR CLARO LA BIBLIA ES LA RELACION DE JUAN MARCOS CON LA SANTA CENA. EL NUMERO 8, QUE ES EL NUMERO DE LA RESURRECCION TIENE CONNOTACION TAMBIEN CON EL NUMERO INFINITO Y LA VIDA ETERNA. NOTAMOS QUE SE CRUZAN LAS SERPIENTES, OSEA QUE TIENE TAMBIEN CONNOTACION CON LA "MAQUINA DEL TIEMPO". ES NOTABLE LA RELACION DE DICHO NUMERO CON SIRIO, EN EL MARCO AL CICLO DE SIRIO B, DE CINCUENTA AÑOS QUE TIENE REFERENCIA AL PERIODO DE JUBILEO (LEVITICO 25) ADONDE SEGUN LA BIBLIA SE COMPONIA DE 7 AÑOS SABATICOS MAS EL AÑO DE JUBILEO PRECISAMENTE. NOTAMOS TAMBIEN LA RELACION CON EL NUMERO 8. EN EL CONTEXTO A LEVITICO 23:33 EN EL SEPTIMO MES TENEMOS LA FIESTA DE LOS TABERNACULOS QUE JUSTAMENTE TIENE RELACION CON LA SANTA CENA EN EL CONTEXTO AL VINO, QUE ES LA SANGRE DE CRISTO E INCLUSO A LAS BODAS DE CANA, EN EL SEPTIMO U OCTAVO DIA. LO QUE ES NOTABLE QUE SEGUN LEVITICO, LA FIESTA DEL OCTAVO DIA ERA EL 22 DEL SEPTIMO MES HEBREO O TISHRI, ADONDE NOTAMOS EL NEXO 22/7=3.14=PI EN EL MARCO AL OCTAVO DIA. LA MISMA BIBLIA CONFIRMA QUE LA GRAN PIRAMIDE ESTA DISEÑADA EN FUNCION A LA CREACION DIVINA EN 8 DIAS, E INCLUSO A LAS BODAS DE CANA. |
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A tesseract Hyper cube unfolding  Animation illustrating the folding and unfolding of a nets of a hypercube (left) and cube (right). 14 June 2006 Source w:Image:Hcube fold.gif Author Christopher Thomas A four dimensional cube in Paris To celebrate the 200th anniversary of the French Revolution, the president of France, François Mitterrand, commissioned the Danish architect Johann Otto von Spreckelsen to build something special in La Défense, the financial district of Paris. The building would line up with several other significant Paris buildings – the Louvre, the Arc de Triomphe and the Egyptian needle – in what has become know as the Mitterrand perspective.
The architect certainly didn’t disappoint. He built a huge arch, called La Grande Arche, which is so large that the towers of Notre Dame could pass through the middle, and weighs a staggering 300,000 tonnes. Unfortunately von Spreckelson died two years before the arch was completed. It has become an iconic building in Paris, but perhaps less well known to the Parisians who see it every day is that what von Spreckelsen actually built is a four-dimensional cube in the heart of their capital.
But just as the Renaissance artists were faced with the challenge of painting three-dimensional shapes on a flat two-dimensional canvas, so the architect at La Défense has captured a shadow of the four-dimensional cube in our three-dimensional universe. To create the illusion of seeing a three-dimensional cube while looking at a two-dimensional canvas, an artist might draw a square inside a larger square and then join the corners of the squares to complete the picture of the cube. Of course it’s not really a cube, but it presents the viewer with enough information: we can see all the edges, and visualize a cube. Von Spreckelsen used the same idea to build a projection of a four-dimensional cube in three-dimensional Paris, consisting of a small cube sitting inside a larger cube with edges joining the vertices of the smaller and larger cubes.
