by Goro Adachi
November 24, 2002
Etemenanki Website


Another Cipher?

On Oct. 22, I received an email message from 'Peter' who decided to contact me after reading Endgame I and II. He had an insight into the message encoded in the disk of the 2002 'alien crop glyph', i.e.:

Beware the bearers of FALSE gifts & their BROKEN PROMISES. Much PAIN but still time. EELRIJUE. There is GOOD out there. We OPpose DECEPTION. Conduit CLOSING (BELL SOUND)

It was the 'damaged word', "EELRIJUE," that Peter found curious:

...if this was created by some group of people, why would they encode the "damaged word"? I thought about discs and encoding and suddenly realized that this was the same reason as for encoding something defective on a CD-ROM or DVD: copy protection. You should not be able to get the information contained if you don't copy the "defective" parts.


Then I started looking at the frequency of the individual letters contained in "EELRIJUE.". I realized by analyzing the frequency of the individual characters and comparing that to the statistical frequency of vocals in several languages that whatever was contained (if it was clear text and not encoded) would be in English or (big surprise) French [...]


I fired up my trusty anagram generator. The English anagrams were not very promising, so I tried French and promptly found the phrase "lieu" [meaning 'place']. Now take the individual characters and look for their positions: L = 3, I = 5, E = 1, U = 7. Sorted this gives us: 1 - 3 - 5 - 7.

In other words:

E E L R I J U E .
1 2 3 4 5 6 7 8

Peter continued:

Interestingly these are the first four prime numbers but more interestingly this gives sense to the dot at the end: In mathematical terminology the dot can be interpreted as a command to continue the sequence which would lead us to 9 and 11. Remember 9/11 anyone?

Update (11/26): Actually this is not accurate. First, '1' is not technically a prime number. Second, '9' is not a prime number either. The numbers 1, 3, 5, 7, 9, 11... are, instead, the first sequence of odd numbers. And so in that sense, Peter's interpretation is still potentially meaningful.

Still, I must say I am not quite convinced that this is a valid cipher. It doesn't seem quite elegant enough. For example, "EELRIJUE" has three "E"s and thus it does not necessarily have to correspond to the number 1. And, perhaps more importantly, it has been pointed out that the damaged word may not be "EELRIJUE" as originally presented by 'Richard Brain'. There has been a lot of speculations as to what was actually written there, but so far we have no definitive solution to this little puzzle.

If Mr. 'Brain' is an 'insider', as I suspect he is, however, the 'mistake' he made in the original decoding may well be a clue in itself - thus there could still be valuable information contained in "EELRIJUE." And because of this, I felt Peter's secondary decoding should not be dismissed quickly.

What made me hesitate to brush aside Peter's insight, additionally, was the fact that "EELRIJUE," or "lieu"/"place," comes right after the word "time" in the 'alien' message; 'time' and 'place' are obviously a coherent coupling. Also, there was a curious 'coincidence' produced by the allusion to prime numbers (and '1', a quasi-prime number ) in the code (i.e. [1], 3, 5, 7...).


If we recall, the alien glyph very coherently interacts with the book/film Contact as explained in Endgame II, and it just happens that in Contact the very first detection of an alien message is made through the use of prime numbers encoded in radio waves.

The '9-11' connection Peter pointed out was also curious; as, obviously, the '9-11' event is a major theme in the 'endgame' matrix. Notice, for instance, that the modern 'Tower of Babel' (i.e. the WTC towers) in the modern 'Babylon' (i.e. NYC) nicely parallels our 'stargate' theme (prominently featured in Contact also) for 'Babylon' means 'gate of the god'.

Furthermore, seeing the relevance of France suggested by the French word "lieu," Peter wondered if Nostradamus - a French prophet - could be somehow entangled in all this.


He wrote:

...when using 9 and 11 to index Nostradamus, this would give us Century 9, Quatrain 11:

Quatrain 9, 11
Le iuste mort a` tort a` mort l'on viendra mettre
Publiquement du lieu esteint:
Si grande peste en ce lieu viendra naistre,
Que les iugeans fuyr seront contraints.

Wrongly will they come to put the just one to death,
In public and in the middle extinguished:
So great a pestilence will come to arise in this place,
That the judges will be forced to flee.


This quatrain contains the word "lieu"... [And also] here you have some things also contained in "Endgame". The virus (pestilence, bio-weapons) [...].

The 'plague'/virus association has some deep and very disturbing implications which will be discussed in Endgame IV. Here, I will only point out that the devastating epidemic of the Black Death that killed off a fourth of Europe's population was back in the 1300s,[1] which may be correlated with '1357', the corresponding numbers for "lieu" in Peter's cipher.

The 1300s was also when the Knights Templar, the protectors of the Holy Grail based in France, were outlawed and persecuted. This is interesting in that the Grail - in conjunction with other sacred 'heavenly stones' - is a major theme we have going with the 'Endgame' and it was interpreted as a 'cosmic virus' in Endgame II.

