Gold pine cone symbol. Pine cone as a symbol
So, in the previously considered images, there are two types of "cones". One of them is placed on the ground or on a pedestal, as in the images with Asclepius, the other is crowned with an instrument of the "scepter" type in the hands of Hermanubis. The difference is fundamental - in the first case, the "bump" is clearly "grounded" and its connection with the Earth is clear. In the second case, the "bump" is lifted above the ground, and even sometimes provided with wings, so that the difference is more indicative. An interesting detail - in many images the scepter is not held in a bare hand, but through a cloth. Through a dielectric. As is done in many modern cults, when it is necessary to emphasize the special significance of a shrine, which cannot be touched with unworthy hands. Just like housewives take a hot frying pan through the oven mitts. In this case, there is nothing to say about the sacredness of the action - this is just a safety technique. A good electrician will not only wear rubber gloves, but also put a mat under your feet.
Images of the "cone" in the form of "decorative elements" can be seen on the walls of Christian churches and in their interiors. And not only Christian ones. She is everywhere. Cones are an important element of Christian iconography, incorporated into the decoration of books, candlesticks, and other ritual artifacts. And if you ask someone (someone who looks competent), then you can hear many beautiful explanations about the fact that a pine cone symbolizes rebirth and fertility. This does not sound very convincing, since any fruit can serve as such a symbol - even an apple, even a cucumber. Yes, and Christ did not say anything about cones in his parables. The symbol is clearly pagan, and there is a clear lack of clarity in the explanation, so that the laity do not confuse.
Naturally, the question arises: - what kind of a bump are they all the time trying to show us from antiquity with such an existential obsession?
... Are you grinning again, kiniki?
Place of fortune-telling.
The interior of the Vatican's museum complex is called the Giardino della Pigna, or Place of the Pine Cone, after a multi-ton, four-meter high bronze statue representing a simple pine cone. In the courtyard, which was specially designed by the architects for it, there was no place for the Life-giving Cross, the statue of the Virgin Mary, Christ or the apostles. The central and most important place of the entire architectural complex is occupied not by a Christian symbol, but by a pine cone - a pagan symbol. Why pagan? The cone was modeled and cast during the first century A.D. The base has the signature of the master who made the bump: Publius Cincius Calvius, a freedman from slaves. The former location of the cone is not exactly known - according to some sources it is part of the once former fountain, according to others - it was found in the ruins of the mausoleum of Hadrian or in the temple of Isis, which was located near the Pantheon - but, between -514 years. Pope Symmachus placed it in the square in front of the Basilica of St. Petra, then became a part of a new fountain, and later took center stage on a pedestal in front of a giant arch. The sculpture did not possess any special beauty, and at that time antiquity, and it is difficult to say why it escaped melting.
Bronze birds with snake necks, peacocks, were made during the last installation of the cone, in addition to it. And if we compare the image of a pine cone from the relief in Pompeii with this image, in order to find ten differences, we will see that the birds and snakes from Pompeii here chimerically merged into a bird-serpent. Two in one. Peacock, bird is not unambiguous as a symbol. Some Muslims consider the peacock to be the bird of the devil - but this is more directly related to the Angel-Peacock (Tavusi Malak), who was worshiped by the Yezidis (Kurds who do not consider themselves Kurds). Since the Yezidis are not “People of the Book”, it means that all their views, according to the logic of similar Islamists, are satanic. In Hinduism, the peacock is used by the gods as a vehicle for riding and is seen as the "sun". In Iran, peacocks standing on both sides of the Tree of Life mean dualism and the dual nature of man. Christians explain the appearance of the peacock in iconography by the fact that it is a symbol of resurrection, since the peacock does not rot (?) And changes its feathers every spring. Like a snake skin, I will add. Later, a positive opinion about the peacock was replaced by the opposite - it became a sign of arrogance, arrogant pride, arrogance and vanity - which in no way combines with Christian values.
In the place of the square where Symmachus once put the bump, now stands the sculpture "Sphere in the Sphere", made by the Italian sculptor, Senor Pomodoro. Such a surname.
