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While researching for a book entitled “ATLANTIS “ATLANTIS-MERU RISING” I found evidence that the mystery surrounding a lost world mountain, told of in myths around the world, had been encoded in some of our greatest works of art. As Franco Montevecchi sent me this picture entitled “Melancholy” by Lucas Cranach the Elder, I saw symbolic meaning in it. The mountain split in two pieces attracted my attention with a city on top surrounded by four towers. This was similar to a repeating theme in images of the world mountain that is called Meru in the east, so that in Angkor Wat, Cambodia the temple built by Hindus to repr , represent Meru, also showed four temple towers surrounding the main one one. An apocalyptic cloud containing a serpent-like creature reminded of the Biblical fall of Eden, and also a goat and boar with strange riders approached that heavenly city Out of city. that cloud swung a slightly evil looking tilt-eyed babe on a swing. This had bec become a major
interest after Willard Van De Bogart wrote two articles about the ancient eastern swing ceremony.i Inside the room further babes seemed to show alarm at his approach. On the floor a strangely large ball lay, and a girl dressed in red like the whore in John’s Revelation and like the fearful Goddess Sekhmet in Egypt and many goddesses in the East. Detail of the Heavenly City with serpent approaching. Meru also had a city on its peak. Interesting also how the rock forms the face of a man The girl had angel’s wings but also slightly slanted Asian (?) eyes like the babe on the swing. She wore a half-fallen crown of leaves and she was sharpening a stick that reminded me on later thought a bit of a dog’s phallus, rather intimidating. Was that intentional? Meru had been thought of as a pillar like mountain sometimes likened to a phallus, indeed it had been the home of Shiva sometimes shown as a babe and also worshipped through that organ.
Angkor Wat, Cambodia, a temple copying one form of the world mountain Meru, the actual Meru being the central fifth with four surrounding
I had made connections between the ancient stories of a lost paradise that showed how Eden, Meru and Atlas were actually all referring to one lost centre on Earth. The branch she was cutting reminded also of the association of Meru with a tree. On the floor twelve shavings and the knife was cutting a 13th. I remembered how many cultures believed there were thirteen heavens, yet they were now nearly all lying on the floor, was that a cause of melancholy? Left:twelve shavings on the floor of Cranach’s picture, a thirteenth about to be added. Right: a detail of the top of the Aztec Sun Stone or Eagle Bowl showing 13 dots and Ceiba leaves in a square on top of a mountainous peak Of course I might be wrong. But Cranach’s painting was a strange and haunting image. It
certainly looked like the picture might be recording some kind of past calamity or fall. So I got out the tools with which I had been looking at recent pictures, the angles found in the Great Pyramid as discovered by Gary Osborn. Major angles to be looked for were 52°1 for the walls of the pyramid, 23.5° which is the approximate angle of the Earth’s axial rotation now2 and 26.5°. This last is the angle Gary Osborn has suggested is the angle the Earth may have fallen into rotating immediately after its axis shifted from a 6.5° angle of rotation in an earlier Golden Age. These three angles, 6.5°, 23.5° and 26.5°, both from the vertical as also from the horizontal, I had found very often encoded in art work of the last 3000 years from all over the world. Gary Osborn did something that I believe was completely original and extended the angles of the Great Pyramid that he had found down through the globe. In doing this the King’s Chamber inside the Great Pyramid became equivalent to the Earth’s core, and it seemed was obviously meant to represent it. This also meant that the apex of the pyramid was off centre by 6.5° to the vertical. But what did this identification of the Great Pyramid and the Globe bring? For me this Great Pyramid in the Earth seemed to represent the base or root of the once central world mountain. For the Central American cultures I found it interesting that they associated the central world mountain with a central world tree called the Ceiba tree. But what does such a tree look like? I was surprised to see that very often its roots formed a rather large pyramidal shape. Also the world mountain, tree and pyramid were all related.
Left: collage of a Ceiba tree with rather pyramidal shaped roots. Right the Mayan world mountain-pyramid-tree.
52° is actually only an approximate angle, 51.51 might be more accurate but 52 has certainly worked well before. 2 23.4° is more exact at the present time.
However, back to the art in which these Great Pyramid angles were shown. Not only were the angles of the Great Pyramid encoded in them but also the globe itself, which was often indicated by a domed roof, or some partial curve which if continued would form a circle, sometimes just markers like fingers showed where the perimeters were placed.
Furthermore, not one but two Great Pyramids were marked in most of the art work as if the pyramid were revolving with globe at a 6.5° angle from the vertical. Of course this brought up a lot of questions, some but not all of which can be answered here.
