Alton Towers, Sir Francis Bacon and the Rosicrucians

[MJF]

Did you notice anything out of the ordinary on the day of the accident? Déjà vu, flashes of light, dreams, or tension?

I can't say I did but my identical twin brother told me last night that he had experienced a strange foreboding when I drove off from home earlier that day. It led him to say a quick prayer for me.

Strangely, when I awoke at 5.00 am on the Monday morning after the accident in hospital, I had terrible pain in my chest that spread down to my upper ribcage. I was given morphine intravenously to dull the pain. My brother subsequently told me that he had also experienced exactly the same pain in the same part of the body at the same time. This is the first time in years that he has suffered sympathetic pain this way, although it was more common for us when we were younger.​

 

[MJF]

It is quite a while since I last posted in this thread but I have finally got round to finishing off my article on the Sacred Tetractys, part of which I have already posted on another thread. Because some of the diagrams do not transfer over well on to the Forum pages, I am attaching a word copy of the whole article as well.​

The Sacred Tetractys Part 2

In the first part of this article, we looked at how the Sacred Tetractys may have been a symbol for encoded or occulted physics that derived from the scientific knowledge of the former high civilisation of Atlantis. In this account, I drew heavily on the works of RA Schwaller de Lubicz and Joseph Farrell, particularly in the case of the latter his book The Grid of the Gods. In discussing the World Grid (the same one the C’s described to Laura in the transcripts), Farrell noted that many Megalithic structures, especially the pyramidal ones, that were built along the lines of power of the World Grid system were alchemical hyper-dimensional machines. In the last part of his book, Farrell attempts to show from a mathematical and scientific standpoint that some of these structures were deliberately and scientifically conceived as “hyper-dimensional” machines – i.e., analogues of objects in higher-dimensional spaces.

In the first part of this article, we encountered what Farrell calls the “topological metaphor” of the physical medium, which he notes is strongly associated with consciousness. For him this also implies that, for these ancient cultures, the pyramidal structures esoterically associated with the physical medium were also viewed as consciousness manipulators or alchemical machines for the transformation of consciousness and social engineering (cf. with HAARP today). To some extent this is borne out by what the C’s said about the Tower of Babel, which was a large obelisk with a pyramidal capstone rather like the Washington Monument today:​

Session 22 October 1994:

Q: (L) What did the Tower of Babel look like?

A: Looked very similar to your Washington Monument. Which re-creation is an ongoing replication of a soul memory.

Types of Numerical Coding

In looking at the pyramidal parts of the World Grid, Farrell noted that they involved not only three levels of construction activity and corresponding scientific and technological sophistication (with the oldest being the most sophisticated, which is suggestive of an ongoing decline) but also three distinct kinds of numerical coding:​

• The geographical coding discovered by the likes of Graham Hancock and Carl Munck, which disclosed that Giza and the Great Pyramid were used as a prime meridian.
• The esoterical encoding embodied in three distinct ways: (i) the emergence of number itself as functions of the topological metaphor (see part 1 of the article); (ii) the use of numerical codes in the Platonic, Pythagorean, and Vedic traditions to denote not only certain gods in their respective pantheons, but also as musical codes to denote various schemes of tuning, and the use of these codes in turn to denote the astrological and astronomical data of the celestial “music of the spheres”; and (iii) the use of gematria or numerical coding in texts.
• The strictly scientific numerical encoding, which occurred at two levels in the same structures: (i) codes referring to macrocosmic processes, or to the physics of large systems, e.g., encoded astronomical data; and (ii) codes referring to microcosmic processes, or to the physics of small systems, i.e., encoded numerical data of quantum mechanics in the form of references to the coefficients of the constants of quantum mechanics, or, in the case of the Pythagorean Tetractys, the four “Elements” or forces of the standard model of physics (see above).

Geometry in More than Three Dimensions – Regular Polytopes

Without setting out all of his mathematical reasoning (although for mathematicians among you it would no doubt be interesting), Farrell notes that the very structure of ancient Mesopotamian numerical notation (based on a sexagesimal system) implied a basic familiarity with hyper-dimensional geometries and the basic mathematical techniques for describing objects in four or more spatial dimensions. The modern name for such notations is Schläfli numbers, and their appearance in notation is identical, with each number representing a particular type of geometric function.​

The essential analytical conception used by geometers to describe hyper-dimensional objects is the simple technique of counting three things:

• Lines, or edges:
• Points, or corners or, as geometers call them, vertices; and
• Sides or faces.

The Swiss mathematician Ludwig Schläfli (1814-1895) was the first person to investigate regular polytopes in more than three dimensions and established a simple method of representing the counting of numbers of vertices and faces.

For Farrell though, the single best mathematical treatment of hyper-dimensional geometry is that of the English mathematician H.S.M. Coxeter. His masterpiece in this field was Regular Polytopes. Coxeter describes the “polytope” as the general term of the sequence point, segment, polygon, polyhedron… This closely reflects the “dimensional analysis” of the Pythagorean Tetractys as shown in Part of this article:​

Point *

Line * *

Plane * * *

Three Dimensional Solid * * * *

Coxeter is basically saying the same thing: as one adds dimensions, one is able to describe more and more things, so that in zero dimensions, one can only describe a point, in one dimension, only a segment of a line, in two dimensions, polygons such as triangles, squares, octagons and so on, and in three dimensions, polyhedra such as tetrahedra, cubes, octahedra and so on.

The term “polytopes” thus denotes what happens to polyhedra when they are rotated into more than three dimensions by denoting the common mathematical elements of the same figure in various dimensions such as the progression of “triangle, tetrahedron, pentatope” and so on. The shapes of the polyhedra result from performing what geometers call an “Ortho Rotation”, or a rotation from two dimensions into a third dimension that is perpendicular or at 90-degree angles from the other two. The same thing also happens in the rotation from three to four and from four to five dimensions, each dimensional ortho rotation simply adding another spatial dimension to the previous ones in a dimension at right angles to all the previous dimensions.
​

A Pentatope
​

As Farrell notes, such polyhedra cannot exist in a three dimensional space any more than a three dimensional polyhedron can exist in a two dimensional space, but they can be pictured or represented in a two dimensional space (MJF: something the artist Nicolas Poussin seemed to be capable of in his use of projective geometry to incorporate pentatopes within his art – see my earlier article on this), and more importantly, they can be exactly mathematically described by certain specific techniques. All polytopes of a specific – say triangles, tetrahedra, and pentatopes – share certain properties in common regardless of how many dimensions in which they occur; they are, in “physics terms”, all coupled harmonic oscillators to one another across dimensions, and the “coupling” occurs in the numbers themselves, numbers that in turn result from the regular geometry of their shape. To put it another way, all polytopes of a particular species have a “shape” in n-dimensions, and that shape is projected into the dimensional space in which it exists – say, two, three or four dimensions - by certain regular mathematical laws.

For Coxeter, the simplest way to describe the orthorotation of any polytope or “shape” from one type of dimensional space to another is tetrahedrally. As Coxeter states: “Two dimensional polytopes are merely polygons … Three dimensional polytopes are polyhedra…”

As Farrell points out a “triangular” shape in two dimensions is a natural oscillator of the same shape in three, four, and more dimensions, and this is the real encoded secret in the Sacred Tectratys and Pentactys of the Pythagoreans, for the simple symbol is also a symbol of the mathematic technique, yet another legacy from what Farrell calls High Antiquity (to us Atlantis) for to Farrell it is essential to recall that the Pythagoreans regarded it as a key cosmological secret:
​

Tectratys

0 Dimensions * Point

1 Dimension * * Segment

2 Dimensions * * * Polygon

3 Dimensions * * * * Polyhedron

___________________________________________________________________________ Pentactys

4+ Dimensions * * * * * Polytope

The Pythagoreans, in other words, were preserving a secret of hyper-dimensional geometry, whether they knew it or not, and given all the indications that they knew the image concealed a great and various multi-levelled meaning, they may well have had some inkling.

The Essential Mathematical Techniques

What are the exact mathematical techniques used to describe polytopes in more than three dimensions? Coxeter describes one such technique in detail:

“To be precise, we define a p-gon as a circuit of p lines-segments A1A2, A2A3, …, ApA1, joining consecutive pairs of p points A1, A2, …, Ap. The segments and points are called sides and vertices. Until we come to Chapter VI, we shall insist that the sides do not cross one another. If the vertices are all co-planar, we speak of a plane polygon, otherwise a skew polygon.​

A plane polygon decomposes its plane into two regions ….”

Farrell at this point refers us back to the topological metaphor (see Part 1 of the article) and that initial differentiation of the dimensionless “Nothing” into two regions joined upon a common surface (the “primary scission”). Farrell explains that Coxeter is now describing the same process in two dimensions, via a process of differentiation of a two dimensional Nothing, a “plane”, by means of a regular polygon whose surface joins its finite interior with its infinite exterior. In other words, we have been doing higher-dimensional geometry all along, in the topological metaphor, the only difference between topology and geometry being, that topology is not dealing with geometrical objects but the spaces themselves.​

Continuing with Coxeter:

“A plane polygon decomposes its plane into two regions, one of which, called the interior, is finite. We shall often find it convenient to regard the p-gon as consisting of its interior as well as it sides and vertices. We can then redefine it as a simply connected region bounded by p distinct segments.”

Farrell then cites another important statement by Coxeter:

“A polyhedron may be defined as a finite, connected set of plane polygons such that every side of each polygon belongs also to just one other polygon, with the proviso that the polygon surrounding each vertex form a single circuit (to exclude anomalies such as two pyramids with a common apex). The polygons are called faces and their edges sides. Until Chapter VI we insist that the faces do not cross one another. Thus, the polyhedron forms a single closed surface, and decomposes (three dimensional) space into two regions, one of which, called the interior, is finite.”

Again, as Farrell notes, Coxeter has described a process of three-dimensional differentiation of a three-dimensional space by means of a polyhedron.

Farrell then asks, what is the first basic mathematical principle in evidence in the transition of any polytope from one system of dimensional spaces to another?​

The answer is that you count:

• points or vertices of an object;
• the edges or lines of an object; and
• the faces of an object.

Thus, a triangle has three vertices, three edges, and one “face”. A tetrahedron has four vertices, six edges and four faces, and so on. A square has four vertices, four edges, and one “face”. A cube has eight vertices, twelve edges, and six faces, and so on.

Farrell then adds another technique, which is the crucial one.

“A regular polygon is easily seen to have a centre, from which all the vertices are at the same distance 0R, while all the sides are at the same distance 1R. This means that there are two concentric circles, the circum-circle and in-circle, which pass through the vertices and touch the sides, respectively.”

In the very next sentence, Coxeter anticipates a physics application:

“It is sometimes helpful to think of the side of a p-gon as representing p vectors whose sum is zero.”

As Farrell states, for any regular polygon, such as a square, it is possible to draw a circle whose centre shares the centre of the square, and whose circumference touches upon, or is tangential to the four vertices of the square, which is the circumscribing circle (see left image below), and it is also possible to draw a circle whose circumference touches upon, or is tangential to, the edges of the square, which is the circuminscribed circle (see right image below).

​

However, Coxeter is describing a process that, like the polygon itself, can be ortho-rotated into three or more dimensions, in which case the circuminscribing and circumscribed circles, become circuminscribing and circumscribed spheres and hyper-spheres. But the numbers will be preserved in all dimensional spaces.

If we imagine a circle in two dimensions, and a square within it, obviously the square will touch on four points of the circumscribed circle. If instead we now circumscribe an octagon, there will be eight points touching on the circumscribed circle (see image below).
​

​

Dividing the octagon again will produce sixteen touching points, and with each such division, the regular polygon assumes a shape closer and closer to the circumscribing circle. Similarly, a process in three dimensions with regular polyhedra will more and more approximate the shape of the circumscribing sphere. The circumference of the circle is, of course, C=2πr, where C is the circumference and r is the radius of any given circle. Thus, as the regular polygons circumscribed in a circle more closely approximate the circle itself, the closer they get to that crucial relationship of 2πr and its multiples becomes a crucial component of rotations into more than three dimensions. Indeed, Coxeter notes in his book that that this method of increasing the number of edges circumscribed was the means by which Archimedes estimated the value of π.

Farrell goes on to add that this point of “squaring the circle” is also quite an important technique for this type of higher dimensional mathematical technique, for it allows geometers to determine the numerical relationships of objects in more than three dimensions to their circuminscribing and circuminscribed hyper-spheres. It is, also along with the counting of vertices, edges, and faces (in order to determine what type of object one is dealing with) the essential technique.

It is for this reason that Farrell argues the Great Pyramid of Giza was deliberately conceived by its builders as a higher dimensional analogue for it was built as an example of “squaring the circle” and “cubing the sphere” and thus according to the very technique of higher-dimensional geometry*. However, Farrell notes that expressed in terms of a Schläfli number, there is nothing so unique about pyramids as they have five vertices, four triangular faces, and one square face. One would have to adjust the notation to reflect the fact, but it could be easily done.

*Farrell also hypothesises that it is possible that various points of the World Grid are laid out on different coordinate systems that depict the surface points where regular polyhedral intersect with the idealised circuminscribing surface of the Earth itself. This World Grid, as discovered by the likes of Bruce Cathie, is no doubt the EM grid the C’s referred to here:​

A: The planet has been enshrouded with EM grid.

Q: (T) Are these ley lines?

(A): No.

Q: (L) Are they artificially generated?

A: Contoured.

Q: (L) They are artificially contoured. What is the result of this shrouding?

A: Manipulated for use by 3rd/4th Consortium.

Q: (A) What kind of EM grid? (L) The natural EM grid is being contoured …

(A): Like a gently waving geometric “blanket”.

Q: (T) Is it on the surface of the planet, through the planet, or where?

A: Above.

Q: (J) Do microwave towers factor into this?

A: Indirectly discovered by the same principal. [person?]

[…]

Q: (A) Some power is used to sustain this grid? What is it?

A: Land and space-based generators.

This leads me to wonder whether some of these land-based generators may have been pyramids?

The Mexican Pyramids

Farrell tells us that it is when one turns to the pyramidal structures in Mexico and Meso-America that one is confronted with something very interesting. He then sets out in his book various charts and diagrams of the pyramids of Teotihuacan and Tikal to demonstrate the point. I am attaching scans of the pages containing these charts and diagrams for the reader’s benefit. Farrell notes that what is immediately apparent in all these examples is that they are not truly regular pyramids. They are elongated, in many cases their vertical orientation is not symmetrical, being skewed off centre, and most importantly they have numerous corners, edges and faces. Farrell then asks the question - why is this so important?

He answers his question by first pointing out that, just as with the two largest pyramids at Giza, the skewed off-centre vertical alignment of the Mexican pyramids suggests that they were deliberately conceived as structures with a twist or rotation, in short, as structures and analogous to torsion.

For Farrell it is also important for another reason, because as Coxeter pointed out, higher dimensional polytopes – and a pyramidal structure is already a departure from a regular polytope – have numerous vertices, faces, and edges. And as Farrell notes, atop each of these structures is a “temple” that, if one looks at them closely, appear to be some sort of resonant cavity. What this strongly suggests or implies is that, just as a tetrahedron can be represented or “squished” into a two-dimensional representation or analogue, so too can higher-dimensional pyramidal objects or constructs can be “squished” into a three-dimensional structure that is an analogue of them.

This last point about how a tetrahedron can be represented or “squished” into a two-dimensional representation or analogue (i.e., as a flattened pyramid) reminds me of what the C’s said here:
​

Session 7 November 1998:

Q: Just a little while ago, we looked at the image of the prime number designs that were like interlocking pieces of...

A: Flattened pyramids.

Q: That’s exactly what they looked like. Okay, if you take your series of sound from those that form a three-dimensional pyramid by the proximity based on the flattened pyramids... it really doesn’t matter where you start? You pick one, and take the ones that are connected, is that the idea?

A: Close. But, you will not discover the answer tonight.

Farrell continues by saying “This fact coupled Mr. Richard Hoagland’s simple torsion experiments conducted at Tikal near these very pyramids. Strongly suggests these structures were deliberately designed as hyper-dimensional analogical, alchemical structures to manipulate the physical medium and to respond to it.

For those who want to know more about Hoagland’s torsion experiments at Tikal, I attach a link to a radio interview he gave on the subject:

Farrell then combines the observations he has made about the pyramids in Mexico with those he made about the two largest pyramids at Giza (not quoted here) and the wider cosmological myths examined in his book and presents the following summary:​

• Present in the Mexican and Giza Pyramids are structural analogues or rotations and torsion;
• The Mexican Pyramids also appear, with their multi-cornered edges and faces, to be some sort of analogues of irregular higher-dimensional objects, contained within an overall normal pyramidal structure;
• The Mexican Pyramids appear to have “temples” atop them that resemble – qualitatively – resonant cavities;
• Their placement and position on the globe is oriented to Giza as a prime meridian, suggesting that any machine-like function they have is designed to work in conjunction with that site;
• At Giza itself, the compound is designed to rotate, and each of the two larger pyramids there is also slightly twisted and skewed, thus producing an analogue of dynamic torsion, that is to say, of rotating systems within rotating systems.
• The Second Pyramid at Giza appears to be a piezoelectric analogue of a Tesla magnifying impulse transmitter, a technology in turn based upon manipulating longitudinal electrical waves.

Farrell says that the conclusion, though tentative, seems inescapable, since for him we are in the presence of a machine of planetary extent, designed at the minimum to manipulate planetary energies, if not more, to respond and manipulate the wider system of ever-changing torsion dynamics in the solar system, which he believes is implied by all the careful astronomical alignments and data preserved in various sites, particularly at Teotihuacan and Giza. For him, the end result of all this symphonic coordination of all the moving parts of this massive globe-spanning construction is a vast counterpoint, was the transformation of the entire planet into an alchemical laboratory, a temple of initiation, into the deep physics of the medium of the material creation and of consciousness itself. Farrell argues that at least some of the structures of the Grid, if not the Grid itself, were conceived, designed, and executed over a prolonged period of time as genuinely alchemical objects and analogues of the transmutative information creating physical medium itself, to manipulate it for whatever purpose, including the manipulation of consciousness, for they exercise their mysterious hold over the human imagination still to this day.

Farrell ends his book by referring back to the various ancient “myths” he discussed in the earlier part of the book, which for him contain references to a profoundly sophisticated higher-dimensional topological metaphor of the physical medium itself. In these myths he sees a definite correspondence between these cultures possessing some version of the topological metaphor in their cosmologies and the activity of building pyramids and pyramidal structures. For him, it is this fact, above all, that suggests these structures’ ultimate purpose and function was for the manipulation of the medium. However, Farrell notes that in Mexico and Meso-America, we do encounter the inescapably immoral practice of human sacrifice associated with them. For me though this is the calling card of the 4th density STS Lizards who most likely inspired these pyramids. For example, the step-pyramid known as El Castillo (Spanish for "the castle"), which dominates the centre of Chichen Itza in the Mexican state of Yucatan, is also known as the Temple of Kukulcan the Maya, Feathered Serpent deity closely related to the Aztec deity Quetzalcoatl. Quoting from Wikipedia:​

The temple consists of a series of square terraces with stairways up each of the four sides to the temple on top. Sculptures of plumed serpents run down the sides of the northern balustrade. Around the spring and autumn equinoxes, the late afternoon sun strikes off the northwest corner of the temple and casts a series of triangular shadows against the northwest balustrade, creating the illusion of the feathered serpent "crawling" down the temple. To contemporary visitors, the event has been very popular and is witnessed by thousands at the spring equinox, but it is not known whether the phenomenon is a result of a purposeful design since the light-and-shadow effect can be observed without major changes during several weeks near the equinoxes.

This effect was discussed by Laura with the C’s:

Q: It also says here that on this pyramid, at the time of the Spring and Autumn equinoxes, combined patterns of light and dark combine to create the illusion of a giant serpent undulating on the northern staircase. On each occasion the illusion lasts for 3 hours and 22 minutes exactly. What was this optical illusion created to convey?

A: Worship of serpentine deity.

Q: Was it created to convey or produce any other effect other than worship?

A: The key is in the reading of the geometric cycle.

Q: On page 80, the book talks about these statues at Tiahuanaco on Lake Titicaca. It says: ‘Carved in red sandstone, worn and ancient beyond reckoning, the statue stands about 6 feet high and portrays a humanoid, androgynous being with massive eyes and lips. In its right hand it clutches something resembling a knife with a wavy blade like an Indonesian kris. In its left hand is an object like a hinged and case-bound book. From the top of this book, however, protruded a device which had been inserted into it as though into a sheath. From the waist down, the figure seemed to be clad in a garment of fish scales.’ Okay, there is another statue with an object in its left hand that is like a case bound book, but from it protruded a forked handle. The right-hand object was roughly cylindrical, narrow in the centre and bigger at each end. It appeared to have several different parts. I would like to know what these objects, or devices, carved into these ancient statues represented?

A: Conductor.

Q: What did these conductors conduct? Were these the sound machines that you have described previously?

A: No.

Q: What did they conduct?

A: Quartzine energy from atmospheric source.

Q: What was this energy used for?

A: All.

Q: Well you have described a lot of things that did all kinds of things... the pyramid, Stonehenge...

A: When one harnesses free energy, no limitations need apply.

Q: Why were these beings depicted with these fish-like garments?

A: Reptoids have that genetic profile to varying degrees.

Thus, the C’s put the matter beyond doubt here by connecting this pyramid with the Lizards and the production of free energy by manipulating the medium, i.e., Quartzine energy from atmospheric source. Again, we also see a reference to geometry when they respond to Laura’s question “Was it created to convey or produce any other effect other than worship?” by saying that “The key is in the reading of the geometric cycle.”

If this is true of Chichen Itza, is it also true of most of the other pyramids in Mexico and Meso-America, as well as the pyramids in Mesopotamia and China (where the dragon symbolism is deeply embedded in the culture)? Was the Worldwide artificially contoured EM Grid sustained by land and space-based generators therefore created by the Lizards?
​

Postscript

For those who may want to read more on the World Grid, I attach a very interesting article I found on the internet recently, which reflects what Joseph Farrell has to say about the Grid and its origins – see Do Megalithic Structures Show An Ancient Energy Grid Around The Earth? - UFO Insight​

Quoting extracts from the article, the author states:

And when we consider that the ancient Egyptian civilization, like many others around the same time, appeared to begin at the height of their powers, where did their information and apparent technological knowhow come from? Might such information, and indeed the monuments they would leave and where they would leave them, be remnants of an unknown civilization that existed on Earth long before recorded history? Before “The Flood”?

And might this civilization have extraterrestrial connections, explaining why so many of these sites around the planet also attract UFO sightings today?

In fact, it is perhaps the pyramidic structures that are most interesting. Not least as they sit all around the world. And at locations connected by these apparent energy focused lines.

And what’s more, there appears to be an effort to suppress information on these lost structures. As well as information on why this particular structure had such importance right across the globe many thousands of years ago. We have mentioned before, for example, how videos and documentaries concerning this subject seem to disappear from social media with alacrity and regularly. That would appear to remain the case. Why is this?

Perhaps it is interesting to note a recent claim by Russian scientists that following their research and tests, their conclusions were the shape of the pyramid was responsible for “focusing electromagnetic energy” from the Earth, and so creating “higher levels of energy”. In short, this was their purpose. As a rebuttal, apparent “expert” Egyptologist instantly dismissed the claims by simply stating ancient Egyptians “did not know” of such capabilities.

More and more research suggests they did. And what’s more, this same research often suggests that an unknown civilization, one of high knowledge and technological advancement likely existed before them.

 

[Ursus Minor]

He speaks softly again, and conveys the following. “We have let you enter here because you are of noble character and well-known on the Surface World, Admiral.”

The term Surface World would fit the mindscape of denizens from the subterranean world perfectly.
I can't imagine hyperdimensionals using it except as a distraction tactic.

“In 1945 and afterward, we tried to contact your race, but our efforts were met with hostility. Our Flugelrads were fired upon, yes, even pursued with malice and animosity by your fighter planes.

I have been wondering about the term Flügelrad (German for winged wheel) being used in this story.
Why would this enigmatic host use a German term for their craft which may indeed have had the shape of a wheel.
In some versions of the narrative his host was even bidding him Auf Wiedersehen instead of Farewell!

In German 'Flügelrad' is normally used to describe the old symbol of railway networks.

We see at a great distance a new world stirring from the ruins of your race, seeking its lost and legendary treasures, and they will be here, my son, safe in our keeping. When that time arrives, we shall come forward again to help revive your culture and your race. [MJF: Assuming this is not just a work of fiction and is a reasonably true account of what occurred - could this be the 4D Nordics the C's spoke of who may be coming to our assistance in the near future?]

As this was supposedly 1947 it won't quite fit the advent of 4D Nordics at some point in our future, but as some subterraneans are said to be bi-density (and hopefully STO) it could explain the miraculous flight of Byrd's plane into a world never perceived before whereby his aircraft might have been guided by some sort of 'tractor beam' while the engines were disconnected.

 

[Ðekel]

The term Surface World would fit the mindscape of denizens from the subterranean world perfectly.
I can't imagine hyperdimensionals using it except as a distraction tactic.



I have been wondering about the term Flügelrad (German for winged wheel) being used in this story.
Why would this enigmatic host use a German term for their craft which may indeed have had the shape of a wheel.
In some versions of the narrative his host was even bidding him Auf Wiedersehen instead of Farewell!

In German 'Flügelrad' is normally used to describe the old symbol of railway networks.




As this was supposedly 1947 it won't quite fit the advent of 4D Nordics at some point in our future, but as some subterraneans are said to be bi-density (and hopefully STO) it could explain the miraculous flight of Byrd's plane into a world never perceived before whereby his aircraft might have been guided by some sort of 'tractor beam' while the engines were disconnected.

btw- I have encountered, on numerous occassions, a connection between "nordics" <-> "journeymen" <-> runes

There are books out there about runes and Nordic symbol usage that use the word "journeymen" to refer to a certain level of operatives within their ranks, fwiw

 

[MJF]

The term Surface World would fit the mindscape of denizens from the subterranean world perfectly.
I can't imagine hyperdimensionals using it except as a distraction tactic.



