Forbidden Secrets of the Labyrinth - Part 6

The Awakened Ones, The Hidden Destiny Of America, And The Day After Tomorrow

By Mark A. Flynn

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PART 6 - From The Pediment To Oedipus Rex: The Occult Gospel Written In Stone

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The Palladian structure that uses the golden triangle is known in classical architecture as the pediment and is supported by columns or pillars. Pediments most commonly either have the two halves of a golden triangle set side by side or consist of two Fibonacci triangles. The area inside the structure is known as the tympanum. The pediment was used in ancient Greek temples and earlier by the Phrygians in Anatolia.

The word “pediment” comes from the Latin pedis, meaning “foot.” The Latin suffix ment relates to “a means of a place, state, instrument, or agent of action.” The related form, menti, from the Latin mens or mentalis, is the intellectual faculty of the mind or memory.[ii] Combined, “pedi” and “ment” would make the meaning of “pediment” literally “the action at the foot.” The words for doing something quickly (expeditious) or being restrained (impediment) use the idea of either freeing or restraining the feet. 

                                                                                                                                    

The meaning and identity of who does the “action at the foot” is described in the Genesis account of God cursing the Nachash:

And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel.” (Genesis 3:15, emphasis added)

In ancient Greek temples, the area inside the triangle of the pediment, the tympanum (from the Greek: typtein, “to beat or strike” ), which can be related to the idea of the noisy Korybantes mentioned in the Theogony present at the cave of Amalthea, often contained elaborate depictions of the god or gods to whom the temple was dedicated. In modern Palladian architecture, various symbols or scenes are used. Masonic temples commonly use the compass and square, or simply the letter G, which is said to stand for “geometry under the Great Architect of the Universe,”[iii] or the third letter in the Hebrew alphabet, gimel (ג).

The symbolism behind this architecture is obvious when one examines the meaning of the form of the structure and the words used to describe it. The nature of the knowledge or institution represented by the building or the temple is related to the curse that God gave the Nachash in the garden. It is a rejection of the curse and a reversal of the idea that the serpent would strike at the foot of Man-God. He would now strike at His head. This reversal is contained in the institution or the religious system the structure represents. It is from where the “strike” referred to in Genesis 3:15 will manifest itself. It is the literal representation of rebellion to God’s will and symbolizes both the separation brought about by the interjection of evil via the “light bringer” in the garden and the illuminated concept of where to look for the reconciliation of that separation, the symbol that commonly resides above or in the middle of the triangular pediment or through its entrance. Buildings with Palladian architecture represent the institution and power of the kingdom of the Nachash.

The quintessential example of Palladian architecture, the Parthenon of Athena, is the expression of the parthenogenesis of Eve (explained in chapter 3 of the upcoming book Forbidden Secrets of the Labyrinth). Eve became the first to know good and evil though her own act of willful disobedience. The golden-ratio geometry of the pediment expresses the genealogical, numeric progression of parthenogenesis. The descriptive terms used in the structure depict the esoteric symbols representing the plans of the Nachash after his interruption of paradise as well as his hatred for God. 

                                                                                                                                    

Notice that the entry in Genesis in which God curses the subtle, bright angel happens to be in chapter 3, verse 14:

And the Lord God said unto the serpent, Because thou hast done this, thou [art] cursed above all cattle, and above every beast of the field; upon thy belly shalt thou go, and dust shalt thou eat all the days of thy life. (Genesis 3:14)

It is not a coincidence that 3:14 stands out as related to ratio of the radius and circumference of a circle, pi (π), for here is where everything changed. Earth and heaven were united; God walked with man. After the parthenogenesis of Eve, the pillars separating heaven and earth were set in place. God left the presence of humanity, and the kingdom of the Nachash was established. The columns separating the pediment from the ground represent the separation of heaven and earth. In Palladian architecture, a path is shown to the location of the knowledge that will eventually eliminate the separating columns, as one entering the structure must first pass between the pillars to the inner sanctum, where the knowledge is kept. God will join heaven and earth once more, completing the circuit or circle that began in Eden. Before this occurs however, the Nachash plans a counterfeit joining.

The Bibliotheca

The Bibliotheca, which means in ancient Greek “library” or “collection,” was a summary collection from 279 volumes of classic works said to have been written by Apollodorus of Athens, who lived around 180 BC. Many of the references in this book are taken from it. Scholars have argued that Apollodorus could not have been its author, since it cites individuals who were born many years after his death, and so the term “pseudo” was added to the name as the writer of the Library. Today, no complete versions exist.

The patriarch Photius I of Constantinople (AD 810–893)[iv] was known to have been in possession of the complete work and used it in his writings. He understood its value concerning the tales in ancient myth:

Draw your knowledge of the past from me and read the ancient tales of learned lore. Look neither at the page of Homer, nor of elegy, nor tragic muse, nor epic strain. Seek not the vaunted verse of the cycle; but look in me and you will find in me all that the world contains.[v]

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