A square has 4 corners and a 3D cube 8 corners and a 4D cube 16
Mitterand the Freemason built the Louvre  Its a pyramid but made up of squares and there are three two smaller ones and one larger one like the pyramids of Giza  Mitterand took an interest in Renne les Chateau there is a picture of Mitterand with Plantard at Rennes visiting
_________________
Everything is Connected and there are no
coincidences
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3 RD Time - Trinity - Shamrock end of the cube of time / 3-22 Skull and bones 13 - Serpent Ophiuchus 22 2 x 11 = 1111  Gold pectoral cross worn by John XXIII with 'eye and triangle'.  Pope Paul VI - wearing the Judaic "Kohen Breastplate," and the yarmulke
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I don't know who is responsible? I know some crop circles are made by men and women. I have seen them make them on TV they go out of the way to bend the wheat and make their designs before the light rises ...it takes a lot of work Some people have taken credit for some of them so perhaps it is men creating beautiful designs It hasn't stopped over the years I still think there is a mystery here...why do they do it and what makes them choose their designs? What are their intentions?.... the big ones well they are amazing and many of the designs are based on geometry It is sacred geometry that is made for without profit or recognition and destroyed after its production returning the next spring a whole message of death and regeneration ...like the Tibet monks sand painting If you were a Druid then this would be your church ....Nature ...not a church with walls and a roof Rennes Chateau Magdalene chapel uses sacred geometry and it is amazing up above your head on the ceiling are stars in the sky there is a connection with the heavens Sauniere demonstrates through geometry the dimensions ...the black and white checkerboard floor like the Freemasons temple two dimensions then he has the cube like structure which demonstrates the third dimension but then I think it can represent the elusive fourth dimension the tesseract  and if you unwrap a tesseract you get Salvator Dali's cross  on the answer WHY I believe it is to open our awareness and consciousness ....when you understand why these patterns are placed in a church then you understand the majesty of a crop circle created under the stars....the crop circle maker's church is not a church of walls but of nature Nature's design has many examples of geometry like this honeybees make a honeycomb hexagonal cells The belief that God created the universe according to a geometric plan has ancient origins. Plutarch attributed the belief to Plato, writing "Plato said God geometrizes continually" (Convivialium disputationum, liber 8,2). mankind builds incredible things  the geometric pyramids  the pyramid of the moon the crop circles are unique because they are created and destroyed and then created again there is quite a spiritual aspect to it lets take the Hour glass crop circle ...the Hour glass is seen in Freemason symbolism indicating time Time is a dimension in which events can be ordered from the past through the present into the future now the fascinating part of the design is do we have lots of time or do we have hardly any....it depends on the angle your looking at that determines the answer Its the VIEWER who chooses which angle  Which view do you have Davinho....is the hour glass running out or is it just starting Is the age coming to an end and another just starting ....Age of Aquarius is coming and the Age of Pisces is coming to an end Teniers used the hour glass in his paintings as a symbol ...Teniers hold the key Time is a dimension and the hour glass is man's attempt to measure time Man has been trying to measure time for a long time  There is an appointed time (zman) for everything. And there is a time (’êth) for every event under heaven– A time (’êth) to give birth, and a time to die; A time to plant, and a time to uproot what is planted. A time to kill, and a time to heal; A time to tear down, and a time to build up. A time to weep, and a time to laugh; A time to mourn, and a time to dance. A time to throw stones, and a time to gather stones; A time to embrace, and a time to shun embracing. A time to search, and a time to give up as lost; A time to keep, and a time to throw away. A time to tear apart, and a time to sew together; A time to be silent, and a time to speak. A time to love, and a time to hate; A time for war, and a time for peace. – Ecclesiastes 3:1–8 I could go on and on for a long time so for the short answer of all of this I don't know but I'm using my time to try to figure it out
_________________
Everything is Connected and there are no
coincidences
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gabitos.com
GalacticCross …
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galactic-centre-2012.com
to the Galactic Centre at
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keyofsolomon.org
Galactic Cross, Galactic Cross
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ascensionnow.co.uk
axis of the Galactic Cross
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alignment2012.com
Descriptions of the process
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lifeinthemix2.co.uk
THE GALACTIC CROSS
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galactic-centre-2012.com
THE GALACTIC CENTRE AND 2012
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keyofsolomon.org
Earth Cross + Galactic Cross
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crystalinks.com
with the galactic center
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aton432hz.info
of the Galactic Crossing,
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therecanbeonly1.angelf...