I have been wondering about the term Flügelrad (German for winged wheel) being used in this story.
Why would this enigmatic host use a German term for their craft which may indeed have had the shape of a wheel.
In some versions of the narrative his host was even bidding him Auf Wiedersehen instead of Farewell!

In German 'Flügelrad' is normally used to describe the old symbol of railway networks.




As this was supposedly 1947 it won't quite fit the advent of 4D Nordics at some point in our future, but as some subterraneans are said to be bi-density (and hopefully STO) it could explain the miraculous flight of Byrd's plane into a world never perceived before whereby his aircraft might have been guided by some sort of 'tractor beam' while the engines were disconnected.

Unless some of the 4D Nordics are coming from underground themselves. Afterall, the C's said of Thor's Pantheum that they comprised both 4D STS and 4D STO beings beaming thoughts directly into human minds. If that is the case, maybe the good guys are based under the North Pole whilst the STS bad guys are based more under the South Pole. This could then explain the C's strange statement to Ark that "the "Poles" know best":​

A: Well, first of all, we thought this was Ark's turn. But, since you have asked, is it not obvious by now? Magnetic power grid physics. EM utilization. Crystals, and the like. Seeking paths to the interior? The "Poles" know best!

"Paths" as used here by the C's could have a double meaning since it could mean directional routes or instead spiritual pathways, which lead one towards becoming more STO or STS orientated.

It also seems that 4D STS and 4D STO can even mix together, given what the C's said about the procession the native Guanches saw on the island of Tenerife, which occurred after the mysterious appearance of the Virgin of Candelaria in Tenerife:​

Q: In the information I now have on the Canaries, I found that a strange icon appeared on the island long before the conquest, long before any missionaries or Europeans arrived. The natives were the big, blond types. They said that they knew this icon was divine because following its appearance, there were processions of angels, or divine beings, up and down the beach where it appeared, lights, smells, chanting and singing and so forth. How did the statue of the Virgin of Candelaria arrive on the beach at Tenerife?

A: Teleportation.

Q: Who teleported it there?

A: The "Celts."

[...]

Q: Were the 'angelic beings' that appeared on the Canaries Druids or Rosicrucians?

A: They were 4th density.

Q: Were they STS of STO?

A: Both.

Q: Do the STS and STO hang out together?

A: Do you hang out with all types of your realm?

Q: Well, in these processions of beings that the Guanches of the island saw, were they STS or STO?

A: Both.

Q: You mean they would see one and then another?

A: Close.

As to the use of German references like Flügelrad, we know now that the undergrounders have a presence on the surface world (the C's spoke about there being 2.2 million operatives recently), who no doubt monitor human technological progress and advancements. Perhaps they were keeping a close and wary eye on developments in Nazi Germany at the time, which led to them using that term. Byrd, as a serving Admiral in the US Navy, may have been aware of intelligence reports on these craft that were being seen increasingly by US pilots in the last year or so of the War and may even have known them by that name. I also seem to recall that the C's said the language of the Atlanteans was closest to German, so perhaps they were more used to expressing themselves in German, although learning different languages would probably be a simple intellectual task for 4D denizens of the underground civilisation(s).​

 

[Bluegazer]

Unless some of the 4D Nordics are coming from underground themselves. Afterall, the C's said of Thor's Pantheum that they comprised both 4D STS and 4D STO beings beaming thoughts directly into human minds. If that is the case, maybe the good guys are based under the North Pole whilst the STS bad guys are based more under the South Pole. This could then explain the C's strange statement to Ark that "the "Poles" know best":​

A: Well, first of all, we thought this was Ark's turn. But, since you have asked, is it not obvious by now? Magnetic power grid physics. EM utilization. Crystals, and the like. Seeking paths to the interior? The "Poles" know best!

"Paths" as used here by the C's could have a double meaning since it could mean directional routes or instead spiritual pathways, which lead one towards becoming more STO or STS orientated.
​

I would add a third possibility, in the use of the word "Poles". This is due to the fact that Ark is of Polish origin.

For example:

Polack - Wikipedia

en.wikipedia.org

On July 26, 2008, The Times published a commentary by food critic and columnist Giles Coren that contained views that many Poles considered anti-Polish. In the article, titled "Two waves of immigration, Poles apart," Coren used the ethnic Polish slur to describe Polish immigrants who may "bugger off," a reference to Polish immigrants leaving the UK in the face of a shortage of low-paying construction jobs. He went on to outline his views on the role of Poles in the Holocaust in occupied Poland, referring to the fact that his great-grandfather had left Poland for the UK.

This might suggest that Ark already knew the answer, or just related to his country of birth.

 

[MJF]

I am conscious that I have not posted a fresh article on this thread for quite a while now owing in part to my accident and aslo to the fact that I have been posting more on other threads and recent sessions with the C's of late. I aim to point that right now with a post, which is a follow-up to an earlier piece on 'Poussin's Mountainous Mystery'. This article seeks to expand on what was said in that earlier post and attempts to draw together many points which have been discussed previously on this thread to create a narrative.
​

Poussin's Mountainous Mystery: A Follow-up

A while ago, I posted an interesting article by Josh Kroeker on Nicolas Poussin’s paintings. See: (1) Alton Towers, Sir Francis Bacon and the Rosicrucians | Page 67 | Cassiopaea Forum. I am also attaching a word document of my original post with this new post as well. It would be advisable to read the earlier post either to remind yourselves of what Kroeker said if you have read it before or, if you are reading it for the first time, to acquaint yourselves with his arguments. Kroeker’s article focused primarily on the mountains depicted in Poussin’s paintings. However, the article also gives a useful summary of the mystery of Rennes-le-Chateau for those not familiar with it.

For those not aware, Poussin is strongly suspected of being a Freemason and a Rosiccrucian, who concealed esoteric knowledge within his works to be discovered by those who were in the know, the cognoscenti. Indeed, we have discovered both on this thread and elsewhere on the Forum, strange things hidden within Poussin’s paintings when one adopts a different perspective by, for example, creating a mirror image.​

Quoting Kroeker:

When examining the mystery of Rennes-le-Château, it is difficult to ignore the apparent significance of Nicolas Poussin’s enigmatic painting, Shepherds of Arcadia (1638-40), sometimes known as Et in Arcadia Ego (and which I will refer to simply as Arcadia). The discovery of underlying geometric designs in the painting, and the conclusion that the landscape portrayed could, in fact, be a location near Rennes-le-Château, lend credence to the belief that important information may be encoded in the painting. This, along with the reference to Poussin in one of the parchments discovered by the priest, Bérenger Saunière, in his church in the south of France, suggests that Poussin was intrinsically tied to a mystery.

While the contents of Fouquet’s letter are well known to Rennes-le-Château enthusiasts, the riddle has yet to be solved. Nevertheless, Arcadia remains the most popular candidate to conceal the secret, while Poussin’s other works receive considerably less attention. However, it is in Poussin’s other works that we see pieces of an elaborate puzzle and the linking of five of his other paintings to Arcadia, and thus to the mystery of Rennes-le-Château.

After closely examining the mountain scenery in five of Poussin’s paintings, Kroeker was able to ascertain that the artist had gone to great lengths to create an elaborate landscape background, through four different paintings over at least a seven-year period; a feat that would have required great planning and execution.


​

The complete landscape of Arcadia, reproduced by juxtaposing four other paintings by Poussin
​

Kroeker states:

“I can only speculate about the connections in the paintings and what they mean. If the background is an actual landscape near Rennes-le-Château, is Poussin drawing us a map, with clues as to how to get there? Or is his objective simply to draw attention to the shape of this mountain, so that it can be identified elsewhere? After all, Poussin ‘holds the key’ to finding whatever is concealed; but does this mean that it is in his works that the riddles of the Rennes-le-Château mystery can be solved? One thing is certain: Poussin’s depiction of the landscape in Arcadia and the four other connected paintings is intentional and warrants further attention.”

Kroeker’s comments about Poussin drawing a map with clues as to how to get there immediately makes me think of what the C’s said here:

A: Rennes-le-Chateau is a means, not an end. Sort of like unlocking the trunk, expecting to find the gold, and merely finding a map.

Hence, we might legitimately ask here whether his famous painting of The Shepherds of Arcadia, a painting which is inextricably tied up with the mystery of Rennes-le-Chateau, contains within it a map that might point to the whereabouts of the Grail?

Kroeker further opines that Poussin must have known that for anyone to be aware of this connection, all four paintings had to be brought together; an unlikely scenario, unless someone was looking for them specifically. Even today, all four paintings are spread across the globe. It is only as a result of today’s advanced photographic methods, and the use of the internet, that Poussin’s works can now be viewed side by side. This is a concept that would have been inconceivable to Abbé Fouquet, who wrote that it is possible no-one would ever discover what Poussin had hidden in his art.
​

A Link between Poussin’s Mountain and the Artists David Tenier and Titian

With further research, Kroeker discovered Poussin’s Mountain once more, this time in David Teniers’ archive paintings. In the top left corner of the painting (see below) entitled simply, Archduke Leopold Wilhelm in his Gallery (1647), Kroeker identified the same mountain which Poussin had explicitly included in other paintings. Its features were very distinct and, again, seemingly intentional.



People may ask why the artist David Teniers is relevant to the mystery of Rennes-le-Château. For those not familiar with the mystery, Teniers’ name was linked to that of Poussin in a strange parchment that Abbé Bérenger Saunière was supposed to have stumbled upon in his church at Rennes-le-Château whilst carrying out minor restoration work. When this parchment, which seemed to contain a strange code, was deciphered it appeared to convey the following message:

SHEPHERDESS, NO TEMPTATION. THAT POUSSIN, TENIERS, HOLD THE KEY; PEACE 681. BY THE CROSS AND THIS HORSE OF GOD, I COMPLETE – or DESTROY – THIS DAEMON OF THE GUARDIAN AT NOON. BLUE APPLES.
Kroeker also believes that the great Italian artist Titian may have painted the same mountain in his painting, Nymph and Shepherd (1575-76). However, Kroeker notes that Titian’s work has darkened over time, so it is difficult to determine whether the same mountain appears in the background. He adds that until further x-ray analysis of the painting is carried out, it is impossible to be sure. That being said, the painting was merely 72 years of age when David Teniers recreated it in his painting, so the mountain may have been more distinct at that time.

​

Titian, Nymph and Shepherd, Kunsthistorisches Museum, Vienna
​

The Tower

In his article, Kroeker also drew attention to a small tower that appeared in two of Poussin’s other paintings:

However, when reviewing Triumph of Bacchus, I noticed further clues in the symbolism of the landscape. On the right-hand side of Triumph of Bacchus and Sacrament of Baptism can be seen what appears to be a small tower that Poussin placed in both paintings. It was after this discovery that I suspected that Triumph of Bacchus, and not Sacrament of Baptism, was the original far right-side component to the four-painting scene.

Close-up of the small tower in Triumph of Bacchus and Sacrament of Baptism​

In my postscript to the original post, I commented that:

At the beginning of the article, Kroeker refers to the tower built by Abbe Saunière, which the priest dedicated to Mary Magdalene. Kroeker subsequently refers to the presence of a small tower in both the Triumph of Bacchus and the Sacrament of Baptism but without dwelling on the point. However, I think this may be a more important clue than Kroeker realises. The tower clearly cannot be the ‘Tour Magdala’ that was built by Saunière at the beginning of the 20th Century. But could Poussin have been referring to another, then extant, tower? This is a distinct possibility, which Andrew Gough is alive to, but this will have to wait until a subsequent post to elaborate on further.

Well, this is the subsequent post so I must now address the issue. Whether Saunière was aware of the tower depicted in Poussin’s paintings Triumph of Bacchus and Sacrament of Baptism is a question I cannot readily answer since the priest never commented on the matter. He was certainly a cultured man who moved in aesthetic circles, so he may well have been aware. So, the question we need to ask is why did Saunière build his own tower? The answer appears to be that he built it to match another tower. Was this the tower shown in Poussin’s painting? Apparently not, since I understand that he based his tower on one that had stood in the ancient city of Girona in Catalonia, Spain, a tower he was very familiar with (which sadly was demolished in the latter half of the 20th century). I am also aware that the tower Saunière constructed at Rennes-le-Chateau was deliberately built not just to be a twin of the Girona Tower but was also positioned to be as equidistant from a certain mountain in the French Pyrenees as the Girona Tower was. Since the Girona Tower was not built on a hillside like the one shown in Poussin’s paintings but in a city suburb, it too, like the Tour Magdala, cannot be the one that Poussin painted (I hope to have a lot more to say about the Girona Tower and its possible significance in a future post).

Before proceeding further, I would like to draw attention to something another Forum member, Bluegazer, said after reading my post and Kroeker’s article:​

Perhaps it is not the background, and the issue is much simpler. What we are looking at is Poussin's point of view. That is, the panoramic image shows us where Poussin is standing. Who knows if where Poussin stands marks the X.

There is also the possibility that the panorama is showing the direction or where to look at the location of the alchemists' enclave.

I think Bluegazer was inspired to have made this observation since the mountain panorama in the background of Poussin’s painting The Shepherds of Arcadia really may be a case of X marks the spot and he could even be right in proposing that the mountain panorama in the painting could be where the mysterious alchemists’ enclave is located. Alternatively, it could be something else that Poussin’s painting is directing us towards and that something else just might be the location of the Grail.​

Kroeker finished his article by asking the question: If the mountain exists near Rennes-le-Château, then is it possible that the artists were creating a visual map that points to a specific location in the area?

Although it would appear that these connections simply raise more questions than answers, it is safe to say that there is a mystery surrounding the mountains portrayed in the paintings, and that those who depicted the landscape placed it with the deliberate intent of passing on a message to those with the means to find it.

As I said at the end of my original post: The question we need to ask though is, if Poussin (and Teniers for that matter) was depicting a real mountain, which mountain was it meant to be?

Poussin’s Mountain and the Arcadian Tomb

Since writing my original post, I wanted to find independent corroboration of the answer to the mountain question before writing about it. I subsequently found the answer in two books written respectively by a pair of my favourite authors and researchers, Andrew Collins and Dr Joseph Farrell.

Before explaining this, I need to address a controversial theory as to the identity of the tomb in Poussin’s painting The Shepherds of Arcadia. This theory arose from research which Henry Lincoln, a co-author of The Holy Blood and the Holy Grail with Michael Baigent and Richard Leigh, had done for a BBC TV documentary on Rennes-le-Château. Lincoln started by noting that art historian Anthony Blunt (a man who, as ‘Master of the Queen’s Paintings’, was implicated along with the notorious spies Burgess, Philby and McClaine as one of the Cambridge Apostles who had spied for the Soviet Union), along with other Poussin experts, believed the landscape in Poussin’s painting to be wholly mythical, a product of the artist’s imagination. He then points out that in the early 1970’s, an actual tomb was located identical to the one in the painting – i.e., identical in setting, dimensions, proportions, shape, surrounding vegetation, even in the circular outcrop of rock on which one of Poussin’s shepherds rested his foot. The tomb in question stood on the outskirts of a village called Arques – which is approximately six miles from Rennes-le-Château. Lincoln claimed that if you stood before the sepulchre, the vista was virtually indistinguishable from that in the painting. He added that when you did so, it became readily apparent that one of the peaks in the background of the painting is Rennes-le-Château. Lincoln also added that if there had been any inscription on the tomb like that in Poussin’s painting, it had long been weathered away.

Although there was no indication of the age of the tomb, Lincoln asked how did the builders ever locate a setting which matches so precisely that of the painting? Lincoln then claimed that the tomb would seem to have been standing in Poussin’s time and his painting appeared to be a faithful rendering of the actual site. According to records in the village of Arques, the land on which the tomb stood belonged, until his death in the 1950’s, to an American, Louis Lawrence of Boston. In the 1920’s Mr. Lawrence had opened the sepulchre and found it empty. Lincoln claimed that Lawrence’s wife and mother-in-law were later buried in it. Curiously, after spending the morning shooting footage of the tomb for his documentary, when he and his crew broke off for lunch and returned some three hours later, they discovered that a crude and violent attempt had been made to smash into the sepulchre.

Well, all this all seems pretty persuasive you might think. Unfortunately for Lincoln, after his book was published, other researchers came along and started questioning his claims about the tomb. Many Rennes-le-Château researchers argued that if the tomb Poussin painted was based on a real tomb, one that was located say somewhere in the French Pyrenees, then there is no evidence to suggest that Poussin, who came from Northern France and lived most of his adult life in Rome, ever visited the region and therefore he could never have painted the scene there. However, this argument may not be as rock solid as people think.

Others have argued that the tomb Lincoln visited was far too modern for it to have been painted in 1638-40 by Poussin. Lincoln had been led by locals to think the tomb had stood there for several generations and he could find no date for it in the records. Andrew Collins in his book Twenty-First Century Grail the Quest for a Legend, states that Poussin’s Tomb, or the Tomb of Arques, was meant to have been constructed as late as 1903. He also mentions a macabre fact that when the tomb was opened to remove the bodies of Louis Lawrence’s mother and grandmother (which I think should have been Lawrence’s wife and mother-in-law), it was found to contain the mummified remains of two cats. How they came to be interred there, nobody could say. However, Collins adds that all he knows is that The Shepherds of Arcadia appears to show real topographical features in the landscape around Rennes-le-Château, more specifically three sites: the peak of Pech Cardou, the ruins of a castle tower on a promontory called Blanchefort and, on the extreme right, the hill of Rennes-le-Château.

In his book Thrice Great Hermetica and the Janus Age, Dr Joseph Farrell also points out that even though there is no hard evidence that Poussin ever visited the area, he still, nonetheless, managed to paint the tomb and its local landscape with astonishing accuracy. How was this? Well Farrell notes that even though Poussin spent most of his career in Rome, he was lured back to Paris from 1640-1642 by Cardinal Richelieu for who he was expected to execute several works. While at the court of Louis XIII, Poussin was protected by Sublet de Noyes, the Royal Treasurer and Secretary of State. Farrell believes that it was while he was in Paris during this period that Poussin painted the second version of The Shepherds of Arcadia in 1640. However, Farrell also notes that Sublet de Noyes’s father had in turn been the financial advisor to the household of the Cardinal Joyeuse, uncle of the Baron of Arques, who had been exiled to Rome*. Farrell then notes that with these connections to Arques and the Languedoc, the question inevitably occurs as to whether Poussin knew the secret of the treasure of the Languedoc. Farrell is here focused on a purely physical treasure as in gold, but I think the clues in Poussin’s painting are directed to something far more valuable and that is the Grail. Moreover, Farrell does not have the benefit of the mirror image view of the painting that the C’s suggested to Laura, which readers may recall as yielding the incredible results posted on this thread.​

*Farrell was relying here on the research of Guy Patton and Robin Mackness for their book Web of Gold: The Secret Power of a Sacred Treasure, which I have quoted from in a previous post.

Farrell then states that whatever the answer to this question may be, King Louis XIV, who eventually acquired the painting, certainly acted as if he believed it, for he dispatched his chief minister Colbert to the Languedoc. Colbert in turn is said to have initiated several diggings at Blanchefort, Arques and other local sites, and to have destroyed the original tomb (again relying here on Patton and Mackness’s research).

If this information is correct, then it provides evidence that Poussin could have taken a break from his work in Paris to visit Arques and to have painted the tomb and the landscape. As we know, he was a very exacting artist when it came to his paintings, which would explain how the landscape in his painting so mirrors the landscape that Henry Lincoln saw when visiting the tomb location centuries later.

Moreover, if Andrew Collins is correct, then the mountain in the background directly behind the tomb in the painting of The Shepherds of Acrcadia is Pech Cardou (see below) and the tower in Poussin’s paintings of the Triumph of Bacchus and Sacrament of Baptism is the ruins of the castle tower on the promontory called Blanchefort.

​

Pech Cardou​

I must admit that I cannot see this tower in the background of The Shepherds of Acrcadia but then Andrew Collins may have a better image of it than I do. I have posted an image of the peak of Mt. Pech Cardou above and I shall leave it to readers to compare its shape with the image of the mountain in Poussin’s The Shepherds of Acrcadia. To my way of thinking though, there clearly is.

You will note that the peak has a distinctive split in the middle, which also appears to mirror that shown in David Teniers painting of Archduke Leopold Wilhelm in his Gallery too (see above).

What intrigues me more though is that if Mt Pech Cardou is Poussin’s Mountain, then the crack or split in the top of the mountain puts me in mind of one particular mirror image perspective of the painting (see below).

As I said in my post on the Alton Towers thread of 2 March 2023 (see: (8) Alton Towers, Sir Francis Bacon and the Rosicrucians | Page 69 | Cassiopaea Forum):

I have always been drawn to the image of what looks to be chalice (Grail) made of tree foliage appearing over the top of the split or twin-peaked mountain. It may represent the Holy Grail. However, to Ark his Holy Grail is the Unified Field Theory. And the C’s once told Laura that she would find the chalice (Grail) through sheets of rain:​

Q: Anything further you can tell me in terms of a clue about ‘sheets of rain?’

A: Not for now, when you get there, you will find the chalice.

Q: Where and WHAT chalice?

A: Wait and see!

For reasons I cannot go into now, the Grail may be linked to special tones that are required to be sounded in order to operate it. I hope to cover this point in a subsequent post.



Well, I have recently discussed the relevance of using precise tones in relation to the operation of the Grail, which is linked to things found in Kabbalah. I am also reminded of what the C’s said to Laura here:​

Q: Yes, I know, but he writes that someone described the chanting of these vowels in this particular order by Egyptian priests as being so melodic that it seemed as though musical instruments were being played. So, I remembered what you said about the 'melodic' sound that must be produced from the 'centre' of within, as you put it, and I thought that this series of vowels might be what could move objects with sound.

A: Then maybe you should attempt this?!?

Q: (A) Are you joking?

A: Maybe and maybe not.

I don’t think they were joking either. The tree-like chalice suspended over the mountain top also makes me think about the C’s references to trees and their relationship to the mysterious Nordic Covenant:​

Q: (L) […] How many people were in this covenant?

A: Look for answers, trees will lead you to it?

Q: (L) What literary source can I go to find the least distorted or corrupted information?

A: Trees.

Q: (L) How long has this Nordic Covenant been in existence?

A: Look for it.

I have always had a strong suspicion that the Nordic Covenant might be intimately tied up with the Grail, which you will recall came to the Earth with a group of Kantekkians fleeing from the doomed planet Kantek, and seems to have ended up in Egypt until Abraham/Moses and Nefertiti/Sarah took it into the desert with them at the Exodus.

However, if one considers the mountain image with the tree-like chalice suspended over it, then you could imagine the spilt in the mountain as possibly representing the female vulva with all that this implies in relation to fertility and the Mother Goddess, which I have linked to the Grail and its ability to manifest anything you wish rather like a Star Trek replicator machine (a TDARM?), the reason no doubt why the C’s referred to it as the ‘Gift of God’. And then as another Forum member noted, you have an image of a skull appearing on the tomb stone itself with another possible chalice at the base of the tomb. The stone tomb also seems to resemble to me an upside-down pyramid with its capstone missing, with the base being where the second chalice appears. If the chalice is symbolic of the Grail, then is Poussin hinting that it once resided in the capstone of the Great Pyramid perhaps? This point reminds me of what the C’s said here about the missing capstone:​

Session 14 November 1998:

Q: (A) I wanted to ask if there was a capstone on the Great Pyramid?

A: Yes.

Q: (A) What shape?

A: Pyramidal at 20 percent positive displacement to base.

Q: (L) What was it constructed of?

A: Limestone sheath.

Q: (A) Was it removed?

A: Fell off.

Q: (L) When?

A: 2809 B.C. as you measure it.

Q: (L) What caused it to fall off?

A: Old age.

But what if the capstone was also the “Benben Stone” and was hollow, thus allowing for rooms inside. And say if those rooms included a laboratory. Here is what the C’s said about the Benben Stone:​

Session 16 August 1997

Q: What was the 'Benben' stone?

A: Laboratory.

Q: Well, nobody really knows, but they think it was like a pyramidal object, and it has been represented as being on top of an obelisk. Why?

A: Energy.

Q: What do you mean?

A: It produces energy. [MJF: As did the Great Pyramid]

Q: What kind?

A: EM.

Q: Who currently has the Benben stone?

A: It is buried.

Q: Where?

A: In Sinai.

Q: Who buried it?

A: Saphorus.

Q: Who was that?

A: Top director of Ahragh creed.

Q: What is that?

A: These are tales best left to the discoverer, not the demanderer.

Nobody has ever found the missing capstone of the Great Pyramid, so one may assume it is still buried in the desert somewhere. The problem with my theory is that Giza is a reasonable distance from the Sinai Desert, so it would have been a formidable task to move the capstone, as the Benben Stone, to the Sinai Peninsula unless those burying it still had the use of sound wave technology to move large stones/limestone structures in 2809 B.C. It would make sense though that if the Benben Stone was an advanced scientific laboratory, the top director of the Ahragh Creed (the forerunners of the Illuminati?) would not want it to have it hanging around as a smoking gun and therefore ordered it to be buried. Could the Ahragh Creed have been related to the Nordic Covenant in some way? You will note that when Laura asked the C’s in December 1998 how long the Nordic Covenant had been in existence they responded:
​

Q: How long has the Nordic Covenant been in existence?

A: 5129 years.

This would make its origin 3,131 BC, which you will note is only 322 years before Saphorus ordered the capstone to be buried. However, the C’s had a lot more to say about the Nordic Covenant in the transcripts:
​

Session 26 December 1998:

Q: Is there any particular thing about this that I ought to ask at the moment that I am not going to discover in the course of my research? The mail group asked a few questions about this, so I thought I ought to approach the subject. Is the Nordic Covenant made between people who are blond and blue-eyed?

A: Not the central issue.

Q: What is the central issue of the Nordic Covenant?

A: Bloodline extends off the planet.

Q: Is this Nordic Covenant a group that is in place on the planet for the purpose of guarding or propagating a particular bloodline?

A: To guard secrets.

Q: What does this secret have to do with a bloodline?

