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APPENDIX EIGHT

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Druidic Symbolism in Hollywood

The truth about the origins of Judeo-Christianity is found in the Bible's Testaments by unbiased and objective researchers. The truth has also been cryptically disclosed through the ages in artwork, and in modern times in popular movies.

Let us take a moment and analyze the hidden information contained in the epics Ben Hur, Solomon and Sheba and The Ten Commandments:
 

 

Towards the end of Ben Hur, the makers of the epic film begin letting their viewers subtextually know the truth about the life of Jesus. Ben Hur ("High Man" or "High Sun") is on his way home after a painful visit with his mother and sister who have been confined to a leper colony. He comes across a great multitude gathering to hear Jesus speaking from the "mount." Curiously, all the way through the film, the topography has been typically arid, barren and sandy, as one would expect to find in most parts of Palestine, Galilee and Judea. Suddenly, in this scene, for no apparent reason the appearance of the topography dramatically changes. We see green fields filled with leafy trees and flowing river from which Ben stoops to quench his thirst. The hills are of a type found in Britain, not Judea or Galilee.
 

 
 

Suddenly a strange man appears. He recognizes Ben and walks eagerly toward him. He is Balthazar, one of the three wise men or Magi who attended the birth of Jesus. He has come to hear Jesus give his sermon on the mount. The actor playing the apostle has the appearance of a Westerner, in fact, a Druid. He is dressed in purple and white (the colors of the Druids) and carries a staff. He walks through the verdant land, across the bridge toward the mount and, although we are not consciously aware of it, we are in merry ol' England, not Palestine. We are at Silbury Hill or Glastonbury Tor, not the Sea of Galilee. Interestingly, just in case we miss the meaning of the symbolism, the movie's makers have Ben wearing a cloak of Irish or Scottish tartan. In this context the scene is uncannily similar to one occurring toward the end of recent blockbuster movie The Da Vinci Code, when Sophie stands in the grounds of Rosslyn Chapel in Scotland (on the Rose Line) wrapped in Scottish tartan. Let us recall that Scota, daughter of Pharaoh Akhenaton, gave her name to the land of Scotland. Let us understand that popular movies and dramas about ciphers, secret codes and lost relics, etc, are themselves cryptic. They contain valuable implications that go unseen and undeciphered by the vast majority of viewers.

 

 

When Jesus appears upon the mount to address the multitude, we see that the makers of the film have chosen an actor with red hair. Jesus is also wearing white, the color designated for the High Druid. Again we notice the English-type countryside, atypical of the Middle East and of that depicted throughout the film until these scenes.
 

 
 

The whistleblowing dramatically continues with the fascinating scenes that follow after a few minutes. We are taken to Calvary and the moment when Jesus is executed by the Romans. Again the topography is distinctly British in appearance. Looking on are eight members of the so-called Tribes of Israel. Their headgear is  mushroom-like or even "penis-like." However, what are we being told subtextually about the identity of these bizarre characters? That information is given in the very next scene.
 

 
 

The camera moves from the "Israelites" to the figure of Balthazar the Druid. He appears and stands in the shade of a tree containing a beehive, symbol of the goddess Spes (Roman Elpis), and the astrological sign of Cancer. It is also a symbol of Egyptian royalty and Masonry. Balthazar's Caucasian features and attire go consciously unnoticed even though they speak volumes about the true origins of Christianity.
 

 
 

Almost immediately, Balthazar is joined by Ben Hur and they mournfully watch as Jesus is crucified. The sequence obliquely lets us know that the death of Jesus is occurring in Britain and that the Israelites or "Jews" are Druids.
 

 
 

When the camera shows the scene of the crucifixion, we see Jesus on the cross framed against the sky. Of course, this is pure astro-theology. The cross is indeed to be found in a certain house or quadrant of the heavens.

The cross in heaven

 

The term Ben is Gaelic, meaning "hill" or "high place." The term Hur is Egyptian, meaning "Horus" (or Sun). Ben Hur, therefore, does not mean "Son of Hur," but "Son of the Sun" or "High Sun," a reference to Aton. Hur can also be a variant of the Germanic Herr, meaning "man."

