The following is a collection of excerpts from Clock Shavings, my new book, now available. The topics are the New Jerusalem, Cain’s city of Enoch in Nod, and the idea of collapsing the pillars of Heaven at the End of Times, leading to the opening of portals and an interdimensional “chemical wedding.” Full analysis and more details are available in the book.
The impression we have gotten from talking to Cain and Baphomet, which continues unto the present day, is that the reality in which we live is like a little bubble of safety within the vast expanse of nothingness that surrounds it. That is where they are now: in a state of negative existence. This is chaos, the Abyss, the land of Nod, and Hell. The metaphors used describe it as a “sea.” But it is also said to be full of fire that burns like nothing else yet is, simultaneously, bitingly cold. All of these are attempts to explain what it feels like to not really exist, but to still be “out there” somewhere, with some form of consciousness that is ineffable.
Cain told us that the “land of Nod” was represented by the Ageio board. Now remember, he said that the “REAL POWER” was “IN THE SECOND SQUARE.” The Second Square is the inner 36 squares on the board. Cain said that this is “Enoch,” the city he built in Nod. We asked if he named the city after his son, and he said no, it was the other way around. He told us that the city is a cube. But interestingly, Cain said that he himself is not imprisoned inside of that cube. Rather, he said that he and the other prisoners are on the surface of the cube, in ring of 28 squares on the periphery of the Ageio board.
One can imagine that it is like the “Panopticon” prison design invented by Jeremy Bentham, now in use at penitentiaries all over the world. The way it works, the watchtower where the prison guards stand is positioned in the center, with the prisoners stationed around in a circle. The purpose is so that the guards can see everything that is going on in the cells, and the prisoners never know if they are specifically being watched at any given moment.
The Panopticon is named after Panoptes, the figure from Greek myth with a thousand eyes. The National Security Administration has tried to mimic this with their omniscient global communication surveillance program, which they code-named — appropriately — “PRISM.” You’ll recall that Cain used the same word to describe the prison in which he was trapped. But he is not at the center of that prism: that’s where the cube is, containing the All-Seeing Eye.
It is interesting to note that the logo for the NSA’s PRISM program shows a crystal triangle either coming into or going out of the black void inside of a shape that has been made from two hexagons. One of those hexagons is smaller than the other and is overlapping the larger one, partially obscuring two of its sides. It is as if the smaller hexagon is in the process of either entering or exiting the larger one. I am not saying that the people who designed this logo know about the prison in the underworld, or the structure of the Ageio board with the Second Square inside. However, it seems to me that these secrets have a way of emerging from the works of human creativity, often without the artisan’s conscious knowledge.
Cabalists also talk about “Metatron’s Cube.” This is a hexagram within a hexagram, made from thirteen circles, which can also be viewed as a flat representation of a three-dimensional cube within a cube. It is thought by some to be an ethereal vehicle, a “merkavah” or “chariot” used by the angel Metatron when traveling from one realm of existence to the next.
Who’s Metatron? Why, he’s nothing less than that other Enoch, the one descended from Seth, who is credited with writing The Book of Enoch. Actually there were several books written by Enoch, but the main one was about his descent to the underworld, guided by the angel Uriel, where he got to view where the fallen angels were imprisoned.
In religious iconography, there is something called the “Jerusalem Cross,” or the “Crusader’s Cross.” It is an equilateral cross with four smaller crosses in each of its four corners. This is supposed to represent the “Five Wounds of Christ.” But to me it more resembles a representation of the city of Jerusalem with 12 gates. It also resembles, as I recently realized, the image of the Ageio board with the four crosses marking out the corners of the “Second Square.” Interestingly, this symbol was also used as a personal insignia by Masonic writer Albert Pike. Aleister Crowley later used it as well, referring to it as the “Baphomet Cross.”
Key to the mystery here is the “New Jerusalem” described in The Revelation of St. John as descending from Heaven at the end of the Apocalypse. In dimensions, it is a perfect cube, and shines like a precious stone, just like the cubic stone of the Philosophers. This is all part of an alchemical process in which God creates Heaven and Earth anew, and expels all impurities from creation back into chaos. It is the death of the old universe, and the birth of a new one, with the heavenly city as the foundation stone, and the throne of God. As in alchemy, it is even likened to a wedding. In Revelation 21: 1-6 we read:
“And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea. And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. And I heard a great voice out of heaven saying, Behold, the tabernacle of God is with men, and he will dwell with them, and they shall be his people, and God himself shall be with them, and be their God. And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.
And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful. And he said unto me, It is done. I am Alpha and Omega, the beginning and the end.”
Then we get more details on the city in Revelation 21: 9. Again, its descent is described as a marriage:
“And there came unto me one of the seven angels which had the seven vials full of the seven last plagues, and talked with me, saying, Come hither, I will shew thee the bride, the Lamb’s wife.”
Revelation 21:10-14 gives us another depiction of the cubic city as a stone. We are told that it has twelve gates, corresponding to the tribes of Israel, and the apostles of Christ:
“And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem, descending out of heaven from God, Having the glory of God: and her light was like unto a stone most precious, even like a jasper stone, clear as crystal; And had a wall great and high, and had twelve gates, and at the gates twelve angels, and names written thereon, which are the names of the twelve tribes of the children of Israel: On the east three gates; on the north three gates; on the south three gates; and on the west three gates. And the wall of the city had twelve foundations, and in them the names of the twelve apostles of the Lamb.”
Revelation 21: 15-21 tells us that the city is actually made from gold and precious stones. The particular types of stone, and the dimensions of the city, are given:
“And he that talked with me had a golden reed to measure the city, and the gates thereof, and the wall thereof. And the city lieth foursquare, and the length is as large as the breadth: and he measured the city with the reed, twelve thousand furlongs. The length and the breadth and the height of it are equal. And he measured the wall thereof, an hundred and forty and four cubits, according to the measure of a man, that is, of the angel. And the building of the wall of it was of jasper: and the city was pure gold, like unto clear glass. And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald; The fifth, sardonyx; the sixth, sardius; the seventh, chrysolite; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst. And the twelve gates were twelve pearls; every several gate was of one pearl: and the street of the city was pure gold, as it were transparent glass.”
What is happening here is a redefinition of reality. Everything that is to be saved is placed inside of the cube, with God. Everything on the outside is to be cast off, into chaos. Those inside are the ones with their names written in the Book of Life. If your name is not there, it is like you never existed. Revelation 21:7-8 says it like this:
“He that overcometh shall inherit all things; and I will be his God, and he shall be my son. But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death.”
Then Revelation 22:14-15 again makes clear the distinction: those who are saved are allowed inside of the city. Those who are not are left trapped outside of the gates, as if left to fend for themselves in a deadly wilderness.
“Blessed are they that do his commandments, that they may have right to the tree of life, and may enter in through the gates into the city. For without are dogs, and sorcerers, and whoremongers, and murderers, and idolaters, and whosoever loveth and maketh a lie.”
Revelation 21:27 makes clear that for the sake of purity, the contents of the cubic city will be Hermetically sealed:
“And there shall in no wise enter into it any thing that defileth, neither whatsoever worketh abomination, or maketh a lie: but they which are written in the Lamb’s book of life.
This cube then becomes the foundation stone, the Eben Shetiyah, of the new world. The way I see it, something similar happened in the days of Noah in Genesis. God told Noah to build an “ark,” according to certain dimensions, and collect samples of creation that he wanted to save, to use them to recreate creation at the end of the process. Then he told Noah to shut himself up with these things inside the vessel, and not to come out for a certain period of time. Around him everything was dissolved into chaos, the waters of the Abyss.
When they came out of the Ark after forty days, the land that his Ark rested upon became “Ground Zero” for a new civilization. It was the highest peak in the world, God’s mountain, referred to in The Book of the Cave of Treasures as “Mount Kardo.” It was the axis between Heaven, Earth, and the underworld. There is a Greek word for this: “Apobaterion” (“place of landing.”) This term is applied to Mount Judi in Turkey, thought by many to be the location of the Ark’s remnants. It is also said by some biblical scholars to be the same as Cain’s city of Enoch.
We know that there were supposedly two Enochs: a good Enoch (descendant of Seth, great-grandson of Noah), and a bad Enoch (first-born son of Cain). The good Enoch was first sent to Hell (as a “Watcher,” an All-Seeing Eye, watching the angels in their prison). Then he was translated to Heaven, where he was turned into an angel, Metatron, who roams the universe in a cubic vehicle. The bad Enoch was the inspiration for the building of Cain’s city. Or, as Cain told us, the child was named after city. (He also implied, strangely, that perhaps the city and the child were the same thing.)
The heavenly city of the New Jerusalem has no night, and no need of sun or moon. It also has no temples, for God is the temple himself. In Revelation 21: 22-5 it says:
“And I saw no temple therein: for the Lord God Almighty and the Lamb are the temple of it. And the city had no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof. And the nations of them which are saved shall walk in the light of it: and the kings of the earth do bring their glory and honour into it … And the gates of it shall not be shut at all by day: for there shall be no night there.”
In contrast, the realm that Cain is trapped in is one of perpetual night. This is why they need the artificial sun — the Black Sun — to light the way for them, and to provide energy. It also provides magnetism, which they use as a compass to navigate the Abyss, and a gauge with which to measure it. To them, the Black Sun has been a cornerstone, a little nugget of reality upon which they could attempt to build something.
