Monday, September 27, 2010

William Cooper's Mystery Babylon: Part 30 – United Nations Meditation Room

Transcribed by Dok (edited/formated by wakingup72 @

Welcome. Once again, you’re listening to the Hour of the Time. I’m William Cooper.

(William Cooper announces an upcoming appearance in San Francisco)

Well, folks, tonight is going to be illuminating, I can tell you that for sure. Let me tell you first, right off the bat, before we get into the subject of tonight’s broadcast.

(William Cooper talks about a plan to purchase large quantities of voting stock for GCI (Gannett Co., Inc.))

OK, folks, make sure that you’re in a chair, you're comfortable; that you got your mind open, you got a pad of paper and a pencil by your side, because we're going to spread some light in some dark corners.

(opening music: Amazing Grace, sung by Aaron Neville)

Visitors to New York City who venture into the large building known as the United Nations are amazed to find that there is a Meditation Room.

[reading from The Cult of the All-Seeing Eye, written by Robert Spenser]

(start of quote)

The Meditation Room[, ladies and gentlemen,] is thirty feet long, eighteen feet wide at the entrance (which faces north north-east), and nine feet wide at the other end. It is therefore wedge-shaped. Its only entrance is through two tinted glass-paned doors outside of which stands a United Nations guard. Inside the room is another guard. Once through the doors, the visitor finds himself in a darkened corridor which leads to the left. The sharp transition from the world of light to one of extreme darkness forces a feeling of abrupt withdraw from the outside world upon the senses of the visitor who walks along the corridor, reaches the inner arched entrance, turns right, and then looks into the room.

The room is very dimly lit. The only source of light, at first glance, is that which is reflected squarely from the gleaming upper surface of the brooding, somber altar in the center of the room. A special lens recessed in the ceiling focuses a beam of light on the altar from a point above and just beyond its far edge. Thin lines of bluish light lap the edges of the shadow cast by the altar.

The acoustical properties of the room are unique. The edges of padding material behind the paneling on the walls can be detected at the ceiling level. This absorbs sound as does the Swedish-woven blue rug which covers the floor of the corridor in the back of the room. The room is as quiet as an underground tomb. Its floors paved with blue-grey slate slabs laid in a haphazard pattern. At the edge of the rug are two very low railings extending out from the east and west walls of the room. The center space between the railings is some six feet in width. To the right of the inner entrance are ten low wicker benches arranged in two rows of three and one back row of four against the corridor wall. Attempts by visitors to pass the railings are discouraged by the guard.

The mural is a fresco which was painted originally on wet plaster one section at a time by the artist with the aid of an expert in this work brought from Europe. It is set into a steel-framed narrow panel projected from the wall, behind which is an enclosed area some six inches deep which has its own light source. A small, square projector set close against the front base of the altar throws a diffused beam of light from a recessed aperture upon the surface of the mural. There are also ten hidden lights, five on each side of the room, behind the upper edges of a thin suspended ceiling which extends out over the room from the top of the mural. The eighteen-inch space between the two ceilings contains the light control apparatuses. The lower ceiling is wedge-shaped and separated from three walls of the inner room by a foot-wide space. Thus the room appears[, appears,] to be much longer than it really is because of the many converging lines leading into the narrow end, the corners of which are rounded off on either side of the mural.

The altar is four feet high, and rests on two narrow cross pieces. It is a dark gray block of crystalline iron ore from a Swedish mine and weighs six and one-half tons. The Swedish government presented this block of iron ore -- the largest of its kind ever mined -- to the [United Nations] in early 1957. "The chunk rests on a concrete pillar that goes straight down to bed-rock." The area and passageway beneath the room are closed to the public.

The chunk of ore has been described as a lodestone, or magnetite, which is strongly magnetic and which posses polarity. "In northern Sweden are what may be the largest magnetite deposits in the world, believed to have been formed by segregation in the magma." Magma is the term for molten material held in solution under the pressure of the earth’s crust.