More remarkably, '1357' was the exact year when the 'Shroud of Turin' was publicly displayed for the first time on record - and, again, this was in France (Lirey). The significance of this additionally is that the Shroud and the Grail are sometimes considered one and the same. Even on the surface, both relics are directly associated with the death of Jesus. And, like the Grail, the Shroud was once possessed by the Templars.


As I wrote in my Rex Deux article:

Indeed, the Shroud first surfaced soon after the suppression of the medieval warrior-monks, the Knights Templar, who were accused, among other things, of worshipping a strange head - which may well have been the head portion of the Shroud. The first known owner of the relic, Geoffrey de Charney, is in fact thought to be the nephew of Geoffroi de Charney, the Templar preceptor of Normandy who was burned to death with Jacques de Molay, the last Templar Grand Master.


And some have theorized, with good reason, that the Shroud was actually created by Leonardo Da Vinci who has been claimed to have been Grand Master of the Priory of Sion, supposedly the parent organization behind the Templar order...


[T]he Templar knights in the Grail lore are depicted as the guardians of the Holy Grail/Blood Royal which, in theory (based on "heretical" traditions), stemmed from the dynastic 'Sacred Marriage' between Jesus and Mary Magdalene, it may be inferred that the Shroud is in a sense a form of the Grail which in turn represents the hidden messianic succession.

(The head portion of the 'Shroud of Turin')

Shrouded Wisdom

The Turin Shroud is one of the most important and controversial Christian relics associated with Jesus. It is claimed to be the linen cloth in which Jesus was supposedly wrapped after the crucifixion, and imprinted on it is a seemingly photographic image of "Jesus." Many Christians believe that the image was produced by a miracle of some kind - Jesus was, after all, is their miracle-making Messiah.

The Church, however, is not so crazy about the Shroud. Why?


For starters, the relic has historically been associated more closely with the 'underground' Gnostic tradition championed by the Templars and the like. The Church and Gnosticism are - while both stemming from messianic tradition - bitter enemies and indeed it is not an exaggeration to state that the Church tried to exterminate all 'heretic' Gnostics just as the Nazis tried to eradicate all Jews. The Shroud, as well as the Grail, revered by the Gnostic 'underground stream' may therefore represent something of a relic infected with a "virus" for the oppressor, the Church.

There is also the popular theory, supported by carbon-dating, that the Shroud was actually created around the 1300s, the very period when the Shroud first surfaced officially. What's more, some have postulated (see, for in stance, Turin Shroud by Lynn Picknett & Clive Prince) that it was Leonardo Da Vinci who made the Shroud, and that the imprinted image is none other than Leonardo himself. And Leonardo, one of the greatest geniuses in history, was likely more than a little affiliated with the "heretical" tradition (claimed to be Grand Master of the Priory of Sion).

It almost seems as if the Shroud, as well as the Grail, is a form of the 'Trojan Horse' sent into Catholic Christendom, waiting for its time to shake up the institution from inside by revealing the explosive truth.

The notions of a virus, hoax/Trojan Horse, the Grail, the fall of the Church, are all key themes attached to the 'alien' crop glyphs as discussed in my previous Endgame articles. The implication being that the Shroud is indeed emerging more and more relevant to the 'endgame' matrix, thus corroborating - accidentally or by design - Peter's decoding of the 'alien' message.

The next discovery finally solidifies the Shroud's place in all this.

The design of the 2002 alien glyph, as we recall from Endgame II, was most likely borrowed from the 'Watcher' website, as the comparison below demonstrates.

It turns out that there is another (original or updated) version of the graphic in which the 'disk' is replaced by a rotating tetrahedron. And since the tetrahedron is central to the hyperdimensional 'message' of Cydonia/Mars, this has the function of nicely reinforcing my contention that the alien crop glyph has a lot to do with Cydonia and hyperdimensional physics.

But more importantly, the 'Watcher' website has this 'alien-tetrahedron' graphic hyperlinked to a web page that advertises an encryption program called "InterCypher" (created by the same guy behind "Ultra-Tech").


And on the page is prominently featured a screenshot of the 'InterCypher' encryption program, shown below.

In the two windows are shown the plaintext (i.e. before encryption) and ciphertext (i.e. after encryption). When I read the plaintext in the upper window, I was shocked... because it was clearly discussing the SHROUD OF TURIN!

Consider the implication: this InterCypher program was directly linked to the alien-tetrahedron logo, a slightly altered version of the 'Ultra-Tech' graphic which in turn was closely copied by the 2002 alien crop glyph; just as the alien glyph was an encrypted message, InterCypher produces encrypted messages; and InterCypher's demonstration image yields the notion that the original message before encryption deals with the Turin Shroud, or in other words, that the alien crop glyph, when decoded, would have something to do with the Shroud!

This is ingenious stuff (whoever is really responsible). And it doesn't stop here, of course.