Another whistleblowing epic is United Artists spectacular Solomon and Sheba, with Yul Brenner and George Sanders. Let's take close look at a few scenes in this fascinating movie:
 

 

In an early scene we see King Saul on his death bed speaking to his son Solomon. On Solomon's armor we see the symbol of the sun. He is about to inherit the mantle from his father, who, sidereally speaking, is the old, dying sun. Solomon's brother and rival is Adonijah, a name that is a combination of Adon or Aton, and Jah for Jehovah/Yahweh. The name Solomon contains the syllables denoting the sun in the ancient languages: SOL, OM and ON.
 

 
 

In the following scenes we find that Saul (Sol) has regained enough strength to address his people concerning his legacy. He wishes to let them know about Solomon's succession to the throne of Israel. But what's this? We find that the actor chosen to depict Saul is the same actor (Finlay Currie) who played Balthazar in Ben Hur (and also St. Peter in Quo Vadis.) Apparently, the makers of the film could not find a more Caucasian-looking actor. What is more, he is yet again dressed in the colors of the Druids. In fact, he wears the colors of each division of the Druidic Order. Blue signified the Ovates or Poets. Purple designated the main body of the Druidic Order and white was reserved for the High Druid.
 

 

While King Saul (Sol) addresses the chiefs of the twelve tribes, he directs his daughter to display the emblems of the twelve tribes that appear on the so-called Hoshen Breastplate. However, underneath the twelve diadems, we see what appears to be either Nordic runes or Irish Ogham script. There is really nothing surprising about this when we realize that every name of the Twelve Tribes is of Irish origin. The movie's makers obviously know what the masses are never supposed to know about their religion and god. Interestingly the diadems of the Hoshen Breastplate were also known as the Urim and Thummim and, like the runes and Ogham, were used for divining. (Here for more.)
 

 

After Saul dies and Solomon prepares to become the king of Israel, he retires to meditate and commune with Jehovah. The scenes that follow are truly revealing. We see Solomon entering a Druidic Megalithic site with three giant ithyphallic stones. Around these mist-covered obelisks are four trees. Compare the three monoliths to those from a typical Druidic cromlech in Ireland:
 

 

 

As King Solomon meditates he hears the voice of Jehovah (Yahweh). The scene is reminiscent of the moment when Moses heard God addressing him at the so-called "burning bush." In this scene we see the sacred tree, great megalithic stones found throughout Britain (as well as in Middle Eastern countries), and sacred flame representing Brigit, ancient Irish goddess of the groves. Masonic author Albert Churchward wrote of the meaning of the three totemic pylons held sacred by many world cultures:

The Druids in their temples or lodges had the same, that is, the Adytum was supported by three stones or pillars…The Maya in Mexico and the Incas in South America had also the “Three Pillars” to represent symbolically the triune God or their Trinity – Albert Churchward (Signs and Symbols of Primordial Man, 1910)

 The Three Pillars as now used in our lodges, called Wisdom, Strength and Beauty, and situated in the east, south and west…We venture to say that very few of our brethren are acquainted with the origin, which dates back to the Stellar Mythos, and then represented Horus, Shu and Set - ibid

 

Many important revelations are made throughout the epic film The Ten Commandments. On of the most important scenes involves a startling revelation concerning the physiognomy of Egyptian royalty:

 

After Moses is expelled from Egypt, he takes refuge with a shepherd by the name of Jethro - referred to as a priest of Midian - who lived near Mount Sinai. His eldest daughter Zipporah (meaning "bird") falls in love with Moses, and seeking to ingratiate herself with him and appear attractive in his eyes, remarks enviously but poetically on the beauty and elegance of Egyptian women. The movie's dialogue is as follows: "She was very beautiful wasn't she, this woman of Egypt who left her scar upon your heart? Her skin was as white as curd, her eyes green as the cedars of Lebanon, her lips tamarisk honey...like the breast of a dove, her arms were soft, and the wine of love was in her veins..." Clearly, the movie moguls know something most don't about the racial origins of the Pharaohs.

This particular scene cryptically reveals many important facts about Moses and the Israelites, as does the Old Testament account itself. For example, the name Jethro means "His Excellence," and thereby implies royalty. Additionally, Mount Sinai is a simulacra for the Great Pyramid at Giza and the "Wilderness" connotes a period of ritual asceticism undergone by high priests of Egypt. Most importantly, the term "shepherd" is a indirect reference to the Hyksos nobility to which Moses, or more correctly Akhenaton, belonged.

Interestingly, the Quran deems Jethro to have been a member of the "Druze" people. This term, believed to mean anything from "those who read" to "mountain dweller," is probably derived from a term denoting the ancient Druids - the true “learned ones” - who frequented the Middle East in ages past.

