The sheep have gone mad! 80 real sheep have committed suicide just one day prior, 20 people dressed like sheep in Montreal. This almost seems prophetic for the times we are living in. Jesus says that His sheep hear His voice. In this case, these aren’t His sheep. Here is the first story.
My first thought when reading about the suicidal sheep were the swine in the Bible that were possessed with devils and ran off a cliff into the ocean (Matthew 8:31). It has been said that these pigs were for sacrifices to Zeus who is Jupiter. The excerpt below is from “Inheritance: Covenants, Kingdoms, Bodies and Nations” By Mark Daniel.
This all seems a little prophetic with what is going on today. One sheep decides to take the path that leads to destruction while the others blindly follow. This sounds just like the 9\23 rapture cult now doesn’t it? They are all committing spiritual suicide and they don’t even know they are throwing themselves off of a cliff. It’s pretty sad. And just like the pigs for the sacrifice to Jupiter, we see the sheep worshipping false doctrines of man in the name of Jupiter…slowly following one another over the edge.
We know that the sign in Revelation 12:1 wad fulfilled at the birth of Jesus in 3 AD. This is a fact. People can refuse to believe but that is usually based on there bad interpretation of the Book of Revelation itself. Not to mention bad exegesis through out the rest of Scripture. The sign was known since the time of John writing it to be in a past time at the birth of Jesus. And this is more than obvious with the wording John used when writing all of this down in Greek.
So with all that said, should we still look at the say Jupiter the King planet as Jesus? I think we probably could in a Biblical aspect but when looking at what NASA and others do, we shouldn’t. So if the sign on September 23rd is false and doesn’t bear witness with scripture, is Jupiter representing Jesus. No. Is it representing the Church like the cultists want everyone to believe? Emphatically no! This is all based off of private interpretation and its wrong.
Then if everything in September is based off of false interpretations, then who is Virgo representing and who is Jupiter representing? We should take a look at a few examples of what these ancient pagan civilizations thought. This comes from the book “Social Science Commentary on the Book of Revelation” by Bruce Molina. You might find some of this interesting and I propose to you that this is who is representing this false sign in September. I’ll save you the trouble of reading all of it through (which I suggest you do), but this modern Virgo and Jupiter represents Isis and Horus and you can even go to far as to say its Juno and Jupiter.”
“Lucious, the protagonist, prays to Isis, his celestial patron: O Queen of Heaven-whether you are bountiful Ceres, the primal mother of crops, who in joy at the recovery of your daughter took away from men their primeval animal fodder of acorns and showed them gentler nourishment, and now dwell in the land of Elcusis; or heavenly Venus 1= Phoenician goddess Astarte], who at the first foundation of the universe united the diversity of the sexes by creating Love and propagated the human race through ever-recurring progeny, and now are worshipped in the island sanctuary of Paphos; or Phoebus’ sister, who brought forth populous multitudes by relieving the delivery of offspring with your soothing remedies, and now are venerated at the illustrious shrine of Ephesus 1= Diana/Artemis, also Lucina/Eileithyial; or dreaded Proserpina [= Hecate] of the nocturnal howls, who in triple form repress the attacks of ghosts and keep the gates to earth closed fast, roam through widely scattered groves and are propitiated by diverse rites-you who illumine every city with your womanly light, nourish the joyous seeds with your moist fires, and dispense beams of fluctuating radiance according to the convolutions of the Sun-by whatever name, with whatever rite, in whatever image it is meet to invoke you: defend me now in the uttermost extremes of tribulation (Metamorphoses X1, 2; LCL).”
“Lucius then describes the object of his vision: First of all her hair, thick, long, and lightly curled, flowed softly down, loosely spread over her divine neck and shoulders. The top of her head was encircled by an intricate crown into which were woven all kinds of flowers. At its midpoint, above her forehead, a flat round disc like a mirror-or rather a symbol for the Moon-glistened with white light. To right and left the crown was bounded by coils of rearing snakes, and adorned above with outstretched ears of wheat. Her robe, woven of sheer linen, was of many colors, here shining with white brilliance, there yellow with saffron bloom, there flaming with rosy redness; and what most especially confounded my sight was a deep black cloak gleaming with dark sheen, which was wrapped about her, running under her right arm up to her left shoulder, with part of its border let down in the form of a knot; it hung in complicated pleats, beautifully undulating with knotted tassels at its lower edge. Along the embroidered border and over the surface of the cloak glittering stars were scattered, and at their center the full Moon exhaled fiery flames. Wherever streamed the hem of that wondrous robe, a garland of flowers and fruits of every kind was attached to it with an inseparable bond … (ibid. XI, 3-4; LCL).”