These two objects of the same size (4 meters) are almost side by side, but each of them occupies the most significant place of all possible in the placement. It is difficult to say which is more dominant in the area, a bump or a sphere. Perhaps the gold-shining sphere overshadows the copper patina of the cone. The sphere, as a cult object in the museum of antiquities, is an interesting move by the Vatican museum workers. But I think that the decision to put this object, alien in relation to the environment, was not made by them.
The inner ball of the "Sphere in the Sphere" is explained as the planet Earth in the cosmic realm of Christianity. Perhaps there are other versions, but they are not given. Obviously, many agree with this interpretation, because in the spirit of the times: cool and glamorous, brilliant, but, strange - why does not the question arise why these spheres are gouged like the Death Star in the Star Wars saga? What is this strange filling in this mechanical orange? And what kind of passion did the Catholic fathers have for modernism, which they never took a fancy to, while preserving the traditions of the Church Fathers?
The outer casing of the device (and this is clearly some kind of technical unit) was blown apart by an explosion. The inner, sturdy case was also damaged. Obviously, it was he who was the target of external destructive influence. Unless the saboteurs planted a bomb inside the system. The machine is out of order. It is not subject to restoration, like the Kursk submarine. For the sake of completeness, there is not enough debris lying nearby.
This makes a very controversial impression against the background of the marble antique gods with broken hands, which were once raised, surrounding the perimeter of the square. Why THIS?
I will remind you of two things.
- The Vatican is the sovereign territory of the Holy See, and without the sanction of the Pontifical Committee, something contrary to the spirit of the Church cannot appear there.
- The state got its name from the hill on which it stands - "Mons Vaticanus", from Latin vaticinia - "place of fortune-telling"
Perhaps, the hierarchs of the Church had nevertheless reasons to place these two objects in the most prominent places in the exhibition?
"The stone that whispers"
The lump that we see under the feet of Asclepius is an omphalus. In Greek - navel. The center of the world. Assemblage point. There are several legends explaining this meaning of the word. According to one of them, Zeus released two eagles from the western and eastern limits of the world to reveal the center of the planet, and marked the point of their meeting with a stone - an omphalom. According to other versions, the omphalus was the grave of the Delphic Serpent Python, and was originally a tombstone that could serve as a point of contact between the world of the living and the dead, acting as the center of the universe.
In addition, there is information that the stone "fell from the sky", i.e. was a meteorite.
- This is the reference point from which the lines diverge, dividing the horizon into four parts.
- The stone arranges time and space.
- Omphale defines the center for a country, city or locality. "Foundation stone"
- He is a symbolic reflection of the mind manifested in the physical world.
- With the help of this device, it was possible to communicate with heaven, (used for direct communication with the gods), as well as with other places on Earth.
- Under the "stones" there were underground cavities, chambers, wells and labyrinths.
Structurally, the omphalus (of those that have come down to us) is a cone-shaped, conical, egg-shaped stone, about a meter in height, usually hollow inside. Medium photo - omphalus found on the island of Delos.
Left - omphalus from the archaeological museum in Delphi. This is a mass-dimensional model of the omphalus used in the sanctuary of Apollo. The conclusion follows from the fact that the real stone (according to the descriptions) was wrapped with fine linen bandages anointed with oil, and that the oil was absorbed (possibly with the technical maintenance regulations) - and here we see a sculptural imitation of these "bandages". That is, at some time immemorial, the original, a real stone, was lost and replaced by a copy, its sculptural image, which is now shown to tourists. Or maybe not lost, but safely hidden. In any case, what we now see in museums is copies, imitations, and possibly "cases" for a device that once actually worked. The fact that the stone "worked" is confirmed by numerous reviews of authoritative visitors to the oracle and its widest popularity in the ancient world.
The Delphic oracle was completely destroyed in the IV century. from R.Kh. by order of the emperor Theodosius, and now it is even difficult to say where the "stone" was in reality. This provides rich opportunities for discussions on this topic in modern historical science. Scientists are interested in the question: was the ancient omphalus placed in the cella of the temple, in the pronaos, in the room for the questioners, in the opisthodom or in front of the entrance? The question of what the omphal was is remains beyond the scope of discussion.
