FOLLOWING
THE MONKEY-PATH
the
seat of Satan comes to life
Pergamon,
in present day Turkey, is an ancient, pagan temple-complex. Famous
for its “Altar of Zeus”, the Greek god, leader of the victorious
Olympians.
It
must have been an enormous beehive, filled with devotion, rituals and
the power of the Gods. And people of course and animals to be
sacrificed.
It
smells, I can tell you that. I've been there.
It was announced that on September
29th, 2014 the Pergamon Exhibit will be closed for the duration of
5 years for a complete remodeling of the exhibit hall, including
but not limited to construction of a new glass ceiling and a new
climate control system. The exhibit is scheduled to reopen in late
2019 or early 2020.
After the
introduction of Christianity in the Levant, the pagan gods were
forbidden and destroyed, especially their earthly dwellings. The
catholic faith took over and the temple dedicated to Zeus fell into
decay.
The
Pergamon Altar is a monumental construction built during the reign
of Greek
King Eumenes
II in the first half of
the 2nd century BC on one of the terraces of the acropolis of the
ancient Greek city of Pergamon
in Asia
Minor.
The structure is 35.64 metres wide and 33.4 metres deep; the front stairway alone is almost 20 metres wide. The base is decorated with a frieze in high relief showing the battle between the Giants and the Olympian gods known as the Gigantomachy. There is a second, smaller and less well-preserved high relief frieze on the inner court walls which surround the actual fire altar on the upper level of the structure at the top of the stairs. In a set of consecutive scenes, it depicts events from the life of Telephus, legendary founder of the city of Pergamon and son of the hero Heracles and Auge, one of Tegean king Aleus's daughters.
In 1878, the German engineer Carl Humann began official excavations on the acropolis of Pergamon, an effort that lasted until 1886. The excavation was undertaken in order to rescue the altar friezes and expose the foundation of the edifice. Later, other ancient structures on the acropolis were brought to light. Upon negotiating with the Turkish government (a participant in the excavation), it was agreed that all frieze fragments found at the time would become the property of the Berlin museums
The structure is 35.64 metres wide and 33.4 metres deep; the front stairway alone is almost 20 metres wide. The base is decorated with a frieze in high relief showing the battle between the Giants and the Olympian gods known as the Gigantomachy. There is a second, smaller and less well-preserved high relief frieze on the inner court walls which surround the actual fire altar on the upper level of the structure at the top of the stairs. In a set of consecutive scenes, it depicts events from the life of Telephus, legendary founder of the city of Pergamon and son of the hero Heracles and Auge, one of Tegean king Aleus's daughters.
In 1878, the German engineer Carl Humann began official excavations on the acropolis of Pergamon, an effort that lasted until 1886. The excavation was undertaken in order to rescue the altar friezes and expose the foundation of the edifice. Later, other ancient structures on the acropolis were brought to light. Upon negotiating with the Turkish government (a participant in the excavation), it was agreed that all frieze fragments found at the time would become the property of the Berlin museums
Parts of the
altar of Zeus, thousands of pieces, were dug up and transported to
Berlin. Where it was carefully reconstructed. The western side of the
Pergamon Altar is reconstructed in the Pergamon museum in Berlin.
What you see is just a PART of the Altar and says absolutely nothing
of the city.
In
Berlin, Italian restorers reassembled the panels comprising the
frieze from the thousands of fragments that had been recovered. In
order to display the result and create a context for it, a new
museum was erected in 1901 on Berlin's Museum
Island. Because this
first Pergamon Museum proved to be both inadequate and
structurally unsound, it was demolished in 1909 and replaced with
a much larger museum, which opened in 1930. This new museum is
still open to the public on the island. Despite the fact that the
new museum was home to a variety of collections beyond the friezes
(for example, a famous reconstruction of the Ishtar
Gate of ancient
Babylon),
the city's inhabitants decided to name it the Pergamon
Museum for the friezes
and reconstruction of the west front of the altar. The Pergamon
Altar is today the most famous item in the Berlin
Collection of Classical Antiquities,
which is on display in the Pergamon Museum and in the Altes
Museum, both of which
are on Berlin's Museum
Island.
In
apocalyptic circels Pergamon is re-discovered and in prohesies
(Jonathan Cahn f.i.) the Altar of Zeus is in reality the Seat of
Satan. The proof lies in the atrocities and violent behavior of the
owner of altar.
At
first it was the Ottoman Empire. Violent, agressive and seeking world
domination. They almost succeeded. French knights, Slavic warriors
and fighting monks beat them off. After the end of World War 1, the
Ottoman Empire, who fought on the loosing, German side, was sliced
up. But before that, German archeologists had bought parts of the
altar, like the British did in Greece, and put it in a Berlin Museum.
Satan
changes sides and Germany plunges itself in 2 World Wars.
It's
not enough and the Allies divide Germany in 4 occupied zones.
Officialy the Soviet Union owns the Altar of Satan and immidiately
turns into an ennemy of world peace.
Russia
looses the global rat-race (or deliberately quit), Germany is united
and rises, while Russia lost influence and had to accept
western-oriented indipendent states on their doorstep.
According
to Jonathan Cahn and others, Satan has Germany (EU) in its grip,
again.
Is
there a next step. Yes, there is.
Turkey
wants the Altar back to rebuild it at Pergamon. Like the Greek are
claiming the ownership of the Algin-marbles in the British Museum. If
so Turkey will own the Devil's seat and Satan is back, where he
always wanted to be.
Like
other prophetic claims, the proof seems impressive. And yes, they
touch parts of the cycle and yes, it all seems deliberate, meaningful
and enlightening. And they are, but like almost all prophesies or
divine inspiration, the real evidence is meager and gathered, without
any archeological know-how or discipline, thrown together and
transported over 1500 miles. Transported to the museum site in
Berlin, sorted and reconstructed. And the artists had no idea, how
the original looked they were reconstructing. Stranges things can
happen. The original Greek builders preferred the human body and
showed, male of female, god, hero or enemy, the body naked. Sexuality
was quite different treated 100 years ago and naked statues were
taboo, Never mind it is just a footnote in a long, forgotten story.
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