© 2002 Goro Adachi
article is the third installment of the Endgame series.
The previous articles are:
I: Odyssey and the Martian Trojan Horse
II: Holy Disk, Holy Grail - Countdown to Zero Point
On Oct. 22, I received an
email message from 'Peter' who decided
to contact me after reading Endgame I and II. He had an
insight into the message encoded in the disk of the 2002 'alien crop
Beware the bearers of FALSE
gifts & their BROKEN PROMISES. Much PAIN but still time.
EELRIJUE. There is GOOD out there. We OPpose DECEPTION. Conduit
CLOSING (BELL SOUND)
It was the 'damaged word', "EELRIJUE,"
that Peter found curious:
...if this was created by some
group of people, why would they encode the "damaged word"? I
thought about discs and encoding and suddenly realized that this was the
same reason as for encoding something defective on a CD-ROM or DVD: copy
protection. You should not be able to get the information contained if
you don't copy the "defective" parts.
Then I started looking at the
frequency of the individual letters contained in "EELRIJUE.".
I realized by analyzing the frequency of the individual characters and
comparing that to the statistical frequency of vocals in several
languages that whatever was contained (if it was clear text and not
encoded) would be in English or (big surprise) French [...] I fired up
my trusty anagram generator. The English anagrams were not very
promising, so I tried French and promptly found the phrase
"lieu" [meaning 'place']. Now take the individual characters and look for their
positions: L = 3, I = 5, E = 1, U = 7. Sorted this gives us: 1 - 3 - 5 -
In other words:
E L R I
J U E .
1 2 3 4 5
6 7 8
Interestingly these are the first four prime numbers but more
interestingly this gives sense to the dot at the end: In mathematical
terminology the dot can be interpreted as a command to continue the
sequence which would lead us to 9 and 11. Remember 9/11 anyone?
(11/26): Actually this is not accurate. First, '1' is not technically a
prime number. Second, '9' is not a prime number either. The numbers 1, 3,
5, 7, 9, 11... are, instead, the first sequence of odd numbers. And
so in that sense, Peter's interpretation is still potentially meaningful.
Still, I must say I am not quite convinced that this is a valid cipher. It doesn't
seem quite elegant enough. For example, "EELRIJUE" has three "E"s
and thus it does not necessarily have to correspond to the number 1. And,
perhaps more importantly, it has been pointed out that the damaged word may not be "EELRIJUE" as originally presented by 'Richard
Brain'. There has been a lot of speculations as to what was actually
written there, but so far we have no definitive solution to this little
If Mr. 'Brain' is an
'insider', as I suspect he is, however, the 'mistake' he made in the
may well be a clue in itself - thus there could still be valuable
information contained in "EELRIJUE." And because of this, I felt Peter's
secondary decoding should not be dismissed quickly.
What made me hesitate
to brush aside Peter's insight, additionally, was
the fact that "EELRIJUE," or "lieu"/"place,"
comes right after the word "time" in the 'alien' message; 'time'
and 'place' are obviously a coherent coupling. Also, there was a curious
'coincidence' produced by the allusion to prime numbers (and '1', a
quasi-prime number ) in the code (i.e. , 3,
5, 7...). If we recall, the alien glyph very coherently interacts with the
book/film Contact as explained in Endgame II, and it just
happens that in Contact the very first detection of an alien
message is made
through the use of prime numbers encoded in radio waves.
The '9-11' connection Peter
pointed out was also curious; as, obviously, the '9-11' event is a major
theme in the 'endgame' matrix. Notice, for instance, that the modern
'Tower of Babel' (i.e. the WTC towers) in the modern 'Babylon' (i.e. NYC)
nicely parallels our 'stargate' theme (prominently featured in Contact
also) for 'Babylon' means 'gate of the god'.
Furthermore, seeing the
relevance of France suggested by the French word "lieu," Peter
wondered if Nostradamus - a French prophet - could be somehow entangled in
all this. He wrote:
...when using 9 and 11 to
this would give us Century 9, Quatrain 11:
Le iuste mort a` tort a` mort l'on viendra mettre
Publiquement du lieu esteint:
Si grande peste en ce lieu viendra naistre,
Que les iugeans fuyr seront contraints.
Wrongly will they come to put the just one to death,
In public and in the middle extinguished:
So great a pestilence will come to arise in this place,
That the judges will be forced to flee.
This quatrain contains the word "lieu"... [And also] here
you have some things also contained in "Endgame". The
virus (pestilence, bio-weapons) [...].
association has some deep and very disturbing implications which will be
discussed in Endgame IV. Here, I will only point out that the
devastating epidemic of the Black Death that killed off a fourth of
Europe's population was back in the 1300s, which may be correlated with '1357', the
corresponding numbers for "lieu" in Peter's cipher.
