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Tuesday, July 3, 2012

Sinister Sites – National Memorial and Arboretum, U.K

Sinister Sites – National Memorial and Arboretum, U.K

By Vigilant Citizen on October 16, 2009

Police and military memorials are probably the most occult monuments you can find. Considered to be the largest Memorial built since WWII, the National Memorial in Staffordshire, U.K. is totally built on Masonic and Illuminati principles. Does this structure commemorate fallen soldiers or does it celebrate their ritual sacrifice? The symbols say it all.

Memorials dedicated to the fallen are a place to reflect, to pay respects and to pray. They carry an important meaning for the friends and families of the victims as well as for the rest of their countrymen. The symbolism of the place conveys however a double message – one that applies to the common people and another one that applies to the elite. When one goes beyond the face value of this structure and analyzes the symbolic origin of the monuments, one can understand the thoroughly elitist philosophy behind the Memorial. The architecture, the choice of monuments and the symbols present at the National Memorial are directly taken from Masonic and Illuminati principles. What do these symbols have to do with the soldiers and the other victims being honored at this Memorial, except for the fact they represent their hidden rulers, those who plot wars and political crises? Those who have researched the secret aims of the elite, their plans for a New World Order and their obsession for a massive depopulation the Earth will see in this Memorial a troubling message. Prince Philip infamously said:
“In the event that I am reincarnated, I would like to return as a deadly virus, in order to contribute something to solve overpopulation.”
The elite are into eugenics, planned parenthood and other (more extreme) ways to reduce the world population. It is important to understand the state of mind of those people and the way they are reasoning before analyzing their symbols. Other researchers who have studied occult memorials have concluded that these structures actually celebrate the ritual sacrifice of these people for the elite, the “illuminated”. The presence of ancient pagan symbols such as phallic and yonic shapes, mixed with emblems of western occultism are very recognizable signatures of Illuminati architecture. When one is aware of the culture of death that is cultivated in the higher level of the occult orders, one sees the real meaning of the National Memorial. It is saying: “These people died to serve our interests.”