The fresco mural was described in the [United Nations] Review of January 1958 as having been designed "to conform with the purity of line and color sought, for what Secretary General Dag Hammarskjöld has called 'a room of stillness'." It was painted predominantly in shades of grays and blues, but includes yellow and white patterns and a black half-sphere. Light pure colors intersect to form deeper shades. The New York Times described the fresco as being eight feet eight inches in height and six feet eight inches in width; more brightly illuminated at the top than at the bottom.

Bo Beskow, an old friend of Dag Hammarskjöld, painted the mural. "Dag had me start sketches on this last summer," he said. "He wanted me to do the actual work right here in the room, so I have been here since October [6th, 1957]." The mural was seen for the first time[, ladies and gentlemen,] on November [the 11th], 1957. During the period of the remodeling the guards were on hand during the day to keep out the curious and at night the room was locked up with a chain and padlock. The artist has said of his work: "It has no title, and you can make what you wish of it."

He explained that the geometric patterns in the mural repeated the proportions of the room and those of the focal point of the room, the piece of iron ore. He also said that he intended to give a feeling of space with the picture. The [United Nations] Review story stated that "he sought to open up the room so that the eye can travel in the distance when it strikes the wall. To give a slight upward movement, he said he designed winding circles and a spiraling diagonal line which might be compared to a vibrating musical chord. As a 'resting spot' for the viewer's eyes, he provided one spot of black amid the light colors, a half circle at which all lines of the fresco and the room converge."

In the New Yorker story cited earlier, Beskow was quoted as saying: "My fresco contained no intentional symbols, though I've heard people say that the black-and-pale-blue circle on the upper middle section of the panel stands for the cosmos. All that I seriously sought to do was to open up the wall, in order to allow the eye to travel farther, and to open up the mind, provoking meditation but not directing it."

The mystic, P. D. Ouspensky, has written that in "real art nothing is accidental. It is mathematics. Everything in it can be calculated, everything can be known beforehand. The artist knows and understands what he wants to convey and his work cannot produce one impression on one man and another impression on another, presuming, of course, [they are] people on one level...At the same time the same work of art will produce different impressions on people of different levels. And people from lower levels will never receive from it what people of higher levels receive. This is real objective art...An objective work of art...affects the emotional and not only the intellectual side of man."

Mr. Beskow’s picture is described as nonobjective, yet its composition admittedly reflects the dimensions of the room and the chunk of iron ore -- this[, ladies and gentlemen,] involves mathematics. He said of his mural, "you can make as you wish of it," yet he admittedly sought to create a specific subjective effect in the mind of the spectator. Consequently, Mr. Beskow’s remarks create confusion rather than understanding.

The leaflet made available to those who visit the Meditation Room was written under the direction of Dag Hammarskjöld [himself]. Its description of the room is deliberately couched in abstruse language. It contains terms which have meaning to the esoterically inclined but not to the uninitiated [William Cooper: or those called the "profane"].

These terms will be explained...

[William Cooper: ...and have, in fact, been explained during the Mystery Babylon segments of the Hour of the Time, but for those who may be just beginning to listen to this program, esoteric means, "that which is hidden," and is kept only for the initiated, those who have studied the Mysteries. The profane, ladies and gentlemen, is you. I leave myself out because, during the process of studying the Mysteries, I...I, with great irony, have become illumined. And if you continue to listen to the Hour of the Time, so shall you.]

The leaflet reads: "We all have within us a center of stillness surrounded by silence...People of many faiths will meet here, and for that reason none of the symbols to which we are accustomed to in our meditation could be used.

"However, there are simple things which speak to us all with the same language. We have sought for such things and we believe we have found them in the shaft of light striking the shimmering surface of solid rock.

"So, in the middle of the room we see a symbol of how, daily, the light of the skies gives [light] to the earth on which we stand, a symbol to many of us of how the life of the spirit gives life to matter.

"But the stone in the middle of the room has more to tell us. We may see it as an altar, empty not because there is no God, not because it is an altar to an unknown god, but because it is dedicated to the God whom man worships under many names and in many forms.

"The stone in the middle of the room reminds us also of the firm and permanent in a world of movement and change. The block of iron ore has the weight and solidity of the everlasting. It is a reminder of that cornerstone of endurance and faith on which all human Endeavor must be based.