As discussed by Ian Wilson in The Shroud of Turin, for example, there is an suspected alter ego of the Shroud called the "Mandylion." This relic looks similar to the Shroud and nicely fills the chronological gap left by the Shroud. And the discovery of the Mandylion in the 6th century happens to coincide with the emergence in art of the typical image of Jesus as reflected in the Shroud. Even if not literally the same relic, it is apparent that the Shroud and Mandylion are to be associated with each other.

The Mandylion of Edessa


Interestingly, it is recorded that the Mandylion arrived in Constantinople on August 15 (944), and August 16 became the relic's official feast day. This is amazing - if we recall, it was around August 15 that the 2001/2002 alien glyphs suddenly appeared in a crop field in England!

At this point, then, the 'signal' has become very strong, insisting that the 'alien' message somehow has to involve the Turin Shroud. Indeed, it is no longer important whether or not Peter's decoding of "EELRIJUE" is valid, as the case for the relevance of the Shroud can be effectively made independent of it.


Shadow of Baphomet

The new revelations above inevitably imply that the Shroud of Turin and the issue of Cydonia, prominently emanating from the 'alien message', are to be integrated.


Some readers may be having a deja vu right now, because this connection was already alluded to in my Rex Deux article, written back in March 2002:

...the head imprinted on the Shroud might relate to the more or less similar-looking 'Face on Mars'. This is clearly a silly notion -- except there are various clues that are supportive of it. This leads into an area that overlaps my 'other' research that I do not want to discuss yet. But I'll just mention two curious coincidences: the Shroud is called sydoine/sindone/sindon in other languages ('Cydonia' anyone?) [...]


This is only a small hint. I don't want to open Pandora's Box yet...  But I will say that Mars/Cydonia anomalies and the Grail-Ark-Shroud-Fisher King theme are to merge in a startlingly direct and elegant way.

So I did actually anticipate this new development facilitated by the alien glyph.


The idea was already being processed in my "black project," and as stated in the above excerpt, I was not planning to discuss it in any depth any time soon. Now, however, the context is such that, as someone who advocates the importance of truth and the advancement of human knowledge, I more or less feel obligated to "declassify" some pertinent findings in this article. (Why use military terminology like this? Well, it's just fun)

But before getting into that, let us look at the humorous 'Face on Mars'/'llama on Mars' picture discussed in the first Endgame article.

We recall that this picture was implicated in the apparent Odyssey 'conspiracy'/'game' surrounding the Cydonia situation at the present time.


What I did not bring up previously was the doctored picture's potential allusion to something called 'Baphomet'.

The first time I saw the picture - after I stopped laughing - I detected a curious, subtly embedded shape. It seemed to me that the llama's ears and the shadow of the animal's head were together forming a symmetric and somewhat sinister configuration.


After wondering for a minute, I came to the realization that the source of the aura of malevolence was generated by the fact that the shape was closely resembling that of Baphomet, a "demonic" creature, with a goat-like head, associated with wisdom.


Baphomet is often envisioned as the embodiment of the pentagram, and so, naturally, people usually associated it with 'Satanism'.

There was a little clue here that suggested to me that this was not wholly a product of mere coincidence. For instance, the pentagram is geometrically inseparable from a 'sacred' mathematical value called phi, also known as the 'Golden Ratio' (1:1.618...), which has also been found encoded in the 'geometric message' of Cydonia (the "Rosetta Stone" of which is the 'D&M Pyramid' model, a pentagonal structure). Finding an allusion to the pentagram in a picture associated with Cydonia, therefore, made a rather coherent sense.

I did not bring this issue up previously as I felt the correlation was a little too obscure. Now, however, the Baphomet association emerges as a more meaningful piece of the puzzle in the evolving context - because Baphomet is often considered analogous to none other than the Shroud of Turin!

Like the Shroud, the head of Baphomet is said to have been revered by the Knights Templar, as written in Holy Blood, Holy Grail:

Subjected to interrogation by the Inquisition, for example, a number of knights referred to something called "Baphomet" - too many, and in too many different places, for Baphomet to be the invention of a single individual or even a single preceptory... It would appear that Baphomet was regarded with reverence, a reverence perhaps tantamount to idolatry... In any case, we found indisputable evidence for the charge of secret ceremonies involving a head of some kind.


Indeed, the existence of such a head proved to be one of the dominant themes running through the Inquisition records... The head may also be connected with the famous Turin shroud, which seems to have been in the possession of the Templars between 1204 and 1307, and which, if folded, would have appeared as nothing more than a head...


[R]ecent speculation has linked the head, at least tentatively, with the severed head of John the Baptist; and certain writers have suggested that the Templars were "infected" with the Johannite or Mandaean heresy, which denounced Jesus as a false prophet and acknowledged John as the true Messiah.[2]

Note that Baphomet, as well as the Shroud, seems to exert its significance specifically as a 'head'. And this reinforces the coherent 'message' of the 'llama on Mars' picture, since it is the head of the animal that produces the allusion to Baphomet; and its position near the 'Face on Mars', also a head, seems to be a subtle way of telling us that this Martian 'head' is to be regarded as a form of Baphomet/Shroud as well!

