Alton Towers, Sir Francis Bacon and the Rosicrucians
- Thread starter MJF
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Your source is certainly entitled to their opinion about the Grail being the primordial sound but I think it is more likely that the Grail is a hyperdimensional object or device that is activated by certain sounds and these sounds may be hidden within the occultic knowledge contained in the Kabbalah. As I have previously mentioned, the Jewish High Priest when he he approached the Ark of the Covenant wearing the Breastpiece of Judgment, would utter certain tonal sounds that would cause the various jewels on the breastplate to light up. This was the means by which he communicated to Yahweh or the Lord. It is my belief though that the Grail was contained within the Ark of the Covenant, which was kept in the Holy of Holies in the Temple of Jerusalem and could only be approached by the High Priest. The Grail may therefore have acted as the conduit by which this divine communication was achieved (although according to the C's the communication was with the Lizard beings rather than God).
If you are patient, I will post articles showing how these sounds may fit into the picture. Although music is an harmonious sound to our ears, musical notes also translate into frequencies and by extension into mathematical formulae. They can thus form a language of their own and this was to some extent demonstrated by Steven Spielberg in his classic movie Close Encounters of the Third Kind, where communication with the aliens was achieved by musical notes.
If you are patient, I will post articles showing how these sounds may fit into the picture. Although music is an harmonious sound to our ears, musical notes also translate into frequencies and by extension into mathematical formulae. They can thus form a language of their own and this was to some extent demonstrated by Steven Spielberg in his classic movie Close Encounters of the Third Kind, where communication with the aliens was achieved by musical notes.
Hok
The Force is Strong With This One
It says here that the Grail is activated by sound. I did a little more research since the sound caught my attention and that source states: that when a person is able to open the mechanism of that force can create or destroy depending on the person explains that (in the beginning it was the word and the word) that a certain sound served to create matter and that he can control it. It also mentions the Grail stone, which by the way is related to certain signs and symbols.
Postcript to the Enclave of Alchemists
A: Why don't you trust your incredible abilities? If we answer for you now, you will be helpless when it becomes necessary for you to perform this function on a regular basis, as it will be!!!!
Q: (L) Well, frankly, I don't want to be involved in any more murder investigations. It is too upsetting. Am I supposed to DO this sort of thing regularly???
A: Not same arena.
Q: (L) Well, then how do you mean "perform this function?"
A: No, seeing the unseen.
Chaplin then returned to the reasons for the abandonment of the village. Quoting Liliane in response:
“They all started dreaming, always the same dream. It was a terrible dream. They were afraid to sleep. They heard sounds they could not explain. In the 11th century, the Lords of Perillos had sorted out and stabilised square number 10 [MJF: on the Venus Magic square]. It had been through an apocalyptic process.”
Quoting a fellow guide in response to another pilgrim who had performed the pilgrimage, Liliane said:
“They say the devil lives there and God is buried there. ‘So, that’s not bad for one abandoned village.’
Chaplin then felt a psychic prompt to ask Liliane about Ramon who had been the Lord of Perillos in the 14th century. In response Liliane said:
“Ramon of Perillos in the fourteenth century was a diplomate interested in literature and a soldier and chamberlain to Juan the first King of Aragon., whose passions were music, literature and astrology. They became friends. At forty-six the king died suddenly and probably unnaturally, Ramon of Perillos set out on pilgrimage to a sacred site in Ireland, St. Patrick’s Purgatory, to enquire of the condition of the soul of his friend, the king. St. Patrick’s was the only functioning purgatory in Europe at the time. First, he was purified by fasting and prayer and then he descended into the Netherworld, passing through the Land of the Lost, finding Paradise, and finally returning to earth. He certainly had some spiritual initiation in Ireland and when he returned to France [MJF: should that have been Spain?] he said he now understood that at Perillos, his territory, there was a doorway to another world.”
Q: Is this idea of portals extremely significant. Are they fought over?
A: Yes, but you do not need to explore these truths, until you have learned more.
