phoenix rising

The Great Fire of 1666 devastated London, destroying over 13,000 buildings. What is less widely known, however, is that occult beliefs prevented an otherwise manageable outbreak from being extinguished. This is confirmed by first-hand accounts of Londoners whose belief in the prophecies of Mother Shipton and Nostradamus, each of whom was thought to have predicted the catastrophic fire, led them to feel disempowered and unworthy of extinguishing the fire and thus saving the city from its destiny. Out of the ashes came a vision of a New Jerusalem, masterminded by the Freemason and architect, Christopher Wren, who drew on the occult traditions of the Kabbalah, and the tree
of life in particular, in addition to the sacred geometry of the Old Testament. Wren reintroduced the hallowed number of 2,000 cubits, or roughly 2/3 of a mile, which represented the distance from the Mount of Olives to Jerusalem (the furthest a Jew was allowed to walk during the Sabbath), and proposed that many of London’s newly-constructed buildings be set 2,000 cubits apart.
Foremost amongst Wren’s impressive, occult inspired designs is Saint Paul’s Cathedral, which not surprisingly is aligned 2,000 cubits from Temple Bar to the West and 2,000 cubits from St Dunstan’s in the East. Miraculously, the stunning edifice survived the bombings of a world war, and it is no wonder that Prime Minister Winston Churchill addressed his staff each morning with the pensive question; “Is Saint Paul’s still standing?” Poignantly, Saint Paul’s is where Wren is buried. Fortunately for all, the fabulous monument still stands like the esoteric beacon it was always intended to be. Other buildings erected after the fire, such as the Monument and Nelson’s Column, were either designed with occult-inspired dimensions or aligned to the solstices. Further, Wren’s student Nicholas Hawksmoor followed in the occult tradition by placing Egyptian obelisks on top of churches, forming, in the estimations of some, a pentagram on the ground across London. The tradition of creating buildings with occult dimensions had been re-born and continued in
later periods of development, such as the nude, winged statue of Anteros, the Greek avenger God of requited love, erected in Piccadilly Circus (left) in 1892, and which was originally orientated in the direction of Parliament, presumably to send ‘love’ and to produce greater
synergies within government.
     King George III (1738-1820) was a remarkable man and one of England’s many occultminded kings. In 1769 George III anxiously awaited the completion of an alchemist observatory in the London Borough of Richmond upon Thames. In commissioning the work, George III was creating his personal observatory and meridian, despite the fact that the official and Royal Observatory – and meridian, the naval of the country – had been established in Greenwich a hundred years earlier. The King was passionate about astronomy and instructed his architect, the renowned occultist Sir William Chambers, to complete the work in time to view the transit of Venus, which occurred that year on 3
rd June.
Meridians have existed since ancient times. While the placement of a meridian is arbitrary, its function is quite specific: to project an imaginary line across earth’s surface, stretching from the North Pole to the South Pole, esoterically connecting all locations within a given longitude. In the case of George III, he projected his own meridian straight down the serpentine Thames, a stunning riverside landscape, rich in history and renowned for its visionary inhabitants, innovators such as J M W Turner, Alexander Pope, James Thompson, Horace Walpole, David Garrick and William Hogarth,to name a few. The Meridian was special, for it intersected sacred sites along the way, which were part of what George envisaged as a new Arcadia; a diamond in the rough – a paradise amidst the urban chaos of London.

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