The Delphic stone had a "double", which was located in the temple of Amun in the Siwa oasis. There is evidence that there was a connection between these two points, such as the current long-distance one. Let me remind you that this was the location of the oracle, to which Alexander the Great rushed to consult as soon as he arrived in Egypt - there he received a prediction that he would become a pharaoh. Oasis Siwa is located on the border with Libya. Siwa is an interesting place. In 525 BC. the Persian king Cambyses, after the arrival of Egypt, sent 50 thousand soldiers to conquer Siwa, but they disappeared into the desert without a trace. Their mission was to overthrow the Oracle in the temple of Amun. Ancient historians talked about this, and for a long time it was considered a myth by modern scientists, until in 2009 the Italians dug up the bones of those Persian warriors and their equipment in the Libyan desert.
Cambyses' trip to Egypt looks rather strange - according to the descriptions of the Greeks, it was called "insane." The eldest son of Cyrus the Great was only engaged in burning cities, destroying monuments, erasing names from sarcophagi. Herodotus wrote that Cambyses came to Sais solely to commit an outrage at the mummy of Amasis. It is noted that when Cambyses conquered Egypt, he destroyed all the temples of the Egyptian gods, but did not touch the Jewish sanctuary, which already existed on Elephantine at that time. It is unlikely that the weak Siwa could threaten the power of the Babylonian king in any way, and most likely Cambyses simply wanted to take possession of the "artifact" alone, which "nature" opposed, slapping the army from above with a giant fly swatter and carefully hiding it from eyes with sand for two and a half thousand years ...
Siwa was destroyed much later. The fate of the omphalus is unknown.
Now Siwa is a clay ruin against the background of the "Mountain of the Dead", between which in some places the life of guides glimmers. The once majestic temple of Amun looks similar.
According to the content of Pseudo-Callisthenes, a text that appeared centuries after the death of the author, Alexander Callisthenes, (historian, nephew of Aristotle and the official historiographer of Alexander), the cone-shaped Libyan omphalus looked like a large shining gem. Perhaps another name comes from here, but rather an epithet - "stone of radiance".
Herodotus wrote about two women who were kidnapped by the Phoenicians in Thebes. One of them was sold into slavery in Libya (in western Egypt), and the other in Greece. Women founded the first oracles in these countries. According to Herodotus, this version was told to him by a priest in Thebes. Later, this story was modified into the myth of two black doves.
“... But, besides, he was,
The stone that whispers;
The men of his message will not know
The people of the Earth will not understand ... "
Perhaps because a woman is able to hear more in this vague whisper than a man - this is how her brains are arranged. "Baba senses in her heart."
Undoubtedly, it is for this reason that the interpreters of the oracles at the temples where the "omphalos" were installed were priestesses, women. They were called "Sibyls". The origin of the word for researchers is unclear, rather freely it is translated as "the will of God", with the filing and interpretation of Mark Terentius Varro. And it is strange that the version of the origin of the word "sibyl" from "Siwa" is not considered. Which is quite obvious if you trace the sources.
Clement of Alexandria mentions that, according to ancient authors, the first Sibyl was the Delphic Femonoya. In other sources, Femonoya is called Pythia. The Delphic sibyl had another name - Herophilus (daughter of Zeus and Lamia). According to Pausanias, the name of Sibyl was given to her by the Libyans.
Sibyls literally sat on omphalos, sat on them when they sang their predictions. Which later gave reason to some concerned art critics who revised many similar oriental images to turn the omphalos into a phallic symbol, especially since it sounds omphalos in Greek. Well, how can we do without phalluses in our story, hussars ... But about them a little later, but for now let's see this map.
We see that the services of soothsayers in the ancient world were in great demand. The texts mention 18 sibyls, named after their habitats. The most famous are Delphic, Eritrean and Kum. Less, such as Jewish (Saba, Sabba, Sambetta), which is often associated with Queen Sheba, Queen of Sheba. However, in assessing their number and names, ancient authors often disagree, since most of them were already called "ancient sibyls" by these ancient authors at that ancient time, and it is unlikely that now it is possible to restore everything with accuracy, although there were many attempts to do this ...