It is worth noting that researchers have noticed a 'severed head' effect of the Shroud, making the head seemingly detached from the rest of the body.[3] And it has also been pointed out that the head of the Shroud is proportionally too small for the body.[4] This brings to mind the Great Sphinx at Giza, which too has a head too small for its body, as noted by various researchers.

This potential connection with the Sphinx becomes more meaningful when we consider the strangely insistent link between the monument and Mars:

  • The name 'Cairo', the Egyptian capital situated adjacent to Giza, derives its name from Al Qahira denoting Mars (though more literally meaning 'the victorious').

  • The ancient Egyptians called Mars 'Horus of the Horizon' (Horakhti) which was the very same name given to the Great Sphinx. Mars was also called 'Horus the Red' (Hor Dshr), and for a long time the Sphinx was painted red.

  • Just as the Great Sphinx is the hybrid of man and a lion, Mars is Nr-Simha, the 'Man-Lion', in ancient Hindu myths.

  • The term 'pyramid' derives from the Greek pyr meaning 'fire' (Mars, the 'fire planet' is often referred to as pyroeis in Greek).

More startlingly, there is the recent discovery/confirmation made by Richard Hoagland, that the 'Face on Mars' has a Sphinx-like dual nature - one side representing the head of a lion, and the other side representing a hominid head.

By inference, then, the head of Cydonia may well be a head of Sydoine, i.e. 'head of the Shroud'.


By extension, it may also be inferred that the head of Cydonia/Sydoine is a form of the Holy Grail.


Sangraal, the Holy Blood?

The Grail, an alter ego of the Shroud (and vice versa), contains numerous layers of symbolism that are not visible on the surface. The lore of the existence of the sacred relic associated with the death of Jesus - applicable to both the Grail and the Shroud - intimates some form of continuation of the Jewish king.


The nature of the continuation is actually encoded in the original term for the 'Holy Grail', Sangraal, as it can also be translated as 'Blood Royal'. In other words, as first popularized by Holy Blood Holy Grail, the Grail/Shroud may actually represent a messianic bloodline stemming from 'Jesus' (though Jesus himself may well be a representation of something else).

The bloodline of Jesus?


But he wasn't even married, you might argue. Of course, Jesus was not sexually active - that is, according to the counterfeit messianic tradition promoted by the Church. True, the Bible does not say anything about Jesus having a son or a wife, but it is also true that the Bible says nothing to preclude the possibility either. The subject of Jesus' marital status is something nonexistent in the Gospels, and this is not necessarily indicative of Jesus' celibacy.

Granted the cultural background as witnessed… it is highly improbable that Jesus was not married well before the beginning of his public ministry. If he had insisted upon celibacy, it would have created a stir, a reaction which would have left some trace. So, the lack of mention of Jesus’ marriage in the Gospels is a strong argument not against but for the hypothesis of marriage, because any practice or advocacy of voluntary celibacy would in the Jewish context of the time have been so unnatural as to have attracted much attention and comment.[5]

But who could possibly have been Jesus' wife?


The likely answer here is Mary Magdalene – the enigmatic woman who is portrayed in biblical writings as a close companion of Jesus. She is also the only woman named in all four Gospels besides the Virgin Mary. One could at least safely say that if Jesus were indeed married, Mary Magdalene would most naturally fill the role of his wife. (It has been suggested that the wedding feast at Cana described in the New Testament may well be the wedding of Jesus and Mary Magdalene.)


In fact, unbeknownst to most Christians today, the idea of Jesus having an intimate relationship with Mary Magdalene is really nothing new but an idea that was already quite prevalent in the early days of Christianity.

Obviously, this is not something most Christians want to hear. It is like telling your child for the first time that Santa Claus is not real (actually it's exactly that...). After all, the mainstream, exoteric view of Mary Magdalene promoted by the Church is that she was a prostitute saved by Jesus. This is largely a misconception, however.


Even though this portrayal is accepted virtually as a 'fact' today, it is in reality merely an "official" interpretation; the New Testament actually never states that she was a prostitute. Besides, the term 'prostitute', as hierodulae, would refer to the 'sacred women' of the temple of the Goddess who performed a ritual practice resembling the anointing of Jesus by Mary of Bethany (often equated with Mary Magdalene) described in the Gospels.[6] And tellingly, in ancient times, anointing of the king was a ritual – called the 'Sacred Marriage' in Greek – performed by a royal bride.[7]

What's more, the strong parallel often noted between Jesus and Osiris, the ancient Egyptian god of the dead, reinforces this idea of Jesus and the Magdalene being in a intimate relationship, because Osiris' wife, Isis, is considered identifiable with Mary Magdalene.

According to mythology, Osiris was murdered by his brother Seth, and was then miraculously brought back to life by Isis (still childless at the time) so that she could receive Osiris' seed and give birth to Horus. Applying this element to Jesus' death and resurrection, it becomes very natural to have Mary Magdalene playing the role of Isis. Indeed, the Magdalene is not only a prominent figure in the episodes of the Crucifixion and the subsequent resurrection, she is even recorded as the very first one to witness the resurrected Jesus![8] This, therefore, strongly suggests that Mary Magdalene, following in the footsteps of Isis, was impregnated by Jesus around the time of the Crucifixion.