Cain’s city of Enoch, built in the land of Nod, is probably, in fact, Cain’s attempt to copy the design of the New Jerusalem with an infernal reflection down below. There are indeed cities in the underworld, according to the Greeks, and even to Dante Alighieri. In The Divine Comedy we learn that the center-most and most glorious of these cities is Dis, which is also another name for Hades, the ruler of the underworld in Greek myths. Dante said that this encompassed the sixth through the ninth circles of Hell. Its walls are guarded by the fallen angels. Believing that Muslims were heretics, the author also depicted the city with a mosque full of Mohammedans still worshiping what he saw as their false god.
Interestingly, the “Second Square” on the Ageio board encompasses the three inner rings of black and white squares on the chessboard, where the “real power,” and his city of Enoch, resides. Since the underworld is a reverse and negation of the heavenly realm, it only makes sense to think of this infernal cubic city as black. Masonic writer, Albert Pike, said in his Morals and Dogma that:
“The Ancients adored the Sun under the form of a black stone, called Elagabalus, or Heliogabulua. The faithful are promised, in the Apocalypse, a white stone.”
Another Masonic writer, Manly P. Hall, brings up this subject, as well as the obvious connections which spring to mind regarding the Black Stone venerated by Muslims inside of the black cubic Kaaba temple in Mecca. This stone is believed by the faithful to have “fallen from Heaven.” There is a tradition going back at least to Iman Ali stating that the Black Stone brought the germ of life with it. The veneration of this stone at the site of the Kaaba shrine is older than Islam. So too is the shape of the temple and many of the rituals that are still performed there, now in the name of Allah instead of pagan gods.
The polytheist Kaaba was formerly the home of 360 stone idols who were consulted by the pre-Islamic pagans there for divination and spell-casting purposes. The location is thought by Muslims today to be the center-point of the world, with a “gate to Heaven” open above it. On this subject, Manly P. Hall wrote in Secret Teachings of All Ages that:
“Divination by stones was often resorted to by the Greeks, and Helena is said to have foretold by lithomancy the destruction of Troy …. The black stone also appears several times in religious symbolism. It was called Heliogabalus, a word presumably derived from Elagabal, the Syro-Phœnician sun god. This stone was sacred to the sun and declared to possess great and diversified properties. The black stone in the Caaba at Mecca is still revered throughout the Mohammedan world. It is said to have been white originally and of such brilliancy that it could be seen many days’ journey from Mecca, but as ages passed it became blackened by the tears of pilgrims and the sins of the world.”
“Lithomancy” is divining messages by stones – in particular, by the way in which light that may seem to shine out of them, or be reflected by them. This was the type of divination that took place in the Temple in Jerusalem, right before the Ark, using a set of crystal objects called the “Urim and Thummin.” Is this related to the “LANGUAGE OF LIGHT” that both Baphomet, and now Cain also, have told us is spoken by the “LUSTEROUS ONES” (sic), the angels?
Perhaps this is what is behind the story that the Grail stone was a jewel in Lucifer’s crown, which got knocked off during the war in Heaven, and fell into the Abyss. I have seen this stone referred to as a “jewel of light.” In the same chapter of that book, Hall also said:
“During the conflict, Michael with his flaming sword struck the flashing Lapis Exilis from the coronet of his adversary, and the green stone fell through all the celestial rings into the dark and immeasurable Abyss. Out of Lucifer’s radiant gem was fashioned the Sangreal, or Holy Grail, from which Christ is said to have drunk at the Last Supper.”
The metaphors found in the Bible, as well as the literature of Freemasons and other esoteric groups, refer to the cubic city (a.k.a. the “Ark,” the “Grail”) as the “cornerstone” of the world. In the Deluge story, after the world around him was dissolved into the Abyss, Noah and his children were able to literally forge a new world – order out of chaos – using the Ark as their basis. It provided the seeds of life, preserved from the old world, as well as the dimensions for measurement with which to build another civilization. To have such a “city,” or vessel resting upon the mountain of God was like an anchor grounding them to reality, as the bitter seas of chaos nipped at their feet.
Immediately after the story of the Deluge is concluded in Genesis, following a page of genealogies, the next story is that of the Tower of Babel. Chapter 11: 1-4 tells us:
“And the whole earth was of one language, and of one speech. And it came to pass, as they journeyed from the east, that they found a plain in the land of Shinar; and they dwelt there. And they said one to another, Go to, let us make brick, and burn them thoroughly. And they had brick for stone, and slime had they for morter. And they said, Go to, let us build us a city and a tower, whose top may reach unto heaven; and let us make us a name, lest we be scattered abroad upon the face of the whole earth.”
Clearly they saw this tower, and this city, as a way of connecting themselves with God, the source of reality. They hoped it would give them a “name,” a sense of identity, and safety from the waters of the abyss that had just ravaged their world. They were building their own world-mountain to provide an axis between Heaven and Earth. But apparently, God did not want there to be too much order in human society following the deluge of chaos, and set forward to confound them by casting them into confusion once more: Genesis 11: 5-9 states:
“And the LORD came down to see the city and the tower, which the children of men builded. And the LORD said, Behold, the people is one, and they have all one language; and this they begin to do: and now nothing will be restrained from them, which they have imagined to do. Go to, let us go down, and there confound their language, that they may not understand one another’s speech.
So the LORD scattered them abroad from thence upon the face of all the earth: and they left off to build the city. Therefore is the name of it called Babel; because the LORD did there confound the language of all the earth: and from thence did the LORD scatter them abroad upon the face of all the earth.”
It has still not been established, by the way, who exactly the LORD was talking to in this scene when he says “let us go down.” Now the king responsible for having the tower built, named “Nimrod,” is said in some Masonic literature to be the “original Master Mason,” and, amazingly, also said to be the same as Cain! L.A. Waddell agreed, writing in his books that Nimrod and Cain were the same figure. Cain was credited with building six cities in total, in addition to the first, Enoch. So did he build the Tower of Babel as well? Or perhaps, are all these stories just different ways of telling about the same fantastic event?
I am not exactly sure, but I know that Cain said it was the Flood that brought his kingdom under the waters of the Abyss, caused by what he called “the Wrath of Cain,” and that now he is in a perpetual state of confusion. This is just like the citizens of Babel who had their language, and thus their relationship with reality, confounded. I think the thing which Cain and other inhabitants of the underworld anchor themselves to is the artificial “Black Sun,” which is either within the city or, perhaps, is somehow synonymous with the city itself. It provides the only sense of bearing they can get in this zone of chaos, where it is impossible to measure things because there is no structure to anything. As it says in The Book of Enoch, Chapter 21:1-2, describing the Hell realm where the fallen angels are trapped:
“Then I made a circuit to a place in which nothing was completed. And there I beheld neither the tremendous workmanship of an exalted heaven, nor of an established earth, but a desolate spot, prepared, and terrific.”
The imprisoned angels are then depicted as seven stars bound together, like the Pleiades or “Seven Sisters” in the Constellation of Taurus. The next line relates the following:
“There, too, I beheld seven starts of heaven bound in it together, like great mountains, and like a blazing fire. I exclaimed: for what species of crime have they been bound, and why have they been removed to this place?
Then Uriel, one of the holy angels who was with me, and who conducted me, answered: Enoch, wherefore dost though ask; wherefore reason with thyself, and anxiously inquire? These are those of the stars which have transgressed the commandment of the most high God; and are here bound, until the infinite number of the days of their crimes be completed.”
By this, I believe, Uriel was implying that their punishment would last eternally, because their crimes had themselves been eternal. Perhaps this is because these events took place in a timeless realm, and therefore the prisoners are trapped in a timeless realm as well, without form. Lines 5 and 6 complete the chapter:
“… I beheld the operation of a great fire blazing and glittering, in the midst of which there was a division. Columns of fire struggled together to the end of the abyss, and deep was their descent. But neither its measurement nor magnitude was I able to discover; neither could I perceive its origin. Then I exclaimed: How terrible is this place, and how difficult to explore!
Uriel, one of the holy angels who was with me, answered and said: Enoch, Why art thou alarmed and amazed at this terrific place, at the sight of this place of suffering? This, he said, is the prison of the angels, and here are they kept forever.”
I think these same seven prisoners, shown as the stars of the Pleiades, are seen with great frequency in the symbols of Freemasonry, often along with the “Blazing Star,” depicted actually shooting down from Heaven, like the fallen angels. They are also many times seen arranged together in the form of a hexagram, with one in the center and the other six arranged around it. This, in my opinion, represents Metatron’s Cube, or the city of Enoch.
The seven stars show up quite often on Masonic “tracing boards,” which are tableaus of symbols given to the candidates to study before the initiation rite of each degree. They are always shown between the pillars of Jachin and Boaz of Solomon’s Temple, usually underneath the “Royal Arch,” right below the “keystone.” In the ritual of the Royal Arch degree, this keystone is said to have been discovered by the Knights Templar in the floor of Solomon’s Temple. In the rite, they remove the stone, and reveal a room full of treasure beneath. This is the Eben Shetiyah, and the room below is the underworld.