The 1300s was also when
the Knights Templar, the protectors of the Holy Grail based in France, were outlawed and
persecuted. This is interesting in that the Grail - in conjunction with other
sacred 'heavenly stones' - is a major theme we have going with the
'Endgame' and it was interpreted as a 'cosmic virus' in Endgame
More remarkably, '1357'
was the exact year when the 'Shroud of Turin' was
publicly displayed for the first time on record - and, again, this was in
France (Lirey). The significance of this additionally is that the Shroud and the Grail are sometimes considered one and the
same. Even on the
surface, both relics are directly associated with the death of Jesus. And,
like the Grail, the Shroud was once possessed by the Templars. As I wrote
in my Rex
Indeed, the Shroud first
surfaced soon after the suppression of the medieval warrior-monks, the Knights Templar,
who were accused, among other things, of worshipping a strange head -- which may well have
been the head portion of the Shroud. The first known owner of the relic, Geoffrey de
Charney, is in fact thought to be the nephew of Geoffroi de Charney, the Templar preceptor
of Normandy who was burned to death with Jacques de Molay, the last Templar Grand Master.
And some have theorized, with good reason, that the Shroud was actually created by
Leonardo Da Vinci who has been claimed to have been Grand Master of the Priory of
supposedly the parent organization behind the Templar order... [T]he Templar knights in the Grail lore are depicted as the
guardians of the Holy Grail/Blood Royal which, in theory (based on "heretical"
traditions), stemmed from the dynastic 'Sacred Marriage' between Jesus and Mary Magdalene,
it may be inferred that the Shroud is in a sense a form of the Grail which in turn
represents the hidden messianic succession.
(The head portion of
the 'Shroud of Turin')
The Turin Shroud is
one of the most important and controversial Christian relics
associated with Jesus. It is claimed to be the linen cloth in which
Jesus was supposedly wrapped after the crucifixion, and imprinted on
it is a seemingly photographic image of "Jesus." Many Christians
believe that the image was produced by a miracle of some kind - Jesus
was, after all, is their miracle-making Messiah.
however, is not so crazy about the Shroud. Why? For starters, the
relic has historically been associated more closely with the
'underground' Gnostic tradition championed by the Templars and the
like. The Church and Gnosticism are - while both stemming from
messianic tradition - bitter enemies and indeed it is not an
exaggeration to state that the Church tried to exterminate all
'heretic' Gnostics just as the Nazis tried to eradicate all Jews. The
Shroud, as well as the Grail, revered by the Gnostic 'underground
stream' may therefore represent something of a relic infected with a
"virus" for the oppressor, the Church.
There is also the
popular theory, supported by carbon-dating, that the Shroud was
actually created around the 1300s, the very period when the Shroud
first surfaced officially. What's more, some have postulated (see, for
in stance, Turin Shroud by Lynn Picknett & Clive Prince)
that it was Leonardo Da Vinci who made the Shroud, and that the
imprinted image is none other than Leonardo himself. And Leonardo, one
of the greatest geniuses in history, was likely more than a little affiliated with the
"heretical" tradition (claimed to be Grand Master of the
Priory of Sion).
It almost seems as if
the Shroud, as well as the Grail, is a form of the 'Trojan Horse' sent
into Catholic Christendom, waiting for its time to shake up the
institution from inside by revealing the explosive truth.
The notions of a virus,
hoax/Trojan Horse, the Grail, the fall of the Church, are all key themes
attached to the 'alien' crop glyphs as discussed in my previous Endgame
articles. The implication being that the Shroud is indeed emerging more
and more relevant to the 'endgame' matrix, thus corroborating -
accidentally or by design - Peter's decoding
of the 'alien' message.
The next discovery
finally solidifies the Shroud's place in all this.
The design of the 2002
alien glyph, as we recall from Endgame
II, was most likely borrowed from the 'Watcher' website,
as the comparison below demonstrates.
It turns out that there
is another (original or updated) version of the graphic in which the
'disk' is replaced by a rotating
since the tetrahedron is central to the hyperdimensional 'message' of
Cydonia/Mars, this has the function of nicely reinforcing my contention
that the alien crop glyph has a lot to do with Cydonia and
But more importantly, the
'Watcher' website has this 'alien-tetrahedron' graphic
hyperlinked to a web
page that advertises an encryption program called "InterCypher"
(created by the same guy behind "Ultra-Tech"). And on the page
is prominently featured a screenshot of the 'InterCypher' encryption
program, shown below.
In the two windows are
shown the plaintext (i.e. before encryption) and
ciphertext (i.e. after encryption). When I read the plaintext in the upper
window, I was shocked... because
it was clearly discussing the SHROUD OF TURIN!
implication: this InterCypher program was directly linked to the
alien-tetrahedron logo, a slightly altered version of the 'Ultra-Tech'
graphic which in turn was closely copied by the 2002 alien crop glyph;
just as the alien glyph was an encrypted message, InterCypher produces
encrypted messages; and InterCypher's demonstration image yields the
notion that the original message before encryption deals with the Turin
Shroud, or in other words, that the alien crop glyph, when decoded, would
have something to do with the Shroud!