We see here a potential motivation behind the Church's paranoid hostility towards the Gnostics and the Magdalene (or womankind in general). It may well be linked to the threat the 'Blood Royal', i.e. descendants of Jesus, would pose for the authority of the Church.


This is because for the Church to wield power over the masses, Jesus needs to be as divine as possible and gone from the earthly realm so that it can position itself between the people and the divine whereby it becomes possible for the Church to pretend to speak for the heavenly authority. The mere existence of Jesus' descendants would greatly undermine this illusory ecclesiastical power.


The Church, as its history clearly shows, wants power more than it does the truth. And so it has apparently done its best to keep the existence of the 'Blood Royal' secret from the general public through, for example, the notorious Inquisition. (How ironic is it that those claiming to be the worshippers of Jesus probably are in reality Jesus' worst nightmare?)

Now, I must qualify the above discussion by stating that it is likely only one level of meaning encoded in the biblical tradition. It may still be a coded story itself. And, quite frankly, we should not even presume the literal existence of an messianic individual called Jesus as described in the Bible. Chances are, 'Jesus' himself is a composite character containing aspects of various historical figures.


(Ancient Egyptian kingship is actually a big piece of puzzle in this, but we won't go into that here.)


Beauty and the Beast

Here is where I need to disclose some of my "black project" findings - meaning there will be some profound implications. This will reveal what I meant when I wrote,

Mars/Cydonia anomalies and the Grail-Ark-Shroud-Fisher King theme are to merge in a startlingly direct and elegant way," back in March.

First, note that both Jesus and Mars are associated with Horus, the son of Osiris and Isis. (The Red Planet was called 'Horus the Red' in ancient Egypt.) Horus being the embodiment of the 'Blood Royal' (stemming from the union of Osiris/Jesus and Isis/Magdalene), this lets Mars analogous to the Grail. The Jesus-Horus equation, on the other hand, seems paradoxical since Jesus has already been compared to Osiris, Horus' father.


However, this is not necessarily incongruent if we view 'Jesus' as representing the bloodline itself. Even in ancient Egypt, the distinction between Horus and Osiris was not so clear-cut - and so the pharaoh, the living Horus, was considered to become Osiris upon death, and such. Indeed, according to the foregoing scenario, the birth of Jesus' child coincides with the death of Jesus as if to paint a more resurrection/rebirth type transition.

The same kind of overlap is observed for Mary Magdalene and the Virgin Mary (Jesus' mother) also. Both, for instance, are considered analogous to Isis. The perceived prostitute and the virgin, while seemingly at the opposite ends of the spectrum, are actually two sides of the same coin. As writer Ean Begg has expressed, 'the Ark/Grail is the symbol of the virgin, whore, wisdom…',[9] and Isis was correspondingly a harlot and a virgin at the same time. Apparently, the Virgin Mary was also sometimes used as a 'coded' reference to Mary Magdalene, the latter being a controversial figure for the Church.[10]

The basic implication pertinent here is that Mars-Horus is connected with the Grail tradition involving Jesus and Mary. What solidifies this notion is the fact that, according to Greek tradition, the sphinx - an alter ego of Horus/Mars - was a mixture of Leo's body and Virgo's head;[11] or to use another terminology, the Sphinx is a combination of Horus and Isis, or Jesus and the Virgin!


Complementarily, it just happens that Leo and Sirius/Venus, the star of Isis-Mary, were both associated with Virgo in ancient tradition, and the early Arabs even visualized a huge lion in the constellation of Virgo.[12]


Note that Jesus himself, like Horus, is clearly a leonine figure in that he was a direct royal descendant of King David, the 'lion king' (the Davidic tribal symbol was the lion).

The Sphinx and Mars, therefore, represent the sacred union of Jesus and Mary, or Osiris and Isis. In other words, the Sphinx/Mars is the Grail, the Blood Royal, and the Shroud. Furthermore, in light of our foregoing discussion, the Martian counterpart of the Shroud, i.e. the 'Face on Mars', would become a monumental embodiment of the Jesus-Mary union.

The leonine element found in the Face is already in accordance with the 'lion king' aspect (i.e. Jesus-Horus) of the Grail union; and the pentagram/Baphomet already associated with the Face resonates with the Mary aspect as the pentagram is traditionally associated with the Isis-Magdalene-Venus complex. But here is a new discovery revealed for the first time anywhere. This will begin the process of bringing the whole field of Cydonia investigation into a new dimension, and I think a lot of the researchers will not be able to keep up with the shift and will soon find themselves 'out of the game'.

It turns out that in the 'Face on Mars' is clearly encoded the sacred unification of Sangraal - even more directly than the Sphinx!