I think that what Masonic tracing boards are depicting is, beyond “Solomon’s Temple,” more specifically the “temple” of the cubic city Cain built in Nod, in the underworld. While the Heavenly cubic city has no sun(because it has its own light), no moon (because it has no night), and no temples (because God himself is the temple), the Masonic tracing boards, similar to the lodges themselves, feature all of these things, just like the infernal city that they are based on. It is shown having its own sun and moon, and its own “All-Seeing Eye” – the watchtower within the Panopticon, in the center of the complex, from which you can see all of the rooms of the prison on the periphery. At the bottom of every tracing board, just like on the floor of most Masonic lodges, there is the chessboard pattern, representing the entire complex of Nod and the city within it.
Interestingly, there is a folk legend in modern Greece saying that demons known as “Kallikantkazoi” are let loose from the underworld on December 25th of each year, when the sun “stops moving,” according to tradition. This happens because all year long they work to saw down the pole that separates Heaven from Earth, and at Christmas they are finally successful, leaving them free to roam the Earth. If they were to remain at large, it would purportedly cause calamity on Earth. But luckily, on Epiphany Day, January 6, God puts them back in prison down below, and the pole is restored, so that they have to start all over again sawing it down once more.
Not knowing this story, years ago I channeled instructions for “the Divine Rite” of the OLE, meant to mimic the coming crowning of the Grail king. Remember, the rite involved pretending to sacrifice the king, so that Cain could be released from his prison, and possess the monarch’s body, bringing him back to life. This, I envisioned, would be like a key unlocking the timeless realm of Drakenberg and merging it with our own. The date I had chosen to perform this rite each year was December 23rd, the days that King Dagobert II was killed in a hunting accident, just like Cain.
Cain wants to get out. All of those in who are in Hell want out. But the fallen angels down there know something that the human spirits also trapped there probably don’t know: that at the End of Times, the Abyss will open up and let them out of Hell, temporarily. Heaven will also open up, and literally merge with Earth as the white cube of the New Jerusalem descends. In my mind, it is most likely that the black cubic city will ascend from the depths as well. Heaven, Hell and Earth will all co-mingle in a timeless moment. Perhaps the black and white cubes will merge. This may be the ultimate explanation for the checker pattern on the Ageio board.
This, I think, will be their opportunity to switch places with humankind, and be back in the bosom of the Lord. Then again, perhaps they think that they will be able to take control of the celestial Ark, the cube, and be in the driver’s seat, the God position, when things start anew. I think the belief is that, if they can get inside the white cube, in the position of God, they can be God, and they can win the Apocalypse game. Meanwhile, they believe, Baphomet will get his expressed wish: to see “MAN LOST IN HELL.” We will be outside the cube, trapped in the chaotic Abyss where they were once tortured.
Mephistopheles describes this future to Dr. Faustus during one of their conversations. As it says in the Marlowe play:
“Mephistopheles: Now, Faustus, ask what thou wilt.
Faustus: First will I question with thee about hell.
Tell me, where is the place that men call hell?
Mephistopheles: Under the heavens.
Faustus: Ay, but whereabout?
Mephistopheles: Within the bowels of these elements,
Where we are tortur’d and remain for ever:
Hell hath no limits, nor is circumscrib’d
In one self place; for where we are is hell,
And where hell is, there must we ever be:
And, to conclude, when all the world dissolves,
And every creature shall be purified,
All places shall be hell that are not heaven.”
When the portals open, Hell rises and Heaven descends. This is the “Marriage of Heaven and Hell” which William Blake wrote about. Perhaps it is the ultimate “chemical wedding.” This is the true “Golden Dawn,” which the magical order is named after. This is why they have a hexagram for a logo, often showing a golden sun within the descending triangle, merging into the blue Abyss waters of the ascending triangle.
Interestingly, in the Golden Dawn rituals, they treat the Garden of Eden as though the place itself “fell” at the fall of Adam. In their graphical depictions of the Fall, they show the Dragon of Revelation enveloping Adam and Eve, and encompassing Christ as he dies on the Cross. They also speak of both the pre-and post-fall Eden as being places that exist presently. The event of the Fall, as well as the restoration of Paradise, are both referred to as in the present tense.
Similarly, Baphomet talks about the war in Heaven, the fall of Eden, and the Apocalypse as all being events that, to him, are occurring right now. When we became confused and asked why he was talking about these past events and future events like they were presently happening, he said: “NOW REALLY SOON.” Note that the abbreviation “NWO” (commonly used now to refer to the “New World Order” of the coming Anti-Christ) is an anagram of “now.”
It goes without saying that, as our time-space dimension merges with those that are outside of time, our perception of time will stop. This is why modern Satanists refer to the concept of “Year Zero.” It is not really “Anno Satanas,” the year the Church of Satan was created, in 1966. It is that future “final hour” that has yet to come.
This concept of the true “End of Times,” and the breakdown of the time dimension, explains why the Beast of the Apocalypse is described by St. John as “the beast that was, and is not, and yet is,” said to have been born in the “wilderness” of chaos. Chapter 17: 8-13 states:
“The beast that thou sawest was, and is not; and shall ascend out of the bottomless pit, and go into perdition: and they that dwell on the earth shall wonder, whose names were not written in the book of life from the foundation of the world, when they behold the beast that was, and is not, and yet is. And here is the mind which hath wisdom. The seven heads are seven mountains, on which the woman sitteth. And there are seven kings: five are fallen, and one is, and the other is not yet come; and when he cometh, he must continue a short space. And the beast that was, and is not, even he is the eighth, and is of the seven, and goeth into perdition. And the ten horns which thou sawest are ten kings, which have received no kingdom as yet; but receive power as kings one hour with the beast. These have one mind, and shall give their power and strength unto the beast.”
This “Year Zero” may be what is depicted on the Great Seal of the United States. Everything that exists is contained within the walls of the pyramid, surmounted by the All-Seeing Eye of the prison guard, surrounded by a barren landscape of nothingness. The Latin phrase “Novus Ordo Seclorum,” is usually translated “New Order of the Ages.” It is an allusion to Virgil’s Eclogue IV, where it says:
“Now comes the final era of the Sibyl’s song;
The great order of the ages is born afresh.
The Virgin and the Reign of Saturn returns
Now a new lineage is sent down from high heaven.”
I think that it ultimately refers to the dissolving of reality, and the coagulation, or collection, of a small remnant of that reality to be saved, via an “ark” or Hermetically sealed alchemical vessel. Cain said that one of the keys to winning Ageio is to “ACCEPT DEFEAT” because, “IF YOU ACCEPT DEFEAT, REALITY CANNOT WIN.” As you will recall, there is ultimately not much competition between the white and black armies in the game, because there is no doubt that the white side is going to win. So perhaps the game is to play both sides, and make sure that you’re on the winning side when the game stops.
Right now, because Cain and the fallen are trapped in chaos, outside of the real cube up above, they are unreal. Reality is defined within that cube, by God and his image: man. But the fallen are attempting to rise. They want us to be the ones to accept defeat, and become unreal, while they “REAP ALL THE WEALTH” of reality. Not only that: they want us to be the ones to figure out how to let them out of their prison, just so they can make us switch places with them!
This is what happens to Christian Rosenkreutz in The Chymical Wedding. Having accidentally stumbled upon the naked Lady Venus, lying in a death-like sleep in her “tomb,” the title character then becomes obliged to guard her chamber forever. Meanwhile, the previous guard is finally allowed to leave, having himself been cursed to stand there at length, for the same reason.
One of the characters present at the scene is none other than Atlas, who works for the royal palace where the wedding is taking place. This makes the symbolism clear: the castle is the world-mountain, the axis pole that holds Heaven apart from Earth. Atlas was the one charged with playing this role himself, holding the weight of the heavens upon his shoulders, in Greek mythology. Atlas was freed from his burden by Hercules, who replaced him with two pillars (like Jachin and Boaz of the Freemasons, featured on their tracing boards and on our Ouija board). Now Christian Rosenkreutz is fated to play a similar role as Atlas:
“Now as soon as I was called in again, Atlas declared to me that although it was grievous to the King’s Majesty that I, whom he loved above others, had fallen into such a mischance, yet because it was not possible for him to transgress his ancient usages, he did not know how to absolve me; the other [the previous doorkeeper] must be at liberty, and I put in his place; yet he would hope that some other would be apprehended, so that I might be able to go home again. However, no release was to be hoped for, till the marriage feast of his future son…. I imagined nothing other than that I must finish my life under the gate.”
Hesiod, in his Works and Days, says that Atlas is the father of the Pleiades. According to Plato, Poseidon named one of his sons Atlas. It was the first of his ten sons by the mortal lady, Cleito. Poseidon enclosed the hill on which Cleito lived all around her, making alternate zones of sea and land. He divided the “island,” which he called “Atlantis,” among his ten sons with Cleito.
The eldest was “Atlant,” after which Plato says the island and surrounding ocean received its name. He made Atlant the chief king, and gave him the center portion of land with his mother’s house on it, which was the best plot. The other sons received portions of land from the outer rings of the labyrinth in descending order from their birth. They were each given absolute control over their portion, to rule as tyrants over the populace.
The image of Poseidon enveloping his wife and children within a labyrinth of segments of land and sea bring to mind Louis Ginzberg’s description of Cain in Legends of the Jews:
“Cain knew only too well that his blood-guiltiness would be visited upon him in the seventh generation. Thus had God decreed against him. He endeavored, therefore, to immortalize his name by means of monuments, and he became a builder of cities. The first of them he called Enoch, after his son, because it was at the birth of Enoch that he began to enjoy a measure of rest and peace. Besides, he founded six other cities. This building of cities was a godless deed, for he surrounded them with a wall, forcing his family to remain within.”