A: You should be able to figure this one out!

Q: Are these people with this bloodline and with these secrets the same ones involved with the genetic engineering of new bodies for the Lizzies to occupy at the point of transition to 4th density?

A: No.

Q: Are these secrets negative to our civilization or race?

A: From your perspective, maybe.

Q: Do these bloodlines have to do with Nephilim?

A: A little.

Q: What secrets are they guarding?

A: Your origins; the nature of your being.

Q: So, this Nordic Covenant is that which wishes to maintain the darkness of our realm, the time loops, the replays, and all that sort of thing?

A: One of the players, yes.

Q: You also said that the Nordic Covenant was a duality, that it could be positive or negative. So, if that is the negative side of it, is the positive the same, or different?

A: Too complex for your current understanding.

Q: Is the 'buried treasure' of the Templars or Cathars, or whoever, manuscripts from the Alexandrian library telling about the true origin and nature of man?

A: Well if so, maybe that would explain the structure you live under.

Q: Society? The Universe? The EM grid? Any or all of the above? What structure do I live under?

A: Forced choices.

Session 2 January 1999:

Q: Well, let me get to some of these other questions. Previously you said that the central thing about the Nordic Covenant was that there were bloodlines that extend off the planet. From what I understand, all humans on the planet have bloodlines that extend off the planet. In what sense did you mean this about the Nordic Covenant; that the bloodlines extend off the planet?

A: Not all so recent, not all so “pure.”

Q: In the sense of recent, how recent do you mean?

A: Speculate, using your transcripts.

The C’s answer suggests that the bloodline they are referring to is a very ancient one indeed and is more mixed with alien genetics than the normal human bloodline. This makes me think of the Elohim, the biblical Sons of God (4th density aliens). The C’s said the Elohim were trans-definitive and variable entities, although their first manifestation was as human and then non-human after they had made a pact or covenant with a 4th density STS group called the Rosteem, who the C’s now say manifest as the Rosicrucians. Could the Elohim when still human have entered into a covenant, the Nordic Covenant, with the Elohim, thus becoming bi-density human-alien hybrids with variable physicality? If so, it would make sense that they would wish to guard the secrets of their origins and the nature of their being, especially if this included an alien bloodline that extended off the planet. Evidently, the inner circle of the Rosicrucians must still be guarding such secrets, which brings us back to Poussin, known as the’ Keeper of Secrets’, who may well have been a Rosicrucian adept. Just what did he know?

This also makes me think of the secret enclave of alchemists based in the Pyrenees who seem to be linked to the Rosicrucians in the transcripts. Did Poussin know their whereabouts, and this was why King Louis XIV was so worried about Poussin’s painting, because it may have given away their location as Mt Pech Cardou? Or was it something else completely?

Joseph Farrell makes the point that the Languedoc accounted for 30 percent of all the Knights Templar land holdings in Europe, a huge proportion given how widespread their holdings were. On top of this, the Templars also had significant land holdings next door in Spain. Indeed, it was the Templars who had built the main road that connected Spain and France during the reconquest campaign against the Moors. Was this part of a long-term strategy on their part to establish a separate Templar kingdom? If so, was it an attempt to recreate an earlier kingdom in that region

During the late Dark Ages, much of the Languedoc had formed part of the unofficial Jewish Kingdom of Septimania. As I have mentioned before, some researchers, including Joseph Farrell, believe there is truth in the Rex Deus theory that the nine knights who founded the Knights Templar Order had all been descended from Jewish families that had settled in southern France having escaped from Judea before the conquest of the Davidic Kingdom of Israel and the destruction of its capitol Jerusalem by the Babylonians. Specifically, these families had all been priestly families (Levites) and over time they would intermarry with the French nobility, including the Merovingian and, later, Norman noble families. Farrell points out that the fact these nine founder knights were allotted the old stables of King Solomon under the Temple Mount, where they immediately commenced excavations looking for something, suggests they already knew where to look because of secret knowledge they had inherited though their family lines, knowledge that had been passed down from generation to generation. Indeed, Farrell even speculates that the Crusade had been called by the Pope as a smokescreen for this purpose. Moreover, if there was a special bloodline mixed up with the mystery of Rennes-le-Château, then it was not a line deriving from the purported marriage of Jesus Christ and Mary Magdalene and their offspring, as proposed by Lincoln, Leigh and Baigent in The Holy Blood and the Holy Grail, but rather the Rex Deus bloodline running through the blood of the nine original founders of the Knights Templar [MJF: I hope to have more to say about the Rex Deus bloodline and the secret knowledge found by the Templars in Jerusalem in a follow-up post].

It is also interesting to note that two of the main Templar holdings in the Languedoc were located in Douzens and Ma Dieu, having control over Corbières, Razés and Rennes-le-Château. As Farrell notes, throughout the nearly 200 years of their existence, the Templars were able to maintain total military control over this region, exercising virtual sovereignty over its local nobility. I have described before how the town of Bezu, which is close to Rennes-le-Château, was a main base for the Templars in this region and, strangely, it was the only Templar preceptory not to be touched by the forces of King Philip IV of France after he suppressed the order. Furthermore, the C’s may have been trying to draw Laura’s attention to the town in the following exchanges:
​

Session 31 October 1998:

Q: My next thought was that it could indicate actual places or locations in space time on the planet that would be represented by coordinates.

A: Zuber.

Q: What does THAT mean?

A: Research.

Q: Okay. Now. This woman with this book "The Horse of God," talks about the shadow of the horse in the Shepherds of Arcadia painting that is evident if you turn it upside down. I know that I dreamed that the painting was a map. In terms of this map, what would be the zero meridian that one would use to place the map?

A: There need not be a zero meridian.

Session 7 November 1998:

Q: (A) What about ‘zuber’ and this ‘bezu’ mentioned in this book, The Horse of God? Was it an anagram?

A: Oh now, it may just have been.

Q: (L) Well, it freaked ME out, coming the next day after last week’s session... with the mention of ‘chevin’ and the funny numbers representing the Golden ratio and all that... it was amazing, even if the woman does not have a clue of what she is talking about!

A: Learning is such fun. Ludvig put words to his music.

Q: (L) Yes... the poetry of Wolfgang Schiller. His Ode to Joy.

A: What does Schiller, or Schoeller mean?

Q: Now that you brought this up! This is a VERY strange thing because this guy wrote a bunch of cosmic poems to someone named Laura, and they were about universes and gravity and the music of the spheres, and reincarnation, time and time warps, a bunch of funny stuff. He even wrote one that begins: ‘I was in Arcadia born...’ He hung out with Von Eckarthausen and I think he was an alchemist...

A: Was he zuber?

Q: (A) Zauber, in German, means ‘magic.’ (L) Close enough!
(A) Does this mean he was a magician?

A: Other close one... Zeuber?

However, we also learned that Bézu was an important gold mining area going back to Roman times. As I have mentioned before, the Templar Grand Master Bertrand de Blanchefort is said to have begun “clandestine mining activities” using imported German miners who were sworn to strict secrecy, so as to restrict communications with the locals. Indeed, it is even questionable whether the Templars were mining, since they may have either been looking for something of great value or constructing a large vault for some unknown purpose. Moreover, this was not the only strange occurrence that took place at Bézu over the centuries, since the town was involved in a strange counterfeiting episode in 1339 (a mere 25 years after the Templars had been suppressed) where bizarrely the counterfeit gold coins involved contained more gold than the official currency. As Farrell notes, this is unique and almost without precedent in history, where you have counterfeit good money driving out bad. When the royal treasury ministers investigated the matter, they discovered that the perpetrators were not common villains but instead the town’s nobility, who all received a full pardon for their illegal activities, which was quite exceptional in the circumstances. Interestingly, the source of the gold they used has never been established.

Similarly, in the late 18th century, a Frenchman from Normandy, Luc-Siméon Auguste Dagobert, who was descended from the Merovingians, gained permission by the King to re-open mines located in the area and to establish a forge and works in connection with mining operations. In this endeavour he was supported by Jean-Pierre François Duhamel, who at that time was the Commissioner of Mines and Forges for King Louis XVI. However, in spite of creating such an extensive enterprise, no record exists of the extraction of any metal or other minerals, which suggests the operation was a cover for something else. Perhaps the mining operation was yet again a smokescreen behind which Dagobert and Duhamel were searching for something of great importance.

Finally, you may recall from another of my previous posts that Bézu was also the site where the infamous Comte Saint-Germaine allegedly had a workshop, which he used for alchemical operations and where he may have participated in clandestine talks with Benjamin Franklin and senior French military figures concerning French participation in the American War of Independence (this is feasible since the Comte Saint-Germaine had been arrested in England in 1745 as a Jacobite agent after he had been caught with incriminating letters on his person – yet he was mysteriously released without charge).

Farrell, like Guy Patton and Robin Mackness, believes that what Dagobert and Duhamel and others, including Otto Rahn and the Nazis, were after was treasure, either the Visigoth, Jewish Temple, or Knight Templar treasure, which is buried or hidden away somewhere in this region. However, although they could be right, I tend to think that what these searchers were after was the Grail since this is more valuable than all the treasures of the world put together. It may even be the reason why the enclave of alchemists was located in the Pyrenees in the first place, given what the C’s said in the Session dated 26 February 2002:​

Q: (L) We were making some theories about this object that Vincent Bridges was looking for - the Ark of the Covenant, or the Holy Grail. I believe that we understand that this is an object that is of great usefulness, some kind of lensing device. Is that correct?

A: Yes.

Q: (L) Is this something that the STS groups - yeah, we know everybody on earth is STS, but I mean the heavy-duty ones - had at one time and then lost, or lost control of?

A: Yes.

Q: (L) How did they lose it?

A: It was not so much "lost" as it was "retrieved" and put away for safe keeping.

Q: (R & L) Who retrieved it?

A: 4th density STO mission.

Q: (L) Who is it that is looking for it? Is it 3rd density STS or 4th density?

A: Both.

Q: (L) If it is a 3rd density device why do 4th density critters want it?

A: It is a trans-density device.

Q: (L) Well if 4th density STS are so technically advanced how come they can't just make another one?

A: This item is tuned by consciousness. It is of such a frequency that STS gifts are not capable of such precision. The range includes multiple possibility vectors. STS operates within a narrow range.

Q: (R) So they can't make it, but they can use it. So they have to find one that is already created. (L) Is that possible? (A) Operated by consciousness. (L) They said tuned not operated. First of all we want to ask whether they mean tuned as in tuned when it was created or as tuned as in using. (A) There is this scenario that they will wait until the STO guy will find it and tune it, and still only then they will jump on 'em. (L) Right. Do you mean tuned as in the tuning of the creation or the tuning of the operation?

A: Creation.

Q: (A) Okay. Once it is tuned, it is tuned, right? (R) Yeah. And if it was similar to our simulation then tuning is done by exposing it to similar frequencies. (L) Or maybe assembling it by virtue of frequencies that are produced. But it still needs to be established whether or not they can see it. So, we have theorized that the reason they can't find it, the only reason we can see for why they can't find it, is because for some reason it is protected by frequency or something and that they don't know where it is either. Is this correct?

A: Mostly. They have a general idea.

Q: What specifically prevents them from isolating the exact spot and getting it?

A: Occlusion.

Q: (A) What is occlusion? (R) I think that's similar to ...

A: Frequency fence.

Q: (R) Which is similar to what we've been talking about. If you don't have the same frequency it's ... (L) Or they can set a frequency around it that these guys can't tune to and can't penetrate. (R) It becomes invisible in some sense. (L) But they can still in some way detect a region or something. But it can be like noise or something maybe; so much noise that they can't isolate the signal. Is this the reason these people keep coming after us, because they want us to help them find this thing? Is this the reason?

A: More or less. Though not the only one. ​

Q: (R) Well I guess another major reason is just to disrupt in general. So more or less yes, but there are other reasons. Well Jay Weidner said that they now think that Frank is going to help them find it, that he is a channel for Set. (A) We don't know if this is true. What Jay Weidner says about their hopes about Frank. If that were true they would already have Frank they would be busy with Frank and they would be leaving us alone. So, I don't think it is so important. (L) I don't either. It was just bait tossed out by Jay Weidner. (R) I was wondering about the possible positive uses of the device?

A: Multiple. In ancient times this object was called the Gift of God. It was used to aid in the manifestation of all things needful for existence.

Q: (A) Manifestation? (R) That sounds like Merkabah. The Matriarch Stone. The Mother Stone. (A) So it can do all kinds of things ... (R) Is this the Merkabah?

A: Mother Stone, yes.

Q: (R) So that's it! This is the real meaning of the Merkabah. Pretty neat. And there is only one of these available. This puts a very strange aspect on all this. (L) Where was it created?

A: Kantek.

Q: Was this what was used to help transport the Kantekkians to Earth at the time of the destruction of their planet?

A: Some of them. Others transported by Lizards.

If the alchemists in this enclave, who seem to have a close relationship with the Rosicrucians, are one of the groups searching for the Grail, then if, as the C’s suggest, they have a general idea of where it is located, it would make sense to establish a secret base in the Pyrenees if that is where the Grail is indeed buried.

Continued in Part 2

Could I kindly ask people to refrain from posting comments until I have posted part 2, as the whole article should be read together as a whole first. Thank you.​

 

[MJF]

I would add a third possibility, in the use of the word "Poles". This is due to the fact that Ark is of Polish origin.

For example:

Polack - Wikipedia

en.wikipedia.org

This might suggest that Ark already knew the answer, or just related to his country of birth.

Yes, there may be an ethnic dimension to this too, but the C's comments are often multifaceted. Giles Coren is an idiot by the way.

 

[MJF]

Poussin's Mountainous Mystery: A Follow-up - Part 2

Et In Arcadia Ego

As those of you familiar with my work will know, I think that the pure crystal skull which the Knights Templar called ‘Baphomet’, the Head of God, is the Grail. Despite people suggesting the Grail is not a device but something more ephemeral, the C’s in the above extract were clearly referring to a device or some physical object that they call the “Mother Stone”. Do I think it is buried in the Pyrenees close to where Laura and the Chateau crew are based, yes, I do. Whether it is buried on Mt Pech Cardou is another matter though. However, we do know that the Templars at their preceptory at nearby Bézu were left unmolested by the forces of Philip IV and therefore had ample time to arrange for the Grail to be hidden, if indeed it was the Templars responsible, for the C’s referred above to a 4th density STO retrieval mission.

However, it is noticeable that the inscription Poussin painted on the tomb or sarcophagus in his painting of The Shepherds of Arcadia states “Et in Arcadia Ego”, meaning “And in Arcadia I”. Why did he do so? I do not think he was just seeking to convey the notion that for man death was everywhere, even in the idyllic pastoral setting of Arcadia, as so many scholars think. I believe instead that he meant the Grail (Ego) was literally in Arcadia, for he may well have known that Arcadia had originally been that region of the Pyrenees encompassing the Languedoc in France and Catalonia and parts of Aragon in Spain rather than the Arcadia of classical Greece located in the Peloponnese. I base this on the speculations of Iman Wilkens in his book Where Troy Once Stood, where Wilkens placed the locations of the major states participating in the Trojan War in Northern Europe, with Troy located in what today is the city of Cambridge in England. As Laura has noted, the Arcadians had been subjugated by the power of the Kingdom of Argos, which according to Wilkens encompassed Northern, Central and parts of Southern France, even spreading eastwards into today’s Belgium and Germany. And, as Laura also pointed out, it was the Arcadians who came up with the plan for building a wooden horse as an offering to the Trojans in order to get men inside Troy, forever remembered now as the “Trojan Horse” with all that term conveys to modern computer users. Which draws me back to the reference to “BY THE CROSS AND THIS HORSE OF GOD, I COMPLETE – or DESTROY” in the deciphered text of the secret parchment discovered by Abbé Saunière in his church at Rennes-le-Château, a church he dedicated to Saint Mary Magdalene. Could the Trojan Horse, the Horse of God, be depicted in the form of a shadow by Poussin in his painting of The Shepherds of Arcadia, a horse which only becomes evident when you turn the painting upside down, thus reflecting perhaps the hidden nature of the original Trojan Horse as a decoy by means by which the Greeks or Achaeans gained entry to, and brought around the total destruction of, Troy? Hence, the origin of the expression ‘beware Greeks bearing gifts’.

Q: Then, you also said: 'quite simply we would say, where is Arcadia?' Arcadia ...

A: You need to work on that one. The answers to these mysteries are not easily solved, but well worth it!

Q: The chief thing I noticed about Arcadia was, the Arcadians were the enemies of the Trojans, they were the creators of the Trojan Horse - a huge deception... and the Celts are supposed to be the descendants of the refugees from Troy. And, when Hitler came along, one of his ideals was to resurrect Arcadia, and that Germany was going to be the new Arcadia and destroy the 'old corrupt civilization,' which was Troy. Troy is 'three' and is connected to 'Ilium,' and I guess what my question is here is: just who's on first?

A: Who is on second?

If the original Arcadia was located within the region we know today as the Pyrenees, could Hagar/Kore/Meritaten have visited it whilst en route to the British Isles when she fled from Cannan in the company of the Dragon Slayers (the Tuatha de Danaan/), in the personage of Helle? If so, this would make sense of the C’s comment:​

A: Arcadia is a crossroads for the one Essene, the Aryan one of Trent.

Here, “Trent” may possibly be referring not just to the river Trent in northern England but the city of Troy too, which Laura noted above as meaning “three”. It is interesting therefore that the C’s also connected the term “Trent” to Baphomet:​

Q: Okay. I have several books on the subject. I will start tomorrow. Now, when the Templars were arrested, they were accused of worshipping a head, or skull, and also the god Baphomet. Were these spurious accusations designed to defame them?

A: Skull was of pure crystal.

Q: What is the definition of the god 'Baphomet', if they did, indeed, worship such?

A: The holder of the Trent.

Although Rennes-le-Château (which means the House of the Queen in English) does not sit on a crossroads, since it occupies high ground, it is near another town in the region that was a major crossroads in the Bronze Age (the age of Meritaten). This town is modern day Quillan – a major crossroads town about 20 kilometres south of Limoux in the heart of the ancient County of Razès, now in the Aude. The 19th-century author Louis Fédié, who was also an amateur historian and the president of the Société des Arts et Sciences in Carcassonne, popularised the claim that the village of Rennes-le-Château was the ancient city of Rhedae. Rhedae was cited in antiquity as being located at the crossing point of four major roads. However, historians have argued how could this possibly be the case, since Rennes-le-Château is located on an isolated hilltop? In contrast, Quillan is a major crossroads. It seems though that Rennes is located on the same site as the ancient castle of Redae, after which Le Rasez is named.

Many of you will know that I associate Hagar/Kore/Meritaten with the Irish triple goddess Brigid of the Tuatha de Danaan. I think she may also be linked with the ancient British Celtic goddess Elen. Hence, if she did pass through Spain and France on her way to the British Isles, it is important to note that the goddess Brigid (whose name gave rise to the Celtic tribe known as the Brigantes in Britain and Ireland) is also the goddess after which the Spanish city of Brigantia is named. I hope to have more to say on Meritaten’s flight to the British isles in a future post.

If Iman Wilkens is correct in his assumptions, then the parties who fought the Trojan War were northern European Celts, who were forced to migrate for some reason (perhaps a cataclysm had occurred in Northern Europe, which led to a drastic change in the climate) to the Eastern Mediterranean where they became the Greeks of the classical age, taking the place names and the stories of the Trojan War with them. However, the Celts were late comers to this part of North-Western Europe in comparison to the Basques who settled the region long before them. The C’s told us that the Basques were the descendants of Atlantean survivors:​

Session 7 October 1994:

Q: (L) Where do the Basques come from?

A: Atlantis.

Q: (L) Is their language the Atlantean language?

A: Derivative.

But the C’s also told us something else about other emigrants to this region, something related to the ‘holy bloodline’:

Session 2 May 1998:

Q: Okay. Did somebody travel to France carrying some sort of object, or a person who was this 'object,' so to speak, as the 'holy bloodline,' or whatever?

A: Maybe it was carried by those most capable.

Q: And who would be those most capable?

A: Check the geographic link.

Q: I am getting completely confused. I don't have a single clue about what is going on here or even what we are talking about now!

A: Where are the Pyrenees?

Q: On the border between France and Spain.

A: Who lives there?

Q: The Basques, among others. Is that who we are getting at? Or the Alchemists? These beings....

A: Close.

You will note that the C’s only say “close” in relation to Laura’s mention of the Basques. So, who else settled in this region after the Basques. Well, there was, of course, the Celts, some of whom may have become the Arcadians, but there were also the Phoenicians and the Sephardic Jews, many of whom migrated there post the destruction of the Kingdom of Judea by the Romans in 70 AD, and even later still the Visigoths. As I said earlier, these Jews would establish the unofficial Jewish kingdom of Septimania in the Languedoc on the (French) north-eastern side of the Pyrenees. The region was variously known as Gallia Narbonensis, Gallia, or Narbonensis, with the city of Narbonne acting as its capital (see map below).



The name "Septimania" may derive from the Roman name of the city of Béziers, Colonia Julia Septimanorum Baeterrae, which in turn alludes to the settlement of veterans of the Roman VII Legion in the city. The name can also be an allusion to the seven cities (civitates) of the territory: Béziers, Elne, Agde, Narbonne, Lodève, Maguelonne, and Nimes. Septimania extended to a line halfway between the Mediterranean and the river Garonne in the northwest; in the east the Rhône separated it from Provence; and to the south its boundary was formed by the Pyrenees. See: Septimania - Wikipedia

However, you will note that this region, which includes Bézu, Rennes-le-Château and the mountain of Pech Cardou was at one time called “Gallia”. This makes me wonder if this is what the C’s had in mind when they said:​

Q: Are the Ishmaelis also the carriers of the knowledge of levitation, the cult of the head or the skull...

A: Try to connect to the Templars.

Q: Did the Templars discover the secrets of the Ishmaelis, the Assassini, and is this what they carried into Europe, and then underground?

A: Buried in Galle.

Can we dare to propose here that the C’s might have meant Gallia? Just to confuse things further, when the C’s were asked whether the Galle was Gaul, the name the Romans gave to what later became France, they said:​

Q: (L) What is the difference between Galle and Gaul?
A: Clue.
Q: (L) Do they both refer to France?
A: No.
Q: (L) Does Galle refer to Rhineland?
A: Close.
Q: (L) I discovered today that one of the Maltese islands, the one that is now called Gozo, was once called "Gaul." Is that getting closer?
A: Close.

It is odd that the C’s should respond that Galle did not mean Gaul (now France - named after the Germanic Franks) but that it was close to the Rhineland in Germany and close to Gozo in Malta. The Visigoths were, of course, a Germanic tribe who conquered that area of France and Spain and the Phoenicians who had settled in Spain had come via Malta. Hence, by this rather indirect path were they trying to draw our attention to Gallia in the French Pyrenees. I appreciate that subsequently Laura came up with another possible connection to Galle and that was to St. Gallen in Switzerland, which is named after an Irish monk who established what may be the oldest monastery in Catholic mainland Europe:​

Q: 'One stone.' And a stein is a cup and a stone at the same time. So, Triesen is in the 'beautiful countryside between the Rhine and the alpine world.' There is an alp called Lawena, nearby Lake Constance, and the Swiss canton of St. Gallen. You said something about being buried in 'Galle' and this seems to have all the related elements collected together... all the key words... so am I...

A: On the right track? It looks good.

In an earlier post titled ‘Buried in Galle’, I looked at the mystery of the Drachenloch (the Dragon’s lair) Cave near Vattis in the Swiss Alps, which is close to the Canton of St Gallen in Switzerland. In 1917, archaeologists found inside the cave an altar, which consisted of a rectangular stone chest with a great stone slab as a lid. Inside the chest seven bear skulls had been placed with their muzzles pointing to the entrance of the cave. Intriguingly, “Galle” in German may mean ‘a godforsaken place’.

In the session dated13 June 1998, when Laura said “... there is an alp called Lawena, nearby Lake Constance, and the Swiss canton of St. Gallen”, the C’s responded: “On the right track? It looks good”. ​

Subsequently, in the session dated 21 June 1997 they C’s said:

A: Alfalfa fields in Rhineland yield as of yet undreamed of treasures.

Q: Where are these alfalfa fields?

A: Near tracks well worn.

In that post I argued that the C’s reference to ‘tracks well worn’ may have been to ancient bear tracks, which lead to the Drachenloch (the Dragon’s Lair) near St. Gallen. I also asked in that article whether the Grail could have been hidden there, perhaps by exiled French Knights Templar who had fled France in 1312. It is known that a group of French Knights Templar fleeing France after the suppression of their order found sanctuary in Switzerland and helped some of the Cantons to achieve independence, so helping to establish the modern Swiss Federation. Is it possible they brought Baphomet/the Grail with them and hid it in the Dragon’s Lair to await later retrieval?

Let us propose for the sake of argument that they did hide the Grail there temporarily. Where might they have taken it afterwards? My suspicion is England. If so, this might explain the famous ‘cutting of the elm’ incident at Gisors in 1188. Could that incident have been caused by the fact that the Templars at Gisors possessed the Grail (which could have been found at the ancient city of Petra by the English Knight Templar Ralph de Sudeley – see my earlier article The Knights Templar, Jeremiah and the Ark of the Covenant), who now enjoyed the protection of the English King and did not want to hand it over to the Priory of Sion, who enjoyed the patronage of the French King. If it was subsequently brought to England, where might it have been hidden? The answer to this requires a separate post but the fact that the last Grand Master of the Knights Templar Jaques de Molay happened to visit England prior to his arrest and imprisonment may provide us with a clue. But if the Grail had been in England, where did it go to after that? The answer would seem to be the South of France.

Let us also recall that the Knights Templar are regarded by many as being the progenitors of modern-day Freemasonry, including by Freemasons themselves. There are also strong arguments advocating that the Templars had an inner circle that was aware of secret esoteric knowledge that the outer circle of the order was not privy to. I hope to expand on this point in a follow-up article. Freemasonry itself would also appear to have an elite inner circle, since the C’s have said that the upper or highest levels of Freemasonry are the Illuminati:​

Q: (L) How do the Masons relate to the Illuminati?