The process of this particular discovery began in the spring of 2001 when NASA released a new picture of the 'Face on Mars' taken by Mars Global Surveyor. The first reaction, for the most part, was one of disappointment – the image of the 'Face', the clearest one to date, showed a rock formation only slightly resembling a hominid head.


After reading Richard Hoagland's analysis on on the image, however, I was compelled to agree with his view that the monument is half-man and half-lion. I found this exciting, and decided to show the mirrored images to my brother, expecting him to see the same depictions. Instead, he saw something quite different.

Let me quote from my second book (a work in progress):

[E]ven to him the lion head was clearly visible. But when I showed him the mirrored hominid face, his response was certainly not what I had expected. To him, it was a depiction of, not a head, but a human torso.


"You see what?" I reacted with puzzlement. "It is a body," he repeated, "of a human with arms, and it's missing its head and legs."


In confusion, I took another look at the image – and indeed, there it was, a human torso. It was rendered with apparent nipples, a navel, and hands clasped at the genital area. What caught my attention next were the seemingly accentuated breasts and the swollen belly.


I inevitably wondered:

"Is this a depiction of a pregnant woman?"

Then it hit me. This was the body of Virgo, the Virgin, and it was pregnant with Horus-Jesus! Indeed, just as is the torso image, Virgo traditionally "is a headless constellation, the stars marking the head being very faint."[13] [...]

In other words, the 'Face on Mars' produces a lion head and the pregnant body of Virgo - i.e. the mirror image of the Sphinx, which traditionally has Virgo's head and Leo's body! (It must also be recalled that the cosine of the Giza latitude equals the tangent of the Cydonia structures' latitude – both equaling e/pi.)

The fact that Baphomet - i.e. the Shroud, and by extension the Face - is said to be androgynous also meshes perfectly with this Leo-Virgo fusion.

And this brings up another issue: the Virgin element for the Shroud. The Grail, Face, Sphinx, and Baphomet are all expressions of the fusion of Jesus-Osiris and Mary-Isis, or God and Goddess. The Shroud clearly being another manifestation of the same concept, as we have seen, it has to be inferred that the imprinted image of 'Jesus' should include a reference to the female counterpart as well.

Surprisingly, it appears that this is indeed the case.

First, we see that the hand position of the Shroud person, covering the genital area, echoes the apparent configuration of the 'Virgin' depiction in Cydonia. And aside from this sex-hiding act, we notice that the body of the Shroud person is actually quite feminine.


No one seems to have caught this before, but without the awkwardly placed head, the first impression people would get is that this might be a woman's body - with delicate hands, a seemingly wide hip, and accentuated breasts!


The startling implication here is that the Shroud image seems to be a composite of a female body and a male head - just like the Martian Face/Shroud! As if this weren't enough, we also have the theory presented in Picknett and Prince's Turin Shroud that the Shroud head is actually that of Leonardo Da Vinci.


Note that with the name "Leo-nardo," it may be said that the Shroud person has "Leo's head" - just as does the Martian Shroud.

Adding more support to the idea is the fact that Leonardo, sometimes viewed as the 'Keeper of the Grail', has a special connection with John the Baptist, the forerunner of Jesus, who was decapitated (thus the 'detached head' link).


The Leonardo-John association is addressed by Picknett/Prince:

The only surviving sculpture that involved Leonardo in its making is the statue of John the Baptist in the Baptistry in Florence... And Leonardo's last painting was 'John the Baptist', showing him with the same half-smile as 'The Mona Lisa' [by Leonardo], and pointing straight upwards with the index finger of his right hand.


This in Leonardo's work is a sign always associated with John: in the 'Adoration of the Magi' a person stands by the elevated roots of a carob tree - John's tree, symbol of sacred blood - while making this gesture. In his famous cartoon of St Anne the subject also does this, warning an oblivious Virgin.


Make of it what you will that the disciple whose face is perhaps accusingly close to Jesus' in 'The Last Supper' [also by Leonardo] is also making this gesture. All these gestures are saying 'remember John'.[14]

'Coincidentally', the Shroud is today kept at Turin's Cathedral of St. John the Baptist.

Enter the Antichrist

So, why John the Baptist? What's so special about him?

As it turns out, John, along with Mary Magdalene, was revered by most Gnostics, sometimes as the 'true' Messiah who was usurped by Jesus. Conversely, the Church has done its best to marginalize both John and the Magdalene all through its history. Picknett/Prince, in The Templar Revelation, even point out that Jesus and John were likely bitter enemies/rivals.

John the Baptist, then, can be perceived as anti-Jesus... err... the 'Anti-Christ'?

Frankly, I have this tradition on this website of not discussing the 'Antichrist' per se - as the whole concept is too 'Christianized' for me - but I guess it is now unavoidable to include it in our discussion. It is worth noting that the 'Watcher' website, a key piece of the 'endgame puzzle' initiated by the 'alien' crop glyph, is all about Cydonia/Mars and how it relates to the coming Antichrist.


It therefore seems the issue is indeed pertinent here. But, of course, my position on this will not be the typical, Christian approach of blaming everything evil on the Antichrist.