“Now celestial Isis speaks to Lucius, revealing all of her alternate appellations: Behold, Lucius, moved by your prayers I have come, I the mother of the universe, mistress of all the elements, and first offspring of the ages; mightiest of deities, queen of the dead, and foremost of heavenly beings; my one person manifests the aspects of all gods and goddesses. With my nod I rule the starry heights of the sky, the health giving breezes of the sea, and the plaintive silences of the underworld. My divinity is one, worshipped by all the world under different forms, with various rites and by manifold names. In one place the Phrygians, first-born of men, call me Pessinuntine Mother of the Gods [= Cybele], in another the autochtonous people of Attica call me Cecropian Minerva 1= Athene], in another the sea-washed Cyprians call me Paphian Venus; to the arrow-bearing Cretans I am Dictynna Diana, to the trilingual Sicilians Ortygian Proserpina, to the ancient people of Eleusis Attic Ceres; some call me Juno, some Bellona, others Hecate, and still others Rhamnusia; the people of the two Ethiopias, who are lighted by the first rays of the Sun-God as he rises every day, and the Egyptians, who are strong in ancient lore, worship me with the rites that are truly mine and call me by my real name, which is Queen Isis (ibid. XI, 5; LCL).”
“In biblical interpretation, the identification of this pregnant sky Woman with celestial Virgo dates back at least to Charles Dupuis in 1794 (see Lehmann-Nitsche 1934:202). The constellation Virgo was identified with many deities: Dike, Demeter, Magna Mater, Eileithyia, Tyche, Pax, Atargatis or Dea Syria, luno [Venus] caelestis of the Carthaginians (see Le Boeuffle 1977:212-15). But most of our witnesses identify Virgo with Isis. She is found along with her child Horos in the Hellenistic Egyptian sky maps as nursing her child. (Side note: The Egyptian name for this decan of Virgois Shes-nu, means “Desired Son,” and the star picture of Coma is of a woman with a child in her lap.” (http://www.try-god.com/biblical-archaeo-astronomy-of-the-ancient-egyptian-star-names-of-the-dendera-zodiac.php))
Teukros the Babylonian (first century c.E.) tells us that in the constellation of Virgo there emerges “a certain goddess, seated on a throne and nursing a child, of whom some say she is the goddess Isis feeding Horos” (Boll 1967 [19141:110). We find the same portrayal in Egyptian temple pictures of the early Roman Empire, including the constellation on the ceiling of Dendera and other paintings, gems and coins. Apuleius calls her “mother of the stars, parent of the seasons, mistress of the whole world” (Metamorphoses XI, 7; LCL).”
“Finally, in a passage from Apuleius where Psyche turns in prayer to Juno, she states: “0 sister and consort of great Jupiter, whether you dwell in the ancient sanctuary of Samos, which alone glories in your birth and infant wails and nursing, ing, or whether you frequent the blessed site of lofty Carthage, which worships you as a virgin who travels through the sky on the back of Leo, or whether you protect the renowned walls of the Argives beside the banks of Inachus, who proclaims claims you now the Thunderer’s bride and queen of goddesses-you whom all the East adores as Yoker (Zygia) and all the West calls Bringer into Light (Lucina)-be you Juno Savioress to me in my uttermost misfortune” (Metamorphoses VI, 4; LCL). The point is that in the mind of first-century Mediterraneans, the female statuses tuses of virgin, mother, and queen could thus readily reside in the same celestial person. Finally, in Hermetic tradition, Isis is described as “Virgin of the Cosmos;’ the one who gives birth to the sun and the like. Furthermore, the connection nection of that constellational configuration with the myth of Isis and Horus was made in the Hellenistic period in rather great detail. Thus it belonged to the world of our seer and was discovered long before he had his altered state of consciousness ness experiences.”
So there you have it. These ancient pagans believed in fact that the constellation Virgo was represented as their divine goddess. It all centered around the worship of Isis but went under different guises. She was Juno to Greeks, Isis to Egyptians, Virgin Mary to Christians and so on. These were all distortions of what this sign really was. The sign represented Israel as the woman giving birth to the Messiah Jesus. And like I mentioned at the beginning, if this sign has been fulfilled with the birth of Jesus (like it was), then the incoming sign in September is false. That’s the bottom line.
So it seems that this false sign is representing Isis/Horus or Juno/Juvo (Jupiter). And we have been seeing this goddess worship more and more in the last few years with it getting out of hand just of recently. We are also seeing this symbolism with the Arch of Triumph. So there isn’t a double fulfillment of Revelation 12:1 because it happened one time…at 3 AD.
Before I talk about what I originally wanted to, I want to bring up this article that also questioned what the Arch of Triumph was made out of. Its a very interesting article and I am going to post the whole thing. This is an update from a previous paper on what the Arch was made of.
On the 19th April 2016, the Institute for Digital Archaeology (IDA), with Mayor of London Boris Johnson, unveiled their replica of the Triumphal Arch at Palmyra in Trafalgar Square. There had been much anticipation and build-up to the event among the press. The press releases all claimed that this replica of the arch had been milled from Egyptian marble and was an exact reproduction of the Triumphal Arch. In fact, the central arch has been removed from its context(it is one of three that make up the Triumphal Arch structure in Palmyra) and is about one third the size of the original, in a uniform yellowish material and roughly modelled from photographs. It seems the Institute of Digital Archaeology has been overstating its aims and abilities. Do their claims stand scrutiny?
Photograph of the original, towering over people passing under
Photograph of the copy; note the size of the people in comparison to the arch.
