14 Rome Part 1 - Secrets in Plain Sight
Uploaded by Secretsinplainsight on 27.10.2010
Transcript:
If you ask someone off the street where the holiest spot in Christianity is, you probably
won't hear the Church of the Holy Sepulchre in Jerusalem. Most will think of St. Peter's
Basilica in Rome. The word Peter literally means rock and when
Jesus said "Upon this rock I will build my church", Simon became Peter.
Thinking on all the rocks I'd been studying in Jerusalem it was natural for me to draw
a line from the rock of Golgotha to the tomb of St. Peter in Rome. Here we go again!
The line connecting Golgotha with the tomb of St. Peter passes directly over the center
of the Campidoglio, marked today by the equestrian statue of Marcus Aurelius. What we see in
the Campidoglio is Michelangelo's vision for the top of the Capitoline hill, the ancient
world's original Capitol. It took a Renaissance genius to symbolically
turn the Roman power equation on its head. So instead of having the Capitoline face the
ancient Roman forum as it had for two millennia, Michelangelo turned the Campidoglio 180 degrees
to face the Vatican. The Campidoglio's paving pattern depicts a
12-pointed elliptical star, symbolizing a zodiac with the Sun at the center.
It is my contention that this long distance alignment was originally drawn to connect
the seat of power in Rome with the Temple of Venus in Jerusalem. In the Christian era,
the tomb of St. Peter in the Vatican was strategically located to be a continuation in line with
this ancient axis. It is no secret that Christian churches were
often built atop of places of ancient worship. In this way pagan shrines were Christianized
and their power absorbed into the body of the church.
See how the alignment goes directly over the arch of Septimus Severus? The line passes
only a few feet away from the Umbilicus Urbis Romae, the navel stone from which all distances
in the Roman empire were measured. All roads that led to Rome symbolically arrived here.
Following the alignment through the forum we see that it goes through the center of
the Roman Colosseum where among other pastimes, spectators enjoyed gladiatorial combat and
watching Christians being fed to the lions. This shape in the center of the Colosseum
bowl suggests the vesica pisces. Could this be a symbol of Venus?
If so, what went on in the Colloseum somehow became the opposition of the love and beauty
associated with Venus. The last stop on our alignment tour is the
largest ancient Egyptian obelisk in the world, including all of those still standing in Egypt.
The alignment from Jerusalem passes directly over the tip of this 230 ton symbol in front
of the Lateran. As you may have guessed obelisks are one of
the keys to unlocking the ancient mysteries. This obelisk wasn't always in front of the
Lateran. It originally came from the Temple of Karnak in Egypt and was moved to Rome by
Constantine the Great's Son in the fourth century.
The last of the Renaissance popes, Sixtus V, moved the obelisk from where it had been
in Circus Maximus to the Lateran, displacing the equestrian statue of Marcus Aurelius which
as you know was moved to the Campidoglio. Now Sixtus V was a very singular Pope. As
is the custom, when a Pope dies, the new Pope chooses a name for himself. I find it fascinating
that Felice Peretti di Montalto chose a name referencing both 6 and 5 in Sixtus V.
The fact is Sixtus V redesigned much of Rome during in his brief 5 year reign. He considered
moving the Church of the Holy Sepulchre in Jerusalem to Rome but the logistics proved
to be too much. He did however succeed at moving four gigantic Egyptian obelisks within
Rome, completing the dome of St. Peter's, opening six streets, building 14 fountains,
and much more. Roman emperors were the first to raid Egypt
in antiquity for its obelisks. By repositioning these obelisks in renaissance Rome, Sixtus
V was motivated by something other than Catholicism. Researchers Jan Wicherink and Aaron Parlier
reveal much of what Sixtus V was up to. The red line shows a pair of obelisks aligned
to the summer solstice sunrise. The blue line shows another pair of obelisks aligned to
the winter solstice sunrise. Sixtus V placed Egyptian obelisks in St. Peter's
square and in the Piazza del Popolo exactly as they are to create the red astronomical
alignment. He engaged in a bit of urban renewal by opening
a straight street connecting the ancient Roman obelisks at the top of the Spanish steps and
in front of Santa Maria Maggiore to make the blue astronomical alignment visible.