Here are the dates of the
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2012forum.com
The True Cross is formed by
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Holy Cross
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cross the galactic center,
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ncrising.com
A Grand Cross in the Fixed
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gabitos.com
Isles used cross-quarter
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a Galactic alignment that
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will cross the center of
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St Peter's Square
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The grand cross in the above
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Hypersphere[edit]
Main article: HypersphereThe set of points in Euclidean 4-space having the same distance R from a fixed point P0 forms a hypersurface known as a 3-sphere. The hyper-volume of the enclosed space is:
This is part of the Friedmann–Lemaître–Robertson–Walker metric in General relativity where R is substituted by function R(t) with t meaning the cosmological age of the universe. Growing or shrinking R with time means expanding or collapsing universe, depending on the mass density inside.[12]
Cognition[edit]
Research using virtual reality finds that humans in spite of living in a three-dimensional world can without special practice make spatial judgments based on the length of, and angle between, line segments embedded in four-dimensional space.[13] The researchers noted that "the participants in our study had minimal practice in these tasks, and it remains an open question whether it is possible to obtain more sustainable, definitive, and richer 4D representations with increased perceptual experience in 4D virtual environments."[13] In another study,[14] the ability of humans to orient themselves in 2D, 3D and 4D mazes has been tested. Each maze consisted of four path segments of random length and connected with orthogonal random bends, but without branches or loops (i.e. actually labyrinths). The graphical interface was based on John McIntosh's free 4D Maze game.[15] The participating persons had to navigate through the path and finally estimate the linear direction back to the starting point. The researchers found that some of the participants were able to mentally integrate their path after some practice in 4D (the lower-dimensional cases were for comparison and for the participants to learn the method).
Dimensional analogy[edit]
To understand the nature of four-dimensional space, a device called dimensional analogy is commonly employed. Dimensional analogy is the study of how (n − 1) dimensions relate to n dimensions, and then inferring how n dimensions would relate to (n + 1) dimensions.[16]
Dimensional analogy was used by Edwin Abbott Abbott in the book Flatland, which narrates a story about a square that lives in a two-dimensional world, like the surface of a piece of paper. From the perspective of this square, a three-dimensional being has seemingly god-like powers, such as ability to remove objects from a safe without breaking it open (by moving them across the third dimension), to see everything that from the two-dimensional perspective is enclosed behind walls, and to remain completely invisible by standing a few inches away in the third dimension.
By applying dimensional analogy, one can infer that a four-dimensional being would be capable of similar feats from our three-dimensional perspective. Rudy Rucker illustrates this in his novel Spaceland, in which the protagonist encounters four-dimensional beings who demonstrate such powers.
Cross-sections[edit]
As a three-dimensional object passes through a two-dimensional plane, a two-dimensional being would only see a cross-section of the three-dimensional object. For example, if a spherical balloon passed through a sheet of paper, a being on the paper would see first a single point, then a circle gradually growing larger, then smaller again until it shrank to a point and then disappeared. Similarly, if a four-dimensional object passed through three dimensions, we would see a three-dimensional cross-section of the four-dimensional object—for example, a hypersphere would appear first as a point, then as a growing sphere, with the sphere then shrinking to a single point and then disappearing.[17] This means of visualizing aspects of the fourth dimension was used in the novel Flatland and also in several works of Charles Howard Hinton.[18]
Projections[edit]
A useful application of dimensional analogy in visualizing the fourth dimension is in projection. A projection is a way for representing an n-dimensional object in n − 1 dimensions. For instance, computer screens are two-dimensional, and all the photographs of three-dimensional people, places and things are represented in two dimensions by projecting the objects onto a flat surface. When this is done, depth is removed and replaced with indirect information. The retina of the eye is also a two-dimensional array of receptors but the brain is able to perceive the nature of three-dimensional objects by inference from indirect information (such as shading, foreshortening, binocular vision, etc.). Artists often use perspective to give an illusion of three-dimensional depth to two-dimensional pictures.
Similarly, objects in the fourth dimension can be mathematically projected to the familiar 3 dimensions, where they can be more conveniently examined. In this case, the 'retina' of the four-dimensional eye is a three-dimensional array of receptors. A hypothetical being with such an eye would perceive the nature of four-dimensional objects by inferring four-dimensional depth from indirect information in the three-dimensional images in its retina.
The perspective projection of three-dimensional objects into the retina of the eye introduces artifacts such as foreshortening, which the brain interprets as depth in the third dimension. In the same way, perspective projection from four dimensions produces similar foreshortening effects. By applying dimensional analogy, one may infer four-dimensional "depth" from these effects.
As an illustration of this principle, the following sequence of images compares various views of the 3-dimensional cube with analogous projections of the 4-dimensional tesseract into three-dimensional space.
| Cube | Tesseract | Description |
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The image on the left is a cube viewed face-on. The analogous viewpoint of the tesseract in 4 dimensions is the cell-first perspective projection, shown on the right. One may draw an analogy between the two: just as the cube projects to a square, the tesseract projects to a cube.
Note that the other 5 faces of the cube are not seen here. They are obscured by the visible face. Similarly, the other 7 cells of the tesseract are not seen here because they are obscured by the visible cell.