“I think that this may be the most exact reproduction of any kind of classical structure ever made. It got to the point where we were trying to decide whether to include cobwebs, bird’s nests, moss that was on the structure […] The idea would be to install 3D printing grids on a site near to Palmyra, to use the same cutting tool technology on location in Palmyra which will provide jobs for local people.” (Roger Michel, speaking on the BBC on 19/4/2016)
A cursory comparison between the original and the replica confirms that this is an approximate copy and not a facsimile or replica. Cobwebs and bird’s nests seem to be far from their biggest worry with regards to accuracy. The more detailed photograph below demonstrates that their copy doesn’t match the original in terms of detail, decoration and colour let alone scale.
The back of the IDA copy. Note the uniformity of colour and texture; the bricks all fused together and smoothed, looking like bars of soap. Many of the specific details do not correspond to the original central arch.
The back of the original. Note the texture and colour variants of the stones at the top of the arch.
What Material was used? Was it carved in stone with a CNC robot or printed from a composite resin? The IDA press release said the replica had been milled from several blocks of Egyptian marble. Boris Johnson, in his column for the Daily Telegraph, said: “It will not be perfect. It will not be made of the same pinkish-golden stone of that original temple gateway, which ISIS has blown to atoms. It will be made of resin.” (Boris Johnson, The Telegraph, 27 March 2016)
The claim that the arch is made form Egyptian marble seems to be at odds with other statements and claims made by Roger Michel about IDA’s method. Simon Jenkins of the Guardian, writes:
“Michel claims his printers can reproduce not just the texture and surface contour of stone, but its physical makeup. They can extrude layers of the same sand, water and sodium bicarbonate that formed the artificial stone often used by the ancients. They can reconstitute the original dust of a ruin in situ. It is no different in concept from the French Archaeologists who, in the last century, re-erected Palmyra’s colonnade.” (Simon Jenkins, The Guardian, 29/3/2016)
More recently the idea of milling into Egyptian marble in Italy seems to be the preferred method:
“The decision to build it in Egyptian marble – which they claim will be close to the original in appearance – was also a late one. But an arch here or there is barely the half of it. Michel says he is ‘in discussions right now with folks in Aleppo about reconstructing the minaret of the mosque there’.” (Nigel Richardson, The Telegraph, 18 April 2016)
Digital Restoration is one of the most important emerging subjects – separating the task of preservation from that of restoration. In Michel’s publicity seeking statements he seems intent not only on blurring the distinction between printing and carving, but the suggestion that the Minaret in Aleppo can be made this way is both misleading and fanciful.
The Decorative Detail
While there may be confusion over the materials and the scale there is no confusion about the details on the arch. The stonework has been simplified but the capitals have entirely lost their sense and meaning.
The top of the replica. The Corinthian column looking more akin to fish scales or feathers.
They are clearly not Acanthus leaves nor based on the language of this form or order of classical decoration.
Image of a section of the original. Compare the detail on capital in the top left, above, with the one on the replica below (red square). Compare with photo of the replica below (blue square): notice the detail on the capital and the fact that large parts of the copy do not correspond with the design, proportion or detail of the arch.
Photograph by Daniel Demeter for Syriaphotoguide.com
Photo of installation. The blue square, corresponding to the blue square in the previous photo of the original.
Notice the lack of detail on the capital, and what is effectively made-up information on the border.
[The decorative features] are, says Michel, “completely indistinguishable from the original”. He is also offering the Syrians two printers that, he claims can operate at a speed that “should enable us to rebuild what has been destroyed inside six months”. (Simon Jenkins, The Guardian, 29/3/2016)
Not only is it easy to demonstrate that this copy is quite clearly distinguishable from the original, but Michel’s claim about rebuilding Palmyra is both misleading and irresponsible. Fortunately the destruction in Palmyra was not as bad as some feared. In the days after the site was recaptured, Iconem (a French ‘not for profit’ team) carried out aerial photogrammetry of the site and high-resolution photogrammetry of some of the details. This is exactly the work that should be supported. It cost a fraction of the budget for IDA’s arch and will allow CNC milling or 3D printing at meaningful levels of accuracy. If this work had been done before the ISIS destruction it would have would have been even more meaningful.
3D printing and re-materialisation technologies are developing fast. When digital skills are merged with artisanal craft skills a great deal can be achieved – but this work is slow, expensive and dependent on scholarship and knowledge. While a reduced size low resolution arch with very little detail can be made in 30 days using a CNC router or a 3D printer it has no meaning or function in preservation or restoration. The claim that two CNC routing systems can rebuild Palmyra in six months is factually wrong.
The debate over whether Palmyra should be rebuilt at all need to take place publicly and in a considered way. The argument given by the IDA (which was used to justify its unveiling in London), is that London was rebuilt after the blitz. It brings to mind Aleppo – this great city has been reduced to rubble. At the end of the conflict and before the city is rebuilt, it will be a vast archaeological site in heed of emergency archaeology. Politicians should be focusing on this and providing the money to make it happen. London was rebuilt but not as it was before the Blitz.
“Trafalgar Square, then, is the display case, and the arch within it ‘proof of our competency to do these things’ [Roger Michel].” (Nigel Richardson, The Telegraph, 18 April 2016)
Sadly this simplistic publicity seeking exercise has proved the reverse. What is worse is it has done it using the names of Oxford and Harvard Universities to give it academic credibility. It is hoped that both Oxford and Harvard will distance themselves from this theme park approach and promote an understanding of the role of digital preservation that will help to protect the past. It should be noted that other universities are already starting to do this in ways that will advance the subject.