"The material of the stone leads our thoughts to the necessity for choice between destruction and peace. Of iron man has forged his swords, of iron he has also made his ploughshares...

"The shaft of light strikes the stone in a room of utter simplicity...When our eyes travel from these symbols to the front wall, they meet a simple pattern opening up the room to the harmony, freedom and balance of space.

"There is an ancient [Chinese] saying that the sense of a vessel is not in its shell but in the void. So it is with this room. It is for those who come here to fill the void with what they find in their center of stillness."

The World Goodwill Bulletin is published by Lucis Press, Ltd. (owned by Lucis Trust) at 88 Edgeware Rd., Marble Arch, London W-2, England. The New York branch, The Lucis Publishing Company (11 W. 42nd St., 32nd floor), issues materials on its Arcane School, three-member Triangles, and World Service Fund, and publishes the Beacon Magazine. This company[, ladies and gentlemen,] was originally established as the Lucifer Publishing Co., but changed its name on November [the 11th], 1924, to the less startling one it bears today. A third branch of the Lucis Trust is located at 1 Rue de Varembe (3E), Geneva, Switzerland. Alice A. Bailey, the now deceased High Priestess of the occult Arcane School, established and headed the Trust and its self-identified society of Illumined Minds. This powerful group has intimate connections with the United Nations.

[The Goodwill...]The World Goodwill Bulletin issued a special edition on the United Nations in July, 1957, which contained an article entitled "Lodestone." We quote from its description of the Meditation Room: "The visitor will be totally unprepared for what he will see as he steps in the door for a moment of quiet...Because of the converging walls and the dim light, he will experience a peculiar spatial disorientation, and dimension and perspective will seem difficult to establish. In the center of the room, he will see, illuminated by a single point of light from the ceiling, a rectangular mass...

"The ore many millions of years though one is in a repository for some natural talisman of significant and noble importance, rather than in a chapel in an ordinary sense...Those who are wedded to seeking communion in traditional settings may be somewhat ill at ease here. This is a sudden break with prior experience. One is thrown violently upon his [own] resources.

"The room and the concept do not seem indicative of the supplications or the dualistic concept of the mystic in which illumination is sought and is a boon granted by Deity. Rather, seemingly inherent in the decoration of the room, in the pinpoint of light playing on the ore, is the concept of a personal concentration of forces, creating a focus that illumines the field of attention...

"The pinpoint of light, the void of space, the illuminated crystalline ore -- one feels projected into a setting of cosmological symbolism rather than one of planetary or even solar intent.

"It is interesting to speculate on what the long-term influence of this 'new departure' will be on current religious thinking. Ensconced here in the highest Hall of Man, it cannot be inconsiderable. Whatever interpretations one may attribute to the United Nations Meditation Room, it can be said with certainty that the words and the repercussions have only just begun."

[Folks,] the 'new departure' in religion referred to did not occur by chance. "Tremendous pressure was brought to bear on Trygve Lie and Dag Hammarskjöld to install such a room at the [United Nations] by such organizations as the World Council of Churches." Trygve Lie announced on April [18th], 1949 that such a room would be established. The 5th General Assembly opened with one minute of silence as a 'religious' observance. Shortly thereafter a temporary meditation room was provided at Lake Success, New York. On February [9th], 1951, a meditation room was opened for one day at the [United Nations] Secretariat building. [Then,] on October [14th] 1952, the opening day of the 7th General Assembly, a permanent Meditation Room was made available to the public. Since then each Assembly has opened with one minute of silence.

In 1955 the Meditation Room contained a 300-year-old, 800-pound, 37-inch wide upright section of an agba ([or] mahogany) tree from French Equatorial Africa. It was the idea of Wallace Harrison, director of the international board of architects which planned the [United Nations]; co-architect and director of Rockefeller Center; and member of the board of directors of the socialist New School of Social Research in New York City. (See Who’s Who in America [for 1959 for reference.]) The room contained a philodendron plant on the altar, to symbolize some unknown person killed in a war; an olive green rug, twenty-five russet colored chairs; and a blue and white [United Nations] banner set in front of a ceiling-to-floor white drape.