Cain said the fall of Atlantis, the fall of Eden, and the fall of Nod (or his fall into Nod) were all part of the same event (or set of events). He also said that there were ten “DOHIR KINGS” or “MOLOCHS,” the “KINGS OF THE FALLEN LAND.” In addition to being, perhaps, the same as the ten kings of Atlantis, are they also the same as the ten horns of the Beast of the Apocalypse, as described in the previous quote from St. John?
But I believe that the Flood was not just a physical deluge of water, but also a dissolving of reality into chaos. Surviving this requires an alchemical “ark” of safety, like the black cube or the white cube. This is what much of the arcane literature written by initiates of the occult seems to indicate, as well as the more esoteric scriptures of Judaism and Christianity.
According to Plutarch … Saturn (the Roman equivalent of the Greek Chronos) is … chained on an island vivat et non vivat by his son Zeus. His chains, says Plutarch, are formed by the illusions of his dreams. As he writes in Morals:
“… His slumber had been artfully produced in order to chain him, and round about him were many dæmons for his guards and servants. … For Saturn himself is imprisoned in a vast cavern, sleeping upon a rock overlaid with gold; for his sleep has been contrived by Jupiter for his chaining— whilst birds fly down from the rock, which are ordained to carry ambrosia to him, whilst the island is overspread with fragrance, diffused from the rock as from a fountain. Those genii wait upon and nurse Saturn, who had been his companions at the time when truly he used to reign over both gods and men; and they, being endowed with prophecy, foretell, on their own account, many things, but important matters, and such as concern the highest things, they go down into the cavern and report as the dreams of Saturn; for whatsoever things Jupiter is devising for the future, Saturn dreams what they are about, and that which is kingly and divine.”
Jupiter is “Jove,” and is broadly believed by comparative religionists to have some equivalence to the Jehovah of the Hebrews. (“Jove” is used in English parlance now to refer to Jehovah, as in the saying “By Jove!”) Chief among the Olympian gods, he is the lord of this age, and this realm. Saturn was seen by the Romans as the lord of a past realm, the “Golden Age” that was overthrown by his son Jupiter (just as Saturn’s Greek equivalent, Chronos, had his Titan kingdom overthrown by the Greek equivalent of Jupiter, Zeus).
Saturn’s Golden Age was like the “day of rest” (of timelessness) on the seventh day of creation: the day in which the events in the Garden of Eden story took place. A “new Golden Age” will happen at the end of time, with a new Genesis and a new Eden. We represent this grand cycle in microcosm at the end of each week, with Saturday, the Sabbath, and also at the end of every year, with the celebrations of the winter holidays.
The ancient Romans observed these as “non-days,” outside of the realm of time. This was their feasting time of “Saturnalia,” the precursor to our own Christmas. Saturn was obviously the inspiration for Santa Claus. After all, Saturn was an “eternal old man” who must have lived near the North Pole (Plutarch says the sun only set there once every thirty days), and was served by a set of demons (elves). Saturn (like Chronos) was also the Roman lord of time (and carried a scythe, like Death). Therefore, he is clearly the inspiration for Father Time, used in modern iconography to represent the old year on New Year’s Eve, always next to a baby, representing the new year.
During Saturnalia they suspended all laws, the slaves were temporarily freed, and nobody had to work. This was to mimic the Golden Age, in which, it was believed, there was peaceful anarchy, with none but the so-called “unrule” of Saturn. There was an abundance of everything wanted with no work required. This is possible because, like the Garden of Eden, the Golden Age was outside of time. Therefore there was no death, birth, or generation.
As I speculated in my other book, Money Grows on the Tree of Knowledge, such a state can only be maintained by negating the future, as Saturn is said to have swallowed his own children. He did this to keep them from growing up to overthrow him, as had been prophesied. This was the child sacrifice that purchased the peace and prosperity of the Golden Age.
[The] “salem” in “Jerusalem” comes from the word for “stairway.” It was usually used in reference to a stepped pyramid or ziggurat-style temple, which was viewed as a “stairway to Heaven.” The top of such a structure was viewed as a gateway to God’s realm, just as there is believed to be such a portal on the roof of the Kaaba.
Interestingly, Francis Bacon called the utopian island civilization in his novel “Bensalem.” The country was ruled by a “college” of wise elders called “Salomon’s House.” He described this institution as the “the very eye of the kingdom.” They were divinely chose, for the “God of heaven and earth had vouchsafed the grace to know the works of Creation, and the secrets of them.” Another title he gave this school was the “College of the Six Days’ Work.” This referred to the six days of creation in Genesis. He was saying that this is where one goes to learn how to create things alchemically, like God does. Their mission statement is given by the author:
“The end of our foundation is the knowledge of causes, and secret motions of things; and the enlarging of the bounds of human empire, to the effecting of all things possible.”
On the title page of that book, Bacon used an illustration of Saturn unveiling the naked Lady Venus in her secret tomb. Surrounding the image are the Latin words: “Tempore Patet Occulta Veritas.” (“Time Reveals the Hidden Truth.”) Saturn, of course, symbolized time. Venus denoted the secrets of nature, or alchemy. But as we learn in The Chymical Wedding of Christian Rosenkreutz, whoever unveils Venus is cursed to remain a prisoner in her kingdom forever. The slavery of the student is the price of knowledge, just as in Saturn’s school described by Plutarch. That is the tuition of the Invisible College.
In Theophilus Schweighardt’s Speculum Sophicum Rhodo-Stauroticum, there is an illustration of “The College of the Rosicrucian Brotherhood.” It is shown as a box-like building with wings and wheels, somewhat like the prophet Ezekiel’s vision of the divine chariot. In the distance, you can see the Ark of Noah resting upon a mountaintop.
One of the oldest versions of the Deluge story, from Mesopotamia, is that of Utnapishtim, the equivalent of Noah. He was told of the impending deluge from spirits who spoke to him through the walls of his house. They then instructed him on how to turn his own house into a vessel, in the shape of a perfect cube. This is how he survived the waters of the Flood.
In Mystery of the Cathedrals, Fulcanelli takes the last chapter to talk about alchemical concepts of the Apocalypse. He speaks of the destruction and regeneration of the world as though it were an alchemical transformation, in which humanity must die, be dissolved into chaos, and be reborn. This discussion is sparked by his analysis in that chapter of a strange monument called the “Cyclic Cross of Hendaye,” found in a church courtyard in Basque France. He writes:
“Whatever its age, the Hendaye cross shows by the decoration of its pedestal that it is the strangest monument of primitive millenarism … It is known that this doctrine, first accepted and then refuted by Origen, St. Denis of Alexandria, and St. Jerome, although it had not been condemned by the Church, was part of the esoteric tradition of the ancient hermetic philosophy.”
By rearranging the oddly-spaced letters of the message on the cross’s stand — “O crux ave spes unica (Hail o cross, the only hope)” — he obtained the following, hidden message: “Il est ecrit que la vie se refugie en un seul espace.” (“It is written that life takes refuge in a single space.”) The meaning of this, says Fulcanelli, is that:
“… A country exists, where death cannot reach man at the terrible time of the double cataclysm. As for the geographical location of this promised land, from which the elite will take part in the return of the golden age, it is up to us to find it. For the elite, the children of Elias, will be saved according to the word of Scripture, because their profound faith, their untiring perseverance in effort, will have earned for them the right to be promoted to the rank of disciples of the Christ-Light. They will bear his sign and will receive from him the mission of renewing for regenerated humanity the chain of tradition of the humanity which has disappeared.”
Fulcanelli believed that we really are heading towards an Apocalyptic event, and that messages predicting it are embedded in this monument. Moreover, he thought that alchemists and other “elite” would be able to decode the symbols left behind by the initiates of the past to figure out a special country or “space” where they will be safe from the cataclysm.
This event will involve the opening up of one or more portals between the realms of Heaven, Earth, and Hell. It can be seen as a union or “chemical wedding” of these realms, just as the coming of the New Jerusalem is likened to a marriage of Heaven and Earth. It is seen also as a “collapsing” of the “pole” – the “world-mountain – that separates the realms.
The instigation of this event will involve aid from humans who want it to happen. They believe that they are the chosen few, and that if they build an “ark” properly, they will be saved. It will also involve humans being persuaded into descending into the underworld to free the captive demons. But some of these people will be tricked into trading places with them, and forced to bear their torment. This includes the “burden” of keeping the heavens aloft again when the new order of the realms is established. We can see this by decoding the creative works of occult initiates, as well as the myths and scriptures that they refer to. Let us examine again the writings of Sir Francis Bacon.
New Atlantis was part of a series of texts called Instauratio Magna (The Great Restoration). It was supposed to have six parts, like the six days of God’s creation, but he only got around to finishing four. I believe the title refers to the establishment of a new order of perfection, creating the universe anew. This can be seen by examining the image on the title page of one of the books: Novum Organum Scientarium (New Scientific Instrument).
The illustration shows a ship passing between two pillars, representing the “Pillars of Hercules,” which are the two large rocks that flank the Straights of Gibraltar. There is a banner wrapped around each pillar, upon which are written, when taken together, the Latin words “Plus Ultra” (“Further Beyond”)….