A: Masons are low level branch.

You may also recall that I have also mentioned a relatively modern secret society or group that has been very influential in the background of world politics in recent years and even has the word “circle”, in its name which is Le Cercle. This leads me to ponder the deeper significance of what the C’s said here in response to Laura speaking about the secret of the Templars and the C’s reference to “buried in Galle”:​

Q: (L) Exactly. Anyway, somehow, all this connects backward to something that Solomon used to build his temple, and you told us previously that the secret that the Templars discovered UNDER the temple, was something that related to anti-gravity and that it was ‘buried in Galle.’ So, yes, we are going in circles. Can you comment on my comments?

A: Circles, hmmm...

Q: (L) Yes, they are circles. The next thing we come to is that I discovered that alfalfa, in fact, a very particular type of alfalfa, does, indeed, grow in the German highlands. And, in fact, this alfalfa was brought via a route that you described... as France, Spain, Canary Islands, Morocco. I was asking about this story of the purported travels of Mary Magdalene, and you said that the people were not important, that the message was. You then said that the ‘artifacts hold the key’ and listed this sequence of places. I found a paper on the subject of alfalfa which described this exact route of the spread of alfalfa and its value in farming because it literally replenishes the ground it is grown in. So, it seems that you were describing the route of the alfalfa plant. Can you comment on this?

By circles, were the C’s referring, inter alia, to the inner circle of the Templars that may have been responsible for hiding the Grail and, if so, did they bury it in Galle or Gallia?

Again, the existence of an inner circle possessing secret esoteric knowledge that the outer circle is not aware of would appear to be true of the worldwide Rosicrucian movement too, at least according to the C’s:​

Q: Who or what brought about the end of the Knights of the Temple?

A: Rosicrucians move as a "thief in the night."

Q: (L) But, as I understand it, the Rosicrucians did not come into being until after the end of the Templars...

A: No.

Q: (L) Do you mean that the information that came out, that pamphlet about "Christian Rosenkreutz," that is a purported fable, might be correct?

A: Yes.

Q: (L) Well, goodness sake! The Rosicrucians advertise in magazines!!! Is this worldwide organization that promotes itself so blatantly...

A: Well, the "world-wide" order is not all inclusive.

Q: (L) Is there an inner circle of this order that is unknown?

A: Yes.

Q: (L) Are the Rosicrucians connected to the Masons?

A: In a roundabout away.

Q: (L) Are the Illuminati connected to the Rosicrucians in any way?

A: Same.

Q: (L) Of the three I have named, which would be considered the one that is closest to the inner circle?

A: Not the correct concept.

Later in that session, Laura asked the C’s a question about the Priory of Sion, which played a major part in Lincoln, Leigh and Baigent’s book The Holy Blood and the Holy Grail. We should note here the C’s response to Laura’s query:​

Q: (L) The Priory of Zion, that has been purported to be the progenitor or inheritor of the Templar tradition, is that a mystical organization of great secrecy and import?

A: It is a cover for.

Q: (L) Another smoke-screen.

A: Yes.

I would therefore ask whether the Priory of Sion was in fact a cover for the Rosiscrucians, since the C’s have hinted that the Rosicrucians have a much older pedigree than people realise since they are the modern day counterparts of the Rosteem. But this mention of the Rosicrucians brings us back to the issue of circles again and comments the C’s made, which appeared to link the Rosicrucians with Stonehenge (a circular stone structure, which the C’s said was built by the Druids):
​

Session 12 July 1997:

Q: Okay! I can accept that! What was Berenger Saunière collecting all those rocks for?

A: What about conductor?

Q: What do you mean?

A: What conducts?

Q: Was he building a little Stonehenge?

A: Have you researched the power of Stonehenge, and how it relates... where it fits in?

Q: Yes, we are bit by bit collecting things...

A: Well? And crop circles? Amazing connections... And what of "The Rosy Cross?"

Q: Well, this is what we are looking at! I have even discovered that Sir Francis Bacon's name is even derived from "beech," and that his Latin signature has the gematria number of 17 - and January 17 is the feast day of St. Anthony, who replaced St. Augustine in this affair somewhat... and I have connected the Rosicrucians all over the blasted planet, for crying out loud! And, who is who here? Just who are the good guys?

A: Airports are used by both.

Q: Well, what is THAT supposed to mean?

A: Transdimensional Atomic Remolecularizer.

Q: You mean there is a TDARM at the Denver Airport?

A: Not that simple... and much, much deeper meaning

[…]

Q: Okay, what is this P-S related to that appears on the stone slab from the Rennes le Chateau churchyard? Everybody is talking about the "Priory of Sion." But what does this P-S mean? Is that it?

A: Look into ancient tongues...

Q: Ancient tongues? Get me a little closer to it!

A: Swords, daggers pierce...

Q: Is this P-S something about "Percy?" Swords, daggers, pierce... Damascus? Damascus steel? [MJF: The Assassins, who had an unusual relationship with the Knights Templar were strongly connected to Damascus and normally used daggers to assassinate their victims, as did the Jewish Sicarii or “dagger men” of the 1st century AD.]

A: Search for learning.

Q: Okay. Now, I have got this "Et in Arcadia ego" rearranged to "Tiena arca Ida geo." Am I onto something here, or am I nowhere near it?

A: Close. [MJF:OR “I Tego Arcana Dei” – "Begone! I conceal the secrets of God".]

Q: And we have the Rho-Chi for Rosy Cross, and we have the Ida, which is Tejeda on Tenerife, and we have the REDDIS, which I am interpreting as Rhedae, or Rhea, which is another name for Ceres or Demeter, and REGIS as Dionysus, one being the earth and the other being the spirit, and the CELLIS being the feminine principle, and the Arcis being the masculine principle... and then we have this Prae-cum which is above the spider image. Why is the arrow pointing from the P-S down to the spider? What is the spider?

A: You know of the spider! [MJF: But was the spider really an octopus, a symbol that relates to a modern secret society that’s roots date all the way back to Atlantis? Could there be a link here to the subterranean Nation of the Third Eye?]

Q: Well, yes, but I know what I know, but I don't know if I am getting anywhere!

A: You will when you connect "the dots."

Q: Connect the dots... My God! Swords, daggers.... I GET IT!

A: It is the "destiny!"

But what of the connection between the Rosicrucians and the Druids who built Stonehenge in England [MJF: Could the Grail have once been based there when it was the Cloister of Ambrius?]. The C’s seemed to confirm there was such a connection in the session dated 31 May 1997:

Q: Well, I came to the conclusion that the Rosicrucians are just the new incarnation of the Druids. I mean, the Druids disappeared and the Rosicrucians appeared not too long afterward.

A: Partially.

Q: Julius Caesar had a standard policy of religious toleration. The only exception seems to have been the Druids. He was determined to stamp them out. Why?

A: Their mysterious powers. .

Q: Where did they get these mysterious powers?

A: Knowledge passed down.

It is worth noting here that this session also involved a discussion of the famous statue of the Virgin of Candelaria, which miraculously appeared in Tenerife in the year 1198 AD. The C’s had said elsewhere that the statue was related to certain artefacts that hold the key to the mystery, and these artefacts were buried in France, Spain, Canary Islands and Morocco:

Q: In the information I now have on the Canaries, I found that a strange icon appeared on the island long before the conquest, long before any missionaries or Europeans arrived. The natives were the big, blond types. They said that they knew this icon was divine because following its appearance, there were processions of angels, or divine beings, up and down the beach where it appeared, lights, smells, chanting and singing and so forth. How did the statue of the Virgin of Candelaria arrive on the beach at Tenerife?

A: Teleportation.

Q: Who teleported it there?

A: The "Celts".

The C’s also connected the Rosicrucians to the mystery of Oak Island and to the enclave of alchemists in the Pyrenees, which I have speculated in this article could be based near to Mt. Pech Cardou:​

Session 3 May 1997:

Q: Seeing the unseen. You mentioned once before that the "Rosicrucians act as a thief in the night." You also mentioned that I ought to dig into the Rosicrucians, and I went to the University library, and it was essentially missing...

A: Connect the Rosicrucians to your favourite island by the "beech." Horticulturally, please, and family.

Q: Oak Island?

A: Yup! Then, connect the Pyrenees to the Canaries. [MJF: The C’s confirmed elsewhere that the enclave of alchemists located in the Pyrenees was connected to the Rosicrucians via the 'Great Council of the Elect', as referred to in one of the Rosicrucian manifestos.]

As to the buried artefacts the C’s referred to above, at least one of which is supposedly buried somewhere in southern France, could this particular artefact be the Grail, which the C’s have said was buried in Galle? Is this also the same object which the dark magician Jay Weidner was looking for when he hypnotised Laura during one of the sessions he did with Laura and the C’s?​

Session 26 February 2002:

Q: (L) Jay Weidner says that there is something in the south of France that is very, very evil. Is correct in this assessment?

A: Not really. But those guarding the secrets might be termed as such. Also, they wish to make others think thus. Machiavelli!

Could those guarding the secrets include the inner circle of the Rosicrucians, who may well be linked with the secret enclave of alchemists based in the Pyrenees and in turn with the ancient Rosteem of Giza and the subterranean Nation of the Third Eye? Afterall, Nicolas Poussin, the artist who painted The Shepherds of Arcadia, was allegedly a Rosicrucian at a time when their writings and influence were spreading far and wide throughout Europe. We also know that he incorporated hidden details within his paintings for those who had an awareness of such things. He was also known by the title “keeper of secrets”. Was the secret he was hiding in plain sight in his painting of The Shepherds of Arcadia the location of the Grail?

If Poussin was connected to the Rosicrucians, which included men in their ranks like Sir Francis Bacon who could have been their Grand Master, and in turn with the enclave of alchemists, let us recall then that the C’s were not very complimentary about this group of alchemists:​

Session 16 September 1995:

Q: (RC) And the guy died... (L) That's interesting... Okay, change of subject. Back when we were talking about the pit on Oak Island, and you asked me to do some research on it, the answers I came up with were that the responsible group were alchemists. Is this correct?

A: Yes.

Q: (L) Was one of the alchemists involved Nicholas Flamel?

A: Yes.

Q: (L) Is it true that there is an enclave of alchemists that live somewhere in the Pyrenees...

A: Yes.

Q: (L) Is this the group that you referred to as "The Quorum" in a previous session?

A: Partly.

Q: (L) Do these alchemists use this power as talked about by David Hudson to enhance their longevity and their physical health?

A: And to control.

Q: (L) Are there people in this enclave who live for literally hundreds, if not thousands, of years?

A: Open.

Q: (L) How does this monoatomic gold control others?

A: Too complex to answer tonight, as energy is waning.

[MJF: The C’s subsequently told Laura in the session dated 18 November 1995 that the ingestion of monoatomic gold leads to the“ Total entrapment of the being, mind, body and soul”.]

You will notice from the above that the C’s are telling us that the enclave of alchemists is connected to the Quorum, and they use their power via monoatomic gold to control, which is clearly an STS action. The C’s told us more about the enclave of alchemists in a follow-up session dated 24 September 1995:​

Q: (L) Okay, square one: Is the quorum composed of humans who have been alchemists, who are presently in possession of a substance called "the elixir of life" and which David Hudson calls "monoatomic gold?"

A: And much, much more! Monoatomic gold is but one minor issue here. Why get lead astray by focusing upon it solely. It would be akin to focusing on the fact that "Batman" can fly! Is that the only important thing that "Batman" does in the story? Is it?

Q: (L) Of course not! (R) Batman fights crime!

A: What we mean is that alchemy is but one minor piece of the puzzle.

Q: (L) Okay, I understand. But, understanding the alchemical connection, and its potential for extending life and opening certain abilities, makes it more feasible to think of a group that has been present steadily and consistently for many thousands of years on earth.

A: They are not the only ones! [MJF: This could be a reference to the Brotherhood of the Serpent established by the Reptilians and to the Freemasons, whose origins the C’s said date back to the Osirians, and whose upper echelons are controlled by the Illuminati. In turn, they would appear to have links with the subterranean Nation of the Third Eye and possibly with the secret order represented by the S-Men referred to in Morris Jessup’s book The Case for the UFO.]

Q: (L) Oh! I knew I was opening a can of worms!

Hence, we are looking at a far more complex control structure, one that includes the Quorum, which the C’s described as a “Deeper knowledge organization. Totally secret to your kind as of yet. Very important with regard to your future”. We should also recall here that the C’s said that the Quorum is mostly alien whereas the Illuminati is mostly human. However, it is important to note, especially at this pivotal moment in human history as a grand cycle draws to a conclusion, that the Quorum performs another function and that is as “watchers” who keep track on prophecies (which reminds me of the rebel angels or watchers of the Book of Enoch who rebelled and seemingly went against a level 7, ‘prime directive’ by intermixing their genetics and interfering with mankind’s development:​

Q: (L) How is the Quorum important in regard to the Earth changes?

A: Watchers.

Q: (L) Why is it important to have watchers?

A: Keep track of prophecies.

Andrew Collins’ Vision

I have previously referred to a psychic vision which Andrew Collins had at the end of his own quest for the Grail, as related in his book Twenty-First Century Grail. Having found a strange key at the end of his quest, he then used it for a psychometry reading in an attempt to learn something of its history. In setting out below what Collins saw in his psychic vision; we obviously need to take on trust what he describes seeing as he relates in his book. I am not asking anybody to accept this account verbatim or at all, but I include it here since it does open up possibilities as regards the present whereabouts of the Grail, recalling here that the Cs said the Grail had been "retrieved" and put away for safe keeping” by a 4th density STO mission. Here is what Collins said:

“Only flashes of the future and the past came – seven churches in Rome, underground catacombs, the Order of the Apocalypse, a castle aligned to the sun, the Chateau of Arques, and a horse and cart departing from a large fortified medieval citadel in the heart of the French Languedoc. In the front seat were two monks dressed in simple brown hoods. Once they were out of range, they reached behind and pulled away a sackcloth covering to reveal the presence of the Head of God, the two-faced reliquary previously in the hands of the Knights Templar and smuggled out of England with the help of the White Canons*. Realising their dangerous mission was almost over, and that the priceless relic was now safe, the two men turned to each other and smiled knowingly, as they continued the journey unhindered towards their final destination.”

*The White Canons are the monastic order of the Roman Catholic Church known as the Premonstratensians, otherwise known in England as the Norbertines (who still have a presence in England).

There is much in this passage from Collins’ book that piques my interest, given what I have discussed above. The fact that he saw a castle aligned to the sun, which may be the Blanchefort Tower near to Mt. Pech Cardou, as painted by Poussin in two of his works. He then mentions the Chateau of Arques, which again is near to Mt. Pech Cardou and to the site of the tomb depicted in Poussin’s painting of The Shepherds of Arcadia. We learn that the two monastic figures were departing from a fortified medieval citadel (Narbonne?) in heart of the Languedoc, which we now know fell within the Roman province of Gallia (Galle?). Moreover, they are carrying a two-faced reliquary (N.B. reminiscent of the two-headed Roman god Janus), something they viewed as representing the Head of God or Baphomet, the pure crystal skull. Could this mission Collins and his psychic friend Richard saw be the 4th density STO rescue mission involving the Grail that the C’s spoke of above?

I would make the observation that the Chateau of Arques seems to me to resemble the tower structure depicted in Poussins paintings of the Triumph of Bacchus and the Sacrament of Baptism (which could feasibly be an indirect reference to ‘Baphomet’ – the ‘Baptism of Metis’). I set out below a recent photograph of the well-preserved Chateau of Arques together with close-ups of the towers as depicted in Poussin’s paintings so you can make your own comparison. If correct, this may mean that the Blanchefort Tower, which is to the west of Pech Cardou and was a Templar watchtower rather than a major castle, may be a red herring and the Grail castle was in fact the Chateau of Arques. If anyone has strong views on this, please feel free to post your comments on the thread.

​

Close-up of the small tower in Triumph of Bacchus and Sacrament of Baptism
​

​

The Château d’Arques
​

The Goddess Cardea

There is in fact a Knights Templar cross on the top of Mt. Pech Cardou. In French “Pech” means “sin” or transgression. “Cardou” is also supposedly Irish for, "second teeth" (if true, could this be an indirect reference to the Nephilim, who allegedly had a double row of teeth?). However, the name may also have a connection with the goddess Cardea, or Carda, the ancient Roman goddess of the door hinge (from the Latin cardo, cardinis), Roman doors being hung on pivot hinges. The goddess has also been conflated with another archaic goddess named Carna, as it has been conjectured (by the Roman poet Ovid amongst other) that Carna was a contracted form of Cardina, which links with the Roman adjective cardinalis that in English becomes the adjective cardinal, as in ‘of cardinal importance’, which also applies to the cardinal points of the compass and the four main winds, for winds were considered as under the sole direction of the Great Goddess until classical times. Indeed, Robert Graves (see below) viewed Cardea as the White Goddess under one of her many appellations. As Cardea she ruled over the Celestial Hinge at the back of the North Wind, where she had her starry castle close to the polar hinge (the Pole Star Polaris) around which the millstone of the Universe revolves (ref. Hamlet’s Mill). He also makes the observation that we know from a song attributed to Orpheus by Appollonius Rhodius that the queen of the Circling Universe, Eurynome, alias Cardea, was identical with Rhea of Crete; thus, Rhea lived at the axle of the mill, whirling around without motion.

However, Rhea may also be identified as Rhedae and, as we learned above, she has a special link with the region in which Rennes-le-Château is situated. Indeed, I would ask whether she is in fact the queen after which Rennes-le-Château (‘House of the Queen’) is named and, if so, was the Grail ever kept there at one time in antiquity? As Laura astutely noted Rhedae or Rhea is another name for Ceres or Demeter and it is quite possible, therefore, that the figure of the shepherdess in Poussin’s painting The Shepherds of Arcadia is Demeter, who in turn is Rhea, Rhedae and Cardea. If so, was Poussin deliberately making this connection between Cardea (after which the mountain in the background of the painting is named) and the Grail? I have previously suggested in other articles and posts that if Poussin’s painting was a map, as suggested by the C’s, then it might well be a star map for use by those who followed the ancient practices of geomancy (as the Ancient Egyptians, the Celts, the Knights Templar and the Rosicrucians certainly did) with its connections between the layout of the heavens, star formations, and the terrain of the Earth - applying the Hermetic doctrine of ‘as above, so below’. Recall here that the figures in Poussin’s painting, Hercules, Castor and Pollux, all correspond with various star constellations, with the female figure possibly representing Virgo (although, as she is seemingly pregnant, it could be Cassiopea instead). I hope to develop this star map theme in a later post.

Cardea was a goddess who policed the threshold or boundaries (limina) of domesticity. Ovid writes of her: "By means of her divine presence (numen) she opens things that have been closed and closes things that have been opened." While hinges may seem insignificant, having control of them provided Cardea with great power that she used for good. As the English poet and mythologist Robert Graves said of Cardea in his book The White Goddess “she was the hinge on which the year swung.” Because of her gift, Cardea was revered as the protector of children. As a protective goddess, she was responsible for guarding homes and buildings from malevolent forces. Romans believed that she had the power to avert evil spirits and bring blessings to those under her watchful eye.

She was also associated with Janus, the Roman god of beginnings, and she thus symbolised the transition between the past and the future. Janus, known for his two faces representing the past and the future, found solace in Cardea’s ability to perceive the present—an aspect he himself lacked. Their union brought forth a third face for Janus, visible only to Cardea, and together they became the gods of locks, hinges, and doorways (portals). This connection symbolised the harmony between the past, present, and future.

Given that Andrew Collins saw in his vision two monks carrying a two-faced reliquary on their cart, leads me to think that if this was the Grail, then the figure of Janus as a two-headed god facing the past and the future simultaneously may suggest a legacy connected to the Grail. Indeed, I have connected the Grail directly to the Mother Goddess. who is also the White Goddess of Robert Graves. Hence, it is interesting to note in this context that Graves claimed in his book that Janus was perhaps not originally double-headed, and he may have borrowed this peculiarity from the Goddess herself who at the Carmentalia, the Carmenta festival in early January, was addressed by the celebrants as Postvorta and Antevorta –‘she who looks both back and forward’.

The idea of a third face of Janus symbolising the harmony between the past, present, and future may also mirror the threefold nature of the triple god or goddess, as represented by goddesses like the Celtic Brigid, and it may also establish a connection to the three gorgons where the Medusa was the only one of the three sisters who was mortal and could therefore be killed (as she was by Perseus) since she may have represented the present. As commentators have noted, the story of Perseus slaying the Medusa and cutting of her head may be viewed as one of the earliest stories depicting a quest for the Grail. If the Grail really is the pure crystal skull the Knights Templar revered as Baphomet, which may have had a double face or been double-headed, then the figure of Janus and the head of Medusa (with its wild writhing snakes representing wisdom – Metis) would seem very apt.

In ancient Roman folklore, Cardea’s name became synonymous with witches and practitioners of magic. It was believed that Cardea bestowed her followers with magical powers, particularly those related to divination and spellcasting. To recognise Cardea’s pivotal role in Roman society, special celebrations and rituals were held in her honour. These gatherings marked significant transitions, such as the start of a new year or the opening of important doors. See: ttps://oldworldgods.com/romans/cardea-roman-goddess/ for more on this

Cardea’s domain included not only the literal doors and gates but also the gates of knowledge, opportunity, and transformation. The portrayal of Cardea with keys and locks depicted her as the custodian of passage and protection. Sculptures showcased her holding keys, representing her role in unlocking doors and protecting homes. How apt then when you consider that Andrew Collins gained his psychic vision by means of a psychometric reading of a strange key he and his companions had found in mysterious circumstances outside an ancient English church right under the noses of a group of sinister hooded figures who were carrying out a ritual inside the church at the dead of night, which involved low chants in Latin (the Vicar responsible for the church subsequently confirmed that he knew nothing of these men and confirmed that they were definitely not any choir that he had authorised to use the church for choir practice). For some reason this makes me think of Collins’ reference to the Order of the Apocalypse. If such an order really does exist, could it be controlled by the Quorum who the C’s said acted as watchers who keep track of prophecies? What greater prophecy is there than the Apocalypse with all of its end of the world symbolism?
​

As to the relevance of a key, this makes me think of the following exchange between Laura and the C’s:

Q: So, the Percys DID know something. I understand that the Percy family has a collection of 62 alchemical manuscripts... which is actually how I found out about Alnwick - I was tracking these alchemical texts....

A: But if you go there, do not ask for the key!

Q: Does the current head of the family know the secret?

A: Getting "warmer."

Q: Has this person also been pursuing the secret?

A: Pour suivant.

Q: What does that mean, Frank? (F) For, to follow. (T) Why did you say that in French?

A: Look for clues, and do not have expectations!

The fact that the C’s used a French expression meaning “for following” in relation to the secret (alchemy), suggests they were pointing to France. However, it is their reference to not asking for the key, which they stressed with an exclamation mark, that intrigues me. Perhaps there is an odd synchronicity here that when Andrew Collins went on his Grail hunt, he ended up finding an old, strangely shaped key buried near to the wall of an old country church. Andrew Collins and his companions have certainly participated in their fair share of treasure hunts (recall the Green Stone and related short sword) over the years, but the C’s have also encouraged Laura to participate in her own treasure hunt too: “A: Much else... You know how you like treasure hunts, Laura?!? Then learn to like this one.” As to the key to the mystery of Rennes-le-Château and Poussin’s painting etc., the C’s once told Laura this:​

Q: (L) You said at one point that I should transfer the search to the United States and quit messing around in Europe. I have pored over maps for days, I have examined the index in the Atlas, and, aside from Hot Springs, Arkansas, and Tempe, Arizona, and the Plains of San Augustin, Socorro, Roswell, Magdalena, etc., nothing has really caught my eye. None of those places configure in any way that makes sense to me. Can you help me out here?

A: Horseheads, N.Y.

Q: (L) Does this mean.... Horsehead, New York?

A: Horseheads.

Q: (A) In what way is this to be related?

A: Is a key. Need lots of keys to unlock the house of gables.*

*The House of the Seven Gables: A Romance is a Gothic novel written in mid-1850 by American author Nathaniel Hawthorne and published in April 1851. The novel follows a New England family and their ancestral home. In the book, Hawthorne explores themes of guilt, retribution, and atonement, and colours the tale with suggestions of the supernatural and witchcraft. The setting for the book was inspired by the Turner-Ingersoll Mansion, a gabled house in Salem Massachusetts, belonging to Hawthorne's cousin Susanna Ingersoll, as well as ancestors of Hawthorne who had played a part in the Salem Witch Trials of 1692. The book was well received upon publication and later had a strong influence on the work of H. P. Lovecraft. It is also possible that by “keys” they may be referring to musical keys as well.​

Q: (L) Seven. Seven keys. Aaaaah... there’s Horsecave, Kentucky...

A: Anywhere near Mammoth Cave?

Q: (L) Yes, I believe so. Help me out here!

A: We are.

Q: (L) I feel like I just got picked up by the ‘great Roc’ and carried across the ocean and dropped, ‘SPLAT’ in the middle of another continent, without a clue about where to look!

A: We did not say “quit messing around in Europe.” Just do not limit it to that.

Q: (L) Well, I STILL want to know what is at the root of the mystery of Rennes-le-Chateau, and why all this ‘cottage industry’ in treasure hunting is going on there...

A: Treasure hunters lack patience in their quest.

It is odd that the C’s should refer to Nathaniel Hawthorne’s Gothic romance novel The House of the Seven Gables, a tale with suggestions of the supernatural and witchcraft – Hawthorne’s ancestors having played a part in the Salem Witch Trials of 1692. The reason I mention this is that apart from Cardea being a goddess associated with locks and keys, in Roman folklore, Cardea’s name also became synonymous with witches and practitioners of magic. Moreover, a popular Roman legend associated Cardea with the hawthorn tree, a symbol of protection and enchantment in folklore. It is said that Cardea had the power to bless hawthorn trees, ensuring their magical properties protected homes and ward off evil spirits. Cardea’s connection to the hawthorn tree represented her role as a guardian of thresholds and her ability to keep negative energies at bay. As Ovid said of Cardea, when apparently quoting a Roman religious formula: “Her power is to open what is shut; to shut what is open”. As to keys, Ovid also identified Cardea with the Roman goddess Carnea, who was viewed as holding the keys of the Underworld.