Looking at these oracles from above, it is very tempting to stretch the threads between them, connecting the whisper of stones into a single network, such as a cellular one. Moreover, on some omphalic stones this "network" with points between intersections has already been drawn.
The figures show Etruscan omphales. In the "classic" version, this is a "bump" entwined with a snake. But - there are also lines drawn, like parallels and meridians. Omphales here are similar in shape to the Delian and the snake is present. The stones once stood in their places on the ground, and then became objects of separate worship.
It must be said that the closer to our time, the more and more the form of the omphalus departed from the "bump" - the Roman omphalos have already lost their sacred meaning, overgrown with intricate patterns, turning simply into works of art, decorated with gold and precious stones, which in the last feature was expressed by eggs Faberge.
The Etruscans, according to Plutarch, taught the Romans a lot, including the art of building "sacred centers". They were built on deep "wells" covered with stone - streets were built from those points. Such points were called "Mundus" by the Etruscan people. Universe. The Etruscans came from somewhere in the north, and where they learned this art is not known for certain. It was believed that among the Hyperboreans, whose location, despite the presence of fixed connections with the Mediterranean Sea, was not determined.
According to legend, Romulus, at the founding of the city, dug a deep hole, which was connected to the entrance to the Kingdom of the Dead. Its name is Mundus Ceres. The sacred stone that covered the pit was called Lapis manalis, "The Stone That Rules."
Rome, ... a city at the entrance to the underworld ... well, who would have thought.
In general, if we consider in detail the structure of such oracles, we will definitely find cavities, caves or dungeons under them, whether in Rome, Siwa, Delphi or ... Paris and London. In some cases, these are passages to the underworld, in others - the graves of chthonic creatures, like Python or Typhon, and in some, their habitat. And in all this, the duality is manifested in the question: what did the ancient people need more, in connections with heaven or earth? Who did you talk to using this communication system?
The scheme is about the same everywhere:
Note - the image on the Egyptian fresco includes both birds and snakes.
Speaking about Paris, I did not mention it. The entire territory of Europe and Eurasia is dotted with similar stones as reference points. Here are a couple of stones from Ireland:
Left a stone from the farm Turoe.Height 90 cm. Here it was moved in the 1850s from a place near the village of Rat, in order, as they say, to preserve it from vandalism. And they immediately complain that the historical belonging to that place was destroyed. But some historians believe that the Irish themselves could not comprehend what was known about the "oracles" of ancient Europe and define the origin of the stone as French. Like, in Celtic times, he was dragged along as a family heirloom. The manufacture of the stone dates back to around 500 BC. Naturally, everyone would like to know the location of the stone for which it was intended. But, (as in the vast majority of cases with such artifacts), it is impossible to find out - they have long been removed from their places and moved. This I mean that drawing up a grid map of the location of the "centers of the planet" based on modern data on the location of many similar stones is speculative and imprecise. However, gymnastics is not bad for the mind.
As for the carvings on the stone, some believe that this is a primitive image of a map of the globe. Others (uh .., well, finally! Hussars rejoice!) Think that this is a male penis, with a drawn out foreskin, and the spirals are sperm drips, calling this point of view "alternative". So they write in encyclopedias: "Alternatively it is seen as a phallus, the band below the glans representing the rolled foreskin, and the spirals possibly semen."
Just imagine the picture, how in Celtic times, adherents of family values \u200b\u200bfrom France dragged on themselves a penis of almost a ton in weight. Let's rejoice both for them and for art scientists and move on.
The Castlestrange stone (pictured on the right) has not grown to the phallus, so its carving is determined by the traditional Irish "snake" stele. In Ireland, three more large stones of a similar shape are known, the purpose of which has not been determined by official science.
Separately, we note that these stones are considered the national treasure of Ireland and are protected by law. This is in contrast to ours, Russian patterned stones in an abundance scattered in forests and hills. If where paganism was so mercilessly suppressed, and its material traces were carefully erased, then this is Russia.
Fertility symbol
Of course, in this brief overview, one cannot remain silent about the "lingams".