General Structure [3]
The main complex features the most commonly found occult symbol around the world: the obelisk[1]. This ancient Egyptian phallic symbol is now used as the ultimate representation of the elite’s power. It is placed at the top of the circle formed by the Memorial’s walls. This circle represents the female principle (the womb) and, combined with the obelisk, it represents the sexual act – the union of the masculine and feminine principle. This combination of a phallic and yonic symbols is an unmistakable trademark of Illuminati monuments. Another example of this juxtaposition is the Washington Monument (obelisk) being at the center of circle and a vesica piscis.
Inside the circle are sculptures conceived by Ian Rank-Broadley, the artist who was selected to design the face of the Queen on British Coinage. We can see here this artist’s connection with Britain’s elite. The sculpture on the south side of the circle depicts a fatally wounded soldier, totally naked, being carried towards an opening in the wall (representing “the Gates to Eternity”).[2] As you will see in other works in this Memorial, death in this sculpture is very graphic and represented in a non-dignified way.[4, 5] The fragility and the vulnerability of the human body is highlighted as the cadaver is pointed towards the exit of the occult circle. The dead soldier is literally being ”disposed of” since he is no longer of a use for the British Crown. All there will be left of him is a name on a wall.[16] THESE SCULPTURES ARE REALLY A SHAME AND AN INSULT OF THE HUMAN DIGNITY
Have you ever seen deceased members of the elite portrayed naked and lying on the floor, lifeless? No, their sculptures shows them at their best, full of dignity, accentuating their strong traits and giving them a sense of immortality. Conversely, this sculpture focuses on the temporary nature of human life, on the tragedy of the “little people” and their eternal struggle to seek a dignified existence. The same technique is applied in televised news: do you ever see American or British people dead or mutilated on TV? No, but we see hundreds of Palestinians, Irakis or whatever current enemies of the coalition grossly disfigured and mutilated. In his book “Manufacturing Consent”, Noam Chomsky explained that this phenomenon effectively attributed in the minds of viewers a different value for the life of a Westerner versus the life of an Arab, an Asian or an African. The same technique is used here but opposes the untouchable elite versus the mutilated mass.
The “opening” in the wall, which is pointed by a character in the sculpture, is astronomically placed in order to allow sun rays to stream through this gap and illuminate the center of the Memorial at exactly the 11th hour of the 11th day of the 11th month of each year. This is extremely significant. The signing of the Armistice, which formally ended WWI in 1918 was signed at exactly 11 o’clock, on the eleventh day of the eleventh month. This surely wasn’t a coincidence and can only be explained by esoteric numerology.
“The followers of Pythagoras … referred every object, planet, man, idea, and essence to some number or other, in a way which to most moderns must seem curious and mystical in the highest degree. ‘The numerals of Pythagoras’, says Porphyry, who lived about 300 A.D., ‘were hieroglyphic symbols, by means whereof he explained all ideas concerning the nature of things’, and the same [numeric] method of explaining the secrets of nature is once again being insisted upon in the new revelation of the ‘Secret Doctrine’, by H.P. Blavatsky. ‘Numbers are a key to the ancient views of cosmogony — in its broad sense, spiritually as well as physically considered, to the evolution of the present human race; all systems of religious mysticism are based upon numerals. The sacredness of numbers begins with the Great First Cause, the One, and ends only with the nought or zero — symbol of the infinite and boundless universe’.”
-W. Wynn Westcott, The Occult Power of Numbers
If we add the three elevens involved in the Armistice (11th hour, 11th day, 11th month), we obtain a total of 33 which is a sacred number of Masonry. There are 33 degrees in Freemasonry and the last one, the 33rd, is an honorary degree. So the elevens are a numerological signature communicating to the initiates the Masonic role in WWI. This war was a necessary step in the age-old plan to bring forth a world government, which is one the main goal of the Illuminist. The number eleven carries a heavy meaning in numerous occult schools. Here is nice compilation of meanings:
11 is a “master number or “power number” as most numerologists will testify. It is a number which cannot be reduced by adding the two digits.
· 11 is associated with someone who is on a higher plane of existence.
· Someone who brings “mystical revelation”.
· Someone who often feels slightly distant from the people surrounding him or her,
and has trouble feeling any real empathy for them.
· Also, this is sometimes the number of the martyr.
· To to the Jews the number 11 is bad. The number of trangression of the law, rebellion, war, sin, sorcery, martyrdom; all of which were displayed to the whole world on 9/11.
· The blue cord of the mason masters is large of 11 cm.
· The Hebrews consider it to be a bad number.
· The Number of the knowledge of God is 11.
· According to Arabs, this one passing by 11 steps. In the Golden Dawn, There are also 11 steps, or degrees,.
· Aleister Crowley revered this number as well when he said that the whole object of magick was the 5 (black, yin, pentagonal) with 6 (white, yang, hexagonal) – thus making 11 The general number of magic or sorcery and magicians.
· The individual in confrontation with the world.
· The number of war and the battle with the demonic element (The images of the destruction played over and over again could certainly be considered mind-control-sorcery).
· The symbol of Martyrdom. Symbol of the interior flight, the rebellion and the mislaying which results from it.
· The transgression of the law is represented by 11 because of it exceeding the number ten by 1. That is the one of the Decalogue.
Source: forbiddenknowledge.com
Astrological alignments, occult numerology and pagan monuments are all trademarks of Illuminati architecture.

Shot at Dawn Memorial [6]
This rather troubling monument commemorates UK soldiers who were executed by their own army for cowardice or desertion. 306 British and Commonwealth soldiers were bound, blindfolded and shot by a British firing squad at dawn. The story of the underage soldier depicted by the sculpture is disturbing.
“The memorial portrays a young British soldier blindfolded and tied to a stake in anticipation of execution by firing squad. The memorial was modeled on the likeness of 17-year-old Private Herbert Burden, who lied about his age in order to enlist in the forces and was later shot for desertion. It is surrounded by a semi-circle of stakes on which are listed the names of every soldier executed in this fashion.”

Occult Monuments
The National Memorial contains an enormous amount of monuments based occult symbolism and geometry. Some subtly refer to the Illuminati (Pyramid, All-Seeing Eye, Obelisk, etc) while others are openly Masonic. Here are some examples.

Royal Army Nursing Corp [7]
An unfinished pyramid with missing capstone. If you don’t know what this refers to, look here.

Hermes Trismegistus Statue [8]
This piece seems out of place in the context of a memorial…until you understand the importance of Hermes for Freemasonry and the importance of Freemasonry in this Memorial. Occult orders consider Hermes to be one of most important figures in History. Trismegistus signifies “Thrice Great” as he was given the title of “greatest philosopher, greatest priest and greatest king”. The three parts of his wisdom were alchemy, astrology and theurgy. Hermes is of an utmost importance for Masonic scholars. He is the main inspiration for the Masonic initiatory rituals, which were borrowed from the Mysteries he established. Nearly all of the Masonic symbols are Hermetic in character. Hermes (who could was either a single man or a group of thinkers) was elevated to the status of deity (Romans knew his as Mercury) and became part of mythology. The Messenger of the Gods is here depicted with a winged hat and the caduceus entwined by serpents. This statue is the only proof you need to confirm the fact that this Memorial was built following the principles of the Masonic religion.

