The Hour of the Time may be contacted at HOT, that's H-O-T-T, P.O. Box 940, Eager, spelled E-A-G-A-R, in the state of Arizona, 85925. Our phone number is 928-333-2942. And our website is www.HourOfTheTime.com. The Hour of the Time The Hour of the Time Again, you're listening to the Hour of the Time. I'm William Cooper. Folks, I'll be in the San Francisco Bay Area October 29th through the 31st at the Dunphy Hotel, San Mateo, California. The number to call is area code 415-905-8874. That's area code 415-905-8874. Let me see. I'll be doing a lecture on Sunday, October the 31st at 1230 p.m. Also, a workshop later that same afternoon, October the 31st at 330 p.m. And I'll be there the whole weekend. We'll have a booth. We'll have tapes of the Hour of the Time there. They'll be at a reduced rate because you won't have to pay postage. And my book will be available. And, of course, I'll be there if you just want to stop by and chat for a while. Remember, that's the Dunphy Hotel, San Mateo, California, October 29th through the 31st. The number to call is area code 415-905-8874. For those of you in the southeast segment of the United States, I will be in Atlanta, Georgia on November the 14th. I will be speaking in the Shambly Community Center on that date. And the number to call is area code 404-986-0802. Once again, November the 14th in Atlanta, Georgia. I'll be speaking at the Shambly Community Center. The number to call for information is area code 404-986-0802. Now, both of these events in San Mateo and in Atlanta, Georgia cost some money. I don't know exactly how much because I'm an invited speaker. I need to call those numbers and talk to them. But, as usual, when I get there, I will arrange for a lower rate for CADG members. Make sure you bring your welcoming letter, anything signed by me, or your press credentials. And that will be good for your discount. If you have any problems, come and see me personally. I'll verify that you're a CADG member and make sure that you get your discount. 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, that the Media Corporation, well, first let me give you what happened on the stock exchange since we've been talking about this, all the stock for all the media corporations that we've discussed, including the Inquirer Star Group, has gone up. So it shows that somebody may be doing a little anticipatory buying out there, or it could just be an accident. The stock that we're going to purchase closed today on the New York Stock Exchange at $51.5 per share. That's $51.5 per share. The name of the corporation is the Gannett Company Incorporated. Okay. Seek out the lowest commissioned broker in your area, ladies and gentlemen. Buy as much stock in that company as you possibly can. The New York Stock Exchange symbol is GCI. G-C-I. Again, it's Gannett Company Incorporated. You want to make sure to tell your broker that you want to purchase only voting shares. Only voting shares. Do not buy stock unless the stock is voting shares. Make sure that you understand that perfectly. As soon as you've purchased your stock, make Xerox copies of your stock certificates. Make sure your broker knows to issue the certificates in your name. That way you know that you own the stock. You have the shares in your possession. Make Xerox copies of the shares. Send them to us with a stamped, self-addressed, number 10 envelope. We will send you back a proxy statement, which you will need to fill out, have notarized, and send back to us, giving us the proxy vote for your shares of stock. So, folks, you can get started on that tomorrow morning. We will be keeping you updated. We'll tell you if stock starts going up too precipitous, we'll tell you to hold off until it comes back down. But this is not going to take a week or two. It's going to take us some time to do it. You need to motivate your neighbors, your friends. You need to get them involved. You need to make them understand what we're doing. And tell them if they're going to get in here and play games with us, in other words, if they're not going to go along with our scheme here to change this corporation around, then don't play at all. Because we don't need six or eight or ten bunch of patriots in here buying shares and giving their proxies to six or eight different people. If they do that, all we're doing, folks, is masturbating, and it's absolutely nonproductive. It may be a lot of fun. Everybody can say, oh, I'm really participating. But it's not going to amount to anything, ladies and gentlemen. So make sure you understand that. Either participate and go along with what we intend to do so that we'll have the power of a large block of voting stock owned by citizens of this country who are sick and tired of what the news media has been doing to us and can turn this corporation around and make it work in our best interest or get the hell out of town and don't interfere with what we're doing. Please. Please. Okay, folks, make sure that you're in a chair, you're comfortable, you've got your mind open, you've got a pad of paper and a pencil by your side because we're going to spread some light in some dark corners. Oh, man, make sure you are in a smile, you're absolutely fine, so это не дремь сделает мужع観, то есть вы рук в talking, produção сч culture и закательств, так как выше человек, сMayк сова в fame. he h I I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here I'll be here Visitors to New York City who venture in to the large building known as the United Nations are amazed to find that there is a meditation room. Room. The meditation room, ladies and gentlemen, is 30 feet long, 18 feet wide at the entrance, which faces north-northeast, 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 a world of light to one of extreme darkness forces a feeling of abrupt withdrawal from the outside world upon the senses of the visitor, who walks along the corridor, reaches the inner-arced 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 and the back of the room. The room is as quiet as an underground tomb. Its floor is paved with blue-gray 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 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 bedrock. 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 possesses 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, quote, to conform with the purity of line and color sought for what Secretary General Doug Hammerskjöld has called a room of stillness, unquote. 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. Bobesco, an old friend of Dag Hammerskjöld, painted the mural. Quote, Dag had me start sketches on this last summer, unquote, he said. Quote, he wanted me to do the actual work right here in the room, so I have been here since October 6th, 1957, unquote. 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, the room was locked up with a chain and padlock. The artist said of his work, quote, it has no title, and you can make what you wish of it, unquote. 