IDA mock-up of what it would look like (interestingly much more detailed than the replica).
What the media has said since the arch was erected:
The IDA Arch has been receiving some critical responses from different media outlets, including:
“It is too early to say if “critical reconstruction” is an appropriate approach at Palmyra but shipping an Italian/Egyptian copy of an arch to Syria that does not incorporate either original material or reveal in its design something of the trauma of the attack upon it simply cannot be right.” (Robert Bevan, Evening Standard, 25 April 2016)
“The marble is smooth, bright and plasticky; it looks as much like a Roman ruin as the Disneyland castle looks like an actual medieval fortress. […]”But putting [the arch] in London seems a little smug, not to mention hypocritical. The message is that Iraqis and Syrians can’t be trusted to take care of their own artefacts, that we in the west are still the guardians of universal culture. In other words, it’s a form of looting – we’ve stolen a piece of Syrian history, copied it and tried to make it our own.” (Sam Kriss, Vice, 25 April 2016)
“The publicity stunt has not been without controversy. It is costing a reported £2.5m and some archaeologists believe the money could have been better spent on Syria’s existing monuments.” (Edwin Heathcote, The Financial Times, 19 April 2016)
It has been reported that the replica cost between £100,000 to create (Lauren Turner, BBC News, 19/4/2016) and 2.5 million (Edwin Heathcote, The Financial Times, 19 April 2016). The true cost of producing a set design like this can be obtained from the Royal Opera House whose skilled craftsmen can do it fast and effectively.
Factum Arte has years of experience of making exact facsimiles, and working with both 3D printing and CNC milling. We also have some very skilled digital modellers. The test below was modelled by Irene Gaume in Madrid from photographs obtained over the internet. The modelling from start to finish took about 200 hours. The milling took about 150 hours. The costs of this can be easily calculated – At a ‘special rate’, skilled 3D modelling will cost at least 60 euros an hour. Milling costs about the same. The section shown here is a 63 x 59.5 cm routing of details on the Arch of the Temple of Bel in Palmyra. The 3D data was hand-modelled from photographs.
Image of the routed section of the arch of the Temple of Bel in Palmyra routed into high density polyurethane
Section of the 3D model from which the routed section was made. The 3D modeling was based on freely available photographs.
When high-resolution 3D documentation and re-materialisation is done correctly, it creates opportunities in the academic, economic and cultural spheres. Factum Foundation’s facsimile of Tutankhamun’s burial chamber in the Valley of the Kings, Egypt, serves as a strong example. In 2009, Factum Foundation and Factum Arte used high-resolution 3D scanning and composite photography to document the entire surface of Tutankhamun’s burial chamber. The purpose of this work was to communicate to the 7,000 tourists a day who visited the Valley of the Kings the problems of protecting and preserving sites that were built to last for eternity but never to be visited. Mass tourism is a significant but destructive force for cultural heritage. It brings income into communities that are desperately in need, but there is an urgent need to get the visitors to understand how to make tourism sustainable. The production of the exact facsimile of Tutankhamun both provided the data to monitor decay, produced a didactic experience linking heritage and technology and provided jobs in the local community.
It has been installed next to Howard Carter’s House at the entrance to the Valley of the Kings as part of the Theban Necropolis Preservation Initiative. This project is being run by the Ministry of Antiquities, Basel University and Factum Foundation – you can follow its progress here.
Facsimile of the Tomb of Tutankhamun
The facsimile of the Tomb of Tutankhamun also serves as the inaugural project of a multi-year outreach program in Luxor; the Theban Necropolis Preservation Initiative is designed to offer training and capacity building in cultural preservation for the Egyptian communities. The Initiative is a sustainable system in which the tombs of the Valley of the Kings will be preserved and studied on site, by local custodians with advanced digital and artisanal skills.
Factum Foundation’s mission to raise awareness about precise 3D documentation and re-materialisation of cultural heritage has never been more relevant or imperative. For the Foundation, a facsimile is a testament to the quality of the data and to a highly-developed approach to digital printing (in 3D and colour) and other re-materialisation technologies. (http://www.factumfoundation.org/pag/236/)
So from the looks of it, these people even question how the Arch was made and with what materials. It seems there is some more dishonesty going on again.
Now let me bring up what I originally had wanted to say. I was looking at pictures of the Royal Arch Degree and a few things caught my attention. Let me first point out that the capstone that was on the original Arch is still around. It never got destroyed. It was featured in a exhibition in Venice in 2016. “On May 25th, in Collaboration with London’s Victoria & Albert Museum, the IDA unveiled a major Palmyra-themed exhibit at the Venice Biennale, the premiere exhibition site for the latest innovations in art and architecture world-wide. The exhibition, which will run from May to November, and which will be seen by more than a half -million visitors, features elements of Palmyra’s Triumphal Arch, including the ornate keystone. The goal of the installation is to provoke discussion about the role of historic reconstruction in preserving and curating ancient sites and to bring attention to the new digital technologies available for this purpose.”