Salvador Dali at Perpignan
By a remarkable synchronicity, after posting my article on the Enclave of Alchemists, I came across an interesting reference to Perillos in a book I am currently reading. Indeed, it only cements my suspicion that Perillos was and is the base for the Enclave of Alchemists.
The book is called The Portal by Patrice Chaplin (the former daughter-in-law of the movie legend Charlie Chaplin), which I will have more to say about in an upcoming post, recounts the Kabbalistic initiation of the author who to achieve this had to follow a well-worn route winding through the eastern Pyrenees on both sides of the Spanish - French border, one stop on which was the deserted village of Perillos. The pilgrimage involved visiting certain sites that had a special energy signature, which together formed the outline of the constellation of Ursa Major, the Great Bear (known as the 'Big Dipper' in the USA and 'the Plough' in the UK). This makes me recall the use of stellar geomancy by the Knights Templar and the Rosicrucians, including Sir Francis Bacon, as well as the Mayans, the Hopi and the builders of the Great Pyramid complex at Giza. The eleven sites also represented specific numbers on a magic square, in this case the ‘Venus Magic Square’ (a magic square is one in which the numbers of each line in the square, whether vertical, horizontal or diagonal, all add up to the same total). It is also interesting to note here that Chaplin revealed in her book that Abbé Bérenger Saunière had followed the same pilgrimage route in the early part of the 20th century, reflecting his deep interest in and knowledge of the Kabbalah. This interest was openly demonstrated by his incorporation of the Kabbalistic Tree of Life with the ten Sephiroth in his presbytery garden at Rennes-le-Château.
The author had as her guide on her initiation pilgrimage a lady called Liliane who was well acquainted with the Kabbalah and with the hidden history of Abbé Saunière, who it seems had ulterior motives for performing the initiation pilgrimage (he wanted specific information about the Grail), which he never in fact completed. Liliane belonged to a secret society that Chaplin believed guarded the secrets of the Grail. When the author reached Perillos, as it was a scheduled stop on the pilgrimage route, her guide was able to provide her with a lot of information about the abandoned village in what is now southern France but had once been northern Spain. In setting this out here, I have to state that I am relying on the honesty and integrity of the guide in imparting this information and the author’s faithful recollection of what she told her.
Chaplin’s guide described Perillos more as a state of being than a place. Chaplin’s own reaction when first encountering the village was that it was a place of desolation. The deserted village was absolutely still but there was also a feeling of something having just happened, something momentous. She noted that the village stood in a valley that for some reason was historically known as the ‘Valley of Death’. Liliane told Chaplin that the village was number 10 on the magic square ‘dominated by solitude and isolation’. She mentioned the Kabbalistic influences as being to fly and wolf. She said the word Yod represented the origin or the father and symbolises God as origin of everything that exists.
When Chaplin asked where the people were, she was told they had all moved to the nearby village of Opoul. Apparently, they had left because they had heard chanting from underground and had experienced other unexplained things. However, Liliane pointed out that this had not stopped certain renowned persons from visiting Perillos in the past. These included the German Grail hunter Otton Rahn who wrote Crusade Against the Grail and the famous cartographer Jacques Cassini who had stayed at Opoul for nearly two years whilst overseeing the first ever topographical survey of France. Liliane posed the question why he had done so. Chaplin didn’t know of either man but suggested that perhaps Cassini had found the unexpected. Liliane replied that without knowing it she was right. Chaplin felt that a sense of menace hung over the place that was too out of the ordinary (N.B. Chaplin is known to be a sensitive psychic). When she said to Liliane “It’s deserted here”, Liliane responded “Only to the unseeing eye”, which may be a telling comment given what the C's once said to Laura:
Q: (L) I would like to be able to solve this because the families are in pain and have asked for help.The book is called The Portal by Patrice Chaplin (the former daughter-in-law of the movie legend Charlie Chaplin), which I will have more to say about in an upcoming post, recounts the Kabbalistic initiation of the author who to achieve this had to follow a well-worn route winding through the eastern Pyrenees on both sides of the Spanish - French border, one stop on which was the deserted village of Perillos. The pilgrimage involved visiting certain sites that had a special energy signature, which together formed the outline of the constellation of Ursa Major, the Great Bear (known as the 'Big Dipper' in the USA and 'the Plough' in the UK). This makes me recall the use of stellar geomancy by the Knights Templar and the Rosicrucians, including Sir Francis Bacon, as well as the Mayans, the Hopi and the builders of the Great Pyramid complex at Giza. The eleven sites also represented specific numbers on a magic square, in this case the ‘Venus Magic Square’ (a magic square is one in which the numbers of each line in the square, whether vertical, horizontal or diagonal, all add up to the same total). It is also interesting to note here that Chaplin revealed in her book that Abbé Bérenger Saunière had followed the same pilgrimage route in the early part of the 20th century, reflecting his deep interest in and knowledge of the Kabbalah. This interest was openly demonstrated by his incorporation of the Kabbalistic Tree of Life with the ten Sephiroth in his presbytery garden at Rennes-le-Château.