Suez Memorial [9]
This monument was placed in the memory of those who lost their life at the Suez Canal. Another great occasion to place a pyramid in an Egyptian-themed area. Freemasonry attributes a great importance to ancient Egypt and pyramids.

Fire and Rescue Service [10]
The British Fire and Rescue Service Memorial bears a curious feature: a checkerboard pattern. This is typically Masonic and can be found in all Lodges and in most Masonic art.
Once again, why is the Memorial dedicated to Rescue Services, a public service, permeated with Masonic symbolism?

Star of David Monument [11]
This monuments is dedicated to the Jews who lost their life for Britain (where’s the Muslim and Christian one). If you are symbol-literate, you understand the great importance of the hexagram and its esoteric meaning, which goes way beyond exoteric Judaism.

Masonic Memorial [12, 13]
No need to look for hidden symbolism here. This monument is Masonic by definition and was funded by the St. John of Lichfield Lodge. Here’s their description of the monument:
“Bro Griffiths, explaining his thoughts on the design, said: “It is a very open and exposed site and I wanted the ashlars to be protected as if they were in a forest glade, enclosed by a hedge, with one entrance. When the hedge is fully grown, and we have the arch in place at the entrance, it will beckon people, draw them in, to see what I call the pearl within.” The costs of the garden have been kept down by the contribution of Eddie Ford, a builder by trade from nearby Burton and a truly operative Mason, who laid the chequered paving and supervised the positioning of the two ashlars, each weighing three and half tons. “
Here’s a description of the symbolic meaning of the ashlar in Freemasonry:
“Ashlars have symbolic meaning for Freemasons and those in masonic schools used as a metaphor for states of progress. In Freemasonry, the ashlar comes in two forms: the rough ashlar represents a rough, unprepared or undressed stone, and is an allegory of the uninitiated Freemason prior to his discovering enlightenment; the smooth ashlar represents the dressed stone as used by the experienced stonemason, and is an allegory of the Freemason who, through education and diligence, has achieved enlightenment and who lives an upstanding life.”

Sands Memorial [14, 15]
Under the cover of a legitimate and charitable cause, we can again find Illuminati symbolism. The Sands logo features an All-Seeing Eye with an apparently dead baby inside of it. The sculpture itself depicts a life-size, life-like dead baby, lying on the ground.
Visitors are once again confronted to a vulnerable and innocent dead being, facing them with the inevitability of their own mortality. Is this face-to-face with a dead baby really necessary? Some might say “It shocks you to make you aware of the situation“. What situation? There’s nothing everyday people can do to prevent those deaths. This is devaluation of human life and this just fits the “culture of death” theme of the National Memorial.

To Conclude
Those who are acquainted with occult symbolism will rarely encounter so many Illuminati monuments in a single public area. This is one of many recent structures being inaugurated around the world glorifying the death of the common man (see the Georgia Guidestones and Denver International Airport articles). To take this Memorial at its face value is to misunderstand the hidden agenda of the elite. The simple fact that these monuments carry the signature of occult orders – even if the common man is oblivious to their existence – proves the subversive and hidden nature of their control. Massive depopulation of the Earth is part of their global plan – their documents prove it. The same people have built this Memorial. Add it up and understand what they are telling you.

16. Prince William Visits National Arboretum

Analysis of the Occult Symbols Found on the Bank of America Murals

Analysis of the Occult Symbols Found on the Bank of America Murals

Prominently displayed in the lobby of the Bank of America’s Corporate Center are “creepy” frescoes, filled with occult symbols. Even more unsettling is the fact that those images seem to predict events of a radical world change in the not-so-distant future. Are those murals predicting the coming of an occult New World Order? We will look at the occult meaning of the symbols found on the Bank of America frescoes.
A reader of Infowars sent me pictures of some very odd murals displayed at the Bank of America Corporate Center in Charlotte, NC. Needless to say they immediately caught my attention, as I was flabbergasted by their symbolism and their message. I also couldn’t help relating them to the ominous murals of the Denver International Airport.
Painted by Benjamin Long, the paintings are said to revolve around the themes of “making/building, chaos/creativity, and planning/knowledge in a “daring blend of abstract and realism, set off with touches of gold“.
The three frescoes ruling over the lobby of the Bank of America Corporate Center.
Although we normally read from left to right, there are clues within the frescoes hinting the viewers to read the paintings from right to left. The “planning” stage (visually represented by the fresco on the right) is normally the first step of any process so it would make sense to start from there.  There is also alchemical symbolism hinting towards the chronology of the frescoes, so we will begin with the one on the right:

Right Fresco

The fresco on the right is dubbed Planning/Knowledge.  An esoteric read of its symbolism reveals exactly what is being planned and what knowledge it is referring to.