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The image on the left shows the same cube viewed edge-on. The analogous viewpoint of a tesseract is the face-first perspective projection, shown on the right. Just as the edge-first projection of the cube consists of two trapezoids, the face-first projection of the tesseract consists of two frustums.
The nearest edge of the cube in this viewpoint is the one lying between the red and green faces. Likewise, the nearest face of the tesseract is the one lying between the red and green cells.
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On the left is the cube viewed corner-first. This is analogous to the edge-first perspective projection of the tesseract, shown on the right. Just as the cube's vertex-first projection consists of 3 deltoids surrounding a vertex, the tesseract's edge-first projection consists of 3 hexahedral volumes surrounding an edge. Just as the nearest vertex of the cube is the one where the three faces meet, so the nearest edge of the tesseract is the one in the center of the projection volume, where the three cells meet. |
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A different analogy may be drawn between the edge-first projection of the tesseract and the edge-first projection of the cube. The cube's edge-first projection has two trapezoids surrounding an edge, while the tesseract has three hexahedral volumes surrounding an edge. |
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On the left is the cube viewed corner-first. The vertex-first perspective projection of the tesseract is shown on the right. The cube's vertex-first projection has three tetragons surrounding a vertex, but the tesseract's vertex-first projection has four hexahedral volumes surrounding a vertex. Just as the nearest corner of the cube is the one lying at the center of the image, so the nearest vertex of the tesseract lies not on boundary of the projected volume, but at its center inside, where all four cells meet.
Note that only three faces of the cube's 6 faces can be seen here, because the other 3 lie behind these three faces, on the opposite side of the cube. Similarly, only 4 of the tesseract's 8 cells can be seen here; the remaining 4 lie behind these 4 in the fourth direction, on the far side of the tesseract.
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Shadows[edit]
A concept closely related to projection is the casting of shadows.
If a light is shone on a three dimensional object, a two-dimensional shadow is cast. By dimensional analogy, light shone on a two-dimensional object in a two-dimensional world would cast a one-dimensional shadow, and light on a one-dimensional object in a one-dimensional world would cast a zero-dimensional shadow, that is, a point of non-light. Going the other way, one may infer that light shone on a four-dimensional object in a four-dimensional world would cast a three-dimensional shadow.
If the wireframe of a cube is lit from above, the resulting shadow is a square within a square with the corresponding corners connected. Similarly, if the wireframe of a tesseract were lit from “above” (in the fourth dimension), its shadow would be that of a three-dimensional cube within another three-dimensional cube. (Note that, technically, the visual representation shown here is actually a two-dimensional shadow of the three-dimensional shadow of the four-dimensional wireframe figure.)
Bounding volumes[edit]
Dimensional analogy also helps in inferring basic properties of objects in higher dimensions. For example, two-dimensional objects are bounded by one-dimensional boundaries: a square is bounded by four edges. Three-dimensional objects are bounded by two-dimensional surfaces: a cube is bounded by 6 square faces. By applying dimensional analogy, one may infer that a four-dimensional cube, known as a tesseract, is bounded by three-dimensional volumes. And indeed, this is the case: mathematics shows that the tesseract is bounded by 8 cubes. Knowing this is key to understanding how to interpret a three-dimensional projection of the tesseract. The boundaries of the tesseract project to volumes in the image, not merely two-dimensional surfaces.
Visual scope[edit]
Being three-dimensional, we are only able to see the world with our eyes in two dimensions. A four-dimensional being would be able to see the world in three dimensions. For example, it would be able to see all six sides of an opaque box simultaneously, and in fact, what is inside the box at the same time, just as we can see the interior of a square on a piece of paper. It would be able to see all points in 3-dimensional space simultaneously, including the inner structure of solid objects and things obscured from our three-dimensional viewpoint. Our brains receive images in the second dimension and use reasoning to help us "picture" three-dimensional objects. Just as a four-dimensional creature would probably receive multiple three-dimensional pictures.[citation needed]
Limitations[edit]
Reasoning by analogy from familiar lower dimensions can be an excellent intuitive guide, but care must be exercised not to accept results that are not more rigorously tested. For example, consider the formulas for the circumference of a circle  and the surface area of a sphere:  . One might be tempted to suppose that the surface volume of a hypersphere is  , or perhaps  , but either of these would be wrong. The correct formula is  .[10]
See also[edit]
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¿Quién es el dios Saturno?