This is ingenious stuff
(whoever is really responsible). And it doesn't stop here, of course.
As discussed by Ian
Wilson in The Shroud of Turin, for example, there is an suspected
alter ego of the Shroud called the "Mandylion." This relic looks similar
to the Shroud and nicely fills the chronological gap left by the Shroud.
And the discovery of the Mandylion in the 6th century happens to coincide
with the emergence in art of the typical image of Jesus as reflected in
the Shroud. Even if not literally the same relic, it is apparent that the
Shroud and Mandylion are to be associated with each other.
Interestingly, it is recorded that
the Mandylion arrived in Constantinople on August 15 (944), and August 16 became the relic's official feast day.
This is amazing - if we recall, it was
around August 15 that the 2001/2002 alien glyphs suddenly appeared
in a crop field in England!
At this point, then, the
'signal' has become very strong, insisting that the 'alien' message somehow
has to involve the Turin Shroud. Indeed, it is no longer important whether or not
Peter's decoding of "EELRIJUE"
is valid, as the case for the relevance of the Shroud can be effectively
made independent of it.
Shadow of Baphomet
The new revelations
above inevitably imply that the Shroud of Turin and the issue of Cydonia,
prominently emanating from the 'alien message', are to be integrated. Some
readers may be having a deja vu right now, because this connection
was already alluded to in my Rex Deux article, written back in
...the head imprinted on the Shroud might relate to
the more or less similar-looking 'Face on Mars'. This is clearly a silly notion -- except
there are various clues that are supportive of it. This leads into an area that overlaps
my 'other' research that I do not want to discuss yet. But I'll just mention two curious
coincidences: the Shroud is called sydoine/sindone/sindon in
other languages ('Cydonia' anyone?) [...] This is only a small hint. I
don't want to open Pandora's Box yet... :) But I will say that Mars/Cydonia anomalies and
the Grail-Ark-Shroud-Fisher King theme are to merge in a startlingly direct and elegant
So I did actually
anticipate this new development facilitated by the alien glyph. The idea
was already being processed in my "black project," and as stated
in the above excerpt, I was not planning to discuss it in any depth any time
soon. Now, however, the context is such that, as someone who advocates the
importance of truth and the advancement of human knowledge, I more or less feel
obligated to "declassify" some pertinent findings in this
article. (Why use military terminology like this? Well, it's just fun :) )
But before getting into
that, let us look at the humorous 'Face on Mars'/'llama on Mars' picture discussed in the
first Endgame article.
We recall that this
picture was implicated in the apparent Odyssey 'conspiracy'/'game'
surrounding the Cydonia situation at the present time. What I did not bring up
previously was the doctored picture's potential allusion to
something called 'Baphomet'.
The first time I saw
the picture - after I stopped laughing - I detected a curious, subtly
embedded shape. It seemed to me that the llama's ears and the shadow of the animal's
head were together forming a symmetric and somewhat sinister
configuration. After wondering for a minute, I came to the realization that
the source of the aura of malevolence was generated by the fact that the shape
was closely resembling that of Baphomet, a "demonic" creature, with a
goat-like head, associated with wisdom. Baphomet is often envisioned as
the embodiment of the pentagram, and so, naturally, people usually
associated it with 'Satanism'.
There was a little clue
here that suggested to me that this was not wholly a product of mere
coincidence. For instance, the pentagram is geometrically inseparable from a 'sacred'
mathematical value called phi, also known as the 'Golden Ratio' (1:1.618...),
which has also been found encoded in the 'geometric message' of Cydonia
(the "Rosetta Stone" of which is the 'D&M Pyramid' model, a pentagonal
structure). Finding an allusion to the pentagram in a picture associated
with Cydonia, therefore, made a rather coherent sense.
I did not bring this
issue up previously as I felt the correlation was a little too obscure.
Now, however, the Baphomet association emerges as a more meaningful piece
of the puzzle in the evolving context - because Baphomet is often
considered analogous to none other than the Shroud of
Like the Shroud, the
head of Baphomet is said to have been revered by the Knights Templar, as
written in Holy Blood, Holy Grail:
interrogation by the Inquisition, for example, a number of knights
referred to something called "Baphomet" - too many, and in too
many different places, for Baphomet to be the invention of a single
individual or even a single preceptory... It would appear that Baphomet
was regarded with reverence, a reverence perhaps tantamount to
idolatry... In any case, we found indisputable evidence for the charge
of secret ceremonies involving a head of some kind. Indeed, the
existence of such a head proved to be one of the dominant themes running
through the Inquisition records... The head may also be connected with
the famous Turin shroud, which seems to have been in the possession of
the Templars between 1204 and 1307, and which, if folded, would have
appeared as nothing more than a head... [R]ecent speculation has linked
the head, at least tentatively, with the severed head of John the
Baptist; and certain writers have suggested that the Templars were
"infected" with the Johannite or Mandaean heresy, which
denounced Jesus as a false prophet and acknowledged John as the true
Note that Baphomet, as
well as the Shroud, seems to exert its significance specifically as a
'head'. And this reinforces the coherent 'message' of the 'llama on Mars'
picture, since it is the head of the animal that produces the
allusion to Baphomet; and its position near the 'Face on Mars', also a head,
seems to be a subtle way of telling us that this Martian 'head' is to be
regarded as a form of Baphomet/Shroud as well!