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, quote, 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 in 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's story cited earlier, Besko was quoted as saying, quote, my fresco contained no intentional symbols, though I've heard people say that the black and pale blue circle in 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 let the eye travel farther, and to open up the mind, provoking meditation, but not directing it, unquote. The mystic P.D. Ouspensky has written that in, quote, 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, unquote. Mr. Besko's picture is described as non-objective, objective, 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, quote, You can make what you wish of it, unquote, yet he admittedly sought to create a specific subjective effect in the mind of the spectator. Consequently, Mr. Besko'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 Hammersholt 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, are those called the profane. These terms will be explained, 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 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 that 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, life to the earth on which we stand, a symbol to many of us of how the light 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 leaves 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 plowshares. 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. Unquote. The World Goodwill Bulletin is published by Lucis Press Ltd. Owned by Lucis Trust at 88 Edgware Road, Marble Arc, London, W2 England. The New York branch, the Lucis Publishing Company, 11 West 42nd Street, 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 Company, but changed its name on November 11, 1924, to the less startling one it bears today. A third branch of the Lucis Trust is located at 1 Rue de Verembe 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 World Goodwill Bulletin issued a special edition on the United Nations in July 1957, which contained an article entitled, quote, Lodestone, unquote. We quote from its description of the meditation room, quote, 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 in 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 oar piece is many millions of years old. One feels as though one is in a repository for some natural talisman of significant and noble importance, rather than in a chapel in the 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 as a boon granted by deity. Rather seemingly inherent in the decoration of the room, in the pinpoint of light playing on the oar, 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." Unquote. Folks, the new departure in religion referred to did not occur by chance. Tremendous pressure was brought to bear on Trigavli and Dag Hammershall to install such a room at the United Nations by such organizations as the World Council of Churches. Trigavli announced on April 18, 1949, that such a room would be established. The Fifth 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 9, 1951, a meditation room was opened for one day at the United Nations Secretariat building. Then on October 14, 1952, the opening day of the Seventh 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, 25 russet-colored chairs, and a blue-and-white United Nations banner set in front of a ceiling-to-floor white drape. On February 16, 1953, a group known as the Friends of the Meditation Room, numbering 1,500 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 7,000 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 a product of the non-sectarian layman's movement for a Christian world, Incorporated, 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 Friends committee which presented $12,600 to Dag Hammershawld on April 24, 1957 as first payment on $25,000 needed to remodel and enlarge the room. The movement has issued United Nations Meditation 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, quote, world's great living religions, unquote, namely Hinduism, Buddhism, Judaism, Islamism, Sikhism, Christianity, and St. Francis of Assisi. I was not aware that St. 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, quote, Letters of a Modern Mystic, unquote, 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 Bunch, 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 Layman'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, Wayman 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 through 1941, for a health center in Hiroshima, Japan. Huckabee then became the secretary of the movement in New York in 1941 and secured two grants a year for the organization from the Davison Fund until it was liquidated. It is not coincidence, ladies and gentlemen, that the funds John D. Rockefeller, Jr.'s Davidson Fund and from his New York City Riverside church funds for the years 1937 to 1941 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 22 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, 10,000 individuals have signed the guest book of Wainwright House. 5,000 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, Congregationalist, 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 Hammersholt personally raised another $10,000 from the Marshall Field family for the cost of the fresco in the room. The United Steelworkers, AFL-CIO, 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 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 UN 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 Sugru Memorial Library, a $1,600 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 Sugru's initials, are crowned by the lotus, vendantic 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 Tao or T. The serpent set up by Moses was originally the Egyptian sun god who was now known to his people as Jehovah. Unquote. Joseph von Hammer in the history of the assassins explains the Tao as the figure of the phalus. Quote, 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 book plate is the Insof from the Kabbalistic writings or mystical theosophy which teach that it created the world by virtue of ten emanations from the infinite one. The emanations are sephiroth or 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 Kabbalists. Dag Hammershall called the altar a reminder of that quote cornerstone on which all human endeavor must be based unquote. The meditation room faces north-northeast. To enter the room one must proceed from darkness to light. from darkness to light. With these facts in mind note the Kabbalistic symbolism of the following description of the cornerstone by an authority. Quote 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 cornerstone is intended to remind us that long after our death we have within ourselves a sure foundation of eternal life a cornerstone of immortality and emanation which pervades all nature and which therefore must must survive the tomb unquote. 