So this got me thinking while looking at these pictures of the Royal Arch Degree. I want you to notice how the keystone is the key to this arch. We know that this is the Roman Arch of Triumph but we also know that this was the entrance into Palmyra where the Temple of Bel stood and the Temple of Baalshamin was nearby.
Someone made a comment in a French message board that said this about the connection to the Arch entrance and these Temples.
I think he made a great point. I’ve said time and time again that this is NOT the Arch of Baal like 99% of people suggest. Add its not. But with that said, it is very much an access point to Baal ie Hubal ie Satan. I think it is the key to the doorstep of Baal and the motto for Arona proves it. Passing through moving forward. That’s what they want people to do not only physically but spiritually. This is why I think the Arch will stay in Arona on the mountain of strength for another two months until Jupiter is birthed. And yes, I think Jupiter has everything to do with the Arch. Think about the rock that fell from heaven that was in Ephesus in the Temple of Diana (Venus). They believed that this rock came from Jupiter. We are seeing a modern version of what Scripture showed us in the book of Acts. This time its a complete Arch.
But the issue here is the keystone. The piece that holds the key to all of this. Look at the pictures below and look closely at the keystone. What do you notice?
Did you notice that when the keystone isn’t present, this is where the shekinah of their god ie all seeing eye shines through. Mow look at the last two pictures. This is a diploma of sorts that is given put to initiates when achieving the Royal Arch Degree. Do you see the hanged man coming through where the keystone was? “Esoterically, the Hanged Man is the human spirit which is suspended from heaven by a single thread. Wisdom, not death, is the reward for this voluntary sacrifice during which the human soul, suspended above the world of illusion, and meditating upon its unreality, is rewarded by the achievement of self-realization.” ― Manly P. Hall
To get through this “sacrifice” they will get Sophia (wisdom) as a reward. I know, he isn’t hanging by his foot but you get my point hopefully. The Arch is representing that divine feminine that these occultist love and they want man to break on through to the other side to Baal. I think this is what this keystone represents. Not only the keystone but the Arch. Its a spiritual thing that is going on here and its definetly not good.
Now look at another picture of this royal arch.
Do you see the 69 keystone? I talked about the significance of the number 69 here but like I said before, I think this Arch has a strong connection to Jupiter. Do you remember the big announcement of Jupiter’s 69 moons a few months ago? Strange that they find two more moons/satellite’s to now make 69. And we see this 69 on the keystone of the Arch.
Now look at how these moons orbit Jupiter and then look at how CERN accelerates particles. Kinda looks familiar huh? Jupiter has its RED eye and so does CERN.
And while I’m taking about Jupiter, let me throw in that they announced that Jupiter’s eye won’t be around for another generation. Does that sound like they are telegraphing anything? His time is short…
So a few weeks ago I wrote about how the IDA claimed that 2 million people visited the Arch of Triumph in Arona, Italy in just two days. O thought this was far fetched and the number was really exaggerated. Well an article from a local Arona newscast Arona 24 has come out two days ago (7/13/17) and has claimed the miracle number of 50 thousand people have visited the Arch since it was set up in Arona. Really? It has now dropped. What is really going on here? Is it 2 million in 2 days or 50 thousand in 2 months? So it seems they after being honest here…again.
But that’s not really the big news here. Now they are saying that since it was such a great turnout that they are keeping the Arch in Arona until September now. Go figure right. “This success has convinced the makers of ‘Ida Institute for Digital Archeology in Oxford, world-promoters, to leave Arco in Italy two months longer than expected, so until late September, when play will leave for Paris.” Of course they are with all the nonsense going on in September right now. They want to establish this Mountain of Strength in of all places Arona. And it makes sense. Right behind it you have the nativity of Jesus being played out in the Plaza and just last night (7/14/17) they had a few speakers and they put a picture of a book in the middle of the Arch with a goat. Yes a goat. This keeps bringing me back to Jupiter- Serapis who had horns like a goat (although they say they were sheep horns). The book is called “From the shadows to the light, From Caravaggio to Tiepolo. The treasure of Italy: 4”.
Here is the article translated in English below.