It is worth noting that
researchers have noticed a 'severed head' effect of the Shroud, making the
head seemingly detached from the rest of the body. And it has also been pointed out that
the head of the Shroud is proportionally too small for the body. This brings to mind the Great Sphinx at Giza,
which too has a head too small for its body, as noted by various
connection with the Sphinx becomes more meaningful when we consider the
strangely insistent link between the monument and Mars:
The name 'Cairo', the Egyptian capital situated adjacent to
Giza, derives its name from Al
Qahira denoting Mars (though more literally meaning 'the
The ancient Egyptians called Mars 'Horus of the Horizon' (Horakhti)
which was the very same name given to the Great Sphinx.
Mars was also called 'Horus the Red' (Hor
Dshr), and for a long time the Sphinx was painted red.
Just as the Great Sphinx is the
hybrid of man and a lion, Mars is Nr-Simha,
the 'Man-Lion', in ancient Hindu myths.
The term 'pyramid' derives
from the Greek pyr meaning 'fire' (Mars, the
'fire planet' is often referred to as pyroeis
More startlingly, there
is the recent discovery/confirmation made by Richard Hoagland, that the
'Face on Mars' has a Sphinx-like dual nature - one side representing the
head of a lion, and the other side representing a hominid head.
By inference, then, the
head of Cydonia may well be a head of Sydoine, i.e. 'head of the
Shroud'. By extension, it may also be inferred that the head of Cydonia/Sydoine
is a form of the Holy Grail.
Sangraal, the Holy Blood?
The Grail, an alter ego
of the Shroud (and vice versa), contains numerous layers of symbolism that
are not visible on the surface. The lore of the existence of the sacred
relic associated with the death of Jesus - applicable to both the Grail
and the Shroud - intimates some form of continuation of the Jewish king.
The nature of the continuation is actually encoded in the original term
for the 'Holy Grail', Sangraal, as it can also be translated as
'Blood Royal'. In other words, as first popularized by Holy Blood Holy
Grail, the Grail/Shroud may actually represent a messianic bloodline
stemming from 'Jesus' (though Jesus himself may well be a representation
of something else).
The bloodline of Jesus?
But he wasn't even married, you might argue. Of course, Jesus was not
sexually active - that is, according to the counterfeit messianic tradition
promoted by the Church. True, the
Bible does not say anything about Jesus having a son or a wife, but it is
also true that the Bible says nothing to preclude the possibility either.
The subject of Jesus' marital status is something nonexistent in
the Gospels, and this is not necessarily
indicative of Jesus' celibacy.
the cultural background as witnessed… it is highly improbable that
Jesus was not married well before the beginning of his public ministry.
If he had insisted upon celibacy, it would have created a stir, a
reaction which would have left some trace.
So, the lack of mention of Jesus’ marriage in the Gospels is a
strong argument not against but for the hypothesis of marriage, because
any practice or advocacy of voluntary celibacy would in the Jewish
context of the time have been so unnatural as to have attracted much
attention and comment.
who could possibly have been Jesus' wife? The
likely answer here is Mary Magdalene – the enigmatic woman who is
portrayed in biblical writings as a close companion of Jesus.
She is also the only woman named in all four Gospels besides the
Virgin Mary. One could at least safely say that if Jesus were indeed married,
Mary Magdalene would most naturally fill the role of his wife. (It
has been suggested that the wedding feast at Cana described in the New
Testament may well be the wedding of Jesus and Mary Magdalene.)
In fact, unbeknownst to
most Christians today, the idea of Jesus having an intimate relationship
with Mary Magdalene is really nothing new but an idea that was already
quite prevalent in the early days of Christianity.
this is not something most Christians want to hear.
It is like telling your child for the first time that Santa Claus
is not real (actually it's exactly that...).
After all, the mainstream, exoteric view of Mary Magdalene promoted
by the Church is that she was a prostitute saved by Jesus.
This is largely a misconception, however.
Even though this portrayal is accepted virtually as a 'fact' today,
it is in reality merely an "official" interpretation;
the New Testament actually never states that she was a prostitute. Besides, the term 'prostitute', as hierodulae, would refer to the 'sacred women' of the temple of the
Goddess who performed a ritual practice resembling the anointing of Jesus
by Mary of Bethany (often equated with Mary Magdalene) described in the
And tellingly, in ancient times, anointing of the king was a ritual
– called the 'Sacred Marriage' in Greek – performed by a royal bride.