The Straights marked the portal between the Mediterranean Sea, well-charted by the Greeks, and the Atlantic Ocean, which was considered the “realm beyond.” Actually, during the Renaissance there was a legend that there was a warning written upon the pillars that said “Nec Plus Ultra” (“There is Nothing Beyond.”) This was supposedly a warning to sailors not to risk their lives trying to explore past the pillars.
Plato said that Atlantis had been situated just beyond the Pillars. That meant that it was effectively in the “otherworld,” and this, according to my thesis, truly did exist in another dimension. So when the Habsburgs of Spain financed Christopher Columbus, discovering vast wealth and exciting new lands beyond the pillars, they had it commemorated on the royal arms of Spain. This new design boasted the pillars with the word “Nec” taken out, demonstrating that they had proven there was, in fact, “more beyond,” and had boldly claimed it for themselves.
Christopher Columbus, when he discovered the American continent, is reported to have felt that God had guided him to the location of the “New Jerusalem.” Perhaps he thought that within America there was that “single space” of refuge that Fulcanelli later wrote about, the touch-point where the white cube from Heaven would land. Manly P. Hall writes in The Secret Destiny of America that Columbus was inspired in his voyages by Plato’s account of Atlantis.
Now the mythology that ties these pillars to Hercules is very relevant here. As the story goes, during his famous Twelve Labors, the hero was obliged to alleviate Atlas of his burden to hold the canopy of Heaven apart from the Earth. Just as is the case with Lilith and Samael, the story goes that if the lovers Gaia and Ouranos (Earth and Heaven) are allowed to sexually unite once more, the world will be destroyed.Poor Atlas, when the Titans lost the war with the Olympians (equivalent to the war in Heaven between God’s loyal angels and the rebellious ones) was punished by the victor, Zeus, with the burden of preventing that destruction (unlike the rest, who were mostly imprisoned in Tartarus for eternal torture). The solution Hercules devised to the fashion the Straights of Gibraltar by splitting a mountain, and using them to prop up the sky instead.
Another version of this story was that, while traveling to the Garden of Hera to get the apples there, tended by the Hesperides, Hercules had to cross a mountain named “Atlas.” Instead of doing that, he smashed the mountain in two. In this case, “Atlas” was the world-mountain, representing the pole between the worlds. By smashing it, he opened a portal between the worlds: between the “Mediterranean Sea” (which means, literally, “the sea in the middle of the Earth”) and the “Atlantic Ocean” (the ocean of Atlantis).
In yet still another version, Hercules asked Atlas to fetch the apples for him, since he was the father of the Hesperides, the gardeners. He promised to hold the sky up for Atlas while he went on the errand, but Atlas tried to trick him into getting stuck there. However, the hero managed to thwart this maneuver.
It should be noted that this Atlas is supposedly totally different from the one that Plato said was fathered by Atlas. Remember he said that the island was named after this demi-god son. But it is hard to believe it is a coincidence that the land of this Atlas was situated just beyond the pillars, or rocks, associated with the Titan Atlas.
Atlas is more often said to be upholding the Earth, not Heaven. Many historians think this misconception came about simply because statues of the god show him holding a globe on his shoulders, and it was assumed by people looking at them (without reading the details of the myth) that he was holding our planet. Also, confusion may have arisen when, starting in the sixteenth century, people began referring to a book of terrestrial maps as an “atlas.” However, it was really a celestial globe, showing the zodiac and visible night’s sky on a sphere, that the god was always shown with.
The story becomes more confusing when you consider that Freemasons frequently depict their sacred pillars to be surmounted by two globes. One is a regular terrestrial globe, and one is a celestial globe. This symbolism tends to indicate an esoteric belief that there is a need of two “world-mountains” or “axis poles”: one to hold up the firmament of Heaven, separating it from Earth, and another down below to support the fundament of Earth, to keep it from collapsing into the underworld.
Another common Masonic symbol worthy of note here is that of a broken column, which signifies death. It is usually shown with a lady called the “Weeping Virgin” standing over it holding a sheaf of wheat, wearing a toga. Father Time (Saturn) stands behind her lecherously, donned in only a loincloth, playing with her hair. Sometimes a symbol of the constellation Virgo is part of the scene as well. This emblem is often used on the gravestones and obituaries of Freemasons who have died, of whom it is said “His column is broken.”
Sure this is a fitting allegory for an individual who has died, but it could also signify the end of time, the collapse of the world’s axis, and the death of a universe. Remember the passage from Virgil’s Eclogue IV that is referenced on the apocalyptic Great Seal of the United States: “Now comes the final era of the Sibyl’s song … The Virgin and the Reign of Saturn returns.” It is almost impossible that there is not a connection between those words and this image.
… [When] Osiris was resurrected the second time, and became the lord of the Earth, with his soul reigning from the underworld, and his body undead but inanimate, he took on the burden of upholding the worlds, just like Atlas. Significantly, depictions of the tomb of Osiris show him lying inside of a stepped pyramid constructed beneath the Earth. The chamber is being illuminated by the shining rays of a sun positioned at the roof.
Certainly this ties in with how Cain described his prison to us, but it also connects with tales told by the Hermetic Order of the Golden Dawn. In their rituals, they say that the tomb of Christian Rosenkreutz is lit by an “inner sun,” which is also emblematized as a rose situated somewhere on the ceiling. They say he is lying undead there, waiting for his tomb to be discovered. When that happens, he will come alive again, and a new golden age of Hermetic enlightenment will begin.
The Golden Dawn’s “Adeptus Minor” ritual describes, and replicates, the inside of this tomb. It is said to be covered in mystical symbols, and to contain the “Emerald Tablet of Hermes,” with the secrets of alchemy inscribed upon it. This brings to mind the 1595 illustrated alchemical treatise Amphitheatrum Sapientiae Aeternae (Amphitheater of Eternal Wisdom) by Heinrich Khunrath, which depicts the Tablet as actually being inscribed upon the side of a mountain, as if the mountain itself is the Tablet. In the ritual, the candidate is told:
“The Tomb is symbolically situated in the centre of the Earth, Mountain of the Caverns, the Mystic Mountain of Abiegnus. The meaning of this title of Abiegnus – Abi-Agnus, Lamb of the Father. It is by metathesis Abi-Genos, Born of the Father. Bia-Genos, Strength of our Race, and the four words make the sentence: ABIEGNUS ABIAGNUS ABI-GENOS BIA-GENOS. ‘Mountain of the Lamb of the Father, and the Strength of Our Race.’”
One of the lines from Le Serpent Rouge, when telling about the mysterious location of the tomb of Isis, and the mountain she rests in, says:
“It is not by the magical strength of HERCULES that one deciphers these mysterious symbols engraved by observers of the past.”
Within driving distance of Rennes-le-Chateau in France is the mountain of Montsegur. It has a long history associated with the Knights Templar and the heretical Christian movement of the Cathars, also known as the “Albigensians.” The Church actually fought a war against them to stamp them all out, which they effectively did. It was called the “Albigensian Crusade.” Many theorists believe that the Holy Grail, or perhaps the Ark of the Covenant, or some other sacred treasure, was there at one point. It may have been smuggled out to safety somewhere when the heretics’ last stronghold, their fortress on Montsegur, was taken by their enemy.
The name “Montsegur” means “Mountain of Security.” Some writers postulate that this mountain was the basis for “Montsalvat” (“Mountain of Salvation”), where the Grail Castle resides in the old romances. Montsegur is a reported hotbed for modern UFO activity. Recently, when the year 2012 came to an end, thousands of New Agers converged on Montsegur, certain that it was the “single space” of refuge that Fulcanelli wrote about, of which I spoke previously. They believed that being there would protect them from the end of the world. Fascinatingly, there is a cavern in the mountain with a stalagmite in it that is called, for some reason, the “Tomb of Hercules.”
During another Golden Dawn ritual, for the grade of “Theoricus,” the candidate is directed to assume a stance mimicking Atlas, who is described as holding up two pillars that support the universe. As it says in the rite:
“Stand with feet together and raise both arms upwards and back, palms up, as if supporting a weight. It represents you in the Path of YESOD, supporting the Pillars of Mercy and Severity. It is the Sign made by the Greek God ATLAS, who supported the Universe on his shoulders and whom Hercules was directed to emulate. It is the ISIS of Nature, supporting the Heavens.”
Francis Bacon’s use of the image of a ship going through the Pillars of Hercules, along with the words “Plus Ultra,” are taken by most as a metaphor. Hercules smashed Mount Atlas to create a portal to the new world. In Bacon’s time, Europeans were now penetrating that opening to colonize new lands, and greatly expanding mankind’s understanding of the world. Likewise, Bacon might have been predicting that his own touted “scientific method” (one of his credited inventions) would collapse the barriers to greater understanding of the universe.
However, I think that what specifically might have been on his mind was the collapsing of the pole that holds up the heavens, so that the New Jerusalem will come crashing down to Earth. The Latin sentence written at the bottom of the Novum Organum illustration makes it clear that he had the End Times in mind. It says: “Multi pertransibunt & augebitur scientia,” which translates to: “Many will travel and knowledge will be increased.” Again, you might think that this is about traveling to the New World. But it is actually a slight paraphrase of something from The Book of Daniel 12:4:
“But thou, O Daniel, shut up the words, and seal the book, even to the time of the end: many shall run to and fro, and knowledge shall be increased.”