On February 16th, 1953, a group known as the Friends of the Meditation Room, numbering 1500 members, presented through its officers a set of guest books to the [United Nations] wherein visitors to the room could inscribe their names, addresses and religious affiliations. [Since then, many, many millions] have been estimated by the [United Nations to have entered the room...of these visitors...[of these visitors, millions] have signed...these books, each containing seven thousand names.

What purpose[, ladies and gentlemen,] is served by the accumulation of these thousands of names of individuals, with their religious affiliations, who visit the room and who -- by the act of signing their names -- indicate that they do not object to the existence of this pagan temple?

The Friends are the product of the "non-sectarian" Laymen’s Movement for a Christian World, Inc., the international headquarters of which is located at Wainwright House, Milton Point, Rye, New York. Warren R. Austin, a past permanent [United States] delegate to the [United Nations], headed a Friend's committee which presented $12,600 to [Dag] Hammarskjöld on April [24th], 1957, as first payment on $25,000 needed to remodel and enlarge the room.

The Movement has issued "[United Nations Mediation Room Identification Cards [to] 300 men and women who go periodically to this room for prayer." It once issued Prayer Cards to visitors containing prayers from the "World's Great Living Religions," namely, Hinduism, Buddhism, Judaism, Islamism, Sikhism, Christianity and Saint Francis of Assisi.

[William Cooper: I was not aware that Saint Francis of Assisi was one of the world's great religions, were you?]

The Friends held Vigils of Prayer in the room in 1953 and 1954. Back in 1946 the Movement had sent Dr. Frank Laubach, Union Theological Seminary graduate and author of "Letters of a Modern Mystic," to the Paris Peace Conference to lobby for the establishment of the Meditation Room.

Speakers for the Movement's meetings have included Norman Cousins, Ralph Bunche, and Frank P. Graham of the [United Nations], and William Ernest Hocking and Kirtley F. Mather of Harvard, all of whom have communist-front records (see the May-June and July-August 1959 and July-August 1962 issues of The Laymen’s Movement Review.)

The Movement has included among its members Dwight David Eisenhower...The most important Friend of the Movement from its inception, however, has been John D. Rockefeller, Jr. A Methodist missionary, Weyman C. Huckabee, secured and received grants from John D. Rockefeller, Jr.’s Davison Fund and from his (New York City) Riverside Church funds for five consecutive years (1937-41), for a health center in Hiroshima, Japan...Huckabee than became the secretary of the Movement in New York in 1941 and secured two grants a year for the organization from the Davidson Fund until it was liquidated.

[William Cooper: It is not coincidence, ladies and gentlemen, that the funds...]

[audio break - silence]

...John D. Rockefeller, Jr.’s Davison Fund from his (New York City) Riverside Church funds for...[the] years (1937-41) [were for the] health center in Hiroshima, Japan [-- a city which we ultimately dropped an atomic weapon.]

Rockefeller, ladies and gentlemen, continued his yearly grants without fail from his own personal funds. During the twenty-two years Huckabee remained with the Movement a million dollars was raised for its work.

When the Movement first sought to secure Wainwright House for its headquarters in 1951, John D. Rockefeller, Jr. gave $5,000 of the [$25,000] needed. Since 1951, ten thousand individuals have signed the guest book of Wainwright House; five thousand have attended its public meetings; its members have been addressed by the President of the National Council of Churches...its conference rooms have been used by the Episcopal, Presbyterian, Methodist, Baptist, Congregationalists and Quaker churches.

When the Friends of the Meditation Room agreed to raise $15,000 to pay for the redecoration of the room, John D. Rockefeller, Jr. gave $5,000 of the amount sought...Dag Hammarskjöld personally raised another $10,000 from the Marshall Field family for the cost of the fresco in the Room...The United Steel Workers, CIO-AFL, gave $500.

The Movement was formed[, ladies and gentlemen,] in 1940. The man who started it was Dr. Arthur Compton, the scientist who first brought the identified Communist and accused [espionage agent] [*note, WC incorrectly says "agent espionage"] Professor J. Robert Oppenheimer, into the Atomic Energy Project in 1942.