The author had as her guide on her initiation pilgrimage a lady called Liliane who was well acquainted with the Kabbalah and with the hidden history of Abbé Saunière, who it seems had ulterior motives for performing the initiation pilgrimage (he wanted specific information about the Grail), which he never in fact completed. Liliane belonged to a secret society that Chaplin believed guarded the secrets of the Grail. When the author reached Perillos, as it was a scheduled stop on the pilgrimage route, her guide was able to provide her with a lot of information about the abandoned village in what is now southern France but had once been northern Spain. In setting this out here, I have to state that I am relying on the honesty and integrity of the guide in imparting this information and the author’s faithful recollection of what she told her.
Chaplin’s guide described Perillos more as a state of being than a place. Chaplin’s own reaction when first encountering the village was that it was a place of desolation. The deserted village was absolutely still but there was also a feeling of something having just happened, something momentous. She noted that the village stood in a valley that for some reason was historically known as the ‘Valley of Death’. Liliane told Chaplin that the village was number 10 on the magic square ‘dominated by solitude and isolation’. She mentioned the Kabbalistic influences as being to fly and wolf. She said the word Yod represented the origin or the father and symbolises God as origin of everything that exists.
When Chaplin asked where the people were, she was told they had all moved to the nearby village of Opoul. Apparently, they had left because they had heard chanting from underground and had experienced other unexplained things. However, Liliane pointed out that this had not stopped certain renowned persons from visiting Perillos in the past. These included the German Grail hunter Otton Rahn who wrote Crusade Against the Grail and the famous cartographer Jacques Cassini who had stayed at Opoul for nearly two years whilst overseeing the first ever topographical survey of France. Liliane posed the question why he had done so. Chaplin didn’t know of either man but suggested that perhaps Cassini had found the unexpected. Liliane replied that without knowing it she was right. Chaplin felt that a sense of menace hung over the place that was too out of the ordinary (N.B. Chaplin is known to be a sensitive psychic). When she said to Liliane “It’s deserted here”, Liliane responded “Only to the unseeing eye”, which may be a telling comment given what the C's once said to Laura:
A: Why don't you trust your incredible abilities? If we answer for you now, you will be helpless when it becomes necessary for you to perform this function on a regular basis, as it will be!!!!
Q: (L) Well, frankly, I don't want to be involved in any more murder investigations. It is too upsetting. Am I supposed to DO this sort of thing regularly???
A: Not same arena.
Q: (L) Well, then how do you mean "perform this function?"
A: No, seeing the unseen.