What's more, the
strong parallel often noted between Jesus and Osiris, the ancient Egyptian
god of the dead, reinforces this idea of Jesus and the Magdalene being in a
intimate relationship, because Osiris' wife, Isis, is considered
identifiable with Mary Magdalene.
to mythology, Osiris was murdered by his brother Seth, and was then
miraculously brought back to life by Isis (still childless at the time) so
that she could receive Osiris' seed and give birth to Horus.
Applying this element to Jesus' death and resurrection, it becomes
very natural to have Mary Magdalene playing the role of Isis.
Indeed, the Magdalene is not only a prominent figure in the
episodes of the Crucifixion and the subsequent resurrection, she is even
recorded as the very first one to witness the resurrected Jesus!
This, therefore, strongly suggests that Mary Magdalene, following
in the footsteps of Isis, was impregnated by Jesus around the time of the
see here a potential motivation behind the Church's paranoid hostility
towards the Gnostics and the Magdalene (or womankind in general).
It may well be linked to the threat the 'Blood Royal', i.e.
descendants of Jesus, would pose for the authority of the Church. This
is because for
the Church to wield power over the masses, Jesus needs to be as divine as
possible and gone from the earthly realm so that it can position itself
between the people and the divine whereby it becomes possible for the
Church to pretend to speak for the heavenly authority.
The mere existence of Jesus' descendants would greatly undermine
this illusory ecclesiastical power. The
Church, as its history clearly shows, wants power more than it does the
truth. And so it has apparently
done its best to keep the existence of the 'Blood Royal' secret from the
general public through, for example, the notorious Inquisition.
(How ironic is it that those claiming to be the worshippers of
Jesus probably are in reality Jesus' worst nightmare?)
Now, I must
qualify the above discussion by stating that it is likely only one level
of meaning encoded in the biblical tradition. It may still be a coded
story itself. And, quite frankly, we should not even presume the literal
existence of an messianic individual called Jesus as described in the
Bible. Chances are, 'Jesus' himself is a composite character containing
aspects of various historical figures. (Ancient Egyptian kingship is
actually a big piece of puzzle in this, but we won't go into that here.)
Beauty and the Beast
Here is where I
need to disclose some of my "black project" findings - meaning
there will be some profound implications. This will reveal what I meant
when I wrote " Mars/Cydonia anomalies and
the Grail-Ark-Shroud-Fisher King theme are to merge in a startlingly direct and elegant
way," back in March.
First, note that
both Jesus and Mars are associated with Horus, the son of Osiris and Isis.
(The Red Planet was called 'Horus the Red' in ancient Egypt.) Horus being
the embodiment of the 'Blood Royal' (stemming from the union of
Osiris/Jesus and Isis/Magdalene), this lets Mars analogous to the Grail.
The Jesus-Horus equation, on the other hand, seems paradoxical since Jesus
has already been compared to Osiris, Horus' father. However, this is not
necessarily incongruent if we view 'Jesus' as representing the bloodline
itself. Even in ancient Egypt, the distinction between Horus and Osiris
was not so clear-cut - and so the pharaoh, the living Horus, was considered to
become Osiris upon death, and such. Indeed, according to the foregoing
scenario, the birth of Jesus' child coincides with the death of Jesus as
if to paint a more resurrection/rebirth type transition.
The same kind of
overlap is observed for Mary Magdalene and the Virgin Mary (Jesus' mother)
also. Both, for instance, are considered analogous to Isis. The
perceived prostitute and the virgin, while seemingly at the opposite ends
of the spectrum, are actually two sides of the same coin. As
writer Ean Begg has expressed, 'the Ark/Grail is the symbol of the virgin,
and Isis was correspondingly a harlot and a virgin at the same time.
Apparently, the Virgin Mary was also sometimes used as a
'coded' reference to Mary Magdalene, the latter being a controversial
figure for the Church.
basic implication pertinent here is that Mars-Horus is connected with the
Grail tradition involving Jesus and Mary. What solidifies this notion is
the fact that, according
to Greek tradition, the sphinx - an alter ego of Horus/Mars - was a
mixture of Leo's body and Virgo's head;
or to use another terminology, the Sphinx is a combination of Horus and
Isis, or Jesus and the Virgin! Complementarily, it just happens that
Leo and Sirius/Venus, the star of Isis-Mary, were both associated with
Virgo in ancient tradition, and the early Arabs even visualized a huge
lion in the constellation of Virgo.
Note that Jesus himself, like Horus, is clearly a leonine figure in that he
was a direct royal descendant of King David, the 'lion king' (the Davidic
tribal symbol was the lion).