Fifty thousand people have visited the arch of Palmyra who remain in the city for another two months
ARONA- 13-07-2017- What summer would be animated by the presence of the reconstruction of Palmyra 3d Arch was planned and strategically designed. But no one expected the record turnout that after only two months after the inauguration has reached 50,000 admissions in Piazza San Graziano, of which 22,000 also visited the nearby Museum archaeologist named Khaled Asaad, scoring the highest number of inputs from its opening. This success has convinced the makers of ‘Ida Institute for Digital Archeology in Oxford, world-promoters, to leave Arco in Italy two months longer than expected, so until late September, when play will leave for Paris . To make that visitor numbers were also the collateral cultural events that led under the arch distinguished historians, writers and musicians. Among the most popular events, the keynote held by Vittorio Sgarbi brought in Piazza San Graziano more than 800 people. All this has made of Arona, on the western shore of Lake Maggiore, one of the most popular Northern Italian destinations for national and international tourism. On the other hand, the list of attractions the town offers is well nourished, beginning with the statue of St. Charles, the giant of over 35 meters that rises prominently hometown Archbishop Borromeo and built in honor of his canonization in the seventeenth century, the interior of which can be visited, reaching the top of the statue to appreciate the surrounding landscape. Also linked to the history of the Borromeo is the eponymous Rock of Arona, built before the year 1000 as a defensive structure and become feudal aristocratic dynasty in 1439. Today, after years of closure, is a lush park with spectacular views of the lake Maggiore, a short walk from the center of Arona. Not to forget the CivicoMuseo Archaeological opened in 1997 and named in 2015 its Syrian archaeologist Khaled al-Asaad, where are archaeological raccoltirinvenimenti from across the Lower Verbano area as the famous cast of the wheel dates back to the Bronze Age . (http://www.arona24.it/index.php/1737-cinquanta-mila-persone-hanno-visitato-l-arco-di-palmira-che-resta-in-citta-per-altri-due-mesi)
At the same time of the announcement that the Arch will stay in Arona until September, the IDA was tweeting events going on. I’ve already mentioned the goat in the Arch but this event was dealing with the art in Italy. They tweeted
“IDA at UK particle accelerator today w/ Herculaneum scrolls project and Prof. Brent Seales.” This is a project where they are using the UK Particle Accelerator in order to read these scrolls that had damaged parts to it. The UK Particle Accelerator is the bigger sister of CERN in Switzerland. “The darling of particle physics might be the Large Hadron Collider (LHC) at Cern, but as a practical tool it’s no match for the UK’s Diamond Light Source. Located at the Rutherford Appleton Laboratorycampus at Harwell in Oxfordshire, Diamond is an alchemist’s dream, a place where beams of light 10,000 times brighter than the sun are deployed to probe the nature of everyday things.
So the IDA was visiting this site because I’m sure they will eventually have their hand in this with all these people. The woman I mentioned in a article a few days ago (Karenowska, the physicist in magnonics) was even mentioned in this tweet. It’s funny because just recently someone asked if there was a connection with this Arch and CERN. It seems that These is an indirect connection as of right now. I’ve always believed that this man of sin, when he hits the scene in full force, will use some sort of lost manuscripts to prove to people that he is in fact God. We know that’s a lie. This Herculaneum scrolls project are kind of interesting to. These scrolls were buried by the volcanic eruption of at Mount Vesuvius in 79 AD. When they tweeted adout this scroll ironically a news report came out that day about the volcano erupting and the smoke looking like a skull or monster. (https://www.rt.com/viral/396207-creepy-skull-face-vesuvius/) Kinda weird.
And an intetesting fact about Herculaneum before it being destroyed is this. “In Herculaneum, Piso built a seaside villa on a palatial scale – the width of its beach frontage alone exceeds 220m (721ft). When it was excavated in the middle of the 18th Century, it was found to hold more than 80 bronze and marble statues of the highest quality, including one of Pan having sex with a goat.” (http://www.bbc.com/news/magazine-25106956) The goat in the Arch and the goat of Pan. What a coincidence.
The 9/23 Cult (that’s what they are now) believes that when women like Beyonce or Ivanka are seen with the symbolism of Revelation 12:1 Sign, they believe its a satanic mockery of God. The problem is this, its a false sign when you think it is a future event and has nothing to do with the birth of Jesus. So when you see symbolism of women portraying this sign, they are right on point with their fellow occultists. They too believe this Jupiter birthing is something big that takes place in September. And it is. Its not the rapture or anything that has to do with the Messiah, its all about the anti-Messiah.
So it leads is to this. A week ago they had the G20 and Ivanka (or should I say Oholibamah or Yael) sat in for her dad while Donald wasn’t present. A picture came out that has Ivanka sitting in front of a well placed Argentina flag.
It just so happens that the flag has the Sun on it and one of the pictures is with the Sun over her left shoulder. Just like Stellariums screenshot of September 23rd, 2017. The placement of the flag and her sitting in front of it was either the biggest coincidence or a planned orchestrated event. And I don’t believe much in coincidences anymore.
So you have this weird symbolism of these women and this “Revelation 12:1” sign going on. And they even added a Ivanka halo goddess shot to the mix.
Now during this last year’s Grammys we saw all of this symbolism with this false sign with Beyonce. She came out as the African goddess Osha who is in fact just Isis. She was even pregnant at the time and went through a symbolic birthing period.
She ironically was also clothed with the Sun in a weird way.
And why I’m talking about Beyonce, let me bring up that they just announced the first pictures of her twins Romulus and Remus…oops I meant Sir Carter and Rumi. Its a strange picture that was just like the pregnancy shot. Matter of fact you can see that it was taken at the same place as the first one, probably on Malibu by Awol Erizku. “No doubt you are aware of this by now, but last month Beyoncé gave birth to twins—Sir and Rumi Carter—and today she shared a photograph of her holding them in front of a soaring canopy of flowers, wrapped in a stunning pink gown by Alejandro Gómez Palomo. It’s a sequel of sorts to the pregnancy shot that she released back in February, shot by up-and-comer Awol Erizku.