Bacon was smart enough to know that there might not literally be a “mountain” or a “pole” that is “holding up the sky.” But he could understand that there were other dimensions of reality that mankind has yet to explore. On the topic of smashing a portal between the worlds, and possibly collapsing them together, let us have a look at some of the projects being done with the atomic particle collider in Switzerland known as “CERN” (which stands for words that translate to “European Council for Nuclear Research.” They are presently doing tests with something called a “Large Hadron Collider” that, according to their spokespeople, could open a “doorway” to an “extra dimension.”
Sergio Bertolucci, the Director for Research and Scientific Computing at CERN, told the technology newspaper The Register, as reported in an article from November 2009, that:
“Out of this door might come something, or we might send something through it.”
The article continues:
“Dr Bertolucci later got in touch to confirm that yes indeed, there would be an ‘open door,’ but that even with the power of the LHC at his disposal he would only be able to hold it open “a very tiny lapse of time, 10-26 seconds, [but] during that infinitesimal amount of time we would be able to peer into this open door, either by getting something out of it or sending something into it.”
These scientists seem quite confident that this small amount of time in which this tiny little door will open won’t at all be enough to collapse the barrier between these dimensions and destroy this entire dimension instantly, or any other manner of disaster-based science fiction scenarios that could theoretically come from such tinkering with the fabric of existence. But I’m not so sure. It should be obvious to all that the Final Hour of Revelation can take place in the twinkling of an eye. How long does it take for space-time to end? It’s a meaningless question, and afterwards (although there is no such things as “afterwards”) it won’t really matter, will it?
One of the collider’s projects is actually named “the ALICE Collaboration,” purportedly because it will allow the scientists to explore the root of matter the same way Alice explored Wonderland down the rabbit hole. The logo for the project is an octagonal portal with rays of energy bursting from the center. The acronym stands for “A Large Ion Collider Experiment.” Their website describes it as:
“… One of the largest experiments in the world devoted to research in the physics of matter at an infinitely small scale.… You are invited to tumble down the rabbit hole into the wonderland of ALICE.”
If you’ll recall, Alice was only able to enter Wonderland by shrinking herself so that she was small enough to fit through the door at the bottom of the rabbit hole. She got into that state by eating and drinking certain things. Alice’s Adventures in Wonderland appears to be one of the preeminent works of fiction published in the last two centuries that truly fits the ancient pattern of a “portal to the underworld” epic myth. In that story, the white rabbit who lured her down there complains that he is “late for a very important date.” This may be an allusion to that late hour – that final hour – before Year Zero begins.
Believe it or not, one of the particle detectors in the Large Hadron Collider is named “ATLAS.” Other interesting names for CERN experiments include “AEGIS,” “ALPHA,” “ALEPH,” “DELPHI,” “COMPASS,” “TOTEM,” “ATHENA,” “AWAKE,” and, perhaps most menacingly, “ATRAP.” I mention this last one, which can clearly be decoded to “a trap,” because I think that this may be what the opening of any such dimensional portal could lead to.
I suspect that those who are imprisoned in the regions below are constantly working to inspire their chosen genius few among us – certain scientists, artists, writers and philosophers – to penetrate God’s secrets of creation. In particular, they want to somebody learn how to build one of these alchemical arks, and to open a gateway to where they are. They are hoping that someone will come and rescue them. But as I have said, ultimately, I think, they will play humans a scurvy trick, and try to take over the ark for themselves, leaving us to suffer in their stead.
In the Hermetic Order of the Golden Dawn, they tell their initiates to pretend that they are Atlas. They ask them to imagine themselves taking up the burden of one of the gods of the old, fallen kingdom of the now-dead golden age of the Titans, who was cursed, shackled and tortured by the usurping Olympian gods. I wonder if, by going through the motions in this ritual, you are tacitly agreeing to do so. Perhaps it is just meant to get you used to the idea, and comfortable with it.
It is the Red Dragon, the Beast of the Apocalypse. It is Leviathan, the sea beast of the infernal Abyss. Her name can be found on the Baphomet sigil designed by Stanislas de Guaita, along with the names of Lilith and Samael (all written in Hebrew). Rabbinical tradition tells us that she has a male consort, Behemoth, another infernal monster who resides on dry land.
The Book of Enoch says that Behemoth lives in “a waste wilderness named Duidain, on the east of the garden where the elect and righteous dwell.” This sounds a lot like Cain’s and of Nod, which is also east of Eden. It is also reminiscent of “Dudael” (“Cauldron of God”), the desert wilderness with burning-hot sands where the fallen angel Azazel was imprisoned, as mentioned in Chapter 10 of The Book of Enoch.
The rabbis say that God has separated the monsters because if they ever came together, the world would be annihilated. This is exactly what they also say about Lilith and Samael (and just as the Greeks said about Gaia and Ouranos). Some sources specify that the danger occurs when the “procreate.” By all appearances, Samael and Lilith are the same entities as Behemoth and Leviathan, respectively. Together they are what the Cabalists call the “Other God” and simply “the Beast.” They are also sometimes both called “the Leviathans,” or also, “The Taninim.”
But these Jewish traditions go into even greater and more bizarre details that not only figure perfectly into our inquiry, but also specifically shed light upon the tomb inscription quoted by Henri Lobineau. For what it says is that at the end of times, Behemoth and Leviathan will be slaughtered by God, salted, and served to the righteous at a great banquet. Psalm 74, 13-14 praises God thusly:
“Thou brakest the heads of the dragons in the waters. Thou brakest the heads of leviathan in pieces, and gavest him to be meat to the people inhabiting the wilderness.”
This Final Banquet will occur within a tent that God will fashion from Leviathan’s “beautiful skin,” as the prayer book known as The Artscroll Siddur tells it. This is why, during the holiday known as the “Feast of the Tabernacles,” which takes place inside of a ritual tent, it is traditional to conclude with a prayer said before the participants leave the tabernacle, in which they say:
“May it be your will, Lord our God and God of our forefathers, that just as I have fulfilled and dwelt in this sukkah, so may I merit in the coming year to dwell in the sukkah (tabernacle) of the skin of Leviathan next year in Jerusalem.”
Rabbinical legends tell us that Leviathan is the same as the so-called “whale” that swallowed the prophet Jonah, in whose body he lived for a time before miraculously being spit up on dry land again. (This is another story about traveling through a portal to another world, just like that of Noah, with Leviathan being the “Ark,” in this case). So I suppose sitting under a tent made from the monster’s skin is like being inside her too. Eating her flesh is an inversion ceremony, and a fitting revenge for what happened to Jonah.
There is a bit of confusion in the traditions about whether Leviathan has already been killed by God (to separate her from Behemoth), and already salted (to preserve her flesh until the end times), or whether the killing and salting will all take place at the end. The Midrash seems to say in several places that it already happened, but Talmudic traditions give it as an end times event. Again, we have the same confusion between the “Alpha” and the “Omega” that Baphomet displayed when he talked about the War in Heaven, the Garden of Eden and the Apocalypse as all happening at the same time, “NOW REALLY SOON.”
In his Book 4, ceremonial magician Aleister Crowley wrote that the “altar is connected with the Ark of the Covenant, Noah’s Ark, the nave (‘navis,’ a ship)….” He also described the ideal shape of an altar for a magician to use (something he picked up from the Hermetic Order of the Golden Dawn). He wrote:
“The Altar is a double cube, which is a rough way of symbolizing the Great Work; for the doubling of the cube, like the squaring of the circle, was one of the great problems of antiquity. The surface of this Altar is composed of ten squares. The top is Kether, and the bottom Malkuth. The height of the Altar is equal to the height above the ground of the navel of the Magician.”
What Aleister Crowley said to do is to put one cubic box upon another, and then place the ritual elements on the surface of the one on top. Now on the diagram of the Tree of Life used in the Jewish mystic system known of the Cabala, the geometry of the paths between the spheres of existence forms two stacked cubes. Masonic writer Albert Mackey, in his book Masonry Defined, wrote that the architecture of Masonic lodges is based on the double-cube:
“ … The square form was esteemed by our ancient operative brethren as one of the Greater Lights, and a component part of the furniture of the Lodge. The double cube is an expressive emblem of the united powers of darkness and light in the creation.”
In the study of geometry, “doubling the cube” (making a cube exactly twice the size of another cube) was long considered one of those unsolvable problems, and it still cannot be done with a square and compass. Plutarch wrote that this problem came to the attention of the Greeks when the oracle at Delphi told the people of Delos that they would not receive answers to their prayers until they doubled the size of their altar to the god Apollo, which was a cube.
So when Le Serpent Rouge instructs us to “reassemble to the scattered stones” using a “square and compass,” they are saying that it requires Masonic magic to achieve. I also think that they are talking about two cubes – a white stone and a black stone – representing the New Jerusalem, and Cain’s infernal city of Enoch.
In The Golden Dawn, and cabalism in general, the Kingdom of Shells is personified by another, historical, kingdom that is mentioned in the Old Testament: Edom. Their kings descended from Esau, the eldest son of Isaac and the older brother of Jacob. He is said to have sold his “birthright” (which included the Cave of Treasures and the nearby well) to his younger brother in exchange for a bowl of pottage. He is described as a hunter, with a red tint to his skin, and covered with hair. Like Cain, he was a mighty hunter in the wilderness.