Sphinx and Mars, therefore, represent the sacred union of Jesus and Mary,
or Osiris and Isis. In other words, the Sphinx/Mars is the Grail,
the Blood Royal, and the Shroud. Furthermore, in light of our foregoing
discussion, the Martian counterpart of the Shroud, i.e. the 'Face on
Mars', would become a monumental embodiment of the Jesus-Mary union.
leonine element found in the Face is already in accordance with the 'lion king'
aspect (i.e. Jesus-Horus) of the Grail union; and the pentagram/Baphomet
already associated with the Face resonates with the Mary aspect as the
pentagram is traditionally associated with the Isis-Magdalene-Venus
complex. But here is a new discovery revealed for the first time anywhere.
This will begin the process of bringing the whole field of Cydonia
investigation into a new dimension, and I think a lot of the researchers
will not be able to keep up with the shift and will soon find themselves
'out of the game'.
turns out that in the 'Face on Mars' is clearly encoded the sacred
unification of Sangraal - even more directly than the Sphinx!
The process of
this particular discovery began in the spring of 2001 when NASA released a
new picture of the 'Face on Mars' taken by Mars Global Surveyor.
The first reaction, for the most part, was one of disappointment – the
image of the 'Face', the clearest one to date, showed a rock formation
only slightly resembling a hominid head. After reading Richard Hoagland's
analysis on on the image, however, I was compelled to agree with his view
that the monument is half-man and half-lion. I found this exciting, and
decided to show the mirrored images to my brother, expecting him to see
the same depictions. Instead, he saw something quite different.
me quote from my second book (a work in progress):
to him the lion head was clearly visible. But when I showed him the
mirrored hominid face, his response was certainly not what I had
expected. To him, it was a depiction of, not a head, but a human torso.
"You see what?" I reacted with puzzlement. "It is a body,"
he repeated, "of a human with arms, and it's missing its head and
legs." In confusion, I took another look at the image – and
indeed, there it was, a human torso. It was rendered with apparent
nipples, a navel, and hands clasped at the genital area. What caught my
attention next were the seemingly accentuated breasts and the swollen
belly. I inevitably wondered: "Is this a depiction of a pregnant
it hit me. This was the body of Virgo, the Virgin, and it was pregnant
with Horus-Jesus! Indeed, just as is the torso image, Virgo
traditionally "is a headless
constellation, the stars marking the head being very faint."
other words, the 'Face on Mars' produces a lion head and the pregnant body
of Virgo - i.e. the mirror image
of the Sphinx, which traditionally has Virgo's head and Leo's body! (It
must also be recalled that the
cosine of the Giza latitude equals the tangent of the Cydonia structures'
latitude – both equaling e/pi.)
The fact that
Baphomet - i.e. the Shroud, and by extension the Face - is said to be
androgynous also meshes perfectly with this Leo-Virgo fusion.
And this brings up
another issue: the Virgin element for the Shroud. The Grail, Face, Sphinx,
and Baphomet are all expressions of the fusion of Jesus-Osiris and
Mary-Isis, or God and Goddess. The Shroud clearly being another
manifestation of the same concept, as we have seen, it has to be inferred
that the imprinted image of 'Jesus' should include a reference to the
female counterpart as well.
Surprisingly, it appears that
this is indeed the case.
First, we see that
the hand position of the Shroud person, covering the genital area, echoes the
apparent configuration of the 'Virgin' depiction in Cydonia. And aside
from this sex-hiding act, we notice that the body of the Shroud person is
actually quite feminine. No one seems to have caught this before, but
without the awkwardly placed head, the first impression people would get
is that this might be a woman's body - with delicate hands, a seemingly wide hip,
and accentuated breasts!
implication here is that the Shroud image seems to be a composite of a
female body and a male head - just like the Martian Face/Shroud! As if
this weren't enough, we also have the theory presented in Picknett and
Prince's Turin Shroud that the Shroud head is actually that of
Leonardo Da Vinci. Note that with the name "Leo-nardo," it may
be said that the Shroud person has "Leo's head" - just as does
the Martian Shroud.
support to the idea is the fact that Leonardo, sometimes viewed as the
'Keeper of the Grail', has a special connection with John the Baptist, the
forerunner of Jesus, who was decapitated (thus the 'detached head'
link). The Leonardo-John association is addressed by Picknett/Prince:
surviving sculpture that involved Leonardo in its making is the statue
of John the Baptist in the Baptistry in Florence... And Leonardo's last
painting was 'John the Baptist', showing him with the same half-smile as
'The Mona Lisa' [by Leonardo], and pointing straight upwards with the
index finger of his right hand. This in Leonardo's work is a sign always
associated with John: in the 'Adoration of the Magi' a person stands by
the elevated roots of a carob tree - John's tree, symbol of sacred blood
- while making this gesture. In his famous cartoon of St Anne the
subject also does this, warning an oblivious Virgin. Make of it what you
will that the disciple whose face is perhaps accusingly close to Jesus'
in 'The Last Supper' [also by Leonardo] is also making this gesture. All
these gestures are saying 'remember John'.