El primer "Saturno", que ha dado paso a un sinfín de dioses en posteriores civilizaciones y culturas, fue Ninnurta (Nin-Ur, Señor de la Tierra) era el dios de Nippur.
Era el primogénito del "jefe" de uno de los dos clanes líderes de los dioses Sumerio-Anunnakis, el representado por la Luna, el Cielo y las Aves, Enlil quién más tarde adoptaría el papel de Jehová en el antiguo Testamento.
A lo largo de los siglos, Saturno acabó siendo el dios más adorado en la antigüedad y aún hoy se le sigue adorando por igual en el Judaísmo, el Catolicismo y en el Islam.
Incluso los ateos le rinden pleitesía de diferentes formas, como veremos a continuación.
En Fenicia Saturno fue adorado como Baal, dios cruel donde los haya, amante de sacrificios humanos especialmente niños, que eran arrojados vivos en un horno en el interior de sus estatuas, mientras trompetas y tambores ahogaban sus gritos y los de los padres.
Su especialidad era conseguir que los humanos sacrificaran a sus propios hijos, el no va más del placer que encuentran algunos en el sufrimiento ajeno. Se le representa como un toro o con cabeza de toro, costumbre lo que provenía de su padre, Enlil el "Toro del Cielo".
En Grecia Saturno fue llamado Cronos, "tiempo", esposo de Rea con quien engendró varios hijos. Cronos se los comió a todos tan pronto como nacieron, porque sabia que su destino era ser derrocado por uno de sus propios hijos.
A todos menos a uno:
Zeus, el que sería el líder del panteón romano del Olimpo, que se salvó gracias a que Rea dio a luz a escondidas y luego engañó a Cronos dándole una piedra envuelta en pañales, que éste engulló en seguida sin desconfiar.
Sacrificar o comer niños ha influido sin duda en que Saturno haya sido considerado desde siempre un planeta maléfico, demoníaco y destructivo. Incluso se le asimilado a Satán por la similitud del nombre y por los cuernos que lucía el dios Pan, la asimilación griega del dios Fauno de las Lupercales.
De Pan podríamos decir que es un dios al que los españoles adoraríamos con sumo gusto, era popular su fama de irascible cuando se le molestaba durante su siesta, de ahí que nunca se debía de despertar a alguien durmiendo la siesta porque se podía interrumpir el sueño del dios Pan.
El planeta Saturno
Saturno es el sexto planeta desde el Sol, su día - el 'Saturn-day' - o sábado, es el sexto día de la semana.
Es un planeta único por sus anillos y por un extraordinario hexágono en su polo norte, una misteriosa perturbación atmosférica de 30.000 Km. de longitud conocida desde hace treinta años. El hexágono es la figura geométrica que tiene 6 lados, 6 ángulos y 6 triángulos en su interior, por lo que se la asocia con el número de la Bestia, el 666.
Será por eso que los ataúdes tienen forma hexagonal.
El "Sol Negro" o "Rueda Solar" es un símbolo esotérico nórdico, que representaba el día del fin del mundo y al que posteriormente los nazis rindieron culto.
Hoy en día sigue siendo usado por grupos neonazis.
Oculto tras el Sol visible, representa el camino de la iluminación... hacia la luz negra. También simboliza el portal por el cual los Anunnakis llegaron y se fueron, pues simboliza un eclipse, de Saturno en concreto.
Lo más importante es que está formado por dos círculos concéntricos y que al tratarse de una rueda estará moviéndose tal y como sugiere el dibujo. Es decir, estamos ante una representación en 2D de las esferas cuánticas de la Lotería, del Vaticano y de la ONU.
El Sol Negro es un eclipse de Saturno. De ahí que Saturno sea negro y que el negro sea símbolo del "Mal", pues a través de él llegó:
En el año 2012, el de las profecías mayas, la NASA cumplió sus 50 años con un póster sin desperdicio: El eclipse de Saturno. Saturno es también el nombre de los 13 cohetes del programa Apolo y por tanto los que permitieron al hombre llegar a la Luna.
Hoy día sigue siendo el cohete más alto, más pesado y más potente que jamás haya sido utilizado.
"Un eclipse ocurre cuando la Tierra se oscurece por la interposición de un objeto entre la Luz y nosotros".
(Es una buena descripción de la interminable enfermedad que padece este planeta eclipsado)
Eclipse de Saturno, el orígen de la adoración a Saturno y al sol Negro,
fotografía "oficial" de la NASA, sin retoques.
¿Por qué un eclipse?
Nuestro sistema solar está plagado de agujeros negros donde rigen las leyes de la mecánica cuántica.