Thus, how curious it is that in response to Laura pursuing the keys required to unlock the mystery of Rennes-le-Château (at the root of which is ultimately the Grail), the C’s should mention to Laura a book written by a man named “Hawthorne”. Given how subtle the C’s clues can be, were they using Hawthorne and his book to direct us to Pech Cardou via the Roman goddess Cardea? Which reminds me that the C’s once told Laura in relation to her line of questioning about the special bloodline: “A: Want revelations? Prepare for "Treasure" Hunt.”
​

Statue of Cardea
​

But a door is also a portal, and it therefore seems apt that the Romans should name the mountain after a goddess who is concerned with knowledge, transformation and the protection of passage. Were the Romans aware, perhaps through local legends, that there was some sort of portal or window in the area?

However, the Celts (Gauls) occupied this part of France long before the coming of the Roman conquerors. Hence, I wonder if the name “Cardou” may have also represented a Celtic goddess, who was then replaced by the Roman goddess Cardea? The goddess I have in mind is Car. Indeed, if the “dou” in the name of the mountain is an abbreviation of the French word “douce” meaning “sweet” in English, the name of the mountain could then be read as “sweet Car”. Indeed, as Laura noted, when the Rosicrucian manifesto referred to the Philosophers of Dancar, (‘Dancar’ being Doncaster in Yorkshire, England), they could have meant the’ philosophers of the goddess Car’:

Q: Okay. Tracking the Triple Goddess back to the oldest references, we get to Kali Ma. There are all kinds of derivations of this name, but the thing that strikes me is the relationship to the goddess Kell, or Kella, as well as to the word kell, Celts, and how this might be transformed into the word 'Cassiopaea.' Can you comment on this?

A: Do not the Celts like "kelly" green?!?

Q: Yes. So. What does 'green' have to do with it?

A: Keep searching... learning is accomplished thusly, and learning is fun!

Q: Yes. I know. Okay, if that is related to Celts, then it must also relate to the Goddess 'Car' which would make the 'philosophers of Dancar' the philosophers of the Goddess Car, the equine term for 'mother' being 'dam' which could easily be converted to 'Dan,' not to mention the relation to the Goddess Danae...

A: Need now to turn you research to Malta.

Q: Yes. So. What does 'green' have to do with it?

A: Keep searching... learning is accomplished thusly, and learning is fun!

Among the ancient British pantheon of gods, the goddess Car stands out as a mysterious and powerful figure. Car, also known as Cale, Io, and Ioua the Moon, is a multifaceted goddess associated with various aspects of nature and magic. Here are some of her intriguing facets:​

• Cailleach Dubh (Dark Old Woman): Car embodies the primal forces of the land, often depicted as an aged crone. She is the guardian of the wild places, the moors, and the mountains.
• Scathach: Car is also linked to the warrior tradition. As Scathach, she imparts martial skills and wisdom to those who seek her guidance.
• Bera, Bride, and Scotia: In Scotland, Car takes on different names, including Bera, Bride, and Scotia. These variations highlight her connection to the land, the moon, and the cycles of life.

Car’s presence weaves through the ancient British landscape, infusing it with magic, mystery, and reverence. She is both the guardian of the wild and the guide to inner transformation.

From my perspective, I find it interesting that Car should be linked in Scotland with Bride (the Scottish version of the goddess Brigit or Brigid of the Tuatha de Danaan) and Scotia, since both these personages are linked, to my way of thinking, with Princess Meritaten/Hagar/Kore and Helle. Meritaten, as Akhenaten’s daughter, would have had access to the Grail before it was stolen by her mother Nefertiti (in the guise of Rachel in the Bible) and handed over to Abraham/Moses.

Car, the ancient British goddess, was revered and worshipped in various ways across Britain. Her cult practices were deeply intertwined with the natural world, the changing seasons, and the cycles of life. Aspects of her worship included:​

1. Sacred Sites and Landscapes:

• Cairns and Stone Circles: Car was associated with ancient burial mounds, stone circles, and other sacred sites. These places were believed to be portals to the Otherworld, where she held sway.
• Mountains and High Places: As the guardian of wild places, Car was especially revered in mountainous regions. Peaks like Ben Nevis (Scotland) and Snowdon (Wales) were considered her abodes. [MJF: This could equally apply to Pech Cardou, since the Gauls in what is today southern France were the Brythonic, Celtic cousins of the British Celts.]

1. Festivals and Rituals:

• Samhain: The festival of Samhain (celebrated around 31st October) marked the end of the harvest season and the beginning of winter. It was a time when the veil between worlds was thin, and Car was honoured as the Cailleach, the Dark Old Woman (the Crone).
• Imbolc: Around February 1st, Imbolc celebrated the first signs of spring. Car, in her aspect as Bride, was honoured as the returning light and the awakening earth.

1. Offerings and Symbols:

• Stones and Crystals: Offerings of stones, crystals, and other natural objects were made at sacred sites associated with Car.
• Moon Symbolism: Car’s connection to the moon was strong. Lunar phases, especially the full moon, were significant in her worship.

The origin of the name “Car” is shrouded in the mists of time, much like the goddess herself. Etymologically, it is challenging to pinpoint a single source, but here are some intriguing possibilities:​

1. Celtic Roots:

Old Welsh: In Old Welsh, “Car” means “beloved” or “dear”. This interpretation adds a layer of tenderness to the goddess’s enigmatic persona [MJF: which could link with the French word “douce” meaning sweet as abbreviated to “dou”].

1. Pre-Celtic Influences:

Some scholars propose that Car’s name might have pre-Celtic origins, connecting it to ancient European deities or nature spirits. These primordial beings often had names tied to natural elements and landscapes.

1. Linguistic Shifts and Adaptations:

Over time, linguistic shifts and regional variations transformed the goddess’s name. Different cultures and dialects would have pronounced and adapted the name in diverse ways.

On that last point, since the Celts were Indo-Europeans, one might speculate whether Car had any connections with Indian Hindu female deities. In previous posts, for example, we have looked at the link between the Black Madonna cult in Europe, which some view as a smokescreen for the Mother Goddess, and the Hindu goddess Kali. This notion is supported by the fact that Kali is called Kali Mata ("the dark mother") and also kālī which can be read here either as a proper name or as a description "the dark or black one". Although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra. Kali originated as a tantrik and non-Vedic Goddess. Her roots are most probably connected to the Pre Aryan-Period. If so, that would suggest her roots may have lain with the Paranthas, the third Atlantean race according to the C’s:​

Q: You also said once that there was a nuclear war in India and that this was what was being discussed in the Vedas when it talks about the 'blue-skinned' people who weren't really blue because they were Celts, and they were flying in aircraft, and they were engaged in this war, etc. Who were the Celts at war with?

A: The Paranthas.

To which they later added:

Q: Were the Vedas written by the Paranthas or written by the Celts?

A: Descendants of Paranthas, as per "Divine guidance".

The C’s have subsequently confirmed that these descendants of the Paranthas were the archaic ancestors of the Tamils/Dravidians of India. With this possible connection between Car and Kali in mind, we should return to Laura’s question: “What does 'green' have to do with it?“.
​

Kelly Green and Kali

The C’s posed the question “Do not the Celts like "kelly" green?!?” with an exclamation mark evidently for a reason. The Celts were Indo-Europeans who may have absorbed a lot of Hindu religious philosophy into their own cosmology as they passed through Asia on their way to Europe and the Middle East. There is, of course one Hindu divinity whose name sounds similar to “Kelly” and that is the goddess, Kali. Surprisingly, she has a connection to the colour green:​

1. Emerald Green: Contrary to the common perception of Kali being entirely black, she is not monochromatic. Instead, she possesses a sparkling emerald green colour. This vibrant hue adds depth to her multifaceted nature. In some depictions, Kali’s fierce form is adorned with this striking green shade, emphasising her power and intensity.
2. Offerings: Devotees honour Kali by offering her food. Interestingly, she is specifically presented with stale food using the emerald or left hand. This ritual acknowledges her transformative energy and her role in both creation and destruction.

Thus, Kali embodies paradoxes — simultaneously fierce and compassionate, dark and radiant. Her green aspect symbolises life force, renewal, and the cyclical nature of existence. This renewal aspect of her nature therefore corresponds with that associated with the Mother Goddess figures found throughout the ancient world including Isis, Ishtar, Inanna, Astarte, Demeter etc. However, Kali has no permanent qualities. Hence, she will continue to exist even when the universe ends. This notion takes us back to Joseph Farrell’s concept of the “primordial nothingness” or the dynamic aether, quantum foam, information field etc. from which the material universe derives.

Kali's most common four armed iconographic image shows each hand carrying variously a Khadga (crescent-shaped sword or a giant sickle), a trishul (trident), a severed head, and a bowl or skull-cup (kapāla) collecting the blood of the severed head. This is the form of Bhima Kali. It is curious that this depiction of Kali should involve a trident, a severed head and a skull-cap used for collecting blood. The severed head reminds me of the story of Perseus and the Medusa, where Perseus killed the Medusa and gave her severed head to his protectress, the goddess Athena (the daughter of Zeus and Metis) who then wore it as a trophy from her belt. Athena was also called "Tritogeneia" whose significance remains unclear. In Ovid's Metamorphoses, Athena is occasionally referred to as "Tritonia" as well. A possible meaning of Tritogeneia may be "triple-born" or "third-born", which may refer to a triad or to her status as the third daughter of Zeus or the fact she was born from Metis, Zeus, and herself. However, this triple-aspect reminds me of the word “Trent” (which could be an abbreviation of “Trident”, a weapon carried both by the Greek god of the sea Poseidon and his son Triton) and the link the C’s made to that term with Baphomet, the Head of God venerated by the Knights Templar:​

Q: What is the definition of the god 'Baphomet,' if they did, indeed, worship such?

A: The holder of the Trent.

This triple aspect of Athena may even reflect in the name of Troy, the capital city of the Trojans who venerated Pallas Athena, since “Troy” means “three”. As to Athena’s connection to Troy, the palladium was a statue of Athena that was said to have stood in her temple on the Trojan Acropolis. Athena was said to have carved the statue herself in the likeness of her dead friend Pallas. The statue had special talisman-like properties and it was thought that, as long as it was in the city, Troy could never fall. In some ways this reminds me of the Ark of the Covenant, whose possession made the Israelites invincible in battle. Could there be a connection between the two things? It is curious then that the river which flows through the counties of Yorkshire and Staffordshire (where Alton Towers is located) is called the Trent, which brings us back to Arcadia once more since the C’s have said:​

A: Arcadia is a crossroads for the one Essene, the Aryan one of Trent.

The reference to “Trent” here seems to suggest a place name rather than an object and makes one think both of Troy and/or the river Trent (which mean the 'wanderer') in England, which flows through territory once held by the Celtic Brigantes tribe, who are named after the goddess Brigantia, Brigid or Bride.
​

Continued in Part 3

 

[MJF]

Poussin's Mountainous Mystery: A Follow-up - Part 3

Summary

Did Nicolas Poussin paint The Shepherds of Arcadia using the mountain of Pech Cardou as a background to draw attention to the mountain as the possible hiding place of the Grail. If so, was he aware of the mountain’s name connections to the goddesses Cardea or Car, the latter being a Celtic mother goddess figure like the Egyptian Isis and the Greek Rhea or Demeter, who may well be represented by the female shepherd figure in his painting. By painting the inscription Et in Arcadia Ego on the tomb wall with the bearded figure pointing to the letters Rho-Chi (code for the Rosy Cross or Grail) on it, was Poussin indicating that he knew this area of the Languedoc was the original Arcadia long before the Arcadia of classical Greece and by the word “Ego” was he implying that the Grail was hidden in this location? Had an ancient tomb with that inscription carved into it been erected at the graveyard in Arques to act as a marker stone, the tomb later being destroyed by Chief Minister Colbert on the orders of King Louis XIV, only for it to be replaced by a replica tomb in 1903?

If the Grail was buried somewhere beneath the mountain of Pech Cardou, could it still be there, or has it been moved perhaps to another mountainside? Are there any tombs or passages within the mountain where you could conceal the Grail? Did Abbé Saunière become aware of any of this? Could there even be a secret group responsible for guarding the Grail (think here of the secret society depicted in Steven Spielberg’s movie Indiana Jones and the Last Crusade who guarded the whereabouts of the Grail - but without the automatic machine guns). These are not questions I wish to tackle in this article, but I do hope to answer some of them in follow-up articles. However, it is worth pointing out that the forces we might think of as the bad guys who are hunting for the Ark of the Covenant and the Grail are no doubt aware of the general location of the Grail, although they are not sufficiently STO tuned to locate it behind the occlusion, which creates a frequency fence around it:​

A: This item is tuned by consciousness. It is of such a frequency that STS gifts are not capable of such precision. The range includes multiple possibility vectors. STS operates within a narrow range.

Q: (R) So they can't make it, but they can use it. So, they have to find one that is already created. (L) Is that possible? (A) Operated by consciousness. (L) They said tuned not operated. First of all we want to ask whether they mean tuned as in tuned when it was created or as tuned as in using. (A) There is this scenario that they will wait until the STO guy will find it and tune it, and still only then they will jump on 'em. (L) Right. Do you mean tuned as in the tuning of the creation or the tuning of the operation?

A: Creation.

Q: (A) Okay. Once it is tuned, it is tuned, right? (R) Yeah. And if it was similar to our simulation then tuning is done by exposing it to similar frequencies. (L) Or maybe assembling it by virtue of frequencies that are produced. But it still needs to be established whether or not they can see it. So we have theorized that the reason they can't find it, the only reason we can see for why they can't find it, is because for some reason it is protected by frequency or something and that they don't know where it is either. Is this correct?

A: Mostly. They have a general idea.

Q: What specifically prevents them from isolating the exact spot and getting it?

A: Occlusion.

Q: (A) What is occlusion? (R) I think that's similar to ...

A: Frequency fence.

Q: (R) Which is similar to what we've been talking about. If you don't have the same frequency it's ... (L) Or they can set a frequency around it that these guys can't tune to and can't penetrate. (R) It becomes invisible in some sense. (L) But they can still in some way detect a region or something. But it can be like noise or something maybe; so much noise that they can't isolate the signal. Is this the reason these people keep coming after us, because they want us to help them find this thing? Is this the reason?

A: More or less. Though not the only one.

As to the STS bad guys referred to above, let us recall that Guy Patton and Robin Mackness in their book Web of Gold: The Secret Power of a Sacred Treasure learned from a British intelligence operative that the British Secret Service, MI6 ( the equivalent of the American CIA) had a whole room dedicated to the mystery of Rennes-le-Château. Why is this? In addition, a former head of Britain’s wartime Special Operations Executive (SOE), who subsequently became a CEO of a leading British financial institution, used his influence via an antiquarian front organisation to purchase a copy of one of the parchments found by Abbé Saunière at his church at Rennes-le-Château from the niece of Abbé Emile Hoffet, who whilst still a student at the Seminary of Saint Sulpice in Paris had been tasked with deciphering the parchment for Saunière. Hoffet had retained the copy and his niece who had inherited it upon his death put it up for sale. Incidentally, the church of Saint Sulpice has an interesting connection to the Mother Goddess, since the original church was built upon the ruins of a Roman temple dedicated to the goddess Isis. Patton and Mackness learned from the man’s daughter that her father had frequently gone on walking holidays in the Pyrenees. This might have been a pure coincidence, of course, and he may simply have enjoyed visiting the region for a ‘get away from it’ holiday. However, seldom are things so straight forward with former directors of spying agencies.

It could be that the British Secret Service are interested in discovering hidden treasure within the Languedoc region, whether this be the famous Visigoth hoard from the Temple of Jerusalem or the lost treasure of the Knights Templar. However, even if such treasure were found, I would have thought it would automatically be claimed by the French government along with its finders. Hence, I think it more likely that MI6’s true interest lies in locating the Ark of the Covenant or the Grail, especially when you consider that MI6 is the successor of the English Secret Service set up by Sir Francis Walsingham under the auspices of Sir William Cecil (later Lord Burleigh) and subsequently headed in the 17th Century by Sir Francis Bacon, a known alchemist and suspected Rosicrucian, who the C’s have linked with the mystery of Oak Island, which they have told us is concerned with a TDARM that is buried there.

Although I have mentioned above the possibility that the shepherdess depicted in Poussin’s painting of The Shepherds of Arcadia could be Demeter, a typical figure of the harvest goddess/ mother goddess, Andrew Collins raises another possibility and that is whether the female figure in the painting could be St Mary Magdalene, which might explain Abbé Saunière’s intense focus on St. Mary Magdalene, the patroness of his church at Rennes-le-Château.
​

The Shepherdess

Andrew Collins has an interesting theory as to who the shepherdess figure might represent for in his view the shepherdess is none other than Mary Magdalene, which may in turn make for an interesting connection between her and the two young beardless shepherd figures shown in the painting, since they could represent the two Johns of the New Testament, i.e., St. John the Baptist and St. John the Evangelist. The two Johns were key figures to, and patron saints of, the Knights Templar, who many believe are the progenitors of the modern Freemasons, whom Poussin may have belonged to by virtue of his being a Rosicrucian (there has always been an overlap between the two groups). We should first note here that the C’s confirmed that Mary Magdalene was indeed a real person:​

Session 2 May 1998:

Q: The Rosicrucians? So, what does that have to do with this bloodline and Holy Grail business, and Joseph of Arimathea and Mary Magdalene... I mean, did Mary Magdalene exist as a person?

A: Yes.

[…]

Q: So, all these stories being made up about all these people and dramatic scenarios...

A: It is not the people but the message, the artifacts hold the key.

Q: What artifacts? Where are these artifacts?

A: France, Spain, Canary Islands and Morocco.

Q: What kind of artifacts are they? Things that still exist?

A: Yes.

Q: Is there any possibility that I am going to be able to find out about, or even actually FIND these artifacts?

A: Of course!!

Q: Does anyone else know about these artefacts?

A: Others are "on the trail."

That last comment may refer us back again to the forces searching for the Grail, such as the Rosicrucians. Although the focus in this article has been primarily on the Grail, the artefacts the C’s have referred to above may well be connected to the Grail in some way. Collins tells us that in Gnostic tradition Mary Magdalene was considered to be the shepherdess who brought back to the fold the lost eleven disciples following the resurrection of Christ. Collins also views the two Johns as representing some kind of dual polarity – life and death, light and darkness, white and black, future and past (a reference which brings us back to the Roman god Janus again, who looks simultaneously to the past and the future).

Collins does not subscribe to the theory promoted by Lincoln, Leigh and Baigent that Mary Magdalene married Jesus and bore his children after they moved to France where they lived out their lives in secret, thus establishing the sang royal Davidic line which the Merovingian nobility subsequently married into. However, he does connect her to the Grail legend in the form of a small chalice or phial, which she used first to anoint Jesus with precious unction prior to his crucifixion and then to collect his blood from his body whilst he was on the cross. Collins believes that his friend and co-researcher Graham Phillips found this small chalice or cup in England, which he subsequently handed over to Collins to aid him in his Grail quest.

The cult of St Mary Magdalene was extremely strong in France in the Middle Ages, so it is unlikely that Nicola Poussin, who was raised as a French Catholic, would have been unaware of it. However, even if he did intend the shepherdess figure to depict Mary Magdalene that doesn’t prove that he believed in the theory that the Magdalene was the secret wife of Christ and the father of his children, since that theory has mainly gained traction in modern times. Moreover, Poussin was a classicist whose works often depicted classical themes that pre-dated the Christian gospels. It is more likely then that the figures in Poussin’s painting represent classical mythical figures such as Heracles, Castor, Pollux and Demeter. We should also heed the words of the C’s here when they said “It is not the people but the message, the artifacts hold the key“.

To be continued.​

 

[Ursus Minor]

As to the use of German references like Flügelrad, we know now that the undergrounders have a presence on the surface world (the C's spoke about there being 2.2 million operatives recently), who no doubt monitor human technological progress and advancements. Perhaps they were keeping a close and wary eye on developments in Nazi Germany at the time, which led to them using that term. Byrd, as a serving Admiral in the US Navy, may have been aware of intelligence reports on these craft that were being seen increasingly by US pilots in the last year or so of the War and may even have known them by that name. I also seem to recall that the C's said the language of the Atlanteans was closest to German, so perhaps they were more used to expressing themselves in German, although learning different languages would probably be a simple intellectual task for 4D denizens of the underground civilisation(s).

Unfortunately I couldn't find that quote, but anyway, hard to imagine how (one of the) Atlantean languages could have survived so remotely from the Mediterranean. Basque has endured in an area which seems to have been a typical survival ground for Atlantean refugees, while Proto-Germanic was situated between the south of Scandinavia and Northern Germany.

I could imagine though that one of the underground races might have been the bearers of an ancient 'Pre-Proto-Germanic' language as they are actually of Atlantean extraction, which doesn't explain the usage of the modern-day High German Flügelrad by the strange host of Admiral Byrd, though.

There is actually something conspicuous about Byrd's north pole/south pole business, as according to his 'secret diary' he was flying off from the Arctic Base Camp on February 19, 1947, while the Admiral had only declared the end of his Antarctic expedition on March 3, 1947. He is said to have given his famous interview to the Chilean paper "El Mercurio"* while still on board (it was published March 5). His ship USS Mount Olympus had reached Wellington (NZ) on March 7.

(*BTW, according to strangehistory.net Byrd did not speak of ‘flying objects that could fly from pole to pole at incredible speeds’ but more correctly ‘the United States could be attacked by planes flying over one or both poles’.)

So we have a botched timeline. Just before the Admiral could have gone on to make fancy explorations at the north pole he should have been debriefed in Washington D.C. A flight from New Zealand to the U.S. must have taken two days back then. Even if we change the February 19 date to March 19, 1947 things won't add up, as Byrd must have taken a couple of days off after his four months down south.

Is the 'secret diary' mere fiction?

Or could it be that the events described have rather taken place at the south pole?

Was this prince of the 'underworld' actually teasing Byrd by using German terms as he knew the Admiral was out to get the Germans hiding out in Antarctica?

Did the Nazis manage to develop secret flying craft in the shape of a Flügelrad or a wheel?

Just assuming...

 

[MJF]

Unfortunately I couldn't find that quote, but anyway, hard to imagine how (one of the) Atlantean languages could have survived so remotely from the Mediterranean. Basque has endured in an area which seems to have been a typical survival ground for Atlantean refugees, while Proto-Germanic was situated between the south of Scandinavia and Northern Germany.

I could imagine though that one of the underground races might have been the bearers of an ancient 'Pre-Proto-Germanic' language as they are actually of Atlantean extraction, which doesn't explain the usage of the modern-day High German Flügelrad by the strange host of Admiral Byrd, though.

There is actually something conspicuous about Byrd's north pole/south pole business, as according to his 'secret diary' he was flying off from the Arctic Base Camp on February 19, 1947, while the Admiral had only declared the end of his Antarctic expedition on March 3, 1947. He is said to have given his famous interview to the Chilean paper "El Mercurio"* while still on board (it was published March 5). His ship USS Mount Olympus had reached Wellington (NZ) on March 7.

(*BTW, according to strangehistory.net Byrd did not speak of ‘flying objects that could fly from pole to pole at incredible speeds’ but more correctly ‘the United States could be attacked by planes flying over one or both poles’.)

So we have a botched timeline. Just before the Admiral could have gone on to make fancy explorations at the north pole he should have been debriefed in Washington D.C. A flight from New Zealand to the U.S. must have taken two days back then. Even if we change the February 19 date to March 19, 1947 things won't add up, as Byrd must have taken a couple of days off after his four months down south.

Is the 'secret diary' mere fiction?

Or could it be that the events described have rather taken place at the south pole?

Was this prince of the 'underworld' actually teasing Byrd by using German terms as he knew the Admiral was out to get the Germans hiding out in Antarctica?

Did the Nazis manage to develop secret flying craft in the shape of a Flügelrad or a wheel?

Just assuming...

You make some very good points here. The timeline is certainly an issue. We are led to believe that the events described by Byrd took place at the North Pole, although the timing suggests he should have been in the vicinity of the South Pole. No doubt, if the incident really did occur, there has been some obfuscation at work. Afterall, this is only a few months before the famous Roswell Crash (or should that be crashes?) where the USAAF quickly changed the news media story of a flying saucer crashing into the ground into that of a weather balloon which had crashed back down to Earth.

Could the story set out in Byrd's secret diary have been made up? Well that is always a distinct possibility. However, what we do know is that something strange occurred down at the South Pole in March 1947, which saw a large scale US Navy expedition terminated and brought home early with reports of numerous American servicemen being treated in hospitals in Chile for serious injuries with a news blackout being imposed. The C's seemed to support the view that not only Nazis but undergrounders had been involved in those events. Hence, I can't rule out that Byrd's strange encounter with the subterranean leader could have taken place at the South Pole rather than at the North Pole, as reported in the story line.​

 

[MJF]

Poussin’s Mountainous Mystery Part 4

In my last post on this subject, we looked at the connections between the Roman gods Janus and Cardea, the latter being a name which may be linked with that of the mountain in the background of Poussin’s painting of The Shepherds of Arcadia, Mt. Pech Cardou. In turn the mountain’s name could be linked with the Celtic goddess Car, whose name is to be found in what seems to be an alternative name for the Rosicrucians where in the famous 17th century Rosicrucian manifesto, the Fama, they called themselves the ‘Philosophers of Dancar’ (a cypher for the town of Doncaster in Yorkshire). Indeed, the name ‘Dancar’ may well combine the names of two ancient mother goddesses Danu (whose name may be linked with the Tuatha de Danaan – the peoples or tribe of the Irish mother goddess Anu, D’Anu meaning of Anu, who may in turn be linked to the Biblical tribe of Dan - see: Danu (Irish goddess) - Wikipedia) and the British goddess Car. It is well known that Roiscrucians like Sir Francis Bacon, who may have been the guiding light behind the plays of William Shakespeare, enjoyed puns of this nature.