'Coincidentally', the Shroud is
today kept at Turin's Cathedral of St. John the Baptist.
Enter the Antichrist
So, why John the Baptist? What's so
special about him?
As it turns out, John, along with
Mary Magdalene, was revered by most Gnostics, sometimes as the 'true'
Messiah who was usurped by Jesus. Conversely, the Church has done its best
to marginalize both John and the Magdalene all through its history.
Picknett/Prince, in The Templar Revelation, even point out that
Jesus and John were likely bitter enemies/rivals.
John the Baptist, then, can be
perceived as anti-Jesus... err... the 'Anti-Christ'?
Frankly, I have this tradition on
this website of not discussing the 'Antichrist' per se - as the whole
concept is too 'Christianized' for me - but I guess it is now unavoidable
to include it in our discussion. It is worth noting that the 'Watcher'
website, a key piece of the 'endgame puzzle' initiated by the 'alien' crop
glyph, is all about Cydonia/Mars and how it relates to the coming
Antichrist. It therefore seems the issue is indeed pertinent here. But, of
course, my position on this will not be the typical, Christian approach of
blaming everything evil on the Antichrist.
John the Baptist, as well as the
Magdalene, essentially represents the oppressed truth. When the societal
system is dependent on the suppression of some truth, this creates a
building pressure in the 'matrix' of reality, which increasingly becomes a
"threat" to the oblivious world. The longer the truth is
suppressed and the more dependent the society becomes on the negligence, the
more dangerous the situation gets - as the truth becomes a ticking
'time-bomb' waiting for the time of Revelation. The 'side-effect' of this
will be the 'Apocalypse'.
This 'suppressed truth', in the
context of our Endgame discussion, would be Cydonia (extraterrestrial
intelligence), hyperdimensional reality/technology, and Gnosticism
(personified by John the Baptist and Mary Magdalene). It is easy to see
how the revelations about Cydonia artificiality and hyperdimensional
reality (i.e. the 'other side') would severely upset the world economy and
religious theology. But what is represented by the Gnostic
John-Mary-Shroud-Grail complex is more shadowy and harder to penetrate -
because the history of its suppression is so extensive and convoluted.
The western Christian world is so
ignorant of the true nature and origin of their religion that it would be
funny if it weren't so tragic. A case in point: just recently there was a
major news story about the discovery of what may be a burial box of James the Just, Jesus'
brother, in Israel. Of course, for many Christians the
reaction was, "you mean, Jesus had a brother?" Then, in response
to the report that this finding, if valid, would be the first historical
evidence for the existence of Jesus outside of the Bible, many Christians
must have found themselves struggling to fathom the implication that the
mere existence of their object of worship had been uncertain at best. In
other words, most Christians (though probably also applicable to other
religions) don't know, or care about, the very basics of what they claim
to worship. And this stems from the doctrine and of the Church, which is
really about promoting its version of the messianic tradition
reconstructed and twisted around to suit its political agenda. It's simply
not in the interest of the Church to teach its followers the history of
the religion in any depth, otherwise the worshippers might get curious and
find out all the manipulations on which the authority of the religious
institution is based.
In any case, it is certainly
coherent that the fall of the Church, an aspect of the larger theme of 'Babylon
falling', is an integral part of the 'endgame' as discussed in my previous
articles. When the 'truth time-bomb' ticks down to zero, the
Gnostic/suppressed side of religious history embodied by John/Mary comes
out of the ground to cause great havoc. And this may be viewed as the apocalyptic
time of the "Antichrist" who is prophesied to come just before
the return of Christ. And most fittingly, the Gospels tell us that it was
John the Baptist who came right before Jesus to pave the way.
As all the 'signs' are now
suggesting, it is time for truth to rise up. And truth often hurts. Denial
or truth - which will mankind choose?
Going back to the
'alien sign', I detected another potential message subtly encoded in its
deceivingly superficial design. It was the notion of pentagram now
attached to the crop glyph that enabled me to see an allusion to phi
(the 'Golden Ratio'), a value inseparable from pentagonal and Cydonia
In mathematics, phi
is represented by a symbol, a circle bisected by a vertical line.
As it turns out, this
is exactly what we see in the glyph - a circle (the disk) bisected by a vertical
line of the rectangular frame!
That this is no
coincidence is effectively demonstrated by the fact that one of the phi
numbers, 0.618, multiplied by the number of days in a year (365), gives us
225 (days). This is the precise duration of Venus' orbit around the sun
(225 days), and Venus is traditionally denoted by the pentagram.
What's more, counting 225 days from January 1st brings us to around August
15, i.e. the very date of the appearance of the 'alien' crop glyphs!
August 15 also happens to be the Feast of the Assumption of the Virgin
Mary, followed a day later by the feast day of the Mandylion, an alter
ego of the Shroud!