At the time of that original photo, Erizku’s involvement was something of a secret. Presumably because of non-disclosures and privacy concerns and so forth, no one at first quite wanted to confirm his involvement, but it eventually came out. This time, he was credited with the photo upon its release.” (http://www.artnews.com/2017/07/14/awol-erizku-shoots-beyonce-again/)
After shocking the world with an extravagant pregnancy announcement photo in February, Beyoncé and Jay Z welcomed two new babies into the world. But now that TMZ is reporting that theCarter twins are named Sir and Rumi, what does the name Rumi mean? The name is an interesting choice, but that was to be expected from the parents of Blue Ivy Carter.
According to NameBerry.com, a leading baby names site, Rumi is a feminine name of Japanese origin. The name means, “beauty,” “flow,” or “lapiz lazuli.” Based on the characters, or kanji, used to write the name, Rumi can also mean “water,” or “current,” all of which are beautiful, artful descriptions that complement the poetic natures of both Beyoncé and Jay Z’s work. One of the meanings of Rumi could also hold a very lovely connection to older sister, Blue. Lapis Lazuli is a blue semi-precious stone that, according to Crystal Vaults, many people over history have held as a “symbol of royalty and honor, gods and power, spirit and vision. It is a universal symbol of wisdom and truth.”
Decoding the artistic references in Beyoncé‘s gorgeous birth announcement for her twins
The portrait — most likely taken by Awol Erizku, the photographer behind the lead images in the pregnancy photo shoot, though that has yet to be confirmed — shows Beyoncé cradling her twins, draped in a flowing robe, standing in front of a floral wreath that looks like the one she was kneeling in front of back in February. It’s an evocative image with a lot to unpack, so let’s look a little closer:
Most of the imagery the new maternity portrait is working with is the same basic toolkit that the pregnancy portrait used, but it’s all been amped up. The blue veil is still heavily reminiscent of Renaissance portraits of the Madonna and child, but the robe ups the resemblance — and now that Rumi and Sir Carter are here, Beyoncé’s pose echoes images of the Virgin Mary cradling the baby Jesus even more strongly.
The references to Botticelli’s Venus have grown stronger too. In the pregnancy photo, the resemblance was subliminal: The flower wreath behind Beyoncé’s head echoed the roses the winds blow towards Venus, the lines of Beyoncé’s veil echoed the lines of Venus’s hair, and the placement of Beyoncé’s hands on her pregnant belly echoed the placement of Venus’s hands framing her genitalia.
But in her maternity photo, Beyoncé is standing in Venus’s very pose, one leg slightly lifted as if she’s about to step forward out of the portrait. And her floral silk robe is strikingly similar to the floral silk mantle that a nymph is about to drape over Botticelli’s Venus.
Everything that was promised in the pregnancy portrait is realized in the maternity portrait. Before, Beyoncé was suggesting Venus and Mary; now she’s taking on their literal poses. Before, the colors were saturated and the light was subdued, suggesting an expectant, waiting atmosphere; now the light gleams brilliantly off Beyoncé and her babies: The waiting is over and the twins are here.
Beyoncé’s choice of imagery isn’t accidental: She’s essentially deconstructing the Madonna/whore complex through her own person. The Virgin Mary traditionally stands for maternity, purity, and chastity, while Venus stands for erotic beauty and sex. In the West, we’re obsessed with keeping those two ideas separate, but Beyoncé won’t allow it. She is mother and saint and goddess of beauty and sex, all at once, and she’s doing it as a woman of color, too. (https://www.vox.com/culture/2017/7/14/15971588/beyonce-twins-birth-announcement-madonna-venus)
And if you made it this far…I think she resembles Squidward more than Venus.
I suggest if you haven’t yet, please read my paper on the August 21st eclipse. Then you can get an idea of where I stand on this event. You can read it here.
I came across an advertisement from the US Department of Interior for the eclipse on August 21st. Their logo is a bison so I wasn’t too shocked but being that its for the eclipse, it was a little surprising.
The bison in some American Indian traditions is equivalent to the bull of Egypt and Mesopotamia. The bison is revered as a type of Nimrod not only in the Middle East but also in the Americas.
I will briefly mention this because I will mention this more in another blog but Amun of Egypt was Jupiter and he was seen as having horns. Below is Alexander with his Amun-Jupiter horns. In my opinion there seems to be a connection with this Eclipse to a symbolic/spiritual harvesting going on that is also connected to Jupiters big debut. This is my opinion though.
It just seems fitting that we are seeing America’s bull of Nimrod in the form of a bison coming from a government agency. Oh and let’s not forget the Flintstones…look at the numbers on these last two pictures. 32 and 33.
And don’t forget about the American Gods t.v. show. Look who’s on that advertisements. Mr. Buffalo. Notice the lettering in the poster that is lit up. AM I A GOD. Read my paper on the eclipse and you will see why I bring this up.
I saw an interesting post from John Thomas Kerind this morning with a Catholic Bible with an all seeing eye and the name yahweh. “You guys won’t believe this but I was unboxing my grandfather’s old keepsake’s box and he had a Catholic “Bible” from 1963. On the first page was a bunch of occultic symbolism with a big pyramid in the middle with an eye in it (like on the dollar bill) and above it was written “Yahweh”. It’s the official catholic “bible”. It really shows you were these satanic, fake, names like Yahweh and Yahuah originate from. The Catholic cult preaches another Jesus.”