Also like Cain, he has been demonized in Judeo-Christian tradition, which obfuscates the fact that he should have been the rightful heir to his father Isaac’s blessing. Jacob used subterfuge to trick his father, who was lying on his deathbed, into passing the birthright on to him instead. He also tricked Esau into tacitly “selling” it to him in a moment of desperation.
Perhaps most significantly, there are several women that the sons of Esau married and bred with who are recorded in rabbinical literature as actually being incarnations of Lilith. They were not natural women, but she-demons. Their sons, the Edomite rulers, who are described variously as “dukes” and “kings,” are said in the Bible to have ruled “before there reigned any king over the children of Israel” (Genesis 36:31).
Later, the Edomites got into a series of wars with Israel. They were defeated, first by King Saul, and then later by King David also. David appointed Israelite governors to rule them. When Israel eventually split into two kingdoms (Israel and Judah), Edom became a protectorate of Judah. Later still, the Edomites were among those who plundered Jerusalem when it was sacked by King Nebuchadnezzar II.
So this is who the Edomites were, according to the pseudo-history of the Bible and the legends of the rabbis. In the cabala and Western Hermeticism, they seem to symbolize the reign of chaos before God’s creation established order in the universe. That would explain why they are equated with the sons of the older brother, Esau, who by the right of primogeniture, should have inherited his family’s birthright. However, it was his older brother (a son of creation, not chaos) who ultimately took that position, prevailing as the children of Israel conquered the Edomites, the “Children of Before” (as they are called by cabalists).
In the Golden Dawn’s “Practicus” ritual, the Hierophant explains Edom as a personification of primordial chaos, and the order of creation as the coming of Israel. He says:
“Ere the Eternal instituted the Formation, Beginning and End existed not. Therefore, before Him, He expanded a certain Veil, and therein He instituted the Primal Kings. And these are the Kings who reigned in Edom before there reigned a King over Israel.
But they subsisted not. When the Earth was formless and void – behold this is the reign of EDOM. And when the Creation was established, lo, this is the reign of Israel. And the Wars of titanic forces in the Chaos of Creation, Lo, these are the Wars between them.
From a Light-bearer of unsupportable brightness, proceeded a radiating flame, hurling forth, like a cast and mighty Hammer, those sparks which were the Primal worlds. And these Sparks flamed and scintillated awhile, but being unbalanced, they were extinguished. Since lo, the Kings assembled, they passed away together, they themselves beheld, so they were astonished. They feared. They hasted away. And these be the Kings of Edom who reigned before there reigned a King over Israel….”
As the ritual goes on, more detail is given about the war with the Edomites: a war that is depicted as really being between the dragon and God himself. It is the dragon whose heads and horns are the Edomite kings and dukes. This war with the Edomites was, in Judaic history, recorded as an ongoing military feud that lasted generations. However, in this ritual it is conflated with the primordial war in Heaven between God and the Devil, as well as the fall of Adam and Eve from Eden. This was really, they say, the fall of Eden itself away from the Garden and into the mouths of the dragon. They also connect it to the Flood, as well as, implicitly, the final battle with the dragon at the Apocalypse. Describing God’s defeat of the Edomites, the Hierophant says:
“He beheld and drove asunder the Nations. And the Everlasting Mountains were scattered – and Perpetual Hills did bow…. Thou didst cleave asunder the Earth with the Rivers. The Mountains saw Thee and they trembled. The deluge of waters rolled by.”
In Kundalini Yoga, you push the dragon energy up into the godhead realm, resulting in an allegedly beneficial exchange of both earthly and divine energy. In the cabala, the rise of the serpent up the tree from the depths below caused the rivers of paradise to be polluted. As it says in the Golden Dawn’s “Fifth Knowledge Lecture”:
“Thus were the four Rivers of EDEN desecrated, and the Dragon Mouth gave forth the Infernal Waters in DAATH – and this is LEVIATHAN, The Piercing and Crooked Serpent.”
Therefore God sealed off the source of the pure waters above, so that it would not also be polluted. As the Golden Dawn rite teaches it, God:
“… placed the Four Letters YHVH of the NAME and the Flaming Sword of the Ten Sephiroth between the devastated Garden and the Supernal Eden, that this should not be involved in the Fall of ADAM.”
Note that here the Golden Dawn equates the four cherubim on the throne with the cherubs that Genesis says God set in place to guard the Tree of Life in Eden, as well as with the four letters of the holy name. Via the iconotropy mentioned previously, they would also, presumably, equate the four letters and cherubim with the cherubs that were said to flank the Ark of the Covenant. The Golden Dawn views that Ark as a tiny microcosmic version of Eden’s supernal , as they allude to elsewhere in their rituals.
According to their system, when Eden fell into the coils of the dragon, Malkuth (the “kingdom” – that is, the Earth) got cut off from the spheres (and thus from the River of Life) by those coils. As the Hierophant says in the Practicus ritual:
“Then arose the Great DRAGON with Seven Heads and Ten Horns, and the Garden was made desolate, and MALKUTH was cut off from the Sephiroth by his intersecting folds, and linked unto the Kingdom of Shells. And the Seven Lower Sephiroth were cut off from the Three Supernals in DAATH….”
This was all Eve’s fault, purportedly, because she failed in her duty to uphold the pillars of the universe. Instead she stooped down to pick up some fruit from the tree beneath her, causing the realm above and the realm below to collapse into each other. In the same ritual, while explaining the diagram of “the Garden of Eden After the Fall,” the Hierophant declares:
“…The Great Goddess who … was supporting the Columns of the Sephiroth, being tempted by the Tree of Knowledge (whose branches indeed tend upward into the Seven Lower Sephiroth, but also tend downward unto the Kingdom of Shells) reached downward unto the Qlippoth, and immediately the Columns were unsupported, and the Sephirothic system was shattered, and with it fell ADAM, the MICROPROSOPUS.”
But at another point in that rite, after invoking the name of God as the “Lord of Armies,” the Hierophant discusses the meaning of the tarot card depicting “the Tower.” Here he paints a picture of God using the Flaming Sword to destroy some columns as well:
“[The card] represents a Tower struck by a Lightning Flash proceeding from a rayed circle and terminating in a triangle. It is the Tower of Babel struck by the Fire from Heaven. It is to be noted that the triangle and the end of the flash, issuing from the circle, forms exactly the astronomical symbol of Mars.
It is the Power of the Triad rushing down and destroying the Columns of Darkness. Three holes are rent in the walls, symbolizing the establishment of the Triad therein and the Crown at the summit of the Tower is falling, as the Crowns of the Kings of Edom fell.…”
The reference to the symbol of Mars is meant to emphasize the fact that this event was part of a war, as was an earlier reference made in the ritual to God as “YOD HE VAU HE TZABAOTH … Mighty and Terrible … Commander of the Ethereal Armies.” This goes along with what Cain has said to us during the séances. Remember how he told us that the fall of Eden is the same as the fall of Atlantis and the Deluge of Noah. He said that it resulted from a war between Nod (chaos, Edom) with his brother for control of Eden. He said that this was the same event as the war in Heaven. He spoke about the ten “Molochs” or “Fallen Kings Of Dohir,” a.k.a. the “Fallen Land.” He said that Eden itself fell into the watery Abyss as a result of the war. Referring to how these events are depicted in the game of Ageio, he too utilized the image of the tower. He said “CASTLES FALL.”
For the Golden Dawn to connect the Tower tarot card with the Tower of Babel, as well as with the fall of Eden and the war with Edom, means they are saying that it was specifically the Lord’s Flaming Sword that came down to destroy Babel’s tower. It is depicted on the tarot card as a bolt of lightning, just as in the cabala the sword is shown as a jagged lightning bolt zig-zagging its way through the paths down the Tree of Life. It means that this too is another story from the war over Eden. Those who built the tower were trying to penetrate that supernal realm in Eden where the Tree of Life is. They were thwarted by the Flaming Sword.
Furthermore, the Golden Dawn’s deliberate conflation of events goes along with the way in which Baphomet talked about the Garden of Eden, the war in Heaven, and the Apocalypse as all being the same event occurring simultaneously: now. Another image used in the Golden Dawn’s Adeptus Minor ritual shows Jesus on the Cross being enveloped from below by the now eight-headed dragon, just as Adam and Eve are shown on the “Garden of Eden After the Fall” graphic. Above that picture is placed a depiction of the Flaming Sword coming down from the Supernal Eden. This demonstrates the Golden Dawn’s view that the crucifixion was also part of this eternal moment.
Jesus said that his body and blood were the fruits of this tree, and that consuming them would bring eternal life to mortals. He also said that by shedding his blood on the cross, the “Tree of Life,” he was paying the price for the Original Sin that resulted from Adam eating from the Tree of Knowledge.
At that moment, the dragon was defeated. Thus, the events that play themselves out in St. John’s Revelation have, from the viewpoint of the eternal, Supernal Eden, already happened. This is why Baphomet said the Apocalypse, and the Fall in the Garden, were both happening “Now” and “Really Soon.” This is why Cain said that in the game of Ageio it was important from his perspective (that of the black kingdom, the losers) to “Accept Defeat.”