What enhances the
significance of the involvement of phi in the 'alien message' even
more is phi's connection with a geometric configuration known as vesica
piscis, which is composed of two overlapping equal circles (the
centers of each positioned on the circumference of the other circle). This
formation is revered since ancient times and belongs to the realm of 'sacred
geometry' - due at least in part to its ability to generate phi.
piscis signifies, as does the pentagram/Baphomet in some respect, the unification
of heaven and earth. It is, to use different terminology, a 'stargate'
symbol. Needless to say, this is directly relatable to the same theme
derived previously from the 'alien' glyph, i.e. hyperdimensional physics,
which is also theorized to be the ultimate 'message of Cydonia'.
Remarkably, we find
that vesica piscis is also long considered to represent Jesus
Christ - just as we found the 'alien' crop message to contain a coded
reference to the messianic tradition (i.e. the Grail/Shroud).
At this point, I became
quite convinced that geometry was a big part of the 'alien' message, and so I went on to examine the design
of the glyph for any further allusions to
sacred geometry. Naturally, my first instinct was to check the ratio of
the length and width of the rectangular frame encasing the 'alien'.
First, I had to get the
measurements of the rectangle, and the most specific numbers I managed to
find on the net were 250 ft and 360 ft (likely still approximate). From
these, I calculated that the width-length ratio would be about 1:1.4.
This was intriguing because ~1.4 was probably a reference to sqrt 2
(= 1.4142...), another 'sacred' numerical value associated with vesica
This then led to the
next important revelation.
ET IN ARCADIA EGO...
It was one of those
flashes of intuitive insight. I just had this urge to check if the alien-glyph rectangle could
correspond to the dimensions of a certain painting in terms
of proportion. The painting I had in mind was The Shepherds of Arcadia
II (Les Bergers d'Arcadie II), also known as Et in Arcadia
Ego II, by the celebrated neo-classical painter from the 17th century,
As those familiar with
the Rennes-le-Chateau mystery in southern France (yes, France
again) - popularized by Holy
Blood, Holy Grail in the 1980s - would undoubtedly know, The
Shepherds of Arcadia is a major piece of the 'Grail puzzle'. There is
strong evidence that Poussin encoded hidden messages in the painting that
concern secret Gnostic knowledge
- knowledge about the great mystery embodied by the 'Grail' or
'Ark' (essentially interchangeable). This is already hinted at by the
enigmatic phrase (carved on the tomb in the painting), 'ET IN ARCADIA
EGO', literally meaning 'And in Arcadia I'. Viewed as an anagram
for Arca Dei,
the term 'Arcadia'
would mean 'Ark of
God', i.e. the Ark of the Covenant,
and so by extension the Grail.
pertinence of the painting to our discussion is also strongly suggested by
the fact that the underlying geometry of this masterpiece of Poussin is pentagonal.
Christopher Cornford of the Royal College of Art told Henry Lincoln:
"If Poussin is saying anything… he seems to be saying that
pentagons and pentagrams and their constituent angles are very much
that the mysterious shepherdess in the painting looks as if she could be
pregnant (which would make the number of persons in the painting five, the
very number emphasized by the pentagonal geometry). Assuming that the tomb is that of Jesus (and there is much to
support this idea, though I won't going into it here), it could be easily
inferred that the woman is none other than Mary Magdalene pregnant with
dead Jesus' child, just as Isis's pregnancy took place in conjunction with the death of
her husband, Osiris. The fact that the center of the embedded pentagram
pinpoints the head of the shepherdess reinforces this interpretation - as
pentagram traditionally symbolizes the Magdalene-Venus-Isis complex. And
it is important to point out that, according to legend, Mary Magdalene did
go to southern France sometime after Jesus' crucifixion; the scene depicted
in the painting is thought to be southern France, near Rennes-le-Chateau.
Indications, then, are
clearly that there is a good chance the painting does interact with
the 'alien' crop glyph.
As I checked the
dimensions of The Shepherds of Arcadia, I was both surprised and
not surprised. My intuition was valid. The height-width ratio of the
practically identical (1:~1.4)to that of the box enclosing the
There is actually much more here
- we have only scratched the surface - but I feel I should stop at this
point... for now. All this is quite a lot to digest - I'm sure this is
the first time that all the different subject matters, especially Cydonia
and the underground Gnostic tradition, have been put together and viewed
as aspects of the same 'game'. Strange stuff, yes, but this is where the
'game' is going, so people should get used to it.
I'll leave you with
another 'sign' I found in The Shepherds of Arcadia.
This foreshadows what
will be revealed in Endgame IV... Very dark things.
Large black clouds are
looming ahead of us.
Wrongly will they come to put the just one to death,
In public and in the middle extinguished:
So great a pestilence will come to arise in this place,
That the judges will be forced to flee.
© 2002 by Goro