Wednesday, April 11, 2012

Amarucan 2012 Addenda - Credit: Tom Horn

The following closing section clipped from PETRUS ROMANUS (Pt 16) is presented as addenda for the previous post. I've previously linked to this in the ongoing thread of interest but it's just so pertinent I wanted to feature it here for emphasis.

Secrets of Amaru-Ca in the US Capital Dome
(This segment, from Apollyon Rising 2012) “Another connection between Brumidi’s prophetic Stone of the Sun depiction and Freemasonry can be seen in the serpent coiled around the sacred fire, toward which Montezuma’s left hand intentionally gestures. The sacred fire was connected to the seven-star Pleiades (Tianquiztli, the “gathering place”) by the Aztecs, and represented the final year in a fifty-two-year cycle called “calendar round,” which ended when the Pleiades crossed the fifth cardinal point at midnight that year. At this time, the Aztecs would let the fires go out and conduct the “dance of the new fire” to start the cycle again. When the priests lit the new “sacred fire” as well as the hearth fires, it ensured the movement of the sun (the serpent coiled around the sacred fire in Brumidi’s painting) along the precession anew. In the year 2012, not only will the Pleiades be in this zenith over Mesoamerica, but the alignment will come into full conjunction with the sun... This sacred knowledge is why the Pyramid of the Sun at Teotihuacan near Mexico City also corresponds with the Pleiades. Its west side and surrounding streets are aligned directly with the setting point of the Pleiades, a configuration held in high esteem by the Maya as well. They built the Kukulcan pyramid at Chichen Itza so that during the spring and autumn equinox, at the rising and setting of the sun, a slithering, snake-like shadow representing Kukulcan (Quetzalcoatl, the plumed serpent) would cast along the north stairway to the serpent’s head at the bottom. Sixty days later, when the sun rises over the Pyramid at midday, it aligns with the Pleiades again.”

“By portraying the Stone of the Sun that ends in 2012, the sacred fire that ends in 2012, and the astrological alignment with the Pleiades in the Frieze of American History, Brumidi is telling us quite clearly that the designers of the Capitol were aware of the implications of 2012. This adds clarity to the reasons the designers of the Great Seal of the United States similarly incorporated the Mayan 13 katun system—which started in 1776 and ends in 2012—on the nation’s primary cipher [the Great Seal of the United States and the Sibyl's 'Novus Ordo Seclorum' prophecy which predicts the return of Apollo as Antichrist in 2012].[viii]”

“Yet a deeper and related message is also openly hidden in the Capitol Dome. A third piece of imagery from Brumidi’s Cortez and Montezumascene that not only connects Mesoamerican belief to the Freemasons and prophecy, but to the Vatican, can be found in the drum behind the kneeling Aztec. The drum bears the shape of the Maltese cross, a symbol connected in history with the empire of Osiris as starting on the island of Malta. The Maltese cross was adopted by the Knights of Malta (connected with Freemasonry) and the Vatican (where Brumidi first worked and found favor). We believe this is not by chance. Captain Montgomery C. Meigs, the engineer who placed Brumidi over the paintings for the new Dome, wanted artwork reminiscent of that at the Vatican. With Brumidi’s ties to the Vatican and the Jesuits, it was a match “made in heaven.” By including this well-known Mayan, Illuminati, and Freemasonic symbol, Brumidi cleverly connected the deisgn of the Capitol Dome in Washington, DC with the Vatican, Masonic mysticism, and the year 2012 in more ways than one.”

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