Wainwright House has its own Meditation Room, on its second floor. The room contains the agba wood altar first used in the U.N. Meditation Room, and the cherry wood chairs and drapes from that room, presented to the Friends by the [United Nations] in 1957. The House also contains a large library centered around the Thomas Sugrue Memorial Library, a sixteen hundred dollar collection of books on religion and occultism -- where one may read up on spiritualism, Zen, Taoism, Yoga, Judaism, etc. Every book in the library has a bookplate therein designed by the artist, Fritz Eichenberg.

His bookplate "depicts the ancient cross in the shape of a T, surrounded by a serpent symbolizing wisdom and healing, and forming the letter S. The T and S, Thomas Sugrue's initials, are crowned by the lotus, Vedantic representation of all being. In the background lies the city of Jerusalem, over which shine two stars, the star of the East of Christianity and six-pointed star of Judaism. A flame spreads an arc of light above, proclaiming the continuity of life and the immortality of the soul."

M. Oldfield Howey tells us in The Encircled Serpent that in the symbolism of Egypt the "serpent is constantly represented as surmounting a cross...the Brazen Serpent...was a palladium, or talisman, in the form of a serpent coiled around the mystic Tau, or T. The serpent set up by Moses was originally the Egyptian...Sun-God, who was now known to his people as Jehovah." Joseph Von Hammer, in The History of the Assassins, explains the tau as the figure of the phallus.

"Among the Egyptians, the lotus was the symbol of Osiris and Isis. It was esteemed a sacred ornament by the priests." The six-pointed star is the great Oriental talisman known as the Seal of Solomon. Its meaning[, its meaning, ladies and gentlemen,] and the identity of Osiris and Isis has already been explained in [past episodes of the Hour of the Time. It will also be explained on a later edition of the Hour of the Time when we discuss the Great seal of the United States of America.] The arc of light on the bookplate is the En Soph, from the Cabalistic writings ([or] mystical theosophy) which teach that it created the world by virtue of ten emanations from the Infinite One. The emanations, or Sephiroth, or are arranged into a form called the Tree of Life, which in turn is vertically composed of three pillars. C.W. King, in his Gnostics, states that the two outer pillars "figure largely amongst all the secret societies of modern times, and naturally so; for these illuminati have borrowed, without understanding it, the phraseology of the Cabalists.

Dag Hammarskjöld called the altar a reminder of that "cornerstone...on which all human endeavor must be based." The Meditation Room faces north north-east. To enter the room one must proceed from darkness to light[...from darkness to light]. With these facts in mind note the cabalistic symbolism of the following description of the cornerstone by an authority: "In its situation, it lies between the north, the place of darkness, and the east, the place of light; and hence this position symbolizes...progress from darkness to light, and from ignorance to knowledge. The permanence and durability of the intended [to remind us that long after our death we have within ourselves] a sure foundation of eternal life -- a corner-stone of immortality -- an emanation...which pervades all nature, and which, therefore, must [must] survive the tomb."

On a "higher" level of "esoteric knowledge" the metal altar or stone can be likened to the ancient Stone of Foundation, which, according to the same authority cited above, was supposed "to have been...placed at one time within the foundations of the Temple of Solomon, and afterwards, during the building of the second Temple, transported to the Holy of Holies. It was in the form of a perfect cube, [or, as the Freemasons call it, Ashlar,] and had inscribed upon its upper face, within a delta or triangle, the sacred Tetragrammaton or ineffable name of God."

In a "scurrilous book of the Middle Ages...the Life of Jesus" there was another account of the stone: "At that time there was in the Temple the ineffable name of God inscribed upon the Stone of Foundation." This scandalous book preceded to state that Our Saviour "cunningly obtained a knowledge of the Tetragrammaton from the Stone of Foundation, and by its mystical influence was enabled to perform his miracles...there was a very general prevalence among the early nations of antiquity of the worship of stones as the representative of Deity..."

[William Cooper: ...and in England the Queen sits upon a throne, under which is a stone. This happens in almost every ancient temple, and...]