They subsequently spent the night at the nearby town of Quillan where they continued to discuss the abandoned village of Perillos. Liliane provided Chaplin with more information on the place. Chaplin wondered whether the chapel at Perillos had been the basis for the ‘Chapel Perilous’ in Malory’s le Morte d’Arthur (MJF: the first book I ever read at the tender age of four). Unfortunately, it had been closed when they visited the village but apparently inside the chapel there was a crypt with an unknown tomb that no one would approach. They called it the ‘Tomb of God’ (MJF: which makes me think of the book of that name by Richard Andrews and Paul Schellenberger – see my previous post). Although the chapel was closed, passers-by claimed to hear music coming from within which surpassed anything heard in this world. Lilian added that Perillos was considered completely impossible as a place for human beings to inhabit (MJF: which might be the case if it was existing at 4th density). The Spanish artist Salvador Dali (who Liliane had known personally and was a person who had performed the pilgrimage himself) had called Perillos a state of mind that could only be inhabited by the initiated. Liliane told Chaplin that Dali had been completely changed by Perillos. She said that Perillos has layers of realities and dimensions that Dali tried to wrestle with for the last 40 years of his life (MJF: was this because he was trying to come to terms with the concept of 4th density, as expressed in his art? See more below on this.).
Chaplin then returned to the reasons for the abandonment of the village. Quoting Liliane in response:
“They all started dreaming, always the same dream. It was a terrible dream. They were afraid to sleep. They heard sounds they could not explain. In the 11th century, the Lords of Perillos had sorted out and stabilised square number 10 [MJF: on the Venus Magic square]. It had been through an apocalyptic process.”
Quoting a fellow guide in response to another pilgrim who had performed the pilgrimage, Liliane said:
“They say the devil lives there and God is buried there. ‘So, that’s not bad for one abandoned village.’
Chaplin then felt a psychic prompt to ask Liliane about Ramon who had been the Lord of Perillos in the 14th century. In response Liliane said:
“Ramon of Perillos in the fourteenth century was a diplomate interested in literature and a soldier and chamberlain to Juan the first King of Aragon., whose passions were music, literature and astrology. They became friends. At forty-six the king died suddenly and probably unnaturally, Ramon of Perillos set out on pilgrimage to a sacred site in Ireland, St. Patrick’s Purgatory, to enquire of the condition of the soul of his friend, the king. St. Patrick’s was the only functioning purgatory in Europe at the time. First, he was purified by fasting and prayer and then he descended into the Netherworld, passing through the Land of the Lost, finding Paradise, and finally returning to earth. He certainly had some spiritual initiation in Ireland and when he returned to France [MJF: should that have been Spain?] he said he now understood that at Perillos, his territory, there was a doorway to another world.”
Her last statement intrigues me. Another way of saying “doorway” is, of course, a “portal”. Could Ramon Lord of Perillos have come to the appreciation that there was a portal at Perillos, which led to another world or what the C’s would call another density. Was this the reason why the Spanish insisted when entering into the Treaty of the Pyrenees in 1659 with France, then ruled by the Sun King Louis XIV, that the French prohibit any interference whatsoever in the territory of Perillos, including by the Lords of Perillos themselves. The land was made administratively untouchable, and it could never be sold or transferred? The C’s have confirmed that portals are fought over, as is the case with the one in the Ukraine at the present time:
Q: Is this idea of portals extremely significant. Are they fought over?
A: Yes, but you do not need to explore these truths, until you have learned more.
Was the Treaty of the Pyrenees of 1659 intended to prevent such a fight? Does the possibility that the portal may have been controlled by the enclave of alchemists explain how the great powers of Spain and France were forced to include a non-interference provision in the treaty where Perillos was concerned? Let us recall here that the C’s said the alchemists formed a human part of the Quorum and thus would seem to have considerable power and influence behind the scenes.
Salvador Dali at Perpignan
It transpired that it was Liliane who had told Salvador Dali about Ramon of Perillos and his “other dimension”. As a result, Dali went up to the deserted village and understood many things about Daluth 4, Doorway. Apparently, he felt the devil all around him. Liliane said that even the post code being 666 – the number of the devil – was not simply coincidence.