Lingam translated from Sanskrit is a mark, a sign. The most ancient Hindu samples differ little from the Egyptian, Greek or Asia Minor ones: they were modeled by the carving of a "cone" structurally similar to scales, served as a geosymbol and were explained by the image of the Eternal Unmanifest Para-Shiva manifested here. But over time and thanks to the rich imagination of the Hindus, their shape became more and more elongated, and as a result, at the top of the lingam appeared .. um .. the head of a male member, initially a hint, guessing - and then with a naturalistic revelation. Like, here you go.
The symbol was extremely liked by the Hindus and it was widely distributed, replicating in millions of copies, no longer remembering its real purpose, and interpreting it as "the indivisible unity of male (Shiva) and female (Devi) principles, from the union of which life comes." Which was expressed figuratively, and with all the Hindu spontaneity, in the combination of lingam and yoni. Yoni literally means vagina. Womb, uterus. At the same time, oddly enough, the Yoni among the Indians is an active principle. And an erect penis is passive.
Art critics take revenge here. Well, yes - there are people who worship "phallic symbols". “Be fruitful and multiply”, why not? Fertility symbol. Good deal.
But all this has only an indirect relation to our topic. So, it happens that you pull the thread, and you pull it out, um ... well, you get the idea.
Let's return better from this erotic journey to the West.
Today I will continue, though not in great detail, a series of stories about the Vatican museums.
I would not like to upset you, but objectively speaking, no photographs and the most highly artistic texts, full of rich metaphors, comparisons and superlatives, will be able to convey the fullness of sensations and delight from what they saw.
Sometimes, it seems that it was not a person who created all this at all! But, nevertheless, this collection of ancient art, Renaissance masterpieces and modern works was created by human hands. This is to the question of who in the universe was the greatest of Creators ...
Enough dry fabrications! Let's leave the papal garage and go first to the pinecone square.
The pine cone area was formed after the merger of the Belvedere Palace with the Vatican Palace, which was carried out by Mr. Bramante. It will not be superfluous to mention that it was he who began the construction of St. Peter's Basilica in its current form. But since the cathedral had been under construction for 150 years, Bramante, as befits a normal person, did not live to see the ceremony, when the solemnly cut ribbons fell on the pavement at the entrance to the fresh cathedral. The square got its name from the antique fountain, which is crowned with a giant pine cone - a symbol of the source of life according to ancient concepts:
In addition to the pine cone, the fountain is decorated with figures of lions, judging by the carved signs brought from Egypt and figures of people who were brought from nowhere.
In addition, the square keeps in its center a masterpiece of modern sculpture called "Sphere in a Sphere" or more often this example of creativity is called "The Globe". It was created by Mr. Arnoldo Pomoddoro and symbolizes this all the pernicious influence of man on nature. A polished ball with a diameter of 4 meters rotates around its axis (if properly untwisted).
But as I already said, with the perception of contemporary art, everything comes out pretty awkward for me. Therefore, I went to get acquainted with the reproductions of works by Michelangelo from the Sistine Chapel hung on the square.
They are placed here for a reason. Since conversations are strictly prohibited inside the Sistine Chapel (there is even a special person who, once every 5-7 minutes, raises his finger to his lips and loudly pronounces Sh-sh-sh-sh-sh-shh!), Then the guides before sending to Here, their wards of tourists describe in detail everything that tourists have to see, telling about all the characters of the frescoes. Of course, the central work in the chapel is “The Last Judgment”, about the heroes of which I now want to say a few words.
The entire front wall is occupied by the aforementioned “Last Judgment”. In the center, of course, Jesus and the Virgin Mary. They are surrounded by saints and apostles. Above: angels with all the attributes and accessories of the passion of Christ: a crown of thorns, a cross, a flagellation pillar.
Many saints and apostles are depicted with the same objects of medieval use, with the help of which they were killed in due time. So we can observe Saint Bartholomew, holding in his hands his own skin, which was torn from him by the pagan pagans. Michelangelo was a great joker. On this skin he placed his self-portrait. Well, at least I didn't dance in the temple ...