Masonic Boy on Masonic Floor

We see here a young blond boy standing on a standard Masonic checker-board pattern floor. His feet are placed at a 90 degrees angle, in accordance to Masonic initiation ritual:
Q. On your return to the Lodge, where were you placed, as the youngest Entered Apprentice?
A. In the northeast corner, my feet forming a right angle, my body erect, at the right hand of the Worshipful Master in the east, an upright man and Mason, and it was given me strictly in charge ever to walk and act as such.”
- Malcolm C. Duncan, Duncan’s Masonic Ritual and Monitor
Seemingly underneath the boy are people dressed in business suits, seemingly strategizing while pointing at the Masonic boy. Does the boy represent the “new generation”?
This blond boy is very reminiscent of the blond boy featured at the center of one of the murals of the Denver International Airport.
Blond boy hammering a sword into a plowshare. Note that the boy is wearing a traditional Bavarian costume … perhaps as in Bavarian Illuminati?

Burning Bush, Woman in Cube and Pyramid

Symbolism overload
Behind the boy is a tree on fire, which is a reference of the Burning Bush of the Old Testament. The Burning Bush is of great importance in Masonic ritual, especially for the 33rd degree, whose members are considered to be “near the Burning Bush”.
“In the third Exodus it is record that, while Moses was keeping the flock of Jethro on Mount Horeb, “the angle of Lord appeared unto him in a flame of fire out of the midst of a bush”, and there communicated to him for the first time his Ineffable Name. This occurrence is commemorated in the Burning Bush of the Royal Arch Degree. In all systems of antiquity, fire is adopted as a symbol of Deity; and the Burning Bush, or the bush filled with fire which did not consume, whence came forth the Tetragrammaton, the symbol of Divine Light and Truth, is considered in the advanced degrees of Freemasonry, like the Orient in the lower, as the great source of true Masonic light; wherefore Supreme Councils of the Thirty-Third Degree date their balustres or official documents, “near the B.B.” or Burning Bush, to intimate that they are, in their own rite, the exclusive source of all Masonic instruction”.
- Albert G. Mackey, Encyclopedia of Freemasonry, Part 1
In the background is an Egyptian pyramid, the ultimate symbol of the Mysteries in occult teachings.
A strange feature of the painting is the woman apparently trapped inside a transparent cube, hanging from threads coming from the sky. Does she represent the common man, stuck in the confines of the material world (occultly represented by the cube) and manipulated by unseen the forces from above?

Stairs and Black Sun

Jacob’s ladder and a black sun
On the left of the image are stairs, apparently leading to the heavens, a classic symbol representing the path to illumination/Illuminati through the mysteries of Masonry.
A Masonic engraving depicting stairs leading from the Masonic floor to the “outside”
In the sky is a black sun, another symbol of an esoteric significance. Hermetic traditions teach the existence of two suns, an invisible and etheric one made of pure “philosophical gold” and the material one, the only one the profane can perceive, known as the Black Sun.
In alchemy, the black sun (Sol niger) is the name of the result of the first stage of the Opus Magnum. The alchemical Magnum Opus (or Great Work) starts with the “blackening” – the calcination of crude metals – and ends with their transmutation into pure gold.
Today, the symbol of the Black Sun is mostly associated with esoteric Nazism and cults such as the Temple of Set. It is also found in odd places such as:
Bracken House, London. The Black Sun beares the face of Winston Churchill.
…and, once again, the Denver International Airport.
Floor design in the DIA depicting a black sun moving in front of the golden sun
The right fresco therefore seems to portray the first step of a “Great Work” that needs to be accomplished, as symbolically represented by the black sun. Men dressed in suits (one of them oddly looks like Adam Weishaupt),  seem to be preparing a new generation of Masonic youth. Meanwhile, the “profane” seem to be idling in an translucent cube, controlled by invisible puppeteers.