 

Another vital revelation in the movie concerns the royal identity of the so-called Israelites or Jews:

 

In the early scenes of the film, we see Moses' Egyptian mother, a princess, coming across the basket of reeds in which Moses lies. When she removes the infant her maid notices the child is wrapped in a piece of cloth from a Levite cloak. She remarks on its presence and asks why it was on the child. The princess responds as follows: "If my son is covered in it, it is a royal robe." Her servant then exclaims: "Royal?...It's the Levite cloth of a Hebrew slave!" She continues to say: "I will not see you make this son of slaves a prince of Egypt." The princess confidently responds by saying: "...we'll see...you will see him walk with his head among the eagles." During this revealing scene, the princess is also heard to say: "I am the Pharaoh's daughter and my son shall be reared in my house as Prince of the Two Lands." In this particular scene we have been told, albeit obliquely, that Moses and the Levites were Pharaonic. They were royalty in the land of Egypt, not oppressed slaves. We have been told that Moses was a "eagle," that is, a high-ranking priest-king of Egypt.
 

 
 


 

Our god is made to take all forms as a “consuming fire,” a “still small voice,” and all through his early worship until the reign of Hezekiah he was worshipped as the serpent Nehushtan which Moses had made in the wilderness (II Kings 18:4) – John Martin Woolsey (Symbolic Mythology)

Above Right: In the Old Testament Book of Exodus, we read that Moses erected a "Brazen Standard" in the wilderness, after leaving Egypt with the "Chosen People." This act clearly defines Moses as a Pharaoh, or of Pharaonic descent. His Israelites were a powerful dynasty within Egypt, whose desecration and megalomania compelled the people to rise up against them. When Moses and Aaron come to negotiate with the Pharaoh, we also hear of rods and snakes. As we will see later, the staff and snake represents, among other things, the polar axis of the earth.

Left: The serpent standard was a symbol of Egyptian priest-kings. The Uraeus wears the double crown of Upper and Lower Egypt. In the scene mentioned above, from the Ten Commandments, the princess said that she will raise Moses to be a Prince of the Two Lands. In other words, Moses was a Serpent Prince.

Another movie with equally important subtextual references to the true origins of Judeo-Christianity is the 1951 epic Quo Vadis. The title, meaning "where are you going," was derived from a passage in the Acts of Peter in the New Testament.

 

In one of the most important scenes, Saint Peter, while walking on the Appian Way outside Rome, hears the voice of Jesus instructing him to return to Rome and attend to the plight of the Israelites who are being persecuted by the Emperor Nero. However, in the movie rendition of the Biblical passage, St. Paul hears the voice of Jesus emanating from a tree. What is more, the actor playing Saint Peter is yet again Findlay Currie. And yet again he is attired in the fashion of a High Druid. The dialogue in this scene is as follows: "These tree-tops there, do they not bend with the wind...and that sudden brightness coming...it is the light of the Lord."
 

 
 

While kneeling to listen to the voice of Jesus, St. Peter rests his staff, which looks remarkably like an Pharaonic crosier, against a large oak. This image of the crosier or staff leaning against a tree is a very ancient motif. It was associated with the god Dionysus, known to the Greeks as Iakus, Bakus or Bacchus.

Tree and staff with masks and pipes of Bacchus. Bacchus or Dionysus was a prototype for the Biblical Jesus.
 

 
 

In the movie's closing scenes the main protagonists travel out of Rome along the Appian Way, and pass the place where St. Peter heard the voice of Jesus. Peter's young companion tells the party: "It was here the Lord spoke to us," to which his female companion, Lygia, replies "then this is a blessed place." Note Lygia's fair appearance and red hair.
 

 
 

The final scene is of St. Peter's staff. He inadvertently left it up against the oak on the Appian Way after hearing the voice of Jesus. Now we see it again with the light of god behind it. However, the staff has sprouted blooms and leaves. In other words, it has become a tree. Were the film makers attempting to emphasize something important about the staff and tree at the very end of their movie? After all, what is the rod or staff that has serpentine vines coiled about it?
 

 

 

In another important scene, hero Marcus Vinicius, Tribune of Rome, rides triumphantly into the great city after returning from successful conquests in the East. He salutes Emperor Nero and is literally "crowned" with thorns, that is, with laurel leaves. (Here for more information.)

