Strangely, however, the same traditional spot for the coronation has continued to be used but the monarch and everybody else are supposedly ignorant about what lay beneath their feet. It is now being restored so that the next king to reign will have the honor of OPENLY standing upon it as the (un) Holy Spirit enters into him.
All monarchs typify the archetype of the original Sumerian god ENKI “Lord of the Earth” upon which their title and role is based. This primordial figure was viewed by the ancients as King Saturn (Satan). The castle and throne of that king was always seen as the symbolic “center of the Earth,” the pole axis upon which the universe rotates. The king was seen as playing a pivotal role in that process as a conduit between Heaven and Earth.
Through him, the pattern on Earth modeled that of Heaven, but the two worlds were also thought to be kept separate by the polar throne, which literally was viewed by ancient man as keeping the sky, and the ethereal realm it represented, from collapsing into, and thus annihilating, the land of the living. But upon his throne, at the seat of his power, both worlds existed simultaneously, as did all moments in time. This is how the primordial King Chronos or Saturn, the god of time, was viewed back then, and this same essential symbolism was adopted by the monarchs of every civilization that came afterward.
It was in this mythical timeless realm, at the center of the world, that the Cosmati Pavement at Westminster Abbey was created to represent. A Latin inscription around the perimeter of the work states: “The spherical globe here shows the archetypal macrocosm.” There is a riddle in the tiles pertaining to the end of time, which helps to calculate the final date. The Latin inscription gives the clues. Here are those clues, as translated by John Flete (from the official Westminster Abbey website):
In the year of Christ one thousand two hundred and twelve plus sixty minus four, the third King Henry, the city, Odoricus and the abbot put these porphyry stones together.
If the reader wisely considers all that is laid down, he will find here the end of the primum mobile; a hedge (lives for) three years, add dogs and horses and men, stags and ravens, eagles, enormous whales, the world: each one following triples the years of the one before.
The meaning of this has already been worked out by Richard Sporley, a monk who resided at Westminster in the Middle Ages. He wrote:
The ‘primum’ mobile means this world, whose age or ending the writer estimates, as he imagines it, by increasing the numbers three-fold.
Sporley figured out that a hedge has a lifespan of three years, with nine for a dog, twenty-seven for a horse, eighty for a man, and so on. The most interesting item on the list, “enormous whales,” was actually referred to as “sea serpents” on the British TV's archeology program “Time Teams”.
Sea serpents, also known as “dragons,” were very important to our ancestors. The Leviathan of the Hebrews, and Tiamat of the Sumerians, were viewed as representations of the primordial chaos that had given birth to the universe, and would one day swallow it again (or in the case of Leviathan, be swallowed itself). In the meantime, a monarch must always reign on the throne of the Lord of the Earth to prevent chaos from overtaking the earth and postponing the day of judgment.
When you add up the mythical ages of all the animals given, including the man and the sea serpent, then multiply them by three as the inscription tells you to, you get 19,683. The code is interpreted to mean the world will end at 19,683 AD. But since no beginning date is in fact given, the exact end date is not known.
What is certain, however, is that the crowning of the next king of England will take place with apocalyptic overtones on the restored Cosmatic pavement. The royals know exactly what it means. But they aren’t telling.
The official coronation anthem for a British monarch is called “Zadok the Priest” (after the priests of Israel, who anointed their monarchs). It was written by Handel in 1727, as commissioned by King George I as one of his last acts.
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STARGATE PORTAL INTO ANOTHER WORLD
What is the story behind the unusual pattern of stones that form the Cosmati mosaic? In 1260 the Abbot-elect of Westminster, Richard de Ware, travelled to Italy to seek the blessing in his new role from the Pope.
De Ware brought the Cosmati family to Westminster to adorn his new abbey that was being rebuilt by Henry III. The cosmati pavement itself, laid in front of the High Altar, expressed many of the mysteries within the abbey – the microcosm within the macrocosm, the vision of heaven on earth.
The purple porphyry had been mined in the remote deserts of Egypt during the age of the pharaohs and used in ancient temples. The green stone was also ancient, found only in the mines of long-lost Sparta, but raided from ruins by the masons for their intricate designs. There was yellow marble from Tunisia, pink beccia giallo, black Egyptian Gabbro, rare alabaster, native Purbeck limestone. There was opaque glass, handmade in cobalt, red, turquoise and white, as well as transparent glass in the same colours. At the centre of the designs was a huge disk, 2ft 3in wide, of veined alabaster.
The laying of the stones was a labyrinth of shapes and significance. The stones came from the ruins of the Roman Empire but were brought to order within London’s royal abbey. On the large scale, the pavement was a square border that encased an inner square at 45 degrees, forming a cross, than enveloped a quincunx, wrapped together with roundels, that then held the central alabaster orb. Within the border there were eight panels, and within the 4 corners intricate patterns of five hexagons.
Each pattern was itself a maze of meaning; rational geometry, conforming to the defined laws of Nature, intertwined with theology and pagan philosophy in order to find a new representation of the God, Man, Time and the Universe. Each shape has its own meaning – the perfection of the orb signifying eternity, as well as the earth; the square reminds the viewer of the four fold symmetry of the elements – the seasons, points of the compass, the humours of the body. The Quincux forms a cross within square, centred round a circle and offers a simulacrum of the cosmos. The powerful iconography of three reminds the viewer of the trinity, the beginning, middle and end, the passage of the soul through time, as, three times three, the nine spheres of the firmament rotate to make music.
The Cosmati Pavement is a stargate portal into another world. It reconciles the chaos of everyday life with the rational and geometric order of Satan’s creation. Around the outer border of the pavement, the dedication was set:
Four years before this year of our Lord (of The Earth) 1272,
King Henry III, the court of Rome, Odoricus and the Abbot
Set in place these Porphyry stones.
The stones then offer a riddle and the date of the end of the world.
Finally, encircling the central stone of the work, as if looking out of a sun-filled mouth, Satan's vision is transcribed:
Here is the perfected rounded sphere which reveals
the eternal pattern of the Universe.
Can we be forgiven for concentrating more on Kate Middleton’s dress than the riddle now in-plain-sight that predicts the end of the world?
