Saturday, October 22, 2011

Statue of Liberty... What You Do Not Know

The Statue of Liberty in New York harbor was presented in 1884 as a gift from the French Grand Orient Temple Masons to the Masons of America in celebration of the centenary of the first Masonic Republic.
She is holding the Masonic "Torch of Enlightenment". Also referred to back in the 1700's by the Illuminati Masons as the "Flaming Torch of Reason". The Torch represents the "Sun" in the sky.
The Statue of Liberty's official title is, "Liberty Enlightening the World".
The cornerstone of the statue records how it was laid in a Masonic ceremony.

Illuminati means to "bare light" one way to symbolize this is by carrying a torch. A torch sits on top of the Statue of Liberty, on top of JFK's grave, and on top of the tunnel where Princess Diana was killed.
Best selling author, Robert Bauval:
"The cornerstone for the Statue of Liberty was placed in a solemn ceremony in 1884 organised by the Masonic lodges of New York.
The Statue of Liberty, which was designed by the French sculptor Bartholdi and actually built by the French Engineer, Gustave Eiffel (both well-known Freemasons), was not originally a ‘Statue of Liberty’ at all, but first planned by Bartholdi for the opening of the Suez Canal in Egypt in 1867.
Bartholdi, like many French Freemasons of his time, was deeply steeped in ‘Egyptian’ rituals, and it has often been said that he conceived the original statue as an effigy of the goddess Isis, and only later converted it to a ‘Statue of Liberty’ for New York harbour when it was rejected for the Suez Canal." 

The goddess Isis is known by many names, including Juno. 

Below: Interestingly, the goddess Juno made an appearance on a Vatican coin in 1963 (notice her torch) during the period of the alleged Freemason Roncalli's Pontificate, the curiously named John XXIII, architect of the disasterous Vatican II.


Below: "The Illuminati" Enlightening the World (and keeping the rest of us in the dark) - Pre 9-11 picture, showing WTC towers & Statue of Liberty's Torch.

The Statue of Liberty, as a symbolic representation of the United States, is the image of the great harlot.
In fact, Scripture foretold that a woman representing wickedness would be erected and stand upon her own pedestal in "the land of Shinar" (Zechariah 5: 7-8, 11), a synonym for Babylon and thus the United States as the hub of the occult New World Order.
The Statue of Liberty- the Greek and Roman goddess Libertas - is a false light and a false deity.
The formal title of the statue is "Liberty [Libertas] Enlightening the World."
This is an anti-Christian declaration; Yesu Christ is the true light of the world (John 8: 12: 9: 5; 12: 46; cf., 3: 18-21).

The "New Colossus" is the name of a poem inscribed at the base of the statue.
The Colossus was Helios (Apollo), also known as Mithra the sun-god and Baal or Bel of the Babylonians.
He originated in ancient Babylon as Dagon (Dag: fish, and aun: sun).
Is the Statue of Liberty truly Libertas, or is it in fact a representation of Sol Invictus, the sun god?
The statue wears a crown of 6 sun rays like the ones pictured on images of Mithra and Helios.

As torch bearer, the Statue of Liberty is Lucifer, "the bearer of the light."
This is representative of Babylon.
The inhabitants of earth are "drunk with the wine of her harlotry" (Rev 17: 2).
Through her sorceries (Greek pharmakeia, the "use of, and administering of drugs") all nations are "deceived (Revelation 18: 23) and driven "mad" (Jeremiah 51: 7).
"Mad" is from the Hebrew word halal*, which is the root of heylel, which is translated "Lucifer" in Isaiah 14: 12.
Thus, it may be ascertained that by drinking the harlot's false teachings, the people become false lights, like Lucifer.

*[2. See entry 1984 in the Hebrew and Chaldee Dictionary in James Strong, The Exhaustive Concordance of the Bible, Vol. II. Appendix (New York: Hunt and Eaton; Cincinnati: Cranston and Curts, 1894), 33.]

Frédéric-Auguste Bartholdi


The sculptor who designed the Statue of Liberty, Frédéric-Auguste Bartholdi, was born into a well-to-do family in Colmar, France on August 2, 1834.
Bartholdi's father, a civil servant and prosperous landowner, died when the child was only two years old, so he was raised by his stern, possessive mother, Charlotte.

Bartholdi began his career as a painter, but it was as a sculptor that he was to express his true spirit and gain his greatest fame. His first commission for a public monument came to him at the young age of 18. It was for a statue of one of Colmar's native sons, General Jean Rapp, a leader of Napoléon Bonaparte's army. Even at 18, Bartholdi loved bigness. The statue of the general was 12 feet tall and was created in Bartholdi's studio, where the ceiling was only one inch higher. The statue established his reputation as a sculptor of note and led to many commissions for similar, oversized, patriotic works.

A man of his time, Bartholdi wasn't alone in his passion for art on a grand scale. During the 19th century, large-scale public monuments were an especially popular art form. It was an age of ostentation, largely inspired by classical Greek and Roman civilizations. Most monuments reflected either the dress or architecture of these ancient times, so the artistic style of the 19th century came to be known as "neoclassical." The Statue of Liberty would be patterned after the goddess, Libertas, the Roman personification of freedom.

But it was a trip to Egypt that shifted Bartholdi's artistic perspective from simply grand to colossal. The overwhelming size and mysterious majesty of the Pyramids and the Sphinx were awesome to the enthusiastic young Bartholdi. He wrote, "Their kindly and impassive glance seems to ignore the present and to be fixed upon an unlimited future."

In 1870, with the beginning of the Franco-Prussian War, Bartholdi served as a major in the French army in his hometown of Colmar. When the Germans annexed the entire Alsace region, making its residents German citizens, the reality of the word "liberty" took on a new, personal meaning for Bartholdi.
In time, France's Third Republic, would emerge out of the ruins of the Franco-Prussian War. Meanwhile, partially as propaganda to advance the cause of those who were seeking the creation of a French Republic, Laboulaye suggested that Bartholdi should travel to America.
In recalling his conversation with Laboulaye several years later, Bartholdi wrote: "'Go to see that country,' said he [Laboulaye] to me. 'Propose to our friends over there to make with us a monument, a common work, in remembrance of the ancient friendship of France and the United States. If ... you find a plan that will excite public enthusiasm, we are convinced that it will be successful on both continents, and we will do a work that will have far-reaching moral effect.'"
Bartholdi responded, "I will try to glorify the Republic and Liberty over there, in the hope that someday I will find it again here."
So Bartholdi was now to become a salesman. Armed with letters of introduction from Laboulaye to some of America's most influential men, Bartholdi sailed to New York in 1871.

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