Saint Catherine holds a frightening-looking toothy wheel. It was with such cute things that she was torn apart by kind people. Saint Simon, next to her, was sawed alive with a saw in the Caucasus. Saint Lawrence in Rome was roasted alive on a metal grate, from here he has it in his hands. The creative approach to executions in those days is striking in its monstrous ingenuity and some incredible cruelty. Although Saint Sebastian was simply and without the usual ingenuity, they were stuck with arrows. They showed, so to speak, humanity. On the left, with his back to us, Saint Andrew with the cross on which he was crucified. Peter is depicted as standard with the keys to the kingdom of heaven. Michelangelo did not provide the rest with pronounced attributes, although there were people there who were boiled alive and in other piquant ways sent to the next world, dear to the hearts of believers.
But it was not these cruel details that struck me personally. I cannot understand one thing: even if Christ is depicted in the form of a punishing judge, but why is all his entourage indescribably happy that they were rewarded with the kingdom of heaven, and meanwhile, before their eyes, most people go straight to hell. And Mr. Charon affably “shoots up” them with an oar over the hump.
I can’t identify each character, and it’s impossible, perhaps. But on the whole, this gigantic fresco leaves a rather depressing impression.
More than biblical motives, I was attracted by the technique and skill with which the frescoes were made. For example, standing even 1-2 meters away from a wall with curtains drawn on it, you will never say that this is a drawing on a flat wall. You see in front of you a voluminous drapery that you want to take and, reaching out your hand, immediately open it.
In addition, the figures seated along the windows in the place where the wall passes into the ceiling are seen as volumetric figures in niches. And from whatever side you look at them, the perception of their volume is not lost. They are so masterfully executed.
In general, the Sistine Chapel is the same world masterpiece, without seeing which you cannot calmly die with your own eyes. And to describe all the power and beauty of this room is in no way possible. I won't even try. No wonder it is used by the cardinals to conduct a conclave here, the essence of which is the election of a new pope ...
And now I am forced to interrupt further in the halls and galleries of the Vatican museums, since a lot of urgent matters have arisen. But let me make a small announcement of all the wealth that I plan to present to you in the near future:
Belvedere Hall with the famous Apollo:
Gallery of cards:
And also: antique sarcophagi, the chambers of the famous Pope Borgia, frescoes by Raphael, a hall of modern art and, of course, views from the dome of St. Peter's Cathedral and the interior decoration of this great temple.
Thanks for attention!
See you later!
The Vatican has many different monuments and sculptures. One of them is a four-meter pine cone cast from bronze and covered with gilding.
The entire huge courtyard in which the monument is located is called the Shishka's courtyard. A rather interesting composition is arranged around the cone. Firstly, the lump itself has nothing to do with Christian symbolism. The cone is symbolically held from below on a marble pedestal by many people. The pinecone symbolically stands on people, crushing them with its weight.
On the sides of the cone there are two peacocks, and from under the cone flows a spring with water, which is guarded by two lions.
In the small courtyard behind the cone, there are eight statues of the ancient Egyptian goddess Sakhmet. She was depicted with the head of a lion, which caused her to be identified with Pakht, Tefnut and Bast.
She was the personification of the solar heat and the destructive energy of the Sun, and therefore a disk was depicted on her head. As the goddess of heat, Sekhmet appeared to be quite harsh. In the late myth of the extermination of the rebellious humanity by the god Ra, Sekhmet, as an eye, enjoyed the beating of people, and only the red wine spilled on the earth by the gods, which Sekhmet pounced on, mistaking it for blood, and from which she became drunk, forced her to stop the massacre. If someone is not in the know, the eye of Ra symbolizes the Pineal gland.
It's very interesting with lions. Lions are not simple, but ancient Egyptian, ancient Egyptian hieroglyphs are written on each lion monument.
There is also such a figurine on the left side of the cone. It resembles male genitalia. Nothing Christian, all pagan symbolism.
Of course, the entire ancient history of the Vatican is fiction. They say that the Lump was cast in the 1st-2nd centuries. AD Publius Cincius Salvius, it appears on its basis. Everything is as usual, the Bump appears in the yard as a result of some rearrangement and reconstruction. They say originally, the gilded bronze cone was placed on the Champ de Mars, but was moved to a new location in 1608.