Mediante estos agujeros, son posibles fenómenos como el cambio de dimensión o los viajes espacio-tiempo.
En un eclipse, un astro o cuerpo de carga electromagnética se interpone y rompe el equilibro entre otros dos cuerpos y las respectivas fuerzas que les unen. La gran energía liberada, tan sólo por la diferencia de potencial y el gran cambio producido, es capaz de abrir un agujero negro, lo que se llama un "stargate".
Este es el camino que "Aquellos que del cielo a la tierra vinieron" usaron para venir y también para irse físicamente la ultima vez. De ahí que este símbolo sea tan importante para ellos y también que el Sol haya sido siempre motivo de adoración en todas las civilizaciones.
El Sol es una de las fichas habituales de este tres en raya interestelar y les identifica. El Sol y el Sol Negro...
El eclipse de Saturno, un recuerdo sentimental para "aquellos que del cielo a la tierra vinieron" o en otros términos: el 'OO' - Origen de la Oscuridad en el planeta.
Hoy en día... A Saturno le adoran los Judíos
El Tefilín es una de los más importantes preceptos del judaísmo.
Consiste en dos pequeñas cajas de cuero unidas con correas para poder sujetarlas al cuerpo. Cada una de las dos cajas contiene un pergamino con secciones de la Torah.
Una de ellas se coloca sobre el brazo izquierdo, para que esté frente al corazón y se sujeta alrededor de la mano izquierda y del dedo medio. La otra caja (el "tefilín de la cabeza") es puesta sobre la cabeza, por encima de la frente, así reposa sobre el cerebro.
De esta manera la atención es dirigida a la cabeza, el corazón y la mano y,
"nos enseña a dedicarnos al servicio a Dios en todo lo que pensamos, sentimos y hacemos".
 
Al ser puesto en el brazo opuesto al corazón y sobre la cabeza, los Tefilín significan la sumisión de la mente, corazón y acciones al todopoderoso, como así también el gobierno del intelecto sobre las emociones.
Es curiosa la similitud entre Tefilim y "Nefilim" el nombre con el que la Biblia cita a "Aquellos que del cielo a la tierra vinieron", es decir aquellos que les han hecho creer que son el "todopoderoso" y que además se comportan como si lo fueran.
Saturno también está presente desde los días de antaño en la costumbre judía de mantener la cabeza cubierta en todo momento.
Los judíos usan la kipá (literalmente, "cúpula" o el solideo que también usan en la iglesia católica) como símbolo de la conciencia de la existencia de un ser "superior" y de su sumisión a dicho ser.
También es curioso que en vez de hablar de amor pongan tanto énfasis en la sumisión.
Hoy en día... A Saturno le adoran los Musulmanes
Hubal es una de las principales divinidades pre-islámicas que era adorada fundamentalmente en la Meca.
En el medio oriente era un dios lunar masculino asociado con el dios semita Baal, sincretismo de Saturno, como ya hemos visto. De hecho Hubal se originó como "Hu-Baal".
Una gran estatua estaba en la Kaaba, su centro de culto antes de la reforma religiosa instituida por Mahoma en el año 630, quien la destruyó junto con las de los otros 360 ídolos presentes allí.
A partir de Mahoma el dios del Islam pasó a ser Alá, que no es otro que B-ALA, BAAL.
De la presencia "divina" en ese lugar santo, da fe que la proporción entre la distancia entre La Meca > polo norte y entre La Meca > polo sur es de exactamente 1,618, es decir el número phi, el número áureo.
La media luna característica del Islam proviene del dios lunar de Hubal o Hu-Baal (Baal-Saturno) que luego seria Alá y también de su hermano Nannar-Sin, ambos del linaje sumerio Anunnaki representado por la Luna y las aves, águilas principalmente.
Antiquísima figura del dios Alá,
es su faceta precursora de Hubal, Hu-Baal.
La Kaaba es un edificio de piedra en forma de cubo, cubierto por una tela negra, que está en el centro Gran Mezquita de la Meca, el lugar sagrado de peregrinación de los musulmanes.
Los millones de peregrinos que acuden cada año a la ciudad santa dan siete vueltas a su alrededor, apretujados y al unísono, de forma que crean una figura que evoca a Saturno y sus anillos.
Los peregrinos deben dar siete vueltas alrededor de este cubo negro de Saturno (la Kaaba) imitando de esta manera a los anillos de Saturno y creando un potente campo magnético.