Liliane also explained that Dali had had another out of this world experience at Perpignan Station (in 1963) when he stood on the platform. Liliane said that he had quite inadvertently stepped into another time and space, and it affected him quite profoundly. Dali spoke of experiencing an apocalyptic vision. He saw Perpignan Station as the unknown centre of the universe. Indeed, it was also where he sent off all his artwork to the United States. Chaplin knew this, since her ex-husband had sometimes gone with Dali to Perpignan to send off a painting to New York. Dali didn’t trust the post, especially in Spain.
Liliane noted that Dali had painted the picture of Perpignan Station in 1964 or 1965 (see below). It is now exhibited in the Museum Ludwig in Cologne. She said that Dali was mystical, esoteric, looking for what was beneath worldly reality, and he certainly found it. She added that he traversed many spheres, little known, unseen. He was a seeker, a magician [MJF: Thus, he would seem to have been “zauber"
], and he wasn’t afraid of the outcome. However, she also added that what he experienced at Perpignan Station was bigger than all of that.
Quoting Wikipedia:Liliane also explained that Dali had had another out of this world experience at Perpignan Station (in 1963) when he stood on the platform. Liliane said that he had quite inadvertently stepped into another time and space, and it affected him quite profoundly. Dali spoke of experiencing an apocalyptic vision. He saw Perpignan Station as the unknown centre of the universe. Indeed, it was also where he sent off all his artwork to the United States. Chaplin knew this, since her ex-husband had sometimes gone with Dali to Perpignan to send off a painting to New York. Dali didn’t trust the post, especially in Spain.
Liliane noted that Dali had painted the picture of Perpignan Station in 1964 or 1965 (see below). It is now exhibited in the Museum Ludwig in Cologne. She said that Dali was mystical, esoteric, looking for what was beneath worldly reality, and he certainly found it. She added that he traversed many spheres, little known, unseen. He was a seeker, a magician [MJF: Thus, he would seem to have been “zauber"
], and he wasn’t afraid of the outcome. However, she also added that what he experienced at Perpignan Station was bigger than all of that.
The sacrifice of the son is imaged in the form of Christ on the Cross, with his crown of thorns, floating in the centre of the composition. The bleeding wound of Christ is associated with the farmer's fork (on the right) thrust into the ground (as a fertility ritual). Dalí is represented twice in the vertical axis: he appears in the light at the centre of the image, seen from below, floating with arms spread, and again at the top of the painting. On the bottom of the painting lies a calm sea with a boat, an ancient symbol of the passage from life to death, reinforcing the theme of Christ's sacrifice. Above the sea, a woman seen from the back watches these scenes, immobile, and recalling the helplessness of man facing death, symbolised not only by the bloody wounds of Christ, but also by Dalí, who, spread-eagled, seems to fall into nothingness.
At the top centre of the painting, a flat wagon carrying a specialised trailer comes out of nowhere (characteristic of Surrealism), and reminds one of the central themes of the painting, the railway station of Perpignan in France, near the Spanish border in the Pyrenees. The left side of the painting shows embodiment of positive values (the couple on the bags of wheat represent labour, and the man in a meditative pose embodies respect), while on the right of the image are embodied sins and suffering (the man and woman representing lust, and the woman mourning). The two figures flanking the far left and right sides are taken from The Angelus, a well-known pious painting by the French artist Jean-François Millet.
To this can be added the observation by Lilian that there is also a Celtic cross depicted in the painting, as represented by the bright light running from each corner of the picture and crossing over in the middle.
At the top centre of the painting, a flat wagon carrying a specialised trailer comes out of nowhere (characteristic of Surrealism), and reminds one of the central themes of the painting, the railway station of Perpignan in France, near the Spanish border in the Pyrenees. The left side of the painting shows embodiment of positive values (the couple on the bags of wheat represent labour, and the man in a meditative pose embodies respect), while on the right of the image are embodied sins and suffering (the man and woman representing lust, and the woman mourning). The two figures flanking the far left and right sides are taken from The Angelus, a well-known pious painting by the French artist Jean-François Millet.
To this can be added the observation by Lilian that there is also a Celtic cross depicted in the painting, as represented by the bright light running from each corner of the picture and crossing over in the middle.