I also referred to Robert Graves’s (who viewed Cardea as the White Goddess) opinion that the traditional double-headed image of Janus, which depicts the god looking both ways, right and left, simultaneously, could have been borrowed from Cardea in her guise as Carmenta – ‘she who looks both back and forward’. Nicolas Poussin, who is strongly suspected of being a Rosicrucian, was a trained classicist who specialised in religious and classically themed works. Hence, he would have been very familiar with the classical myths of the Greek and Roman gods. He was also known to have spent much time visiting museums in Rome studying the Roman statues of the gods. I have also advanced the argument that the double-headed image of Janus may in fact be a reference to the Grail itself, which if it is the pure crystal skull the Knights Templar referred to as Baphomet (the ‘Baptism of Metis’ – the goddess of wisdom), may well be dual or even triple faced object, which in turn could establish a reference to the three Gorgon sisters and the head of Medusa with its writhing snakes that the hero Perseus would cut-off and present to the goddess Athena. Perseus would, of course, rescue Andromeda from the Kraken, by using the severed head of the Medusa, Andromeda’s mother being Danae, a name that may well be derived from the goddess Danu or Anu. So, are there any clues in Poussin’s painting that may connect us to Janus and by extension Baphomet and the Grail?​

Well, the C’s suggested to Laura that she should create a mirror image of the painting and see what resulted for clues:

Q: Okay. Now. This woman with this book "The Horse of God," talks about the shadow of the horse in the Shepherds of Arcadia painting that is evident if you turn it upside down. I know that I dreamed that the painting was a map. In terms of this map, what would be the zero meridian that one would use to place the map?

A: There need not be a zero meridian.

Q: Is there any one thing... I doused the picture, and it seemed that the head of the kneeling man with the beard was the important figure. Where, on a map, would one place this head in order to have the other figures in correct alignment?

A: Best to split the image, head-to-head. Vertically.

Q: Split the image and put the same guy head-to-head to his own head?

A: Close.

The below image is one mirror version of the painting that we have already noted displays a chalice in the form of a tree above a forked mountain and the image of a skull created by the heads of the two bearded figures and the tomb wall if you look at it from a distance. It is also noticeable that the figure of the shepherdess (perhaps representing the Grail in the form of the mother goddess) disappears from this version, leaving the Grail to be represented by the shadowy image of a skull.​

I also drew attention in my last post to the figures of the two beardless youths carrying staves who could represent the two Johns of the New Testament, i.e., St. John the Baptist and St. John the Evangelist. I mentioned Andrew Collins’ view that the two Johns represent some kind of dual polarity – life and death, light and darkness, white and black, future and past (a reference which brings us back to the Roman god Janus again, who looks simultaneously to the past and the future). In an earlier post I took up this theme and alluded to statements made by Peter Gardiner and Gary Osborn in their book the ‘The Shining Ones’. Here is what I said in that post:​

The Twins and the Two Johns

This now brings me back to EmeraldHop’e reference to Arcturus in his quote. This also links with another well-known constellation Gemini, since the sign of the twins could be said to be represented in his painting by the beardless twin shepherds who are either standing or kneeling beside the tomb holding staves. I have already suggested they could represent the twins Castor and Pollux (twin stars in the constellation of Lyre) who accompanied Hercules on the Argo in its mission to find and retrieve the Golden Fleece. However, they could also represent two other well-known figures in Christianity, i.e., St John the Baptist and St John the Evangelist, the beloved Apostle.

I have been reading Peter Gardiner and Gary Osborn’s book ‘The Shining Ones’ and thought I would share what they had to say on the topic of the two Johns who, as suggested, may be the alternative figures represented in the painting. They point out that the Egyptian trinity of Isis, Osiris and Horus is linked with the Knights Templar and John the Baptist. If Poussin was a Freemason, then the Freemasons, who see themselves as heirs of the Templars, would share this veneration of the saint in spite of its overt links with Catholicism (although Poussin was, of course, a catholic himself, educated by the Jesuits, whose brothers were an archbishop and priest respectively). You will recall that the Templars were accused of worshiping the ‘evil’ image of a human head – a carved head reliquary – which they called ‘Baphomet’. We have previously discussed what the term Baphomet may actually connote, i.e., the ‘Baptism of Metis’ or Sophia/Wisdom. I hope to have more to say on this subject in due course.

According to Gardiner and Osborn, this carved head has been described as having two faces back-to-back or perhaps three heads or faces – two faces back-to-back with a third placed centrally (like the three-headed Celtic god Bran). Some say that Baphomet had the face of a man or a woman or both. But if it had two faces, then in Gardiner and Osborn’s view, they think it was most probably a head with a male and a female face back-to-back, in which case it was more than likely modelled on the two-faced Roman god Janus, the god of new beginnings and/or endings, of spiritual portals and gateways. (see the alternative double image).
​

The alternative double or mirror image I was referring to was this one:

In this image, the reference to Janus is obvious. However, so is the link to the Grail since one can discern the shadow image of a grail or chalice under the double head, which the two young shepherds are pointing to. Below this can be seen a pyramid again, at the bottom of which may be a platter (another device for the Grail), which may have two birds (doves?) at either end since I can make out a head and a beak in each case (see close-up image below). For more on this see my earlier post in: Session 24 June 2022 | Page 23 | Cassiopaea Forum.



The dove was, of course, an image of the Holy Ghost or Holy Spirit in Christian iconography but was also a bird associated with the goddess Athena. We should also recall here that a swooping bird is a significant feature in David Teniers’ painting of the Temptation of St. Anthony the Hermit, the version which does not depict any temptation but does depict a skull with a cross – which ties in with the statement found in the obscure parchment discovered by Abbé Bérenger Saunière at his church at Rennes-le-Château: SHEPHERDESS, NO TEMPTATION. THAT POUSSIN, TENIERS, HOLD THE KEY.

Again, we see a reference to a “key” here, which ties in with Cardea who was a goddess linked to keys. Thus, it may be significant that in the first mirror image the shepherdess, who may be Cardea – the White Goddess and a cypher for the Grail – disappears from view, which may signify that she is the Grail that has been hidden somewhere in the mountain. In this connection, it may be significant that in this second mirror image we also see a tree like chalice appearing over the mountain top, just as we did with the first version.

Sticking with this second image and the idea that there may be a platter it is worth recalling here something Laura mentioned to the Cs about the crack in the tomb shown in the painting of The Shepherds of Arcadia:​

Q: What was the niche in the Queen's Chamber that resembles the crack in the stone in the Arcadian Shepherd's painting, as well as the window in the St. Anthony painting. What was this for?

A: Mind accelerator.

Q: Was there like a chair there where you could sit, and the energy converged there?

A: Close.

Q: One thing that has been driving me nuts is the repeated representation of knees. I mean, they are everywhere. In the zodiac of Dendara there is even a leg with the knee joint as a constellation. And in the Bacchus and Ariadne painting, someone is brandishing a leg. What is it with this knee. I know that the word is related to genes, and that the word 'patella' is related to the root of platter, and thus 'grail,' all of these funny ideas are connected to the knee. Even my name!

A: Yes, so leave it until you have more pieces.

Laura here makes a link here between Ariadne, who may yet be another mythological figure represented by the shepherdess in the painting, and the brandishing of a knee, a word related to the word 'patella' and thus related to the root of “platter”, and thus 'grail.' This observation may in fact hold the key to the second mirror image version of the painting since you can see the two young shepherds brandishing their knees, one his right knee and the other his left knee, whilst pointing at the double-headed Janus figure who in turn is pointing to the letters R and C representing the Rosicrucian RhoChi or Rose Cross. Meanwhile the shadow image of a platter can be seen below the chalice image on the wall of the tomb out of which the chalice is emerging. It may be important to recall here that in Chrétien de Troyes’ tale of Perceval and the Holy Grail, the hero Perceval has a dream like vision of the Grail being carried in procession through the Grail (Fisher King’s) castle, in which he sees young men and women carrying magnificent objects from one chamber to another. First comes a young man carrying a bleeding lance, then two boys carrying candelabra. Then a beautiful young girl emerges bearing an elaborately decorated grail. Finally, another maiden carried a silver platter. They passed before him at each course of the meal. There is little doubt that Poussin would have been aware of the significance of Chrétien de Troyes tale of Perceval and may well have understood its meaning.

In passing, it has been noted that there are possible parallels in Perceval with the Irish mythological race of the Tuatha De Danann. The race has three central talismans, a spear, a cauldron, and a sword, that correlate with the spear, grail, and sword present in Perceval. Chrétien's Perceval also includes many similarities to the Irish saga The Boyhood Deeds of Fionn. The main character, Fionn mac Cumhaill, is raised in isolation and undergoes many adventures akin to those of Perceval, suggesting that the narrative may have been a source of inspiration for Chrétien. If true, then the tale takes us back to the goddess Danu or Anu of the Tuatha De Danann and to the Dagda’s Cauldron, which could resurrect the dead (like a TDARM) and is likely a metaphor for the Grail and its powers. It also links us with the triple goddess Brigid, who was either the daughter or wife of the Dagda. If the Dagda was Abraham/Moses, then he was in a way both her husband, as her lover and the father of her son Ishmael, and her father, as her stepfather via his marriage or relationship to her mother Nefertiti/Sarah.​

I would also remind readers of comments Laura made on Poussin’s work:

His [Poussin’s] buildings are painted to exact descriptions by ancient writers. In his desire for accuracy of detail, he left nothing to chance. [MJF: This is not doubt true of his landscapes too.]

His "Et in Arcadia Ego" is described as a pastoral poem out of Vergil. They are described as being "pensive" and "melancholy" that it is a "meditative study”. But, interestingly, the "art experts" also say that the Shepherdess is the continuation of the "vertical axis" of the tree while the shepherd on the left, with his resting arm, provides the horizontal axis, and that every gesture and line follows this initial "cross”, with "all the cool logic of a geometrical theorem."

Well, I wonder if art critics REALLY see all this sort of thing in a painting, or if they just want to sound clever. I do notice that the shepherdess' head is right in the middle of a tree branch, almost as if it were a halo. But I don't know what kind of tree it is.

Well, nevertheless, the figure is pointing to the “RhoChi” (the Rose Cross) of the Rosicrucians, shepherds are depicted, a woman as a type of a tree.

Laura is correct when she says that the female shepherdess appears to have a tree halo surrounding her head. Halos are normally halos of light in sacred paintings and are used to denote sanctity or divine status. Hence, is Poussin indicating that the shepherdess is a goddess figure, in the same way that Christ is often depicted in art as the ‘Good Shepherd’ who tends to his flock? However, it is her comment that the shepherdess is depicted as a type of tree, but Laura does not know what kind of tree it is. Perhaps it is not a genus of tree so much as a metaphorical tree here. I say this, because Kathy Jones, a British writer who focuses on the British Goddess states in her book The Ancient British Goddess that:​

“In ancient Britain the Goddess was the One who expressed Herself through the Many. She was the great Void, the Beginning of all things. She was the Source of Life, the Creatrix, Continuer and Destroyer of all that exists. She was the Matrix, the Great Mother, Spinner of the Thread of Life and Destiny, Weaver of the Web of Continuity and Cutter of the Thread at death. All souls were born from Her sacred Womb, lived for a span upon Her Body the Earth, then returned to Her Tomb/Womb at death. She was Mother of the Stars in the Heavens and of all Nature. She was the Tree of Life.

She was the Maiden, the Mother, and the Crone; the Virgin, the Lover and the Whore. The Holy Grael of Immortality, the Chalice of Love and the Cauldron of Transformation were all in Her keeping, reflecting Her Triple nature. She was the Three, Nine and Nineteen Sisters, Ladies, Maidens, Mothers, Faerie Queens, Crones or Hags, who expressed themselves through the fourfold cycle of Her seasons.”

Jones gives a whole plethora of names by which the Goddess was known in Ireland, Scotland, Wales, and England at one time or another. These include, inter alia, Brigit, Bride, Elen, Helen, Tara, Tea, Scota (or Scotia), which you will note are all names that I have connected with Princess Meritaten. In addition, Jones refers to the ‘Lady of the Lake’ as one of the many titles she is known by in England where, in this guise, she notably features in the mythology associated with the legendary King Arthur, including the role of providing Arthur with the magical sword Excalibur and taking the dying Arthur to the mysterious Avalon. Let us not forget here that a magical sword was also one of the renowned four treasures associated with the Tuatha de Danaan, who included Brigid amongst their number, another treasure being the Cauldron of the Dagda (a cypher for the Grail). These treasures have been immortalised in the four suits of the modern common deck of playing cards.

However, it is Jones’ reference to the ‘Tree of Life’ which particularly intrigues me here since this may have been what Poussin was trying to depict in his painting? This in turn may connect us with what the C’s were hinting at here:​

Session 16 August 1997:

Q: I noticed in Genesis Chapter 33, verse 11, it says that Jacob, who wrestled with the angel the previous night and was on his way to see his brother Esau, who he had tricked into giving up his blessing years before, “gave Esau the blessing”. What was this? The birthright from his father or the blessing Jacob received from the angel?

A: Trampled leaves of wrath.

Q: This is what Jacob gave to Esau?

A: Yes, and what is the "core" meaning there?

Q: I don't know. What is the core meaning?

A: Leaves are of the Tree of Apples, from whence we get the proverbial "grapes of wrath," the Blue Apples incarnate!

Q: Why are these leaves 'trampled?'

A: Removes chlorophyll.

Q: What is the significance of the chlorophyll?

A: When the chlorophyll dies, the autumnal equinox is at hand.

Q: Did this signify something about the autumnal equinox?

A: Discover what the significance is, my Dear!

The reference here to leaves, and thus to trees, and the dying of chlorophyll at the onset of autumn reminds me of the mother goddess figures of antiquity like Inanna and Persephone who spent part of each year in the underworld.

In ancient Greek mythology and religion, Persephone, also called Kore or Cora, was the daughter of Zeus and Demeter. She became the queen of the underworld after her abduction by and marriage to her uncle Hades, the king of the underworld. The myth of her abduction, her sojourn in the underworld, and her temporary return to the surface represents her functions as the embodiment of spring and the personification of vegetation, especially grain crops, which disappear into the earth when sown, sprout from the earth in spring, and are harvested when fully grown. Persephone as a vegetation goddess and her mother Demeter were the central figures of the Eleusinian Mysteries, which promised the initiated a happy afterlife. The origins of her cult are uncertain, but it was based on ancient agrarian cults of agricultural communities. She was known under variant names: Persephassa, Persephatta, or simply Korē (Κόρη, meaning "girl, maiden"). The surnames given to her by the poets refer to her role as queen of the lower world and the dead and to the power that shoots forth and withdraws into the earth. Her common name as a vegetation goddess is Kore, and in Arcadia she was worshipped under the title Despoina, "the mistress", a very old chthonic divinity. Plutarch writes that Persephone was identified with the spring season, and Cicero calls her the seed of the fruits of the fields. In the Eleusinian Mysteries, her return from the underworld each spring is a symbol of immortality, and she was frequently represented on sarcophagi or tombs [MJF: the seeds of apple trees are, of course, apple pips and in English we find these at the “core” or centre of the apple.]

Demeter and her daughter Persephone were usually called, inter alia, the Great Goddesses in Arcadia, and were often distinguished as "the older" and "the younger" in Eleusis.

Demeter, when she found her daughter had disappeared, searched for her all over the earth with Hecate's torches. In most versions, she forbids the earth to produce, or she neglects the earth, and, in the depth of her despair, she causes nothing to grow. Helios, the Sun, who sees everything, eventually told Demeter what had happened and at length she discovered where her daughter had been taken. Zeus, pressed by the cries of the hungry people and by the other deities who also heard their anguish, forced Hades to return Persephone. Hades complies with the request, but first he tricks Persephone, giving her some pomegranate seeds to eat. Hermes is sent to retrieve her but, because she had tasted the food of the underworld, she was obliged to spend a third of each year (the winter months) there, and the remaining part of the year with the gods above. With the later writers Ovid and Hyginus, Persephone's time in the underworld becomes half the year.

In the religions of the Orphics and the Platonists, Kore is described as the “all-pervading goddess of nature”, i.e., the great Mother Goddess or White Goddess, who both produces and destroys everything [think also of Kali here], and she is therefore mentioned along with or identified as other such divinities including Isis, Rhea, Ge, Hestia, Pandora, Artemis, and Hecate. In Orphic tradition, Persephone is said to be the daughter of Zeus and his mother Rhea, rather than of Demeter. The mention of Rhea here leads me to recall what I said in the previous part of this article:

Robert Graves (see below) viewed Cardea as the White Goddess under one of her many appellations. As Cardea she ruled over the Celestial Hinge at the back of the North Wind, where she had her starry castle close to the polar hinge (the Pole Star Polaris) around which the millstone of the Universe revolves (ref. Hamlet’s Mill). He also makes the observation that we know from a song attributed to Orpheus by Appollonius Rhodius that the queen of the Circling Universe, Eurynome, alias Cardea, was identical with Rhea of Crete; thus, Rhea lived at the axle of the mill, whirling around without motion.

However, Rhea may also be identified as Rhedae and, as we learned above, she has a special link with the region in which Rennes-le-Château is situated. Indeed, I would ask whether she is in fact the queen after which Rennes-le-Château (‘House of the Queen’) is named and, if so, was the Grail ever kept there at one time in antiquity? As Laura astutely noted Rhedae or Rhea is another name for Ceres or Demeter and it is quite possible, therefore, that the figure of the shepherdess in Poussin’s painting The Shepherds of Arcadia is Demeter, who in turn is Rhea, Rhedae and Cardea. If so, was Poussin deliberately making this connection between Cardea (after which the mountain in the background of the painting is named) and the Grail?

It is noticeable too that in Poussin’s painting the figure of the shepherdess appears to be pregnant, which may have been Poussin’s way of establishing a link between Persephone/Kore, who represents the maiden aspect of the White Goddess, and Demeter (aka or linked with Rhedae, Rhea, Ceres, Cardea and Car) who represents the mother aspect the White Goddess connected to the fecundity of the earth. Demeter was the Olympian goddess of the harvest and agriculture, presiding over crops, grains, food, and the fertility of the earth. Although mostly known as a grain goddess, she also appeared as a goddess of health, birth, and marriage. Like her mother, Persephone was viewed as a fertility goddess.

Although the C’s linked what they said about the “core meaning” (see above) to the figure of Kore, an alternative alias of Persephone, they also linked it to a real and specific person who they said was the last living member of the Perseid family:​

Session 2 February 2003:

Q: (L) What was the blessing he gave to quote Esau, if giving the object to the "angel" was the event of returning the ark? What was the story there?

A: Two separate events.

Q: (L) So, he returned the ark to the so-called angel. And then, he gave something to someone else. Previously, when I asked about this, you said that what he gave to Esau was "trampled leaves of wrath, the blue apples incarnate," and remarked that I should inquire into the "core meaning."

A: And who was "Kore?"

Q: (L) Was this Abraham's daughter?

A: It was the last living member of the Perseid family.

Q: (L) Was it a male or female?

A: Female.

Q: (L) And how did Abraham come to be in possession of this female?

A: Search the text and you will see.

Q: (Galahad) If this person was the last member of the Perseid family, does that mean that Paris was a member of this family? [MJF: Paris = Abraham/Moses here]

A: No.

Q: (L) Was this person someone who was part of Abraham's group because he kidnapped her?

A: That is going in the right direction, though not quite that simple.

[…]

Q: (L) Going back to this person - the last living member of the Perseid family - who was handed over by Abraham in his Jacob persona to someone else, who was this person handed over to and why?

A: For protection from the fury of "Helen." [MJF: Helen being Queen Nefertiti and the biblical Sarah, the wife of Abraham.]

Q: (L) So, there is a reflection of that in the story of Hagar the Egyptian. Who was she handed over to?

A: The "Dragon Slayers." [MJF: Who I think were the Tuatha de Danann or the Tribe of Dan]

As those of you who have followed my work will know, I have connected the biblical Egyptian maid servant Hagar to Princess Meritaten, the oldest daughter of Pharaoh Akhenaten and Queen Nefertiti. The C’s effectively confirmed this in the session dated 23 August 2001:

Q: (L) Did Sarah, known to the Egyptians as Nefertiti, give birth to a child when she was 90 years old?
A: No.
Q: (L) Was Sarah the mother of Isaac?
A: Yes.
Q: (L) Why did Abraham want to sacrifice his son?
A: Did not happen.
Q: (L) Who was Hagar the Egyptian?
A: Princess of Egypt.
Q: (L) Was she Sarah’s maid?
A: No.
Q: (L) Was she Sarah’s daughter?
A: Right nurture to.
Q: (L) What do you mean? I don’t understand.
A: Sara’s daughter by Akhenaten.
Q: (L) Did Abraham have a child by Hagar also, his wife’s daughter by another man?
A: Yes.
Q: (L) Well, that’s pretty incestuous. Did Sarah actually get so jealous of her own daughter’s child that she demanded that Abraham abandon her?
A: Close.

However, it is through Hagar/Meritaten’s link to the "Dragon Slayers" (see above), who I think are the Tuatha de Danaan of Irish legend, that we gain a connection to the Irish goddess Brigid or Bride (who may also be the goddess Brigantia after whom a town in northern Spain is named), the daughter, and sometimes wife, of the Dagda who possessed a magic cauldron (the Ark of the Covenant?). In turn Meritaten may also be linked with the famous Princess Scotia of Irish legend, who gave her name to the Gaelic Celtic tribe of the Scoti or Scots after whom Scotland is named. I hope to post an article on a theory promoted by the British archaeologist Lorraine Evans in her book Kingdom of the Ark, which is strongly compelling, that Meritaten was Princess Scotia who fled her homeland of Egypt to arrive in Britain via Canaan, Greece, Morocco, and Spain. Indeed, her epic journey with the Tuatha de Danaan may even explain what the C’s were saying here:

A: It is not the people but the message, the artifacts hold the key.

Q: What artifacts? Where are these artifacts?

A: France, Spain, Canary Islands and Morocco.

Lorraine Evans proposed in her book that Meritaten had travelled first to Mycenae in Greece and then across North Africa into Morocco, then Spain and finally to Britain. Evans argues that it is possible she or members of her party also travelled to the Canary Islands, some of them staying on with the Guanches, which may explain the tales of tall giants being present on the islands, as reported by the first Spanish colonists who arrived there. However, the strange cryptic parchment that Abbé Saunière had deciphered by Abbé Hoffet, also spoke of “Blue Apples”:​

SHEPHERDESS, NO TEMPTATION. THAT POUSSIN, TENIERS, HOLD THE KEY; PEACE 681. BY THE CROSS AND THIS HORSE OF GOD, I COMPLETE – or DESTROY – THIS DAEMON OF THE GUARDIAN AT NOON. BLUE APPLES.

The C’s referred to these blue apples as the “blue apples incarnate”, which they linked with Kore and the trampled leaves of wrath. Blue is a colour associated with royalty and nobility as in the term “blue blood”, which may be linked with the idea of the superior genetics carried within the DNA of royal lines – hence the C’s connecting this concept with the “core meaning”, which they explained as being:​

“Leaves are of the Tree of Apples, from whence we get the proverbial "grapes of wrath," the Blue Apples incarnate!”

The use of the word “incarnate” suggests something in the flesh, which the C’s connected to Kore (Hagar/Meritaten) the last living member of the Perseid family. The Perseid family were linked with Perseus, the mythical founder of the Perseid dynasty and slayer of the Gorgon Medusa (a cypher for the Grail), who established the Kingdom of Mycenae, which was at its heights at the same time as the Egypt of Akhenaten, with whom they enjoyed a very good relationship. Indeed, they may have enjoyed more than that since Lorraine Evans argues in her book Kingdom of the Ark that Akhenaten had Mycenaean (Perseid) royal blood in his veins, which would explain how Meritaten came to be the last living member of the Perseid line (until presumably she gave birth to Abraham’s son Ishmael). This leads me to wonder whether the Percy family, who Laura is descended from, are themselves offspring (i.e., a “branch” with a deliberate reference to trees and DNA – blue apples - here) of the Perseid line. Since Meritaten seems to have had an intimate connection to the Grail that had been in her father’s possession, it leads me to wonder whether the Perseids could have been members of a special “Grail family”, whose special genetics (along with the correct FRV) allowed them to operate the Grail. Indeed, Wolfram von Eschenbach, the author of Parzival, truly believed in the existence of a such a Grail family, who he described as being called on to serve it. Perhaps this familial, genetic link to the Grail went all the way back to Kantek, which may link this group or family to the one the C’s said they were in contact with on Kantek:​

A: If you prefer! We have close affiliation with the "Northern Peoples." Why? Because we were in regular, direct contact with them on Kantek, before they were "lifted" to Earth by Orion STS.

And

Q: You said that there is a group with whom you have been in contact since they were on Kantek. Is this group the Druids?

A: No. We will not as of yet identify.

But what of the C’s reference to the “grapes of wrath”. How does that connect with Blue Apples. The phrase “grapes of wrath” has different meanings depending on the context. It can refer to an unjust or oppressive situation that provokes anger or vengeance, or to God’s righteous judgment and retribution for sin. The phrase “grapes of wrath” is also a biblical allusion to the Book of Revelation, where an angel gathers the grapes from the earth and throws them into the winepress of God’s wrath. The image of the winepress is also found in the Book of Isiah, where it has become associated with Christ’s judgment at the end of time. If the C’s were using it in the context of Kore (Hagar/Meritaten), then this might reflect the wrath of Nefertiti/Sarah against her daughter for bearing a child by Abraham/Moses before she gave birth to Isaac:
​

Q: (L) Well, that’s pretty incestuous. Did Sarah actually get so jealous of her own daughter’s child that she demanded that Abraham abandon her?

A: Close.