En la esquina oriental de la Kaaba, se encuentra una estructura de plata a media altura con una muy explícita forma de vagina.
En su interior está la Piedra Negra, una reliquia musulmana (regalo del arcángel Gabriel a Abraham), que los peregrinos intentan besar después de dar las siete vueltas del ritual.
Se trata de un betilo o piedra sagrada, símbolo del arquetipo de la montaña sagrada.
Como la mayoría de los Betilos, proviene de un meteorito y se le reverencia como símbolo de los dioses, es decir no se rinde culto a la piedra sino a la divinidad que alberga.
La gran vagina que los musulmanes intentan besar en su peregrinaje también evoca al símbolo por excelencia de la oscuridad:
"el ojo que todo lo ve", el "Ojo de Horus"
El nombre de Kaaba procede de la diosa Cibeles, una evolución de la diosa Madre pre-indoeuropea, de nombre Kybeba o Kubaba, de donde deriva Kaaba.
Cibeles, icono de la capital de España está vinculada a otra "Piedra Negra".
Ya en su nacimiento en Frigia, en la península de Anatolia, se la simbolizaba por una piedra sin tallar, un meteorito también. Más tarde en Grecia, Cibeles seria llamada Rea, esposa de Cronos/Saturno y madre de Zeus.
Todo queda en casa.
¿Por qué Saturno se representa como un cubo negro si su figura es el hexágono?
En este dibujo abajo, se aprecia como el hexágono y el cubo, son la misma figura.
Saturno es el sexto planeta contando desde el sol, el hexágono tiene 6 lados, 6 ángulos, y 6 triángulos en su interior, mientras que el cubo tiene seis caras y al ser desplegado como para construirlo en papel, tiene forma de cruz.
El negro es el color asignado a Saturno, en referencia al eclipse de Saturno de donde proviene "el lado oscuro" de su simbolismo.
La Piedra Negra o Piedra Angular
El culto a una piedra negra como "residencia" de dioses esta detrás del arquetipo de "La piedra Angular", la base fundamental de un edificio y de la Masonería. Es la que hace esquina en un edificio, juntando dos paredes, como en la Kaaba.
La "piedra angular" está presente también en la cristiandad:
"Tú eres Pedro, y sobre esta piedra edificaré mi Iglesia", es la supuesta frase con la que Jesús nombró a Pedro como creador de una iglesia que él, en ningún momento, quiso crear.
La Piedra angular es también la Piedra Filosofal de los alquimistas y la "Roca de la Fundación", parte central del Templo de Jerusalén sobre la que descansaba el Arca de la Alianza.
George Washington, reconocido Masón,
colocando la primera piedra del Congreso de los EE.UU.
en 1793, por J. Melins
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Days of week names are related to occult powers inside the man (alchemy):
7. Sun-day – Gold – Crown chakra – URANIC gate – Point of soul
6. Moon-day – Silver – Third eye
5. Tues-day (in italian marte-dì or Mars day) – ETHER - Iron/Sulphur – Throat chakra
4. Wednes-day (in Italian mercole-di or Mercury day) – AIR - Mercury - Heart chakra – Point of spirit
3. Thurs-day (in Italian giove-di or Jupiter day) – FIRE - Tin – Solar plexus chakra
2. Fri-day (in Italian vener-di or Venus day) – WATER - Copper - Sacral plexus chakra
1. Satur-day (Saturn day) – EARTH - Lead/Steel/Salt/Ammoniac – Root chakra – TELLURIC gate
The same for the months that have an alchemy meaning:
1. Aries, FIRE, Calcination
2. Taurus, EARTH, Congelation
3. Gemini, AIR, Fixation
4. Cancer, WATER, Dissolution
5. Leo, FIRE, Digestion
6. Virgo, EARTH, Distillation
7. Libra, AIR, Sublimation
8. Scorpio, WATER, Separation
9. Sagittarius, FIRE, Incineration
10. Capricorn, EARTH, Fermentation
11. Aquarius, AIR, Multiplication
12. Pisces, WATER, Projection
SATURNIA
(ITALY THE SEAT OF WORLD POWER)
 
Hotel Saturnia logo with its Dragon looks very fishy like Dagon known as Saturn (EL)
Hotel Saturnia & International
S. Marco 2398 - Via XXII Marzo Venice - Italy
VENICE - ITALY HOME OF THE HIGHEST BLACK NOBILITY
Hotel Saturnia is located in the heart of Venice, only 250 metres from St. Mark’s Square
SQUARE = SATURN THE GOD EL
(THE BLACK SQUARE/BLACK SUN)
“SATURN wandered to Italy, where he ruled as king in the Golden Age and gave the name SATURNIA to the country.” (Encyclopedia Britannica, “Saturn,” p. 231)
Pope Benedict XVI wears a “saturno hat”, inspired by the ringed planet Saturn, to shield himself from the sun as he waves to the crowd of faithful prior to his weekly general audience in St. Peter’s Square at the Vatican Wednesday.