This is what they say, but in reality the pine cone was cast in 1608. The Vatican is full of falsifications that are passed off as antiquities. Without this, it is impossible, because if you set true dates for the production of many Vatican sculptures, then many unpleasant questions will arise for the Vatican - why were monuments with pagan symbols created? Therefore, falsifiers pass off their places of worship as monuments of antiquity.
The pinecone symbolizes the Pike-like gland (Epiphysis), with the help of which huge human masses are controlled. Passing off operations to change the work of the Pineal gland as religious customs, groups of people with different types of biological behavior are artificially created.
For example, members of a Jewish group are artificially, with the help of surgical intervention, change the work of the Pineal gland. The group is used to manage colonies. With the help of this group, the illusion of the majority opinion is artificially created.
But most importantly, with the help of this group, the DNA that has passed the mutation of the brain is spread. In simple words, people are losing brain weight, and this is intelligence.
The elite, with the help of operations on the Pineal gland, secretly reduces the intellect of people, makes them stupid. Then the foolish people are forced to believe in an invented god with the help of which the elite gives the people rules of behavior that are beneficial to them.
People who have changed the work of the Pineal gland are passed off as a separate nation. They are not told the truth, they are being fooled, they are told an invented biblical tale. They are told: See, you are not like all other people, this is because you are God's people. They are given fictional Bible stories to read. The deception has gone so far and the whole world so willingly believes in it that most people cannot even imagine that they are all being deceived.
Boris Gotman, Ph.D
So, the tour of the Vatican is over, but the questions about the bronze cone and the bronze ball remain.
This is the famous Italian sculptor Arnaldo Pomodoro, who was carried away back in the sixties of the last century by creating complex spherical compositions in which he depicts the relationship of our planet with the universe, with man and society, as well as the mutual influence of these components on each other in time and space.
And, although this is enough to understand why the Vatican decided to purchase for itself its "Golden Ball", which is called in the Italian original "Sfera con Sfera", in translation - "Sphere with Sphere", or, as translated into English, and then into Russian, "Sphere within a Sphere" - it seemed to me that there is still some hidden meaning in the fact that "Sfera con Sfera" is installed in the Yard of the "Pine Cone".
Is there a difference in the title between the original and the translation, and if there is, then, how more correctly, the reader will be able to decide by reading this note to the end.
But let's get back to the "Pinecone" first. Why exactly was it installed in the very center of the Vatican?
If, as the guides say, this pine cone is a symbol of fertility, then this is not a maternity hospital or an agricultural academy! Something is wrong with this explanation!
In the first part I already wrote that when I photographed "Pine Cone", I flashed memories from anatomy about the pineal gland, some important "detail" of the brain.
That's where I started. And not in vain! I read on Wikipedia:
"The pineal gland, pineal gland, or pineal gland (corpus pineale, epiphysis cerebri) is a small organ that performs an endocrine function, considered an integral part of the photoendocrine system; attached by leashes to both visual tubercles of the diencephalon."
"For tens of centuries, the pineal gland has been viewed in connection with the soul. Rene Descartes called the pineal gland the" receptacle of the soul ", convinced of its unique place in the anatomy of the human brain as a structure that is unpaired. This observation, however, cannot be considered true, because under a microscope one can observe that the pineal gland is nevertheless divided into two hemispheres. "
It became much clearer!
"Soul" is certainly not just under the jurisdiction of the Vatican, but downright in the center of its interests!
Now about "Sfera con Sfera".
What could connect her, from the point of view of the Vatican, with the "Pine Cone", personifying the soul?
While surfing the Internet, I accidentally saw the opinion of an unknown to me Maxime Theriault on a question of interest to me.
He writes that the sculptor's intentions are pretty obvious.
His creation is intended to be installed in the Pinecone Courtyard, and it symbolizes the idea of \u200b\u200bthe pineal gland in the human brain.
This small pea-sized body is often referred to as the "third eye". And the "Sfera con Sfera" set against the "Pine Cone" is another clear representation of the "third eye".
“Again,” continues Therio, “this is on display at the Vatican, for which the religious meaning is important in any work of art that he would like to have… Matthew 6:22:“… the eye is the Lamp for the body. If your eyes are healthy, your whole body will be bright. "This is what Jesus Sananda said in his teaching about the pineal gland, which is the center of consciousness."