John the Baptist, as well as the Magdalene, essentially represents the oppressed truth. When the societal system is dependent on the suppression of some truth, this creates a building pressure in the 'matrix' of reality, which increasingly becomes a "threat" to the oblivious world. The longer the truth is suppressed and the more dependent the society becomes on the negligence, the more dangerous the situation gets - as the truth becomes a ticking 'time-bomb' waiting for the time of Revelation. The 'side-effect' of this will be the 'Apocalypse'.

This 'suppressed truth', in the context of our Endgame discussion, would be Cydonia (extraterrestrial intelligence), hyperdimensional reality/technology, and Gnosticism (personified by John the Baptist and Mary Magdalene).


It is easy to see how the revelations about Cydonia artificiality and hyperdimensional reality (i.e. the 'other side') would severely upset the world economy and religious theology. But what is represented by the Gnostic John-Mary-Shroud-Grail complex is more shadowy and harder to penetrate - because the history of its suppression is so extensive and convoluted.

The western Christian world is so ignorant of the true nature and origin of their religion that it would be funny if it weren't so tragic. A case in point: just recently there was a major news story about the discovery of what may be a burial box of James the Just, Jesus' brother, in Israel. Of course, for many Christians the reaction was, "you mean, Jesus had a brother?"


Then, in response to the report that this finding, if valid, would be the first historical evidence for the existence of Jesus outside of the Bible, many Christians must have found themselves struggling to fathom the implication that the mere existence of their object of worship had been uncertain at best. In other words, most Christians (though probably also applicable to other religions) don't know, or care about, the very basics of what they claim to worship.


And this stems from the doctrine and of the Church, which is really about promoting its version of the messianic tradition reconstructed and twisted around to suit its political agenda. It's simply not in the interest of the Church to teach its followers the history of the religion in any depth, otherwise the worshippers might get curious and find out all the manipulations on which the authority of the religious institution is based.

In any case, it is certainly coherent that the fall of the Church, an aspect of the larger theme of 'Babylon falling', is an integral part of the 'endgame' as discussed in my previous articles. When the 'truth time-bomb' ticks down to zero, the Gnostic/suppressed side of religious history embodied by John/Mary comes out of the ground to cause great havoc. And this may be viewed as the apocalyptic time of the "Antichrist" who is prophesied to come just before the return of Christ. And most fittingly, the Gospels tell us that it was John the Baptist who came right before Jesus to pave the way.

As all the 'signs' are now suggesting, it is time for truth to rise up. And truth often hurts. Denial or truth - which will mankind choose?


Golden Message

Going back to the 'alien sign', I detected another potential message subtly encoded in its deceivingly superficial design. It was the notion of pentagram now attached to the crop glyph that enabled me to see an allusion to phi (the 'Golden Ratio'), a value inseparable from pentagonal and Cydonia geometry.

In mathematics, phi is represented by a symbol, a circle bisected by a vertical line.

As it turns out, this is exactly what we see in the glyph - a circle (the disk) bisected by a vertical line of the rectangular frame!

That this is no coincidence is effectively demonstrated by the fact that one of the phi numbers, 0.618, multiplied by the number of days in a year (365), gives us 225 (days). This is the precise duration of Venus' orbit around the sun (225 days), and Venus is traditionally denoted by the pentagram. What's more, counting 225 days from January 1st brings us to around August 15, i.e. the very date of the appearance of the 'alien' crop glyphs!


August 15 also happens to be the Feast of the Assumption of the Virgin Mary, followed a day later by the feast day of the Mandylion, an alter ego of the Shroud!

What enhances the significance of the involvement of phi in the 'alien message' even more is phi's connection with a geometric configuration known as vesica piscis, which is composed of two overlapping equal circles (the centers of each positioned on the circumference of the other circle).


This formation is revered since ancient times and belongs to the realm of 'sacred geometry' - due at least in part to its ability to generate phi.

Traditionally, vesica piscis signifies, as does the pentagram/Baphomet in some respect, the unification of heaven and earth. It is, to use different terminology, a 'stargate' symbol. Needless to say, this is directly relatable to the same theme derived previously from the 'alien' glyph, i.e. hyperdimensional physics, which is also theorized to be the ultimate 'message of Cydonia'.

Remarkably, we find that vesica piscis is also long considered to represent Jesus Christ - just as we found the 'alien' crop message to contain a coded reference to the messianic tradition (i.e. the Grail/Shroud).

At this point, I became quite convinced that geometry was a big part of the 'alien' message, and so I went on to examine the design of the glyph for any further allusions to sacred geometry. Naturally, my first instinct was to check the ratio of the length and width of the rectangular frame encasing the 'alien'.

First, I had to get the measurements of the rectangle, and the most specific numbers I managed to find on the net were 250 ft and 360 ft (likely still approximate). From these, I calculated that the width-length ratio would be about 1:1.4. This was intriguing because ~1.4 was probably a reference to sqrt 2 (= 1.4142...), another 'sacred' numerical value associated with vesica piscis.