So I added my globe with the two great pyramid angles to the inviting looking ball on the floor of Cranach’s painting and this soon led to a second less visible sphere floating in mid air.
I found some significant angles. A 6.5 (paradise) angle led up to the heavenly city passing through the child’s hand where he clutched the line of the swing. The swing I suspected would be at an angle connected to the Fall, 26.5° or 23.5°, as I had found that to be the case already by another swing. In Fragonard’s painting one swing line was at 23.5° while the swing rope coiled twice around the tree showed angles of 23.5° and 26.5° suggesting that the swing in art was a way of suggesting the globe swinging.
I had become used to noticing how the invisible globe was marked by the intersection of objects: corners, ears, fingers. It was also sometimes strengthened by the very angles one added. So in the case of Fragonard’s painting a couple of notable markers for the globe were the woman’s finger on the swing, the pedestal on the left and the hand of the husband also holding the swing on the right. I enjoyed the picture’s pointed foot at an angle of 23.5° wantonly throwing a shoe at an angle of 33°. In Cranach’s painting the sphere was marked, as is often the case, by an ear, also by the corner of a window and the feet and head of two birds, as also the snout of the boar, the penis of the baby and twice aligning with a strange object on the table. I found the picture of Cranach interesting but forgot it for awhile. However, what awoke my desire to look further was the message from Franco Montevecchi that the work was an answer to the very famous and complex work by the same name: “Melancholy” that Albrecht Dürer had created. Here was a chance perhaps to prove something.
Dürer’s “Melancholy” has been much analyzed. In Dan Brown’s “Lost Symbol” its magic square forms a major part of the plot. There seems to be a strong connection to the Freemasons with a compass in the hand of the angelic figure, it certainly suggested there could be circles. The hourglass immediately reminded me of other pictures where I had found it and connected it to the hourglass figure of the constellation Orion in the heavens. This seemed to have been done by those sending messages through art, an hourglass was often present in Vanity pictures that also contained such angles.
Still, although I had looked at Dürer’s work before, I was rather at a loss to see the meaning, the problem was it was littered with too much meaning strewn about as in a junkyard. Still there too was an unmarked ball lying on the floor just as in Cranach’s painting. I decided to start there and place my mark upon it, and this soon led me, as by Cranach’s picture, to a larger globe above, delineated by a rainbow like rim. Here the angles of the Great Pyramid fitted so perfectly it was uncanny. The rim of the sphere with pyramid enlarged to fit in the “rainbow” placed the base of the pyramid right onto the cut off stone. The King’s chamber with the horizontal line running through it was also right on the horizon between sea and sky. So, the first two spheres were in place now, as by Cranach’s painting but then I got lost in a maze of details and possible worlds, at practically every place the angles crossed, something was significant, but which path to follow?
So far I had found no definitive meaning in either picture. I suspected something though especially because of the placing of the hourglass in Dürer’s work and the previous Orion hourglass images I had found in art work.
Above the future hourglass image and the third globe with King’s Chamber are just ghosting through, though I didn’t find the third King’s chamber merely through following all the many angles leading from the King’s chambers and spheres I had discovered. Moreau’s painting of Phaeton (below) was one example of a large hourglass image clearly placed, and as I had already identified Phaeton in myth with the fall of the hourglass shaped volcanic world mountain of Orion, the find was not unexpected.
This was a help. I had been given a second clue by Gary Osbornii that he had found, in the following picture. an angle of 52° from the two corners. Might that not be the case again as it had in fact been above by Phaeton. Without noticing how things repeat in the artists images down through the ages it would be a long and wearisome task to find the meaning.
Poussin’s painting shows the dancers circling as they reflect the turning –dancing globe of the Earth
I decided to try some 52° angles on Dürer’s work, perhaps the whole picture was marked from the corners by 52° angles as both those above had been.
It was! Of course in a way I had cheated, and if I hadn’t known about the Great Pyramid angles being also connected to the globe I would have probably gone no further and would not have found and connected the image to the vertical that Dürer was actually giving, a vertical that marked the actual central vertical of the world mountain. Below you see that on adding both revolving pyramids in the globe to the picture we are given the central vertical that runs exactly through the pair of scales, for the mountain held the world in balance. It is difficult to explain how but a number of stories relating to the world mountain like the story of Osiris backbone associated it and him with bringing stability.