Although this is the traditional biblical explanation, you will note that the C’s only say ”close” in response to Laura question about the jealousy motivation. Evidently, the relationship between Nefertiti and her daughter Meritaten was a complex one. When Nefertiti was locked away whilst Akhenaten was undergoing what seems to have been a mental breakdown, Meritaten became a joint ruler (queen) of Egypt with her husband Smenkhare. Her reign, however, was short lived. Meritaten may well have been a daddy’s girl, which could have upset her mother, who seems to have turned against her husband, given that she helped Abraham/Moses to steal the Ark of the Covenant and Grail from Akhenaten and then went into the desert with Abraham/Moses. We should not forget either that Nefertiti was a “deep level punctuator” from the subterranean civilisation and may therefore have been performing a mission on their behalf, just as the 2.2 million undergrounders are currently doing on the surface today. Could this mission have involved the Ark and the Grail? And, if so, could the use of the Grail have become a source of contention between Nefertiti and her daughter Meritaten? Could there be any hidden subtext in the Bible which might actually confirm this?

Well. you may recall that in ancient Greek mythology, Persephone, who was also called Kore or Cora, was the daughter of Zeus and Demeter. However, there is a person in the biblical account of the Exodus who shares a name very similar to Kore or Cora and that is Korah. Korah, though supposedly a man, is a figure in the Bible who rebelled against Moses and Aaron during the journey of the Israelites from Egypt to the Land of Israel. He challenged their authority and claimed that all the people were holy and could approach God (the Ark of the Covenant and Grail?) directly. The biblical narrative also tells us that Korah incited all the people against Moses, arguing that it was impossible to endure the laws Moses had instituted. It should be noted here that the C’s revealed in the transcripts that Abraham/Moses eventually became a tyrant and had to be deposed and replaced by Joshua in the end. As a divine punishment though, Korah and his followers were swallowed up by the earth (the “grapes of wrath”). Or were they? Could Kore have been spirited away by the Dragon Slayers (the Tuatha de Danaan) instead and the biblical tale of Hagar’s abandonment in the Desert of Peran with her son Ishmael is just a cover story?

However, in the Bible, Korah is represented as the possessor of extraordinary wealth, having discovered one of the treasures that the patriarch Joseph (the youngest son of Jacob, who the C’s say was really Abraham/Moses in another guise) had hidden in Egypt. Could this hidden treasure have in reality been the Grail, which was not found by the patriarch Joseph (who the C’s said was really King Scorpion of Egypt) but by Nefertiti instead, in her guise as Rachel, the wife of the biblical Jacob:

Q: Well, that's bizarre. Was King Scorpion of Egypt the "Joseph" of the Bible?
A: Mainly.
Q: Does that mean that Joseph was a composite story?
A: Yes.
Q: Was King Scorpion a son of Sargon the Great?
A: Close.
Q: Was he, as the Joseph story tells, kidnapped and sold into Egypt?
A: No.
Q: Was he sent to Egypt to have a hand in the unification of Egypt and the control system there?
A: Close.

The rabbis of the Talmudic era explained the name "Korah" as meaning "baldness." It was given to Korah supposedly on account of the gap or blank which he made in Israel by his revolt. However, the reference to baldness could just as easily be to that of the bald headed appearance of Princess Meritaten, as depicted in the bust of her that survives today in the Belin Museum, which was discovered in the royal sculptor’s workshop at Amarna, Akhenaten’s capitol city. She may well have been a priestess (and an Illuminatus) of the temple, which required her to maintain her head shaven, only wearing wigs for state occasions.

There is another incident in the Bible though which does speak of a pitched battle between the tribes of Israel, which saw one tribe, that of Benjamin, almost annihilated. The Book of Judges recounts that the rape of the concubine of a member of the tribe of Levi [MJF: who were Hittites according to the C’s as was Abraham/Moses and Sarah/Nefertiti], by a gang from the tribe of Benjamin resulted in a battle at Gibeah, in which the other tribes of Israel sought vengeance, and after which members of Benjamin were killed, including women and children. Again, could this biblical tale have been a cover story, along with that of Korah, for a dispute between Nefertiti and her daughter that erupted into open conflict between the two women and their respective supporters with Abraham caught in the middle. It is a curious thing to note that the southern area of France, including the Languedoc, has long been associated with the tribe of Benjamin, which may even have drawn Mary Magdalene there, since she herself was of the tribe of Benjamin, one of only two tribes, along with Judah and the Levites, to survive the Babylonian diaspora.

The question we need to ask is whether the artist Nicolas Poussin, a master of the classics, could have been aware of any of this hidden history and, if so, did his paintings reflect it? For that matter, could Abbé Saunière have been aware of it too? The two men may have had one thing in common and that is they were both Rosicrucians, Saunière being a Martinist, a modern branch of Rosicrucianism. Thus, they may have been able to draw on hidden Rosicrucian knowledge and traditions to inform them. As we also learned earlier on this thread, the modern day Rosicrucians hold the Pharoah Akhenaten in high regard, seeing him as an ancient master. This might extend to his daughter Meritaten too.

But what of Blue Apples and the “core meaning”. If Blue Apples relates to genetics, then little was known of this in Poussin’s time. Even by Saunière's time, although the subject genetics was an by then an established part of science, it would be many decades after the priest’s death that DNA, the genetic “core” at the heart of all organic life, was discovered. Nevertheless, like the Knight Templar before him, Saunière must have known something about the properties of light since he deliberately designed the stained-glass windows on the north side of his church at Rennes-le-Château so that a spectacular light display occurs there after the winter equinox; the phenomenon seems to occur particularly on and around 17th January, the day Saunière died. The phenomenon looks for all the world like dancing orbs of light, including images of the proverbial Blue Apples (see image below).​

For more on this see: January 17, 2023 blue apples in Rennes-le-Château photos video (portail-rennes-le-chateau.com)

And

Rennes-le-Château: the Blue Apples of Rennes-le-Château deprived of the public - ladepeche.fr

See also video link:

Credit goes to Forum member Maat for bringing this to our attention.

Previously, I also linked what the Cs said about the trampled leaves and the “grapes of wrath” to another passage from the transcripts where the C’s referred to a branch (trees obviously have branches) in relation to the “hollow of the thigh” where an angel of the Lord touched the patriarch Jacob (who was really Abraham/Moses) whilst they were wrestling:​

Q: After wrestling with the 'angel,' Jacob was renamed 'Israel,' which means 'he will rule as a god.' This tends to make me think that this angel whom Jacob seems to have conjured, did something. What was this being that Jacob wrestled with?

A: Elohim provides the conventional response.

Q: And you have told us about the Elohim. Okay. I will look it up. What did it mean when it said that the 'angel touched him in the hollow of the thigh,' which did something to him. What was meant by the 'hollow of the thigh?'

A: Branch.

Q: You mean genetic? His gonads?

A: No.

Q: What do you mean?

A: Ponder. If you ponder this, lightbulbs will illuminate.

Curiously, the C’s linked the once human but now trans-definitive Elohim to a 4th density STS group they called the Rosteem, who were based at Giza in Egypt, and said their modern counterparts were today’s Rosicrucians. As I said earlier, Saunière belonged to a branch of the modern Rosicrucians called the Martinists from which he no doubt would have learned of the Rosicrucians’ secret knowledge and traditions. As to the C’s reference to “light bulbs will illuminate”, the image shown below taken at Saunière’s church at Rennes-le-Château on 17th January might well depict the concept of light bulbs going off and illuminating the church. It may well be his Rosicrucian knowledge that led Saunière to create the effect in the first place, since I very much doubt this phenomenon occurs at that time of year merely by coincidence.



Speaking of light, I would like to refer to a comment Bluegazer made about what may be a special quality of light at the autumn time of the year:​

Hmmm maybe we should investigate what effects are produced during the autumn equinox. From the astronomical point of view, we know that it is when the length of the day is equal to the length of the night. That is to say that sunlight is evenly distributed over both hemispheres. I have the odd idea and I am not sure if it involves some aspect of hyperdimensional physics, but I think it is a time of the year when the energies are balanced and allow the passage from one reality to another.

This brought the following reaction from Maat:

Yes, this last session made me wonder about megaliths too, their location and orientation. Maybe there was some knowledge (discovered ? given ? if so by whom ?) that is now lost.

Could Saunière have known something of this lost knowledge? It should be noted here that another Forum member pointed out that down in the south of France in the region where Rennes-le-Château is located there is a variety of large grapes that are known locally as “Blue Apples”, something no doubt Saunière would have been aware of, as are the C’s apparently. This connection with Blue Apples brings us back full circle to the trampled leaves and the “grapes of wrath” again. But what of trees from which the trampled leaves and Blue Apples come? Which tree did the leaves come from? It would seem the answer comes from an altar relief that Saunière had commissioned for his church (see image below).

​

Abbe Saunière’s altar painting – the Magdalene in the Grotto​

Q: Okay, in this relief painting done by Berenger Saunière in the church at Rennes le Chateau, Mary Magdalene is depicted as gazing hopefully or reverently at a tree branch formed into a cross, stuck in the ground. What kind of tree is it?

A: The "tree of life". [MJF: Is this a reference to DNA?]

Q: Well, I had a different idea... some people say it is an acacia tree. Are you saying it is not a genus, horticulturally?

A: Genus is family tree.

Q: And what family is it a family tree for?

A: Check your Magna for lesson.

The C’s mention here a particular genus of family tree which is linked to the Magna, which could in turn be linked to Magna Graecia. For more on this see my earlier post on this thread: Alton Towers, Sir Francis Bacon and the Rosicrucians | Page 55 | Cassiopaea Forum.

In that post I said the following:​

“In her book, The Woman with the Alabaster Jar, Margaret Starbird, a recognised expert in the sacred feminine and Mary Magdalene in particular, highlights the symbolism of the ‘X’ in classical art. Starbird concludes that it is a sign of concealed esoteric knowledge, meaning quite literally, ‘X’ marks the spot. On this basis, I wonder if the esoteric X she speaks of is what lies behind the well-known ‘Skull and Crossbones’ emblem of Freemasonry.

So, what we apparently have here are four X’s. Gough asks, could Abbe Saunière have been trying to tell us that he has uncovered concealed knowledge and is preserving it for those with ‘eyes to see’?

And could that secret knowledge have related to the Holy Grail? I think the answer is yes ,,,”

Continued in next post​

 

[MJF]

Poussin’s Mountainous Mystery Part 4 Continued

If the Grail is what really lies behind all the mother goddess figures of history, i.e., Robert Graves’s the ‘White Goddess’, who Kathy Jones also refers to as the ‘Tree of Life’, then could she also be linked with the ‘Lady of Light’, who features in so many myths and legends, e.g., as the ‘Lady of the Lake’ in some of the Arthurian stories (see my earlier comments above). Could this suggest that the Grail, like some sort of sentient AI (artificial intelligence), has been able to manifest itself throughout history as a light projection or hologram in the figure of a woman, either as the Maiden, the Mother or the Crone (who are all aspects of the triple goddess)? It is notable that all three aspects of the mother goddess can also be found in the original Grail story of Perceval. And we know that the Knights Templar may well have been the inspiration behind the medieval Grail stories (certainly this is the case with Wolfram von Eschenbach’s Parzival since Wolfram had had personal dealings with the Templars in the Holy Land).

But much in the same way that the Tree of Life was linked by the C’s with the “core meaning” relating to Kore and the trampled leaves of the Tree of Apples (many associate the apple tree with the ‘Tree of Knowledge’ from which Eve would eat), from whence comes the proverbial "grapes of wrath" and the Blue Apples incarnate, could the Tree of Life also be linked with light and with DNA in some way? Perhaps the C’s gave some indication that this was the case in the session dated 11 October 2014:
​

Q: (L) They're saying no, that it's far more pragmatic. Okay, next question... I'm never going to get to my questions that I have! [laughter] Okay, when you say, "the soul and its helpers", what the heck are the soul's helpers?

A: Tribal unit members both in the body and out.

Q: (L) So if you're a member of a tribal unit, you are in a way connected via DNA connections or signals or frequencies with your other tribal members, whether they are incarnated or not? Is that what we're saying here?

A: Pretty much; no man is an island!

[…]

(L) So this takes us back to what they were just saying a minute ago about the soul being able to change DNA itself, or with its tribal unit helpers; that is, you can change your DNA through "Mind through central nervous system connection to higher levels". Now then, going back to this little bit right here about the naturally bonding combination, "the most efficient conductor of chemical compounds for low-wave frequency charge". Well, in another session they made the remark that DNA was a superconductor, and that DNA could also have a core of light. Now, what just happened to make me start thinking about all this was that there was an article: ‘Viruses convert their DNA into liquid form to facilitate cell infection.’

Viruses convert their DNA into liquid form to facilitate cell infection -- Sott.net

(L) So, liquid DNA... What we have here is a little bit of a confirmation of what the C's were saying way back when, that DNA can turn from a solid to a liquid – the truncated liquid reference in the context of genetic engineering - to infect a cell. But we also know that DNA can also produce beneficial changes. The likelihood is that we have DNA that infected us at some point in time. It truncated the flow of some other DNA that's in our cells already there, but it isn't doing anything because it's been blocked by an infection that inserted introns of blockages. The possibility exists, I am surmising, that at some point in time, this could be changed or reversed possibly - probably - virally. Now, am I on to something here?

A: Oh indeed! The times ahead will be most interesting especially if the network both expands to the full tribal unit strength, and many others take the initiative to move up to the next stair step.

So, coming back to the concept of the “core meaning”, we learn from the above that DNA, which goes to the core of our physical existence, has a core of light around it. This should also be linked with something the C’s once said about the “core of existence” being found at 7th density:
​

Session 16 November 1994:

Q: (L) When you reach the seventh level, how would you describe that if 1st level is light?

A: 7th is core of existence.

Q: (L) Well, if seventh density is the core of existence, would that mean that 1st density is the outer edge of existence?

A: Base.

But the C’s also linked knowledge (recalling here the Tree of Knowledge and the apple from which Eve ate) with the core of existence in the session dated 22 October 1994:​

A: This includes all possible meanings of the concept of the word. Can you think of how it would be that simply with one term, this one word can carry so much meaning? We sense that you are not completely aware. You can have glimpses of illumination and illumination comes from knowledge. If you strive perpetually to gain and gather knowledge, you provide yourself with protection from every possible negative occurrence that could ever happen. Do you know why this is? The more knowledge you have, the more awareness you have as to how to protect yourself. Eventually this awareness becomes so powerful and so all-encompassing that you do not even have to perform tasks or rituals, if you prefer, to protect yourself. The protection simply comes naturally with the awareness.

Q: (L) Does knowledge have a substance or an existence apart from its possession or its acceptance?

A: Knowledge has all substance. It goes to the core of all existence.

Q: (L) So acquiring knowledge includes adding substance to one's being?

A: Indeed. It includes adding everything to one's being that is desirable. And also, when you keep invoking the light, as you do, truly understand that the light is knowledge. That is the knowledge which is at the core of all existence. And being at the core of all existence it provides protection from every form of negativity in existence. Light is everything and everything is knowledge and knowledge is everything. You are doing extremely well in acquiring of knowledge. Now all you need is the faith and realization that acquiring of knowledge is all you need.

In this last connection, the C’s also made an interesting statement relating to the “core” when discussing with Ark the concept of ‘quantum formalism’ in the session dated 21 November 1998:​

Q: “… The knowings are not, in the orthodox view, to be regarded as the basic realities, even though they are the realities that the formalism is based upon. […] Thus, there are two powerful reasons for asserting that the quantum formalism does not give a description of reality itself. The first is that this move saves our common-sense intuitions that there is something ’out there’; the second is that it apparently helps to save us from having to admit that there are real faster-than-light effects.” (A) I would like to know who is playing this Stapp and why?

A: Those who are against unlocking the truth are at the “core”.

You will note here that the C’s put the word “core” in quotes, meaning they wished to place some special significance on the use of that term. The C’s have said elsewhere that there are groups who wish to suppress the dissemination of knowledge that could illuminate human thinking. They admitted in the session dated 26 December 1998 that one of these groups is the Nordic Covenant:

Q: Is the Nordic Covenant in any sense similar to any of the things I have read here?

A: It is a mystical thing, not related to theology in a direct sense.

Q: How long has the Nordic Covenant been in existence?

A: 5129 years.

Q: Is the Nordic Covenant made between humans and other humans, or between humans and higher density beings?

A: Mostly between humans and humans, but some of the other.

Q: Does this Nordic Covenant exist on the earth today in similar format as it did at its inception?

A: Yes.

Q: Is this Nordic Covenant the same as you have referred to as the Quorum?

A: No.

Q: Would you say that the Nordic Covenant and the Quorum are in opposition, or just different?

A: Segmented relationship.

Q: Is there any particular thing about this that I ought to ask at the moment that I am not going to discover in the course of my research? The mail group asked a few questions about this, so I thought I ought to approach the subject. Is the Nordic Covenant made between people who are blond and blue-eyed?

A: Not the central issue.

Q: What is the central issue of the Nordic Covenant?

A: Bloodline extends off the planet.

Q: Is this Nordic Covenant a group that is in place on the planet for the purpose of guarding or propagating a particular bloodline?

A: To guard secrets.

Q: What does this secret have to do with a bloodline?

A: You should be able to figure this one out!

Q: Are these people with this bloodline and with these secrets the same ones involved with the genetic engineering of new bodies for the Lizzies to occupy at the point of transition to 4th density?

A: No.

Q: Are these secrets negative to our civilization or race?

A: From your perspective, maybe.

Q: Do these bloodlines have to do with Nephilim?

A: A little.

Q: What secrets are they guarding?

A: Your origins; the nature of your being.

Q: So, this Nordic Covenant is that which wishes to maintain the darkness of our realm, the time loops, the replays, and all that sort of thing?

A: One of the players, yes.

However, another one of the groups who C’s describe as “players” maintaining the darkness of our realm could be the inner circle of the Rosicrucians, who seem very keen on getting their hands on the Grail judging from what the C’s said here:
​

Session 26 February 2002:

Q: (L) Jay Weidner says that there is something in the south of France that is very, very evil. Is he correct in this assessment?

A: Not really. But those guarding the secrets might be termed as such. Also, they wish to make others think thus. Machiavelli.

[…]

Q: (L) We were making some theories about this object that Vincent Bridges was looking for - the Ark of the Covenant, or the Holy Grail. I believe that we understand that this is an object that is of great usefulness, some kind of lensing device. Is that correct?

A: Yes.

Q: (L) Is this something that the STS groups - yeah, we know everybody on earth is STS, but I mean the heavy-duty ones - had at one time and then lost, or lost control of?

A: Yes.

Q: (L) How did they lose it?

A: It was not so much "lost" as it was "retrieved" and put away for safe keeping.

Q: (R & L) Who retrieved it?

A: 4th density STO mission.

Q: (L) Who is it that is looking for it? Is it 3rd density STS or 4th density?

A: Both.

We did, of course, look at who may have been responsible for the retrieval and putting away of the Grail for safekeeping in the previous part of this article. If the Grail is buried somewhere in the French Pyrenees in what was once Gallia (Galle), then it makes sense that the enclave of alchemists, who are seemingly linked with the Rosicrucians, should be based somewhere in or near that region. Am I aware that the Rosicrucians are searching for the Grail in that area? Yes, I am since one of the senior Rosicrucians hunting for the Gail back in the late 1950’s was none other than the French artist and film director Jean Cocteau, who we have encountered before on the Alton Towers thread. Indeed, it was one of the reasons I wanted to mention him since in the book The Holy Blood and the Holy Grail he was named as the then current Grand Master (Nautonnier or navigator) of the Priory of Sion. The C’s told Laura that the Priory was really a smokescreen for something else and I think that something else was the Rosicrucians, not the rank-and-file membership but the more sinister inner circle of that organisation:​

Q: (L) I dug around about the Templars and have, more or less, come to the conclusion that they were just a smoke screen, and that something else was going on at the time that WAS important. I also think that they have been resurrected from time to time and dusted off and blamed for all this secret knowledge that is supposedly lost... am I on to something here?

A: Close.

Q: Who or what brought about the end of the Knights of the Temple?

A: Rosicrucians move as a "thief in the night."

Q: (L) But, as I understand it, the Rosicrucians did not come into being until after the end of the Templars...

A: No.

Q: (L) Do you mean that the information that came out, that pamphlet about "Christian Rosenkreutz," that is a purported fable, might be correct?

A: Yes.

Q: (L) Well, goodness sake! The Rosicrucians advertise in magazines!!! Is this worldwide organization that promotes itself so blatantly...

A: Well, the "world-wide" order is not all inclusive.

Q: (L) Is there an inner circle of this order that is unknown?

A: Yes.

Jean Cocteau

We met Jean Cocteau (1889-1963) in connection with an earlier post I did that discussed his overtly Rosicrucian painting of the cross upon which Christ was crucified in the Roman Catholic church of Notre Dame de France near Leicester Square in London. The mural that adorns the central wall shows the crucifixion, and is notable in that it excludes Jesus's head, arms, torso and legs but does show a prominent rose at the foot of the cross. If that was not a pointer to Cocteau’s Rosicrucian credentials, then I don’t know what is.​

However, you will see above that the painting also depicts the figures of three women who are in attendance upon Jesus at the crucifixion. We see Christ’s mother Mary shown alongside his feet, with a similar jewel-like tear streaming from her eye; the repeated motif emphasising how she is sharing in her son's suffering and sacrifice. Two other female figures are shown at the foot of the cross. Mary Magdalene turns away from the agonising scene, unable to watch the suffering. The third figure looks up to heaven, seemingly imploring God to come down and save his son. Cocteau unites the three females in their grief by having their veils merge together.

There could be another explanation though for the three female figures linked together by their veils and that is the triple goddess and by extension the Grail, as represented by the rose (the biblical Rose of Sharon). This image of a rose affixed to the cross reminds me of what the C’s said here:
​

Q: In reading the transcripts, I came across a reference to a 'pact' made by a group of STS individuals, and it was called 'Osirians,' and that this was the origin of the Rosicrucians. In the book 'The Orion Mystery,' it talks about the fact that Giza was formerly known as RosTau, which is 'Rose Cross.' Essentially, I would like to understand the symbology of the Rose affixed to the Cross. It seems to me that the imagery of Jesus nailed to the Cross is actually the Rose affixed to the Cross. How does Jesus relate to the Rose?

A: No, it is from the Rose arose the Cross. [...]

Similarly, the two female figures looking in different directions could be likened to the traditional image of the Roman god Janus looking both ways simultaneously, which Robert Graves believes was originally a feature of the Roman goddess Cardea in her guise as Carmenta – ‘she who looks both back and forward’. The third female figure might even suggest a triple-faceted aspect to the Grail if it is the pure crystal skull the Knights Templar called Baphomet, which could thus underpin the legend of the three Gorgon sisters and the head of Medusa. Cocteau may have even been presenting us with an image of the maiden, the mother and the crone who are linked together as three mutual aspects or personas of the Goddess. Curiously, Cocteau painted himself into the mural too, depicting him looking thoughtfully away from the scene as if to say I don’t believe in any of this.



But what really grabs my attention in the image above is the bird on the Roman soldier’s shield. I mention this because, although I am no expert on the Roman military of the period, it is my understanding that the Romans never painted such animal ornamentation on their shields. They tended to adopt a non-figurative design such as that typically used on the scutum shield below.​

​

So why did Cocteau paint a bird on the soldier’s shield? Could it have been drawing our attention to a bird such as a dove that was often associated with ancient goddesses. The dove is, of course, a universal symbol of peace and love today and in Christian iconography the bird represents the third person of the Blessed Trinity, the Holy Ghost or Spirit. But long before the advent of Christianity, the bird was associated with goddesses such as Aphrodite, Venus, Inanna, Ishtar, Astarte, Asherah and Athena, who was the muse and patron of Sir Francis Bacon, who was perhaps the Grand Master of the Rosicrucians of his age? Athena or Aphrodite as both bringer of death and peace sometimes bore the name of Irene, Dove of Peace and her catacombs and mausoleums were known as ‘dovecotes’.

Doves could be seen as the embodiment of a divinity, a representation of a goddess in a bird form near her sacred place — in a shrine or on a tree. This idea is supported in literature since, according to the Greek poet Homer, the goddess was able to take on the shape of a bird. Doves are interpreted as an emblem of a celestial goddess and are a symbol of her heavenly power, contradictory to a snake, which has been regarded as an underworld aspect of the goddess and a symbol of her earthly power.

The image of the bird on the shield could, of course, represent any bird and not necessarily a dove. It could, for example, be a raven or crow, a bird in mythology that is associated with wisdom. However, I note here the close juxtaposition of the shield with Cocteau’s face, so he is clearly trying to make a point by doing this. Hence, on balance, I think the image of the bird on the shield when linked with that of the three women connected together by their veils, symbolises to me the Mother Goddess or White Goddess in her triple aspect. Cocteau by looking away from the cross and the crucifixion is not only telling us that he rejects the Christian doctrine of salvation through Christ’s sacrifice upon the cross but, through the close proximity of his face to the bird on the shield, he is letting us know that he believes in something else and that something else is, I believe, the White Goddess, which by extension represents the Grail.

Was Cocteau looking for the Grail? Yes, I believe he was, and I have found evidence supporting this fact in a film that he shot in and around Girona in Catalonia, Spain, which is close to the Pyrenees. A young British girl he took a liking to and used in his film, surreptitiously witnessed him dressed up in the robes and headdress of a Rosicrucian high priest conducting an elaborate ritual ceremony. She came to realise that his film shoot was really a cover for his search for the Grail, which he thought was hidden somewhere in the vicinity. Interestingly, the location where he filmed the young girl dancing for the film was a place much frequented in secret by Abbè Saunière since he maintained a young French mistress there. Indeed, it was also the location of the tower that he modelled his own Tour Magdala on. The young girl in question, just a teenager at the time, would become unwittingly embroiled in the mystery of Rennes-le-Château, a place she would visit and where she would have a deeply disturbing psychic experience. She would learn that the real mystery of Rennes-le-Château was the Grail. She would also learn through Saunière’s by now elderly French lover that the priest enjoyed a secret double life far removed from his conventional role of a parish priest to a small, insignificant community in southern France. Intriguingly, the French woman, as she is called in the book, came from the crossroads town of Quillan in the Languedoc, which may have been the real Rhedae (a name also linked with the goddess Rhea) of ancient times rather than Rennes-le-Château. How curious it is that the cosmos can throw up such interesting links.