Alchemy teaches that there is a process to create a knife that can cut through time and space. This is the “Universal Solvent,” what Fulcanelli called “le Bon Saber” (“the Good Sword”). Like Arthur’s Excalibur, only the predestined owner of this sword can “release” it from the “stone.” This, he says, is what Michael used to spear the dragon, and connected to the image of the crucified serpent.
The same can be said of the nearly identical icon of St. George, the patron of England, slaying a dragon in the style of the aforementioned archangel. England is home to Glastonbury (literally, “Glass Stone Hill”). This place is not only associated with King Arthur and the Holy Grail, but is also said to have at one time hosted Jesus himself, along with Joseph of Arimathea. In his poetry, William Blake portrayed England as the landing site of the New Jerusalem at the Apocalypse.
In The Faerie Queene, Sir Edmund Spenser dealt with all of these themes. The hero, “the Redcross Knight,” battles a dragon who has attacked and destroyed the kingdom of “Eden,” including the castle of its king and queen. He does this at the behest of the castle’s princess, who is distraught over what has happened to her parents. After successfully conquering the beast, he is dubbed “Saint George,” and shown a vision of the New Jerusalem.
However, this “Flaming Sword” which pierced the dragon, and which sealed off the fruit of life from mortal hands, is what gave birth to the demons Samael and Lilith. In Zohar 1:119b, it says of Lilith:
“She approached the gates of Paradise on earth, and saw the Cherubim guarding the gates of Paradise, and sat down facing the Flaming Sword, for she originated from that flame. When that flame revolved, she fled.”
Recall that God is said to have already pierced at least one of those two dragons, Behemoth and Leviathan, and separated them from each other, to prevent the world from being annihilated. The same is told about Lilith and her partner Samael, who seem to be the same entities as Behemoth and Leviathan. So that means that Lilith became what she is (an individual apart from her partner) because of that Flaming Sword. This event was probably itself part of the process of sealing off Eden, to protect all of creation from total destruction. In fact, there may be reason to believe that Lilith herself is one of those cherubim.
… In the Midrash of Shemhazai and Azazel, where it talks about prophetic dreams had by two giants, sons of the (soon to be fallen) angel Shemhazai. It involves a “stone” hovering over the Earth, followed by genocidal gardening:
“One night the sons of Shemhazai, Hiwwa and Hiyya saw (visions) in dream, and both of them saw dreams. One saw the great stone spread over the earth…. The other (son) saw a garden, planted whole with (many) kinds of trees and (many) kinds of precious stones. And an angel (was seen by him) descending from the firmament with an axe in his hand, and he was cutting down all the trees, so that there remained only one tree containing three branches. When they awoke from their sleep they arose in confusion, and, going to their father, they related to him the dreams. He said to them: ‘The Holy One is about to bring a flood upon the world, and to destroy it, so that there will remain but one man and his three sons.’”
According to The Book of Jubilees, Enoch was translated not just to “Heaven,” but specifically to the Supernal Eden, where the Tree of Life is. There he was apparently placed as a sort of guardian, like the cherubim and the Flaming Sword were. Somehow, the text says, his written testimony of the story of creation acted to protect Eden from the Flood. In Jubilees 4:23 we read:
“…The flood water did not come on any of the land of Eden because he was placed there as a sign and to testify against all people in order to tell all the deeds of history until the day of judgment.”
Perhaps Enoch’s written history acts to solidify the reality of the story, to keep it from dissolving into chaos like the waters of the Flood. Solidifying reality appears to be one of the roles that mankind has been charged with. Remember what it said in the Golden Dawn’s Zelator ritual, when it describes the placement of the cherubim and the Flaming Sword on the east of Eden:
“… For he created Nature that man being cast out of Eden may not fall into the Void. He has bound Man with the Stars as with a chain. When the times are ended, he will call the Kerubim from the East of the Garden, and all shall be consumed and become Infinite and Holy.”
What it seems to be saying is that God placed the sword and the cherubim there (which, as we know, separated Behemoth/Samael and Leviathan/Lilith) to prevent the universe from being annihilated. At the End of Times, these barriers will be removed so that this destruction can proceed except for, presumably, for the segment of the universe called the “New Jerusalem.” Somehow, part of maintaining this necessary separation involves “binding” mankind with celestial “chains.” What is the meaning of this? We are used to seeing images of demons bound in chains, as well as the damned in Hell. But are we, the living, also bound?
In Joseph von Hammer-Purgstall’s Mysterium Baphometis, he reproduces an Ophite Gnostic image that he says influenced the Templars’ representation of Baphomet. It involves a Hermaphroditic figure wearing a crown, dragging the sun, moon, and stars down from their heights by chains that suspend from them. These are the “Chains of the Archons” that the Gnostics talked about. They keep the planets and stars bound to their orbits, as they keep us tied to our fates.
I think that this, somehow, is part of the process of keeping Heaven and Hell separated. This realm that we are now in was created, and mankind was cast out of Eden into here, in order to provide that buffer zone. This is why the Golden Dawn portrays Adam and Eve (particularly the latter) as being responsible for holding up the pillars of the Tree of Life. This is why they tell the would-be Theoricus to imagine himself in the position of Atlas, holding up the Heavens on his head and shoulders.
If man is made in “God’s image,” it seems to me that part of our role is to act as his eyes, and his imagination, collapsing the trajectories of probability curves as we observe and thus define the reality around us. In other words, I think we are integral to the process of creation, and that is the crushing responsibility that we must bear. That is one way in which we hold aloft the Heavens on our shoulders.
That is why symbols like cornerstones, keystones and foundation stones apply with the matters that we are discussing here. Keystones hold arches together with pillars. That is the role that Adam and Eve are shown playing in the Golden Dawn’s diagram of Eden before the Fall. Cornerstones and other foundation stones obviously go on the bottom of edifices, and bear the weight of the entire structure. This is the role formerly played by the realm of the Qlippoth shown beneath Eve’s feet in that schematic.
The underworld is the foundation for Earth and everything above it. Therefore, while mankind is shown playing a brutally difficult role in holding the universe together, the weight of it all is ultimately placed upon the world below, just as the weight of the blame for the sin of the world is cast there as well. For Buddhists, the deepest chamber in Hell, reserved for those who have committed unpardonable sins, is called “Avici,” and it is said to be cube-shaped.
Throughout history, the greatest sins in society are usually not murder, rape or theft, but blasphemy and heresy. In religions, these are generally considered “unpardonable” and worthy of execution as punishment. Nobody is allowed to talk about what the Matrix might look like from the outside, and you are greatly discouraged from thinking about it. According to the traditions of the Golden Dawn, a glimpse of the truth was had during God’s war with Edom:
“Then the channels of the Waters were seen and the Foundations of the World were discovered.”
In other words, to see how the world really works is itself a world-shattering experience. If everybody had such an experience, the world would not exist.
The cubic foundation stone in the underworld is the city of Enoch that Cain built in Nod. “Enoch” means “inaugurate” or “dedicate.” Typically, whenever they erect a new edifice, stonemasons lay a cornerstone to dedicate it. This is the symbolism that applies to the cubic stone down below. Outside of this cube, as Cain has told us in séances, are the prisoners of Hell. This may explain why Eliphas Levi’s depiction of Baphomet shows him seated on a cubic stone.
Similar imagery has been used regarding the white cube of the New Jerusalem at the Apocalypse. Sixteenth-century painter Luca Cambiaso depicted God the Father and God the Son sitting in Heaven with their feet resting upon a white cube in his La Gloria fresco from the Escorial Palace in Spain.
As I stated before, I see, in all of the scriptures, myths, legends, fairy tales, and esoteric literature that I have examined on this topic, a schema of the universe that involves a black cube beneath a white cube, which both, at the End of Times, come together in some way. In the midst of the white cube, God’s throne sits. This is where it is right now, reportedly, right by the Tree of Life in the Supernal Eden, what we in common parlance now refer to as “Heaven.” Surrounding this realm, and protecting it, are the four “beasts” or cherubim, and the Flaming Sword, as represented by the “Second Square” in Ageio. In Revelation 4:6, St. John describes his vision of it:
“… In the midst of the throne, and round about the throne, were four beasts full of eyes before and behind.”
Earlier, when Ezekiel had his vision of God’s chariot, he too saw the four guardians, and four “wheels,” each covered with eyes. Again, this makes sense if we view the universe as a panopticon prison, with God’s throne in the center surrounded by his omniscient prison wardens (the cherubim), watching the activities of his prisoners locked outside of the gates of his chamber, where Nod, the Underworld, chaos, and Hell are.
Ageio seems to me to be a game about capturing this zone. This is what the message from the parchments found by Bérenger Saunière meant when they said “Destroy this demon guardian at noon.” It is about a ritual where you break past the cherubim and the Flaming Sword to get to the Fruit of Life, represented by the words “blue apples.” Remember, Baphomet said that these words referred to “BLOOD SACRIFICE.”
The zone of Eden, the “Second Square,” is, again, the Ark, and the cubic Supernal Altar. It is the “One Box of Things” where the souls, the blood, and the energy of sacrifice is stored. Remember Cain told us that part of the goal of playing Ageio is to “MAKE REAL AGEI,” and that the agei is also the same as the “SANGREAL.” But we know that “Sangreal,” the “Holy Grail,” can be broken down into the words “San Greal”: royal blood. This refers to the making of the Eucharist on top of the very altar of Heaven.
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