This then led to the next important revelation.


It was one of those flashes of intuitive insight. I just had this urge to check if the alien-glyph rectangle could correspond to the dimensions of a certain painting in terms of proportion.


The painting I had in mind was The Shepherds of Arcadia II (Les Bergers d'Arcadie II), also known as Et in Arcadia Ego II, by the celebrated neo-classical painter from the 17th century, Nicholas Poussin.

As those familiar with the Rennes-le-Chateau mystery in southern France (yes, France again) - popularized by Holy Blood, Holy Grail in the 1980s - would undoubtedly know, The Shepherds of Arcadia is a major piece of the 'Grail puzzle'.


There is strong evidence that Poussin encoded hidden messages in the painting that concern secret Gnostic knowledge - knowledge about the great mystery embodied by the 'Grail' or 'Ark' (essentially interchangeable). This is already hinted at by the enigmatic phrase (carved on the tomb in the painting), 'ET IN ARCADIA EGO', literally meaning 'And in Arcadia I'.


Viewed as an anagram for Arca Dei, the term 'Arcadia' would mean 'Ark of God', i.e. the Ark of the Covenant,[15] and so by extension the Grail.

The pertinence of the painting to our discussion is also strongly suggested by the fact that the underlying geometry of this masterpiece of Poussin is pentagonal. As Professor Christopher Cornford of the Royal College of Art told Henry Lincoln:

"If Poussin is saying anything… he seems to be saying that pentagons and pentagrams and their constituent angles are very much involved."[16]

Furthermore, notice that the mysterious shepherdess in the painting looks as if she could be pregnant (which would make the number of persons in the painting five, the very number emphasized by the pentagonal geometry).


Assuming that the tomb is that of Jesus (and there is much to support this idea, though I won't going into it here), it could be easily inferred that the woman is none other than Mary Magdalene pregnant with dead Jesus' child, just as Isis's pregnancy took place in conjunction with the death of her husband, Osiris. The fact that the center of the embedded pentagram pinpoints the head of the shepherdess reinforces this interpretation - as pentagram traditionally symbolizes the Magdalene-Venus-Isis complex.


And it is important to point out that, according to legend, Mary Magdalene did go to southern France sometime after Jesus' crucifixion; the scene depicted in the painting is thought to be southern France, near Rennes-le-Chateau.

Indications, then, are clearly that there is a good chance the painting does interact with the 'alien' crop glyph.

As I checked the dimensions of The Shepherds of Arcadia, I was both surprised and not surprised. My intuition was valid. The height-width ratio of the painting was practically identical (1:~1.4)to that of the box enclosing the 'alien'!

There is actually much more here - we have only scratched the surface - but I feel I should stop at this point... for now. All this is quite a lot to digest - I'm sure this is the first time that all the different subject matters, especially Cydonia and the underground Gnostic tradition, have been put together and viewed as aspects of the same 'game'. Strange stuff, yes, but this is where the 'game' is going, so people should get used to it.

I'll leave you with another 'sign' I found in The Shepherds of Arcadia.

This foreshadows what will be revealed in Endgame IV... Very dark things.

Large black clouds are looming ahead of us.

Wrongly will they come to put the just one to death,
In public and in the middle extinguished:
So great a pestilence will come to arise in this place,
That the judges will be forced to flee.



[1] Lyn Picknett and Clive Prince, Turin Shroud (New York: HarperCollins, 1994), p.23
[2] Michael Baigent, Richard Leigh, and Henry Lincoln, Holy Blood, Holy Grail, pp.82-3
[3] Picknett and Prince, Turin Shroud, pp.132-5; Ian Wilson, The Shroud of Turin (Garden City, New York: Doubleday & Company, Inc, 1978), p.9
[4] Turin Shroud, pp.66, 138.
[5] Charles Davis, in The Observer (London: March28, 1971), cited in Holy Blood, Holy Grail, p.331, see also Geza Vermes, Jesus the Jew (Philadelphia: Fortress Press, 1973), p.99ff.
[6] Margaret Starbird, The Woman with the Alabaster Jar (Santa Fe, New Mexico: Bear & Company, 1993), p.29.
[7] ibid. pp30, 36.
[8] John 20:11-18.
[9] Ean Begg, The Cult of the Black Virgin (New York: Arkana, 1985), p.52
[10] Picknett and Prince, The Templar Revelation, p.113.
[11] Allen, Richard Hinckley, Star Names: Their Lore and Meaning (New York: Dover Publications, 1963), p.465.
[12] Ibid., pp.462-5.
[13] Ibid., p.462.
[14] Turin Shroud, p.180.
[15] Richard Andrews and Paul Schellenberger, The Tomb of God (New York: Little, Brown & Company, 1996), p.107.
[16] Lincoln, Henry, The Holy Place (New York: Arcade Publishing, 1991), pp.63-4; Lincoln, Henry, Key to the Sacred Pattern (New York: St. Martin’s Press, 1998), pp.109-10.