Of course Cranach had related to Durer’s images. Dürer’s cherub or baby with wings had become Crranach’s rather wild child on the swing. Instead of a scales whose cups were at slightly different height, Cranach had painted two halves of a mountain (aha!) and his message of a nearing catastrophe was also much clearer. In his work the vertical actually goes through two globes and two king’s chambers. The one above is perhaps the risen Earth, the Celestial Earth before it fell and the last one found is the one pointed at so strangely by that phallic stick and placed over the 12 shavings on the ground, that I suppose is our poor world, and our life is the life of that poor dog who lives in fear of castration, which again reminds us back to the world mountain and the phallus of Ouranus who like Geb and many others once played the role of world mountain before the eruptive castration, of which the last one seems to have quite erased the poor mountain, at least until now, for if prophecy is correct 2012 is the time of its volcanic rising – but that is another part of the story I am piecing together.
Before finishing with Dürer I had looked back at Cranach and saw how close that central vertical line was to the split in the mountain, I began to sense the catastrophe that the picture was suggesting, an explosion from Earth’s core, from the King’s Pyramid, an explosion that caused the world mountain to swing and to fall. Because of its huge size it also knocked the Earth off its axial rotation. Incidentally, on a whim I asked Google if the King’s Chamber of the known Great Pyramid actually showed any signs of a great fiery explosion and it did. It turned out that the great basalt stones had been cracked and discoloured and pushed slightly outward by an as yet unexplained explosion. I found a lot of attempts to explain these anomalies… But let us return to the true world mountain Meru which was known to be connected to the Earth’s core.
This was the hourglass mountain of Orion before it fell.
Of course the rise and fall of such a great volcanic mountain has consequences for life on Earth and such great powers have not without reason been worshipped as gods. Many religious works also connect their holy figures like Jesus to Orion. But if the world would understand the full implication of what is encoded in these pictures much that holds our civilization together might break apart. A great number of the artists who shared these secrets died at a young age, it is of course now questionable if they died of natural causes.
For the connection to disaster that recurs is of course suggested in many of these works and that is something those who rule do not want all to know about. In my general research for the book Atlantis-Meru Rising I have found evidence that such dramatic explosions from the Earth’s core have occurred in the past, which Tom Chalkoiii
has discovered is a nuclear reactor. This explains the millions found dead as if from an atomic explosion in a number of areas in the East. This knowledge was encoded in the art that would have originally been made by priests and initiates into the Mystery which of course was also the greatest science science.
In a great number of the paintings is also encoded a message of the five poi star, and a point Horned God like Baphomet are created by the angles. This is not accidental for the world mountain contains that evil side when it erupts, as does any great volcano ;) The world mountain is both Lucifer, who we associate with Satan – the one who caused the Fall of the World Mountain – as Isaiah wrote – How art thou Fallen… “ and was also the Morning S Star of Jesus, Quetzalcoatl and Ishtar... Ishtar...Venus rises and Venus falls, light rises and light falls and what was the source of good reached too high in the heavens and erupted o
But this needs too much explanation… elsewhere.
But taking that vertical that runs through both earth cores and king’s chambers, so close to that split in the mountain in Cranach’s work one is encouraged to see the force of the event that they are encoding in their work for posterity.
Also the steep Golden Pyramidal mountain shape found in Dürer’s work reminded me of a number of others I had found like the Last Judgement. Here the pyramidal would mountain-tree shoot is still below the Earth surface. What earthquakes that will cause! Interesting that here too we have both wings and swing playing an important part.
Gary Osborn has a different version of the image on the right which shows the Great Pyramidiv
Interesting is that transposing Dürer’s picture on to Cranach the Elder’s picture, the two Orion Hourglass forms were overlaid too with the addition that Cranach’s second sphere with the swing and the split mountain in the background became the great pyramid repository for the rising Golden mountain at its coming return, ….
Perhaps the return of the lost mountain is a cure for the melancholy that the fall of Meru and the loss of Eden in the one global story, has caused the world. Its return if it comes indeed in 2012, or in the next years will surely bring a great tribulation and yet there will be those that survive the birthing, this is promised in both the Bible and the Mayan Chilam Balam prophecies.
S. Seymour Hedke
http://www.earthportals.com/giantswing.html http://www.scribd.com/doc/47766336/The-Giant-Swing ii Website PARADIGMSHIFT http://www.freewebs.com/garyosborn/235degrees.htm iii Global Warming: Can Earth EXPLODE ? The real danger for our entire civilization comes not from slow climate changes, but from overheating the planetary interior. Galileo discovered that Earth moves. Copernicus discovered that Earth moves around the Sun. In 2000 Tom Chalko, inspired by Desmarquet's report, discovered that the solid nucleus of our planet is in principle a nuclear reactor…. iv http://www.freewebs.com/garyosborn/thewashingtonpyramid.htm
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