Middle Fresco

The middle fresco, Chaos/Creativity, depicts a turbulent transitional period. Many details within the painting describe this profound turmoil, which seem to be affecting all part of society and civilization. We find military and religious figures, people protesting and much more.
Barb wires, nets and soldiers on the streets tell the viewers that this period of turmoil is also one of oppression. The nun does not seem very pleased either.
At the left of the painting is a person wearing a biohazard suit, hinting to some kind of chemical warfare.
Person in gas suit
For this reason, and many more, I find this painting very similar to one of the Denver Airport’s murals … the most infamous one.
This mural of the DIA portrays a militaristic figure wearing a gas mask and oppressing an endless line of sad people. Chemical warfare, military repression, dead babies … what is there not to like about this image?
If we look at the top of the fresco, we see translucent beings spinning with fire, perhaps implying that the turmoil is also happening on a metaphysical, cosmic or astral level.
Spinning naked bodies in a vortex of fire
This round fiery shape can also be likened to a sun. Its pale golden color and the transparency of its figures can be associated with the intermediate step of the great alchemical work named “Whitening”. Jung compared this step with daybreak, the preparation for the next and final stage, which is the sunrise, characterized by the color red. Which is, of course, the most prominent color of the left fresco.

Left Fresco

The fresco on the left is said to focus on the theme of “Making/Building“. The main figure of the fresco is a worker holding a shovel, contemplating the work done. In his back pocket is a red piece of cloth, a symbolic detail in the context of this image. There is indeed a great emphasis on the color red in this fresco, which, as mentioned above, is the also the color associated with the final step of the alchemical Magnum Opus: Rubedo, the “Red Work”.
In occult teachings, alchemical transformation can happen on numerous levels: a material level, where crude metals are transmuted to pure gold, but also on a spiritual and philosophical level, where the profane man becomes a “regenerated man”. In secret-society lore, the entire world is considered to be the subject of alchemical transformation; it is said to be an imperfect plane needing to be “transmuted into gold” in order to mirror the heavens, in accordance with the hermetic axiom “As Above, So Below”. Is a New World Order the “Great Work” of the occult elite?

Sleeping Giant

Is he dead or sleeping? And what does “EQ” mean?
An odd detail of the fresco is this man blending with the earth, apparently in deep sleep … or is he buried? This is also reminiscent of the (unsettling) sleeping little boy on the DIA murals.
A helpless little boy sleeping (or dead) under a red blanket

What Is The Meaning of the Frescoes?

Like most elitist art, the frescoes on display at the headquarters of Bank of America, the largest bank inAmerica, tell a story intended to be decoded by those in the know. The frescoes seem to depict three stages of world transformation – planning, chaos and achievement – and are color-coded to be analogous to the three stages of hermetic alchemy: Nigredo (blackness), Albedo (whiteness) and Rubedo (redness).  The frescoes beare many resemblances to the murals of the Denver International Airport, which also depict progressive phases of a profound transformation of society after a period of intense turmoil.
The first fresco displays a wide array of occult symbols, some directly referring to Freemasonry. This is quite astonishing as the painting is in the lobby of the headquarters of the United States’ most predominant bank and not in a Masonic lodge … but perhaps there is some overlap. Those who are “in the know” and initiated to the Mysteries are those who are qualified to accomplishing the planning process, which in this painting seem to be the men in suits, whose ties match the red and white checker-board floor, and who make plans for the future generation, represented by the blond Masonic boy.
In the second fresco, civil unrest, riots, protests and repression are all taking place. Historically, the masses only usually go into an outright revolt when their living conditions deteriorate significantly or when hugely unpopular policies get adopted. Does this piece refer to the loss of civil liberties and the rise of a police state? There is also a metaphysical aspect to the image, represented by the spinning naked bodies that appear as the sun, implying that the period turmoil is also happening on a cosmic level.
The last fresco gives a sense of “mission accomplished”, with the dominant figure surveying the work, while also conveying the message that “the work is never totally done” as labourers are still hard at work in the underground. This is reminiscent of the movie Metropolis, where a class of workers silently slave away underground to sustain the elite’s utopia. I also can’t help but being reminded of the 33 Chilean miners while looking at those workers …

In Conclusion

The Bank of America frescoes are yet another example of the elite’s agenda being “hidden in plain sight”. These giant images, on display for all to see, but designed to be understood by few, describe the philosophy of the elite rulers, their occult knowledge and their plans for the future.  As it is the case for all works of art, it is possible to interpret these paintings on numerous levels and to come up with different conclusions. It is, however, difficult to ignore the recurrent themes found in the”Sinister Sites” described on The Vigilant Citizen: prevalent occult symbolism, the heralding of a “new era”,  contempt for the profane masses, celebration of repression and war, etc. When comparing the Bank of America frescoes with the art of the DIA and the Georgia Guidestones, we can find a definite consistence in their symbolism, their tone and their message. This leads me to believe that the same group is behind all of those sites and many more. Whoever they are, we know a few things for sure: they are extremely rich, extremely powerful and they don’t really like you … because you are not one of Them.