" every ancient temple there was a legend of a sacred or mystical stone...the mystical stone there has received the name of the 'Stone of Foundation.'" ("'And the scribes who had come down out of Jerusalem said, "He has Beelzebub," and, "By the prince of devils he casts out devils."')

Alfred Edward Waite, in his study of the Zohar (the cabalistic textbook of the 14th century), entitled The Secret Doctrine of Israel...wrote ([on page] 62) of "a mysterious stone called Schethiya" which was cast by Jehovah "into the abyss, so to form the basis of the world and give birth thereto. One might say otherwise that it was like a cubical stone or altar, for its extremity was concealed in the depth, while its surface or summit arose above the chaos. It was the central point in the immensity of the world, the cornerstone, the tried stone, the sure foundation, but also that stone which the builders rejected."

[William Cooper: And where have we heard that before? Well, folks, nowhere else but in the teachings of Freemasonry.]

But what, really, in the Christian meaning is the cornerstone? Isaiah said: "Therefore thus saith the Lord God: Behold I will lay a stone in the foundations of Sion, a tried stone, a corner stone, a precious stone, founded in the foundation. He that believeth, let him not hasten." The corner stone is Jesus Christ, "the stone that the builders rejected."

One need go no further than the inner entrance of the Meditation Room to see concrete evidence of the Godlessness of the [United Nations]. [That word sticks in my throat: "Godlessness."] The "stone," the metal altar, in its stark setting in that Room is in itself a symbol of idolatry. "Stone worship was perhaps the earliest form of Fetishism...Eusebius cites Porphyry as saying the ancients represented the Deity by a black stone, because his nature is obscure and inscrutable. The reader here will be reminded of the black stone, Hadjar el Aswad, based in the southwest corner of the Kaaba at Mecca, which was worshiped by the ancient Arabians...The Druids, it is well known, had no other images of their gods but cubicle or sometimes columnar use the language of Dudley, the pillar or stone 'was adapted as a symbol of strength and firmness -- a symbol, also, of the divine power, and, by ready inference, a symbol or idol of the Deity himself'...the god Hermes [Mercury] was represented without hands or feet, being a cubicle stone, because the cubicle figure betokened his solidity and stability."

Hammarskjöld, in the speech quoted earlier, said: "In this case we wanted this massive 'altar' to give the impression of something more than temporary...We had another idea...we thought we could bless by our thoughts the very material from which arms are made." The description of the altar as a "natural talisman" by the World Goodwill group also is significant. Talisman is a term which means a stone, or other object, engraven with figures or characters to which is attributed the occult powers of the planetary influences and celestial configurations under which it was made.

Altars, "among the ancients, were generally made of turf or stone...usually in a cubical form. Altars were erected long before temples." The shaft of light upon the altar in the Meditation Room casts a shadow to the north. "The use of the north as a symbol of darkness (is)...a portion of the old sun worship, of which we find so many relics in Gnosticism, in Hermetic philosophy..."

[William Cooper: In Freemasonry, in the temples of all the secret societies which exist in a membership in the shape of a pyramid with a whole bunch of slathering idiots, thirsting after the secrets which they will never know, and a few at the top who really understand that the only secret is how to control those on the bottom.]

"The east was the place of the sun's daily birth, and hence highly revered; the north the place of his annual death."

Finally, it must be emphasized that above all the altar in the Meditation Room is unsanctified and unhallowed. It has no sacred meaning, can inspire no reverence, and is not inviolable. This altar cannot be used for sacrifice in any other than an unholy sense.

[Ladies and gentlemen,] one clue to the mural's symbolism is given in Hammarskjöld's and Beskow's descriptions of its purpose. It was to "open up the wall, to give a feeling of space, of the void -- in effect, to extend the room further out, into another dimension as it were." The Friends' leaflet, A Call to Prayer, states the theme of the mural is "infinity."