This opinion, it seems to me, is closer to a possible explanation of the motives of the Vatican.
And who is interested in why Jesus received another name "Sananda", let him look for the answer in numerous articles on the Internet.
In the wilds of the Internet, my attention was also attracted by the publication of one of the authors of "Proza.ru", writing under the pseudonym Nostre Adamus. This article is called "Apophis in Sumer texts and Vatican symbols" ().
It attempts to decipher the connection between the symbols left by the great Sumerian civilization with modern symbols - the very "Pine Cone" and "Sfera con Sfera". The author's assumptions will become clear even when looking at the collage given by Nostre Adamus before the article.
One of the conclusions of the mentioned article by Nostra Adamus is that both the symbolism of the Sumerian messages and the symbolism of "Sfera con Sfera" warn mankind about the impending danger of a cosmic catastrophe - the collision of the Earth with a giant asteroid.
This is what Nostre Adamus sees in Sfera con Sfera. He writes that the Vatican was given the keys to understanding history, but he did not use them.
And if we go to rigorous science, it should be noted that a number of scientists consider the Moon to be a former part of the Earth, which broke away during its catastrophic collision with an unknown cosmic body. You can read about this in a number of publications, in particular, in articles by Jonathan Webb, Science Correspondent of the BBC on April 10, 2015 and Pallab Ghosh from the BBC Science Department of June 6, 2014 (ibid.).
It is the photographs illustrating these articles that are shown in the collage along with my photographs from the Vatican.
Personally, I perceive "Sphere in Sphere" as very simple symbols of human capabilities - either the teeth and levers are used by society for the good, or they torment and kill the Universe, the Earth, and life on it ...
A pine cone tattoo means health, life, fertility, love, fire, luck, fertility, creative power, a new beginning, courage, reliability, movement, balance, connection with nature.
The meaning of a bump tattoo
Pine cone tattoos are not so common. This is due to the fact that few people know its meaning. In vain, because the pine cone from ancient times carried the images of such symbols as the sky, fire, sun and even the Universe itself.
The lump is usually associated with health, life and courage. Many years ago she was dedicated to the god Baal-Hadad and his wife Asherah: the god of fertility and the goddess of love. The spiraling layers of the cells of the cones, in which the seeds of the plant are hidden, indicate fertility.
The tattoo is associated with another deity - the god of inspiration, vegetation and the forces of nature, Dionysus. Often a bump can be seen in his hands. In such a case, she personifies the endless cycle of life in nature and constant rebirth.
A cone tattoo can act as an amulet against the evil eye, as well as to enhance male strength. Thus, a tattoo not only preserves and preserves the physical condition of men, but also increases it.
The type of cone is of particular importance. For example, cones of a coniferous tree have long been associated with the gods of fertility and love. The cone of the spruce means improved health and increased vitality. She also acts as a symbol of fire and a new beginning.
At the same time, the pine cone denotes a phallic symbol that reflects the luck, fertility and creative power of a man. It was the pine cone that crowned the thyrsus of Dionysus.
Another interesting fact that influences the associations associated with the cone is that in India it was believed that it was she who became the prototype for the swastika.
The location of the pattern on the body carries a special meaning. If the bump is on the thick end, then this means reliability and balance. If it stands at the opposite sharp end, then it denotes constant movement.
If the top of a pinecone not only points up, but also has a spiral direction, then this is an indicator of high creative power. It will indicate either an already opened inner potential, or a still latent force that is to be discovered in the future.
Both men and women can get a tattoo on their body, but the meaning will be different. For the strong half, this tattoo speaks of fertility, the meaning of strength, fullness of life and attractiveness. An inextricable connection with Nature is what a tattoo means for women. Also for the weaker sex, the bump symbolizes love.
The pattern is applied to the back, wrist, shoulder, or forearm.
The cone can be depicted either alone or with other elements that have a direct connection with nature: animals or plants (especially trees).
The color scheme is also different. The tattoo can be black and white or have vibrant colors. The drawing style is limited only by the person's imagination. Very often, the tattoo is performed in realism, which is a win-win option.