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 quote 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 quote at that time there was in the temple the ineffable name of God inscribed upon the stone of foundation unquote this scandalous book proceeded to state that our savior quote 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 earliest nations of antiquity of the worship of stones as the representative of deity and in England the queen sits upon a throne under which is a stone this happens in almost every ancient temple and in every ancient temple there was a legend of a sacred or mystical stone the mystical stone there has received the name of the quote stone of foundation unquote and the scribes who had come down from Jerusalem said quote he has Beelzebub and by the prince of devils he casts out devils unquote Alfred Edward Waite in his study of the Zohar the kabbalistic textbook of the 14th century entitled The Secret Doctrine of Israel wrote on page 62 of a quote mysterious stone called Shephiah unquote 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 cubicle stone or altar for its extremity was concealed in the depth while its surface or summit rose above the chaos it was the central point in the immensity of the world the corner stone the tried stone the sure foundation but also that stone which the builders rejected unquote 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 quote 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 unquote the cornerstone is Jesus Christ quote the stone which the builders rejected unquote 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 and its stark setting in that room is in itself a symbol of idolatry quote stone worship was perhaps the earliest form of fetishism Ishibis cites porphyry as saying that 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 hajar el aswad placed in the southwest corner of the ka'aba at mecca which is worshipped by the ancient arabians the druids it is well known had no other images of their gods but cubical or sometimes columnar stones to use the language of Dudley the pillar or stone was a death that is a symbol of strength and firmness a symbol also of the divine power and by a ready inference a symbol or idol of the deity himself the god Hermes or mercury was represented without hands or feet being a cubical stone because the cubical figure betokened his solidity and stability unquote Amershold in the speech quoted earlier said quote 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 out of 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 and the meditation room casts a shadow to the north the use of the north as a symbol of darkness a portion of the old sun worship of which we find so many relics in gnosticism in hermetic philosophy in freemasonry in the temples of all of 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 above all that the altar in the meditation room is unsanctified and unhollowed 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 Hammershall's and Beskau's description 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 friend's leaflet a call to prayer states the theme of the mural is infinity unquote now let us look at this mural squarely from 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 type 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 the following nine digits so arranged as to add up to fifteen in any direction were regarded as sacred because fifteen is the numerical value of the Hebrew word for God Yah spelled J-A-H which is one of the forms of the tetragrammaton and in the rows going across from left to right in each row the first row the numbers are four nine and two in the second row the numbers are three five and seven and in the third row the numbers are eight one and six whether you add them up diagonally vertically or horizontally no matter in which direction you go it always adds up to the number fifteen the predominantly dark blue rectangle which occupies most of the middle tier of the mural the upper side of 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 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 and 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 fourfold heaven and earth he signified by a circle or a square divided crossways the circle ladies and gentlemen is met within every form of sorcery the circle in 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 or idealized and acquire a new and so to say an illimitable value an expert on these subjects has written quote 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 and out of chaos comes order and isn't that the motto of the 33rd degree of freemasonry ordo ab tale quote the rule of the triangle and the ellipse together with a crude geometry in modern art is the rule in aesthetics standing before a meaningless cubist canvas at an art exhibition one day a puzzled amateur asked quote but what does it mean unquote 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 is an 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 pearl for instance listen closely to the beat of the rap musician quote 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 the recognition of this principle alone but as it is unfortunately unrecognized it remains unchallenged unquote 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 at the curve of the crescent is continued full circle the figure which results is a hidden point within a circle the symbol which was adopted by the astronomers as their sign of the sun 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 and you will find without any circle in the temples of Freemasonry it is the symbol of the phelus 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 in 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 j h v h jehovah the ineffable unpronounceable name of god this name and its multitude of forms can be used to work miracles or magic so say the catalysts 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 the first from right to left the second from left to right and the third from right to left or as the Greeks would say 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 Shem Ham Foresh 72 is also the number of the quinaries are sets of five degrees in the 360 degrees of the zodiac the number of triangles in the mural are difficult to count there are 22 isosceles equilateral scalene right angles triangles there are also 22 numbered letters in the ancient Hebrew alphabet with values of 1 to 400 the triangle is an ancient emblem of the deity it is also a 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 intertwined with a mural length diagonal line symbolizes the caducus 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 tablistically is nine the number of generation the twin serpents of the caducus are negative and positive representing polarity and twine around the spinal column they are the kundalini our sex force in the encircled serpent the chapter on the caducus contains references on page 72 to the ancient use of the symbol without wings as seen in the mural the caducus 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 phelus buddha was symbolized by the serpent and in mythology is identical with mercury the center and the 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 on the meaning of this all important symbol has already been dealt with in previous episodes of the hour of the time the mural if viewed from the top or the roof overhead of the meditation room is is 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 are good Thank you. 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