[Now] let us look at this mural squarely form the viewpoint of the esoterically inclined, the occultist[, the adept, the initiate]. There is an asymmetrical arrangement of the entire mural into what is called a "Magic Square," which is a square arranged in an equal number of cells -- in this case nine -- three rows up and three rows down. The game tic-tac-toe is based on this kind of square. The talismanic magic square has a series of numbers in the cells, "the enumeration of all of whose columns, vertically, horizontally, and diagonally, will give the same sum." The following nine digits so arranged as to add up to 15 in any direction were regarded as sacred, because 15 is the numerical value of the Hebrew word for God, JAH [spelled J-A-H], which is one of the forms of the Tetragrammaton.

[ 4 9 2 ]
[ 3 5 7 ]
[ 8 1 6 ]

[William Cooper: And in the rows going across, from left to right, and in each row: the first row, the numbers are 4, 9 and 2, and in the second row, the numbers are 3, 5 and 7, and in the third row, the numbers are 8, 1 and 6. Whether you add them up diagonally, vertically or horizontally, no matter in which direction you go, it always adds up to the number 15.]

The predominantly dark blue rectangle which occupies most of the middle tier of the mural, the upper side which passes through the exact middle of the small bisected sphere, represents the altar. The yellow rectangle set at an angle into the lower and middle tiers so that one corner touches the bottom of the mural is a second representation of the altar. They indicate[, ladies and gentlemen,] duality: [William Cooper: Remember the yin and the yang? Positive/Negative? Male/Female? The androgynous god?] the yellow figure -- light ([the] sun); the blue figure -- earth ([the] altar). Both rectangular figures are overlaid in part by other patterns in other colors.

The all-important sphere in the left upper middle section symbolizes, among other things, the sun. Sun worship was "the oldest and by far the most prevalent of all the ancient religions." The sphere is bisected and quartered. "The phenomena of nature that made the deepest religious impression on archaic man [were] the outstretched heavens above him, and the outspread earth beneath; both of which he naturally divided into four quarters...this four-fold heaven and earth he signified by a circle, or a square, divided cross-ways." The circle[, ladies and gentlemen,] is met within every form of sorcery. The circle and quadrants is called the Magic Circle.

The objects in the Meditation Room are intended to be evocative, in the religious sense. Of what? [Well,] the mural and altar are admittedly symbols. "By symbolism the simplest, the commonest objects are transformed, idealized, and acquire a new and, so to say, illimitable value."

An expert on these subjects have written: "Under occult dominion Art, Music and Politics all tend to the same end: confusion, a calculated and inducted confusion: [chaos] for minds that are confused will obey and bow to the hidden masters!"

[William Cooper: And out of chaos...out of chaos comes order. And isn’t that...isn’t that the motto of the 33rd degree of Freemasonry: Ordo Ad Chao?]

"The rule of the Triangle and the Ellipse, together with a crude Geometry in modern art, is the esthetics.

"Standing before a meaningless Cubist canvas at an art exhibition one day, a puzzled amateur asked "But what does it mean?" To which the painter replied, 'It's not a question of what it means, it’s a question of what is its effect on the observer.'

"Consciously or unconsciously the artist spoke the truth. Psychiatrists tell us that this school of insidious humbug is simply an elaboration of the policy of the interruption of ideas leading to total incoherence and madness. 'Cubist' art in effort to produce certain psychic effects obtainable by optical illusion. Beauty has nothing [nothing] to do with it. The cubist school is not the realm of art at all. It belongs to that of medicine and psychic science. Those who forget that this devastating fad of 'The Interrupted Idea' can be extended to music, literature and every other phase of human effort, do so at their own peril. [William Cooper: For instance, listen closely to the beat of the rap musician.]

"A mind that is positive cannot be controlled. For the purpose of occult dominion minds must therefore be rendered passive and negative in order that control can be conceived. Minds consciously working to a definite end are a power, and power can oppose power for good or for evil. The scheme for world dominion might be doomed by recognition of this principle alone, but, as it is unfortunately recognized, it remains unchallenged."

[William Cooper: Until we decided to purchase a media corporation, and thus now, now we have minds consciously working to a definite end, and we are now a power...a very great power.]