Balancing the masculine symbol of the obelisk, Sixtus V restored an ancient aqueduct and
built fountains symbolizing the feminine to accompany most obelisks.
Four fountains mark the crossing of the blue and yellow lines connecting the Fontana dei
Dioscuri and Aqua Felice, all watery creations of Sixtus V.
The green line connecting the Vatican obelisk with the four fountains marks equinoctial
sunrise. Sixtus V's tomb in the Basilica of Santa Maria
Maggiore was his final gesture linking his tomb with the astronomical alignments he set
up in Rome. Why was Sixtus V obsessed with astronomical
symbolism? Perhaps because astronomy is another key to the ancient mysteries.
In addition to the solar symbolism mentioned in the Washington DC Part 2 episode, Bernini's
redesign of St. Peter's Square has a deeper reading. Wicherink and Parlier claim the two
fountains flanking the obelisk represent a liquid axis symbolizing the galactic mid-plane
of the Milky Way. The axis going through the Basilica is the ecliptic and the other four
paths represent solstices and equinoxes. In other words the galactic and earth crosses
coming together is an astronomical take on the underlying meaning of the solar octagram
star. To top it all off, the Vatican obelisk is
surmounted by a cross. The official story is that this massive pagan symbol was Christianized
in this simplest of ways, by putting a little cross on top. Hancock and Bauval write in
Talisman that an obelisk with a cross on top is actually the hieroglyph for Heliopolis,
the city where this obelisk supposedly came from.
On Christmas morning, this is the astronomical view from Vatican Square. Wicherink and Parlier
have observed that the silver gate of birth is due East of the obelisk in St. Peter's
Square on the birth day of the Savior. I notice that the Galactic mid-plane leads
right down to the Roman Pantheon. This is our cue to have a look at this ancient Roman
marvel and explore its deeper meaning.
won't hear the Church of the Holy Sepulchre in Jerusalem. Most will think of St. Peter's
Basilica in Rome. The word Peter literally means rock and when
Jesus said "Upon this rock I will build my church", Simon became Peter.
Thinking on all the rocks I'd been studying in Jerusalem it was natural for me to draw
a line from the rock of Golgotha to the tomb of St. Peter in Rome. Here we go again!
The line connecting Golgotha with the tomb of St. Peter passes directly over the center
of the Campidoglio, marked today by the equestrian statue of Marcus Aurelius. What we see in
the Campidoglio is Michelangelo's vision for the top of the Capitoline hill, the ancient
world's original Capitol. It took a Renaissance genius to symbolically
turn the Roman power equation on its head. So instead of having the Capitoline face the
ancient Roman forum as it had for two millennia, Michelangelo turned the Campidoglio 180 degrees
to face the Vatican. The Campidoglio's paving pattern depicts a
12-pointed elliptical star, symbolizing a zodiac with the Sun at the center.
It is my contention that this long distance alignment was originally drawn to connect
the seat of power in Rome with the Temple of Venus in Jerusalem. In the Christian era,
the tomb of St. Peter in the Vatican was strategically located to be a continuation in line with
this ancient axis. It is no secret that Christian churches were
often built atop of places of ancient worship. In this way pagan shrines were Christianized
and their power absorbed into the body of the church.
See how the alignment goes directly over the arch of Septimus Severus? The line passes
only a few feet away from the Umbilicus Urbis Romae, the navel stone from which all distances
in the Roman empire were measured. All roads that led to Rome symbolically arrived here.
Following the alignment through the forum we see that it goes through the center of
the Roman Colosseum where among other pastimes, spectators enjoyed gladiatorial combat and
watching Christians being fed to the lions. This shape in the center of the Colosseum
bowl suggests the vesica pisces. Could this be a symbol of Venus?