I want to also add this story that came out a few days ago. Doesn’t the Crusader Cross look like a less jumbled cross of Baphomet? The cool thing to do in Jerusalem is now get a tattoo of the Crusaders Cross or Jerusalem Cross. What this actually is, is the Templars Cross. Imagine that.
“Wassim Razzouk, 43, is a tattoo artist descending from a centuries-long line in the trade: 700 years to be exact. “We are Copts, we come from Egypt, and in Egypt there is a tradition of tattooing Christians, and my great, great ancestors were some of those tattooing the Christian Copts,” he told me.
The first evidence of a Christian tattoo tradition traces back to the Holy Land and Egypt as early as the 6th or 7th Century. From there, the tradition spread throughout Eastern Christian communities such as the Ethiopian, Armenian, Syriac and Maronite Churches. To this day, many Coptic Churches require a tattoo of a cross or other proof of Christian faith to enter a church. (Tattoo traditions among groups such as Celtic and Croatian Catholics emerged separately and at a later date.)”
The main argument from the 9/23 Rapture Cult is that this sign from Revelation 12:1 is the rapture. Some have even back pedeled away from it and make the claim that if the rapture doesn’t happen on September 21-23 then it will happen by the first of October or by December 1st. Some have even said that it could be the start of their “7 year tribulation”. I disagree with all those theories. I’ll say it a million times, its not a good sign and its an occult event only to decieve Christians.
They look at all kinds of disinformation and will continue to disregard the actual Greek text and wording of scripture. One particular person who has commented on my original post continued to say prophetic literature was written in different tenses and moods in the Greek but refuses to explain what he means and answer my main point. That being…Why would John use one specific form of a word that was in the Passive (Past Tense as he saw it when writing it) form and use the same word in a different form in the following chapter as Active (something Future and continuing at the time he wrote it)? Let’s look at the Greek of these verses.
Below is from the Recieved Text or Textus Receptus of 1550. This stream of Greek is where we get the KJV. In contrast to this text is the Tischendorf 8th Edition where he translated from the Sinaiticus. Tish found this text in the trash at a Greek Monastery. Wescott and Hort and Nestle and Aland used this text along with many others to get modern translations like the NIV and many others.
In order for one to believe that the Revelation 12:1 & 3 signs are for a future event, one would need to stick to Tischendorfs Sinaiticus manuscript which falls right in line with the Vatican made “rapture” theory. Below we see verses Revelation 12:1 & 3 in regards to what John SAW or should I say was seen ie passive ie past tense. Underneath these verses is Tischendorfs falsified documents.
As you can see, John used ὤφθη ((ōphthē – was seen) as a Aorist Indicative Passive in the 3rd person in the Textus Receptus manuscripts. Matter of fact, almost every Greek text used this same word except for Tischendorfs 8th Edition from the Sinaiticus. He used ὁράω which is in the Indicative Active and is actually the root word horaó. The way he wrote it was in the Future tense and the Vatican Jesuits loved it. In all of the other manuscripts, including W&H’s blasphemous texts, it was passive. This is where these texts got it right for once.
Now if John wanted to use this word for something seen in a future or active tense for the Greek, he would’ve wrote the word in a active future tense or a future tense. The active future tense of this word for “seen or saw” looks like this, εἶδον (eidon). Ironically John did use the future active tense of this word in Revelation, and he used it 45 times. The active future form of this word εἶδον was used 45 times compared to ὤφθη, the passive or past tense form used only 3 times. Now I need to correct something on my last paper on this. According to the W&H, Nestle and other texts, this word εἶδον (eidon) is used in Revelation 13:1. Tischendorf still uses ὁράω. The problem with this is that these mentioned manuscripts completely leave out the opening sentence in 13:1.
And I stood upon the sand of the sea, and saw a beast rise up out of the sea, having seven heads and ten horns, and upon his horns ten crowns, and upon his heads the name of blasphemy (KJV)
So these other manuscripts leave out a sentence all together and the word for saw, εἶδον (eidon) is used in the active future form. Something that would be present in John’s day that would continue into the future. That should put to sleep a future 1st and 2nd beast theory…but it won’t according to some.
The actual true Future tense of the word for this same word for “seen or saw” was used by John a few times in Revelation. You can see it in Revelation 1:7 the Future Indicative Middle tense of ὄψεται (opsetai). Its also in Revelation 22:4 with ὄψονται (opsontai). These two words are used for Jesus’ second coming for a future time. The Greek wasn’t foriegn to John when he wrote this word for something he saw in a dream or vision whether it be for a future time or something in the past. It was either past tense with something that happened prior to him seeing what he saw or it was something active while he was writing Revelation and continuing or for the a future event at the time of him writing Revelation.
All of these words come from the root word horaó. John clearly knew how to differentiate between something that happened in the past, something that was actively happening and would to continue to happen in the future and something that was strictly for a future time. According to the Greek text, Revelation 12:1,3 was based off of something that had happened in the past. If John wanted to say that the Revelation 12 signs were for a future event then he would have used either ὄψεται of Revelation 1:7 or ὄψονται in Revelation 22:4. He didn’t. That’s why Revelation 12:1 is the birth of Jesus and not some “rapture” of the Church. To believe its for a future time and the “rapture” of the church then you need to follow the corrupted Sinaiticus and the Vatican. Which they do.