 

Maniac Crusader and Templar, Godfroi de Bouillon
crowned with thorns.

 

These examples come from a few scenes in a mere four epic films. We could analyze hundreds of movies in the same manner to gain profound insight into the truth about the pagan origins of Judeo-Christianity. For instance, in the movie Star Trek V: The Final Frontier, when the protagonists are seconds away from an encounter with a Jehovah-like god, they are first surrounded by ithyphallic pylons that erupt violently from under the earth to enclose them. These stones appear identical in form to those erected by the ancient worshipers of Priapas, Bel, Cronus, Yahweh, and other Earth gods. Is it just by chance that the movie makers decided to use these time-honored images? We don't believe so.

In the movie, the protagonists finally locate "God" at the very center of the universe, that is, at "Galactic Center." Many nations and races have elaborate myths and legends that pertain to this region of space.

The gods and shaman of the Maya, for example, had to ascend a "tree" to reach the door in the center of the galaxy, whereas in Egyptian myths, the god or hero travels on a barque (boat) to the location. Of course, the phrase "center of the galaxy or universe" may subtextually refer to the circumpolar region.

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Important Research

Symbolism of the Halo
http://theartofoneness.blogspot.com/2008/10/halo.html

Johannes Bureas (Connections Between Nordic and Hebrew)
http://www.redicecreations.com/article.php?id=244

The Burning Bush
http://en.wikipedia.org/wiki/Burning_bush

John Allegro
http://johnallegro.org/

Allegro's Sacred Mushroom and the Cross
http://johnallegro.org/Allegro-SundayMirror.htm

The Borborites
http://en.wikipedia.org/wiki/Borborites

Dr. Stephan Borhegyi
http://www.mushroomstone.com/partibreaking.htm

Gnostic Media
http://gnosticmedia.com/

Ambrosia Society
http://www.ambrosiasociety.org/index.html

The Sacred Mushroom (Terence McKenna)
http://www.youtube.com/watch?v=2Yw2nrHcock

Mary Magdalene in Art
http://witcombe.sbc.edu/davincicode/magdalen-life-art.html

Plant Symbolism in Christian Art
http://arthistory.suite101.com/article.cfm/plant_symbols_in_christian_art

Plant Symbolism and the Virgin Mary
http://www.oldandsold.com/articles22/madonna-2.shtml

The Great and Holy Myrrh-Bearer
http://orthodoxwiki.org/Mary_Magdalene

Spirit of the Trees
http://www.spirit-of-trees.net/

Magnificent Trees
http://www.neatorama.com/2007/03/21/10-most-magnificent-trees-in-the-world/

The Ancient Yew
http://www.ancient-yew.org/

The Yew: A History
http://www.whale.to/a/hageneder_b.html

The Yew Tree
http://www.yewshamanism.com/home.html

The Golden Bough (Frazer)
http://www.sacred-texts.com/pag/frazer/

Bulfinch's Mythology
http://www.sacred-texts.com/cla/bulf/

Crown of Thorns
http://en.wikipedia.org/wiki/Crown_of_Thorns

Agony in the Garden
http://en.wikipedia.org/wiki/Agony_in_the_Garden

The Lost Word
http://www.thelostword.dk/index3.htm

Protoevangelium of James
http://en.wikipedia.org/wiki/Protoevangelium_of_James

Red Hair
http://en.wikipedia.org/wiki/Red_hair

Queen Boadicea (Red Haired Queen)
http://en.wikipedia.org/wiki/Boudica

The Red-Haired Tocharians (Toc Aryans)
http://en.wikipedia.org/wiki/Tocharians

Teshub of the Hurrians
http://en.wikipedia.org/wiki/Teshub

Illuyanka the Serpent
http://en.wikipedia.org/wiki/Illuyanka

The Serpent Vritra
http://en.wikipedia.org/wiki/Vritra

Pythia and Delphi
http://en.wikipedia.org/wiki/Pythia

The Aesir
http://en.wikipedia.org/wiki/%C3%86sir

Horgalles
http://en.wikipedia.org/wiki/Horagalles

Masonic Street Geometry (Astana)
http://www.youtube.com/watch?v=Yc441C-jKd4

Masonic Street Geometry (New York)
http://www.redicecreations.com/article.php?id=7828

Saharasia: The 4000 BCE Origins of Child Abuse, Sex-Repression, Warfare and Social Violence

Interview with James DeMeo