If so, what went on in the Colloseum somehow became the opposition of the love and beauty
associated with Venus. The last stop on our alignment tour is the
largest ancient Egyptian obelisk in the world, including all of those still standing in Egypt.
The alignment from Jerusalem passes directly over the tip of this 230 ton symbol in front
of the Lateran. As you may have guessed obelisks are one of
the keys to unlocking the ancient mysteries. This obelisk wasn't always in front of the
Lateran. It originally came from the Temple of Karnak in Egypt and was moved to Rome by
Constantine the Great's Son in the fourth century.
The last of the Renaissance popes, Sixtus V, moved the obelisk from where it had been
in Circus Maximus to the Lateran, displacing the equestrian statue of Marcus Aurelius which
as you know was moved to the Campidoglio. Now Sixtus V was a very singular Pope. As
is the custom, when a Pope dies, the new Pope chooses a name for himself. I find it fascinating
that Felice Peretti di Montalto chose a name referencing both 6 and 5 in Sixtus V.
The fact is Sixtus V redesigned much of Rome during in his brief 5 year reign. He considered
moving the Church of the Holy Sepulchre in Jerusalem to Rome but the logistics proved
to be too much. He did however succeed at moving four gigantic Egyptian obelisks within
Rome, completing the dome of St. Peter's, opening six streets, building 14 fountains,
and much more. Roman emperors were the first to raid Egypt
in antiquity for its obelisks. By repositioning these obelisks in renaissance Rome, Sixtus
V was motivated by something other than Catholicism. Researchers Jan Wicherink and Aaron Parlier
reveal much of what Sixtus V was up to. The red line shows a pair of obelisks aligned
to the summer solstice sunrise. The blue line shows another pair of obelisks aligned to
the winter solstice sunrise. Sixtus V placed Egyptian obelisks in St. Peter's
square and in the Piazza del Popolo exactly as they are to create the red astronomical
alignment. He engaged in a bit of urban renewal by opening
a straight street connecting the ancient Roman obelisks at the top of the Spanish steps and
in front of Santa Maria Maggiore to make the blue astronomical alignment visible.
Balancing the masculine symbol of the obelisk, Sixtus V restored an ancient aqueduct and
built fountains symbolizing the feminine to accompany most obelisks.
Four fountains mark the crossing of the blue and yellow lines connecting the Fontana dei
Dioscuri and Aqua Felice, all watery creations of Sixtus V.
The green line connecting the Vatican obelisk with the four fountains marks equinoctial
sunrise. Sixtus V's tomb in the Basilica of Santa Maria
Maggiore was his final gesture linking his tomb with the astronomical alignments he set
up in Rome. Why was Sixtus V obsessed with astronomical
symbolism? Perhaps because astronomy is another key to the ancient mysteries.
In addition to the solar symbolism mentioned in the Washington DC Part 2 episode, Bernini's
redesign of St. Peter's Square has a deeper reading. Wicherink and Parlier claim the two
fountains flanking the obelisk represent a liquid axis symbolizing the galactic mid-plane
of the Milky Way. The axis going through the Basilica is the ecliptic and the other four
paths represent solstices and equinoxes. In other words the galactic and earth crosses
coming together is an astronomical take on the underlying meaning of the solar octagram
star. To top it all off, the Vatican obelisk is
surmounted by a cross. The official story is that this massive pagan symbol was Christianized
in this simplest of ways, by putting a little cross on top. Hancock and Bauval write in
Talisman that an obelisk with a cross on top is actually the hieroglyph for Heliopolis,
the city where this obelisk supposedly came from.
On Christmas morning, this is the astronomical view from Vatican Square. Wicherink and Parlier
have observed that the silver gate of birth is due East of the obelisk in St. Peter's
Square on the birth day of the Savior. I notice that the Galactic mid-plane leads
right down to the Roman Pantheon. This is our cue to have a look at this ancient Roman
marvel and explore its deeper meaning.