The events she described years later must be seen through the eyes of a young naïve girl who had originally gone to Girona with a girlfriend to have a liberating experience from the dullness of post war Britain. What she experienced would introduce her into the greatest mystery of them all and change her life completely. This included being present in Girona when an apparition of the ‘White Lady’(another title Kathy Jones links with the Goddess) occurred that was seen by hundreds of people. Her story requires a post of its own to do justice to it. As a spoiler alert, one phrase made me sit up when I read her book, which linked with something the C’s once said about the Rosicrucians, since this phrase was uttered by the eponymous hero of her book (who would become her lover) when describing the actions taken by a secret group who dismantled the Tower of Girona (which Saunière used as a model for his Tour Magdala) whilst searching for the Grail:
​

“He stopped in grief at the space where the Frenchwoman’s house and tower had been. ‘Why did they pull them down?’ …. Obviously, they were looking for something, lifting stone by stone.’

‘They?’ ‘How did they get away with it?’ I asked.

‘Paid off by the municipality. There was some fairy tale about making room for the renovation. I don’t see any …do you?’

‘So, the politicians did it.’

‘Never, they didn’t have the power. Someone has been paid handsomely so they could take every stone apart.’

‘But who are “they"?’

‘A society that wants what is here!’ He chose the words carefully. ‘Too late. Poor thieves in the night, the treasure was already gone. Long ago.’

His use of the expression “poor thieves in the night” to describe the society searching for the Grail reminds me of what the C’s said here about the Rosicrucians:
​

Session 21 December 1996:

Q: (L) I dug around about the Templars and have, more or less, come to the conclusion that they were just a smoke screen, and that something else was going on at the time that WAS important. I also think that they have been resurrected from time to time and dusted off and blamed for all this secret knowledge that is supposedly lost... am I on to something here?

A: Close.

Q: Who or what brought about the end of the Knights of the Temple?

A: Rosicrucians move as a "thief in the night".

Q: (L) But, as I understand it, the Rosicrucians did not come into being until after the end of the Templars...

A: No.

Q: (L) Do you mean that the information that came out, that pamphlet about "Christian Rosenkreutz," that is a purported fable, might be correct?

A: Yes.

Q: (L) Well, goodness sake! The Rosicrucians advertise in magazines!!! Is this worldwide organization that promotes itself so blatantly...

A: Well, the "world-wide" order is not all inclusive.

Q: (L) Is there an inner circle of this order that is unknown?

A: Yes.

Is it just mere coincidence that a man whose whole adult life was dedicated to protecting the secret of the Grail should describe a society searching for the Grail as “poor thieves in the night”, the same expression the C’s used to describe the Rosicrucians who destroyed the Knights Templar whilst seeking to seize their treasure, which included the priceless Grail? Could the society he describes be one and the same as the Rosicrucians the C’s were referring to? Given that Jean Cocteau had some years before the destruction of the Torre Gironella conducted a secret Rosicrucian ceremony on the site, suggests that we are. Indeed, the Rosicrucians are implicated throughout the book, as are the Vatican who seem to be continually shadowing the moves of the Rosicrucians.​

The Apple of Discord

But then it would not be the first time the Grail has been the occasion of wanton destruction for those seeking it for in ancient mythology the Grail may well have been known as the ‘Apple of Discord’.

An apple of discord figuratively is the core, kernel, or crux of an argument, or a small matter that could lead to a bigger dispute.

It is a reference to the Golden Apple of Discord in the story The Judgment of Paris which, according to Greek mythology, was what the goddess Eris (Greek Ἔρις, meaning "Strife") tossed in the midst of the feast of the gods at the wedding of Peleus and Thetis as a prize of beauty, thus sparking a vanity-fuelled dispute among the goddesses Hera, Athena, and Aphrodite that eventually would lead to the Trojan War and the destruction of Troy.

Because of this, the Roman goddess corresponding to the Greek Eris was named "Discordia". Also, in German and in Dutch, the words are used a lot more often colloquially than in English, though in German the colloquial form is not Apfel der Zwietracht (lit. "Apple of Discord") but Zankapfel ("Quarrel-apple") and rarely Erisapfel; the Dutch is twistappel ("Strife-apple").

Hence, by this reference to the mythical ‘Apple of Discord’ we come full circle back to “core meaning”, the leaves of apple trees and Blue Apples once again.

Was the Apple of Discord in reality the Grail and had it been located in what is now Cambridge in England but which in ancient times was the site of the legendary city of Troy? If so, was the Grail the real cause of the Trojan War, the person of Helen being merely a cypher for the same? If so, the Grail would somehow wind up in Pharaonic Egypt in the possession of Akhenaten, a linear descendant of the Perseid dynasty, whose mythical founder Perseus would seize the Grail in the form of the Gorgon Medusa’s severed head.

To be continued.​

 

[tot]

Poussin’s Mountainous Mystery Part 4 Continued

If the Grail is what really lies behind all the mother goddess figures of history, i.e., Robert Graves’s the ‘White Goddess’, who Kathy Jones also refers to as the ‘Tree of Life’, then could she also be linked with the ‘Lady of Light’, who features in so many myths and legends, e.g., as the ‘Lady of the Lake’ in some of the Arthurian stories (see my earlier comments above). Could this suggest that the Grail, like some sort of sentient AI (artificial intelligence), has been able to manifest itself throughout history as a light projection or hologram in the figure of a woman, either as the Maiden, the Mother or the Crone (who are all aspects of the triple goddess)? It is notable that all three aspects of the mother goddess can also be found in the original Grail story of Perceval. And we know that the Knights Templar may well have been the inspiration behind the medieval Grail stories (certainly this is the case with Wolfram von Eschenbach’s Parzival since Wolfram had had personal dealings with the Templars in the Holy Land).

But much in the same way that the Tree of Life was linked by the C’s with the “core meaning” relating to Kore and the trampled leaves of the Tree of Apples (many associate the apple tree with the ‘Tree of Knowledge’ from which Eve would eat), from whence comes the proverbial "grapes of wrath" and the Blue Apples incarnate, could the Tree of Life also be linked with light and with DNA in some way? Perhaps the C’s gave some indication that this was the case in the session dated 11 October 2014:
​

Q: (L) They're saying no, that it's far more pragmatic. Okay, next question... I'm never going to get to my questions that I have! [laughter] Okay, when you say, "the soul and its helpers", what the heck are the soul's helpers?

A: Tribal unit members both in the body and out.

Q: (L) So if you're a member of a tribal unit, you are in a way connected via DNA connections or signals or frequencies with your other tribal members, whether they are incarnated or not? Is that what we're saying here?

A: Pretty much; no man is an island!

[…]

(L) So this takes us back to what they were just saying a minute ago about the soul being able to change DNA itself, or with its tribal unit helpers; that is, you can change your DNA through "Mind through central nervous system connection to higher levels". Now then, going back to this little bit right here about the naturally bonding combination, "the most efficient conductor of chemical compounds for low-wave frequency charge". Well, in another session they made the remark that DNA was a superconductor, and that DNA could also have a core of light. Now, what just happened to make me start thinking about all this was that there was an article: ‘Viruses convert their DNA into liquid form to facilitate cell infection.’

Viruses convert their DNA into liquid form to facilitate cell infection -- Sott.net

(L) So, liquid DNA... What we have here is a little bit of a confirmation of what the C's were saying way back when, that DNA can turn from a solid to a liquid – the truncated liquid reference in the context of genetic engineering - to infect a cell. But we also know that DNA can also produce beneficial changes. The likelihood is that we have DNA that infected us at some point in time. It truncated the flow of some other DNA that's in our cells already there, but it isn't doing anything because it's been blocked by an infection that inserted introns of blockages. The possibility exists, I am surmising, that at some point in time, this could be changed or reversed possibly - probably - virally. Now, am I on to something here?

A: Oh indeed! The times ahead will be most interesting especially if the network both expands to the full tribal unit strength, and many others take the initiative to move up to the next stair step.

So, coming back to the concept of the “core meaning”, we learn from the above that DNA, which goes to the core of our physical existence, has a core of light around it. This should also be linked with something the C’s once said about the “core of existence” being found at 7th density:
​

Session 16 November 1994:

Q: (L) When you reach the seventh level, how would you describe that if 1st level is light?

A: 7th is core of existence.

Q: (L) Well, if seventh density is the core of existence, would that mean that 1st density is the outer edge of existence?

A: Base.

But the C’s also linked knowledge (recalling here the Tree of Knowledge and the apple from which Eve ate) with the core of existence in the session dated 22 October 1994:​

A: This includes all possible meanings of the concept of the word. Can you think of how it would be that simply with one term, this one word can carry so much meaning? We sense that you are not completely aware. You can have glimpses of illumination and illumination comes from knowledge. If you strive perpetually to gain and gather knowledge, you provide yourself with protection from every possible negative occurrence that could ever happen. Do you know why this is? The more knowledge you have, the more awareness you have as to how to protect yourself. Eventually this awareness becomes so powerful and so all-encompassing that you do not even have to perform tasks or rituals, if you prefer, to protect yourself. The protection simply comes naturally with the awareness.

Q: (L) Does knowledge have a substance or an existence apart from its possession or its acceptance?

A: Knowledge has all substance. It goes to the core of all existence.

Q: (L) So acquiring knowledge includes adding substance to one's being?

A: Indeed. It includes adding everything to one's being that is desirable. And also, when you keep invoking the light, as you do, truly understand that the light is knowledge. That is the knowledge which is at the core of all existence. And being at the core of all existence it provides protection from every form of negativity in existence. Light is everything and everything is knowledge and knowledge is everything. You are doing extremely well in acquiring of knowledge. Now all you need is the faith and realization that acquiring of knowledge is all you need.

In this last connection, the C’s also made an interesting statement relating to the “core” when discussing with Ark the concept of ‘quantum formalism’ in the session dated 21 November 1998:​

Q: “… The knowings are not, in the orthodox view, to be regarded as the basic realities, even though they are the realities that the formalism is based upon. […] Thus, there are two powerful reasons for asserting that the quantum formalism does not give a description of reality itself. The first is that this move saves our common-sense intuitions that there is something ’out there’; the second is that it apparently helps to save us from having to admit that there are real faster-than-light effects.” (A) I would like to know who is playing this Stapp and why?

A: Those who are against unlocking the truth are at the “core”.

You will note here that the C’s put the word “core” in quotes, meaning they wished to place some special significance on the use of that term. The C’s have said elsewhere that there are groups who wish to suppress the dissemination of knowledge that could illuminate human thinking. They admitted in the session dated 26 December 1998 that one of these groups is the Nordic Covenant:

Q: Is the Nordic Covenant in any sense similar to any of the things I have read here?

A: It is a mystical thing, not related to theology in a direct sense.

Q: How long has the Nordic Covenant been in existence?

A: 5129 years.

Q: Is the Nordic Covenant made between humans and other humans, or between humans and higher density beings?

A: Mostly between humans and humans, but some of the other.

Q: Does this Nordic Covenant exist on the earth today in similar format as it did at its inception?

A: Yes.

Q: Is this Nordic Covenant the same as you have referred to as the Quorum?

A: No.

Q: Would you say that the Nordic Covenant and the Quorum are in opposition, or just different?

A: Segmented relationship.

Q: Is there any particular thing about this that I ought to ask at the moment that I am not going to discover in the course of my research? The mail group asked a few questions about this, so I thought I ought to approach the subject. Is the Nordic Covenant made between people who are blond and blue-eyed?

A: Not the central issue.

Q: What is the central issue of the Nordic Covenant?

A: Bloodline extends off the planet.

Q: Is this Nordic Covenant a group that is in place on the planet for the purpose of guarding or propagating a particular bloodline?

A: To guard secrets.

Q: What does this secret have to do with a bloodline?

A: You should be able to figure this one out!

Q: Are these people with this bloodline and with these secrets the same ones involved with the genetic engineering of new bodies for the Lizzies to occupy at the point of transition to 4th density?

A: No.

Q: Are these secrets negative to our civilization or race?

A: From your perspective, maybe.

Q: Do these bloodlines have to do with Nephilim?

A: A little.

Q: What secrets are they guarding?

A: Your origins; the nature of your being.

Q: So, this Nordic Covenant is that which wishes to maintain the darkness of our realm, the time loops, the replays, and all that sort of thing?

A: One of the players, yes.

However, another one of the groups who C’s describe as “players” maintaining the darkness of our realm could be the inner circle of the Rosicrucians, who seem very keen on getting their hands on the Grail judging from what the C’s said here:
​

Session 26 February 2002:

Q: (L) Jay Weidner says that there is something in the south of France that is very, very evil. Is he correct in this assessment?

A: Not really. But those guarding the secrets might be termed as such. Also, they wish to make others think thus. Machiavelli.

[…]

Q: (L) We were making some theories about this object that Vincent Bridges was looking for - the Ark of the Covenant, or the Holy Grail. I believe that we understand that this is an object that is of great usefulness, some kind of lensing device. Is that correct?

A: Yes.

Q: (L) Is this something that the STS groups - yeah, we know everybody on earth is STS, but I mean the heavy-duty ones - had at one time and then lost, or lost control of?

A: Yes.

Q: (L) How did they lose it?

A: It was not so much "lost" as it was "retrieved" and put away for safe keeping.

Q: (R & L) Who retrieved it?

A: 4th density STO mission.

Q: (L) Who is it that is looking for it? Is it 3rd density STS or 4th density?

A: Both.

We did, of course, look at who may have been responsible for the retrieval and putting away of the Grail for safekeeping in the previous part of this article. If the Grail is buried somewhere in the French Pyrenees in what was once Gallia (Galle), then it makes sense that the enclave of alchemists, who are seemingly linked with the Rosicrucians, should be based somewhere in or near that region. Am I aware that the Rosicrucians are searching for the Grail in that area? Yes, I am since one of the senior Rosicrucians hunting for the Gail back in the late 1950’s was none other than the French artist and film director Jean Cocteau, who we have encountered before on the Alton Towers thread. Indeed, it was one of the reasons I wanted to mention him since in the book The Holy Blood and the Holy Grail he was named as the then current Grand Master (Nautonnier or navigator) of the Priory of Sion. The C’s told Laura that the Priory was really a smokescreen for something else and I think that something else was the Rosicrucians, not the rank-and-file membership but the more sinister inner circle of that organisation:​

Q: (L) I dug around about the Templars and have, more or less, come to the conclusion that they were just a smoke screen, and that something else was going on at the time that WAS important. I also think that they have been resurrected from time to time and dusted off and blamed for all this secret knowledge that is supposedly lost... am I on to something here?

A: Close.

Q: Who or what brought about the end of the Knights of the Temple?

A: Rosicrucians move as a "thief in the night."

Q: (L) But, as I understand it, the Rosicrucians did not come into being until after the end of the Templars...

A: No.

Q: (L) Do you mean that the information that came out, that pamphlet about "Christian Rosenkreutz," that is a purported fable, might be correct?

A: Yes.

Q: (L) Well, goodness sake! The Rosicrucians advertise in magazines!!! Is this worldwide organization that promotes itself so blatantly...

A: Well, the "world-wide" order is not all inclusive.

Q: (L) Is there an inner circle of this order that is unknown?

A: Yes.

Jean Cocteau

We met Jean Cocteau (1889-1963) in connection with an earlier post I did that discussed his overtly Rosicrucian painting of the cross upon which Christ was crucified in the Roman Catholic church of Notre Dame de France near Leicester Square in London. The mural that adorns the central wall shows the crucifixion, and is notable in that it excludes Jesus's head, arms, torso and legs but does show a prominent rose at the foot of the cross. If that was not a pointer to Cocteau’s Rosicrucian credentials, then I don’t know what is.​

View attachment 86214

However, you will see above that the painting also depicts the figures of three women who are in attendance upon Jesus at the crucifixion. We see Christ’s mother Mary shown alongside his feet, with a similar jewel-like tear streaming from her eye; the repeated motif emphasising how she is sharing in her son's suffering and sacrifice. Two other female figures are shown at the foot of the cross. Mary Magdalene turns away from the agonising scene, unable to watch the suffering. The third figure looks up to heaven, seemingly imploring God to come down and save his son. Cocteau unites the three females in their grief by having their veils merge together.

There could be another explanation though for the three female figures linked together by their veils and that is the triple goddess and by extension the Grail, as represented by the rose (the biblical Rose of Sharon). This image of a rose affixed to the cross reminds me of what the C’s said here:
​

Q: In reading the transcripts, I came across a reference to a 'pact' made by a group of STS individuals, and it was called 'Osirians,' and that this was the origin of the Rosicrucians. In the book 'The Orion Mystery,' it talks about the fact that Giza was formerly known as RosTau, which is 'Rose Cross.' Essentially, I would like to understand the symbology of the Rose affixed to the Cross. It seems to me that the imagery of Jesus nailed to the Cross is actually the Rose affixed to the Cross. How does Jesus relate to the Rose?

A: No, it is from the Rose arose the Cross. [...]

Similarly, the two female figures looking in different directions could be likened to the traditional image of the Roman god Janus looking both ways simultaneously, which Robert Graves believes was originally a feature of the Roman goddess Cardea in her guise as Carmenta – ‘she who looks both back and forward’. The third female figure might even suggest a triple-faceted aspect to the Grail if it is the pure crystal skull the Knights Templar called Baphomet, which could thus underpin the legend of the three Gorgon sisters and the head of Medusa. Cocteau may have even been presenting us with an image of the maiden, the mother and the crone who are linked together as three mutual aspects or personas of the Goddess. Curiously, Cocteau painted himself into the mural too, depicting him looking thoughtfully away from the scene as if to say I don’t believe in any of this.

View attachment 86215

But what really grabs my attention in the image above is the bird on the Roman soldier’s shield. I mention this because, although I am no expert on the Roman military of the period, it is my understanding that the Romans never painted such animal ornamentation on their shields. They tended to adopt a non-figurative design such as that typically used on the scutum shield below.​

View attachment 86216​

So why did Cocteau paint a bird on the soldier’s shield? Could it have been drawing our attention to a bird such as a dove that was often associated with ancient goddesses. The dove is, of course, a universal symbol of peace and love today and in Christian iconography the bird represents the third person of the Blessed Trinity, the Holy Ghost or Spirit. But long before the advent of Christianity, the bird was associated with goddesses such as Aphrodite, Venus, Inanna, Ishtar, Astarte, Asherah and Athena, who was the muse and patron of Sir Francis Bacon, who was perhaps the Grand Master of the Rosicrucians of his age? Athena or Aphrodite as both bringer of death and peace sometimes bore the name of Irene, Dove of Peace and her catacombs and mausoleums were known as ‘dovecotes’.

Doves could be seen as the embodiment of a divinity, a representation of a goddess in a bird form near her sacred place — in a shrine or on a tree. This idea is supported in literature since, according to the Greek poet Homer, the goddess was able to take on the shape of a bird. Doves are interpreted as an emblem of a celestial goddess and are a symbol of her heavenly power, contradictory to a snake, which has been regarded as an underworld aspect of the goddess and a symbol of her earthly power.

The image of the bird on the shield could, of course, represent any bird and not necessarily a dove. It could, for example, be a raven or crow, a bird in mythology that is associated with wisdom. However, I note here the close juxtaposition of the shield with Cocteau’s face, so he is clearly trying to make a point by doing this. Hence, on balance, I think the image of the bird on the shield when linked with that of the three women connected together by their veils, symbolises to me the Mother Goddess or White Goddess in her triple aspect. Cocteau by looking away from the cross and the crucifixion is not only telling us that he rejects the Christian doctrine of salvation through Christ’s sacrifice upon the cross but, through the close proximity of his face to the bird on the shield, he is letting us know that he believes in something else and that something else is, I believe, the White Goddess, which by extension represents the Grail.

Was Cocteau looking for the Grail? Yes, I believe he was, and I have found evidence supporting this fact in a film that he shot in and around Girona in Catalonia, Spain, which is close to the Pyrenees. A young British girl he took a liking to and used in his film, surreptitiously witnessed him dressed up in the robes and headdress of a Rosicrucian high priest conducting an elaborate ritual ceremony. She came to realise that his film shoot was really a cover for his search for the Grail, which he thought was hidden somewhere in the vicinity. Interestingly, the location where he filmed the young girl dancing for the film was a place much frequented in secret by Abbè Saunière since he maintained a young French mistress there. Indeed, it was also the location of the tower that he modelled his own Tour Magdala on. The young girl in question, just a teenager at the time, would become unwittingly embroiled in the mystery of Rennes-le-Château, a place she would visit and where she would have a deeply disturbing psychic experience. She would learn that the real mystery of Rennes-le-Château was the Grail. She would also learn through Saunière’s by now elderly French lover that the priest enjoyed a secret double life far removed from his conventional role of a parish priest to a small, insignificant community in southern France. Intriguingly, the French woman, as she is called in the book, came from the crossroads town of Quillan in the Languedoc, which may have been the real Rhedae (a name also linked with the goddess Rhea) of ancient times rather than Rennes-le-Château. How curious it is that the cosmos can throw up such interesting links.

The events she described years later must be seen through the eyes of a young naïve girl who had originally gone to Girona with a girlfriend to have a liberating experience from the dullness of post war Britain. What she experienced would introduce her into the greatest mystery of them all and change her life completely. This included being present in Girona when an apparition of the ‘White Lady’(another title Kathy Jones links with the Goddess) occurred that was seen by hundreds of people. Her story requires a post of its own to do justice to it. As a spoiler alert, one phrase made me sit up when I read her book, which linked with something the C’s once said about the Rosicrucians, since this phrase was uttered by the eponymous hero of her book (who would become her lover) when describing the actions taken by a secret group who dismantled the Tower of Girona (which Saunière used as a model for his Tour Magdala) whilst searching for the Grail:
​

“He stopped in grief at the space where the Frenchwoman’s house and tower had been. ‘Why did they pull them down?’ …. Obviously, they were looking for something, lifting stone by stone.’

‘They?’ ‘How did they get away with it?’ I asked.

‘Paid off by the municipality. There was some fairy tale about making room for the renovation. I don’t see any …do you?’

‘So, the politicians did it.’

‘Never, they didn’t have the power. Someone has been paid handsomely so they could take every stone apart.’

‘But who are “they"?’

‘A society that wants what is here!’ He chose the words carefully. ‘Too late. Poor thieves in the night, the treasure was already gone. Long ago.’

His use of the expression “poor thieves in the night” to describe the society searching for the Grail reminds me of what the C’s said here about the Rosicrucians:
​

Session 21 December 1996:

Q: (L) I dug around about the Templars and have, more or less, come to the conclusion that they were just a smoke screen, and that something else was going on at the time that WAS important. I also think that they have been resurrected from time to time and dusted off and blamed for all this secret knowledge that is supposedly lost... am I on to something here?

A: Close.

Q: Who or what brought about the end of the Knights of the Temple?

A: Rosicrucians move as a "thief in the night".

Q: (L) But, as I understand it, the Rosicrucians did not come into being until after the end of the Templars...

A: No.

Q: (L) Do you mean that the information that came out, that pamphlet about "Christian Rosenkreutz," that is a purported fable, might be correct?

A: Yes.

Q: (L) Well, goodness sake! The Rosicrucians advertise in magazines!!! Is this worldwide organization that promotes itself so blatantly...

A: Well, the "world-wide" order is not all inclusive.

Q: (L) Is there an inner circle of this order that is unknown?

A: Yes.

Is it just mere coincidence that a man whose whole adult life was dedicated to protecting the secret of the Grail should describe a society searching for the Grail as “poor thieves in the night”, the same expression the C’s used to describe the Rosicrucians who destroyed the Knights Templar whilst seeking to seize their treasure, which included the priceless Grail? Could the society he describes be one and the same as the Rosicrucians the C’s were referring to? Given that Jean Cocteau had some years before the destruction of the Torre Gironella conducted a secret Rosicrucian ceremony on the site, suggests that we are. Indeed, the Rosicrucians are implicated throughout the book, as are the Vatican who seem to be continually shadowing the moves of the Rosicrucians.​

The Apple of Discord

But then it would not be the first time the Grail has been the occasion of wanton destruction for those seeking it for in ancient mythology the Grail may well have been known as the ‘Apple of Discord’.

An apple of discord figuratively is the core, kernel, or crux of an argument, or a small matter that could lead to a bigger dispute.

It is a reference to the Golden Apple of Discord in the story The Judgment of Paris which, according to Greek mythology, was what the goddess Eris (Greek Ἔρις, meaning "Strife") tossed in the midst of the feast of the gods at the wedding of Peleus and Thetis as a prize of beauty, thus sparking a vanity-fuelled dispute among the goddesses Hera, Athena, and Aphrodite that eventually would lead to the Trojan War and the destruction of Troy.

Because of this, the Roman goddess corresponding to the Greek Eris was named "Discordia". Also, in German and in Dutch, the words are used a lot more often colloquially than in English, though in German the colloquial form is not Apfel der Zwietracht (lit. "Apple of Discord") but Zankapfel ("Quarrel-apple") and rarely Erisapfel; the Dutch is twistappel ("Strife-apple").

Hence, by this reference to the mythical ‘Apple of Discord’ we come full circle back to “core meaning”, the leaves of apple trees and Blue Apples once again.

Was the Apple of Discord in reality the Grail and had it been located in what is now Cambridge in England but which in ancient times was the site of the legendary city of Troy? If so, was the Grail the real cause of the Trojan War, the person of Helen being merely a cypher for the same? If so, the Grail would somehow wind up in Pharaonic Egypt in the possession of Akhenaten, a linear descendant of the Perseid dynasty, whose mythical founder Perseus would seize the Grail in the form of the Gorgon Medusa’s severed head.

To be continued.​

I think that everything gives a slight change of roles or clues following the statements of the Cs about that many times there are informative maneuvers in order to avoid calamities so that some objectives are not fulfilled sas in this case should be considered everything that has been covered in something as important as the information that the Cs related to the Grail.