The Pope’s Mitre is simply taken from once again Saturnknown as Dagon
Catholic means UNIVERSAL and it is the sum of Christianity , mitraism, cult of Saturn and other pagan rites and cults. This in order to create a super-religion with the purpose to dominate and enslave people under the Roman empire.
Another target of catholic religion was to bind temporal power with spiritual power.
Vatican is a monument to occult powers:
URANUS AND THE MYTH The implications of Uranus in the chart seem to be reversed in comparison to the mythical meaning of Ouranus. Uranus is the sun of the earth goddess Gaea. And at the same time her husband. The children born out of this relationship were imprisoned but one of them, Cronus (later called Saturn) was able to castrate his father (encouraged by his mother). The genitals fell into the see and so Aphrodite was produced (Venus).
CRONUS= SATURN =MACHINE TIME
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Message 6 of 6 on the subject |
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Days of week names are related to occult powers inside the man (alchemy):
7. Sun-day – Gold – Crown chakra – URANIC gate – Point of soul
6. Moon-day – Silver – Third eye
5. Tues-day (in italian marte-dì or Mars day) – ETHER - Iron/Sulphur – Throat chakra
4. Wednes-day (in Italian mercole-di or Mercury day) – AIR - Mercury - Heart chakra – Point of spirit
3. Thurs-day (in Italian giove-di or Jupiter day) – FIRE - Tin – Solar plexus chakra
2. Fri-day (in Italian vener-di or Venus day) – WATER - Copper - Sacral plexus chakra
1. Satur-day (Saturn day) – EARTH - Lead/Steel/Salt/Ammoniac – Root chakra – TELLURIC gate
The same for the months that have an alchemy meaning:
1. Aries, FIRE, Calcination
2. Taurus, EARTH, Congelation
3. Gemini, AIR, Fixation
4. Cancer, WATER, Dissolution
5. Leo, FIRE, Digestion
6. Virgo, EARTH, Distillation
7. Libra, AIR, Sublimation
8. Scorpio, WATER, Separation
9. Sagittarius, FIRE, Incineration
10. Capricorn, EARTH, Fermentation
11. Aquarius, AIR, Multiplication
12. Pisces, WATER, Projection
SATURNIA
(ITALY THE SEAT OF WORLD POWER)
Hotel Saturnia logo with its Dragon looks very fishy like Dagon known as Saturn (EL)
Hotel Saturnia & International
S. Marco 2398 - Via XXII Marzo Venice - Italy
VENICE - ITALY HOME OF THE HIGHEST BLACK NOBILITY
Hotel Saturnia is located in the heart of Venice, only 250 metres from St. Mark’s Square
SQUARE = SATURN THE GOD EL
(THE BLACK SQUARE/BLACK SUN)
“SATURN wandered to Italy, where he ruled as king in the Golden Age and gave the name SATURNIA to the country.” (Encyclopedia Britannica, “Saturn,” p. 231)
Pope Benedict XVI wears a “saturno hat”, inspired by the ringed planet Saturn, to shield himself from the sun as he waves to the crowd of faithful prior to his weekly general audience in St. Peter’s Square at the Vatican Wednesday.
The Pope’s Mitre is simply taken from once again Saturnknown as Dagon
Catholic means UNIVERSAL and it is the sum of Christianity , mitraism, cult of Saturn and other pagan rites and cults. This in order to create a super-religion with the purpose to dominate and enslave people under the Roman empire.
Another target of catholic religion was to bind temporal power with spiritual power.
Vatican is a monument to occult powers:
URANUS AND THE MYTH The implications of Uranus in the chart seem to be reversed in comparison to the mythical meaning of Ouranus. Uranus is the sun of the earth goddess Gaea. And at the same time her husband. The children born out of this relationship were imprisoned but one of them, Cronus (later called Saturn) was able to castrate his father (encouraged by his mother). The genitals fell into the see and so Aphrodite was produced (Venus).
CRONUS= SATURN =MACHINE TIME
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