A striking feature of the mural is the white half-crescent in its upper right quadrant. The inner curve of the crescent -- closest to the bisected black, pale blue and yellow sphere -- is equidistant at all points from the exact center of the bisected figure. Therefore[, ladies and gentlemen,] if the curve of the crescent is continued full-circle, the figure which results is a hidden point with in a circle, the symbol which was adopted by the astronomers as their sign of the sun.

[William Cooper: And, of course, you know that the crescent is the sign of the moon, Isis and Osiris.]

In the Ancient Mysteries the point in the circle denoted the principle of fecundity and has been carried down through the ages as a sign of various secret societies, including the Illuminati of Adam Weishaupt in 1776.

[William Cooper: And you will find the dot in a circle in the temples of Freemasonry. It is the symbol of the phallus. We always come back to the generative force.]

The female principle is also emphasized in the crescent moon or lunette figure [of Isis].

There are 72 geometrical figures (and shadings) in the mural. The two crescent shapes and the four long triangles -- white, yellow, blue and black -- which are located in the two upper tiers of the mural, are each counted as one figure. The number 72 denoted from the earliest days the Divine Name of 72 words[, 72 words]. This number is derived from a permutation of the values assigned to the four letters of the Tetragrammaton ([or] JHVH: Jehovah), the Ineffable, Unpronounceable Name of God. This Name, in its multitude of forms, can be used to work miracles or magic, so say the Cabalists. It was derived from Exodus[, chapter 14, verses 19, 20 and 21], which each consist of 72 letters. "Now, if these three verses be written at length one above another, first from right to left, second from left to right, and the third from right to left (or, as the Greeks would say, boustrophedon), they will give 72 columns of three letters each. Then each column will be a word of three letters, and as there are 72 columns, there will be 72 words of three letters, each of which will be the 72 names of the Deity alluded to in the text. And these are called the Shemhamforesh." Seventy-two is also the number of the Quinaries or sets of five degrees in the three hundred and sixty degrees of the Zodiac.

The number of triangles in the mural are difficult to count. There are 22 -- isosceles, equilateral, scalene, right-angled -- triangles. There are also 22 numbered letters in the ancient Hebrew alphabet, with values of one to four hundred. The triangle is an ancient emblem of Deity; it is also the sign of the female element. However, if the apex of the triangle is pointed down it becomes the male element; thus inverted it may also represent Lucifer, particularly if it is black in color.

The [sphere figure...or the] spiral figure intertwined with the mural-length diagonal line symbolizes the Caduceus of Hermes ([or] Mercury), which mythologically is represented as two serpents twined around the winged wand of Mercury. Nine arcs are formed by the intersections of the spiral line with the diagonal; the ninth Hebrew letter, Teth, with the value of nine, has the signification of "serpent." The number of the Beast of Revelation is 666, which cabalistically is nine, the number of generation. The twin serpents of the caduceus are negative and positive (representing polarity) and twine around the spinal column. They are the Kundalini or Sex Force. In The Encircled Serpent, the chapter on the Caduceus contains references ([on] page 72) to the ancient use of the symbol without wings, as seen in the mural. The caduceus is also the symbol of peace, the propaganda term associated with the [United Nations]. The serpents are male and female; the sun-god and the moon-god; and are symbols of generation [or the phallus]. Buddha was symbolized by the serpent and in mythology is identical with Mercury.

The center sphere and outer circles around it form the ALL-SEEING EYE. This bisected sphere overlays an isosceles triangle bounded on one side by the diagonal line. According to Manly Palmer Hall, in his occult treatise on The Secret Destiny of America, the ALL-SEEING EYE is that of the Great Architect of the Universe (whenever it appears as a symbol of God). His explanation is that which is generally accepted. It is, however, erroneous. A full commentary of the meaning of this all-important symbol [has already been dealt with in previous episodes of the Hour of the Time].

[William Cooper: The mural, if viewed from the top, or the roof, overhead of the Meditation Room, the truncated top of a pyramid. Behind the mural is a small...smaller pyramid, which is that...which contains the eye, the all-seeing eye of Lucifer.]

Good night, and God bless each and every single one of you.

(closing music: bagpipe version of Amazing Grace)

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