Pareidolia or a serpent hidden in plain sight?

In the first part of this investigation into the ominous hints of an impending takeover by a New World Order manifested in the unusual imagery at the United Nations’ Security Council Chamber, Denver Airport, on a Google-esque wallpaper download as well as inside the Hall of the Pontifical Audiences, I pointed out the serpentine symbolism in architect Pier Luigi Nervi’s Vatican auditorium... but the question many readers will probably be wondering is: “So what?”

Well, you wouldn’t have to be an authority on religious iconography to know that for many thousands of years snakes have been regarded across conflicting cultures as powerful symbols of good and evil, with secret societies from the Illuminati to the Masons interpreting mystical meanings into images of them that carry huge significance within their realms of influence.

From the ancient mystery schools to modern fraternal orders the snake is often perceived as the embodiment of wisdom, rebirth and secret knowledge... with the serpent’s ability to shed its skin making it a powerful metaphor for transformation and initiation which form core concepts for them.

Millennia before secret societies popularised serpent imagery, ancient civilisations had revered snakes as sacred creatures attributed with divine power. The Uraeus – a rearing cobra – was regarded as a symbol of divine protection by the ancient Egyptians that was incorporated into the crowns of pharaohs as an emblem of royal authority.

In Greek mythology the snake is associated with healing through the god Asclepius, whose staff entwined with a single serpent is a pervasive medical symbol even now.

And, in Mesopotamian cultures, the creator goddess Tiamat was depicted as part serpent, while the Ouroboros – a snake eating its own tail – appeared in numerous ancient cultures as a symbol of eternity and the cyclical nature of existence... making it perhaps the most powerful and widespread serpent symbol adopted by secret organisations.

Also, in the alchemical traditions of many secret brotherhoods, the Ouroboros symbolises the unity of all things material and spiritual, depicting the perpetual transformation of matter and the cycle of birth and death. Whereas in Hermetic orders it is often representative of the relationship between the microcosm and macrocosm... “as above, so below” – with the serpent often regarded as a symbol of wisdom attained through initiation.

Theosophical societies emerging in the late 19th century also incorporated the notions of serpent power into their esoteric traditions... the concept of Kundalini, depicted as a coiled serpent at the base of the spine that rises through energy centres when awakened becoming central to many meditation practices and initiation rituals.

The Esoteric School within the Theosophical Society apparently teaches these techniques to awaken “serpent power” only to their innermost circle of initiates, with leaders such as Helena Blavatsky said to have written encoded texts describing serpent symbolism as representing the evolution of consciousness and spiritual awakening.

Even contemporary occultist movements widely employ serpent symbolism in their iconography and ritual practices, with groups descended from Aleister Crowley’s Ordo Templi Orientis adopting it as an icon of mystical power and sexual energy in their ceremonial practices.

So, what can we infer about the relevance of the Vatican serpent in the Hall of the Pontifical Audiences from this? Well, at a guess, I’d tend towards Masonic or Illuminati interpretations of serpent symbolism, without drawing any references from The Illuminati Secret Society website mentioned in the first part of this investigation.

But it’s fair to say that while much about the historical Bavarian Illuminati remains open to interpretation, serpent symbolism is prominent in a large proportion of texts and images associated with the 18th-century secret society. Adam Weishaupt, the order’s founder, used the image of the “wise serpent” in some of the group’s writing, drawing on biblical references while reinterpreting them through a lens of “enlightenment” that often saw the serpent viewed as representative of prudence and wisdom.

And, although not central to Masonic iconography, serpent symbolism has slithered into various “degrees” and teachings, particularly within the higher orders. In Scottish Rite freemasonry, the 25th degree (Knight of the Brazen Serpent) directly references the biblical account of Moses creating a bronze serpent to heal the Israelites, interpreting this as an allegory for moral and spiritual transformation.

The dual-serpent staff also appears in Masonic art as a symbol of balance and wisdom, while scholars interpret the winding staircase, a symbol in the Fellowcraft degree, as having serpentine qualities representing an initiate’s gradual ascent to knowledge.

So, without the insight that only membership of such organisations grants, I’m pretty much in the dark about why the snake is staring down the Vatican auditorium, although I’m pretty damn certain it’s there for some occultist purpose connected to the twisted beliefs of a small but influential group that populates the world’s corridors of power. And pareidolia... it’s certainly not.

Pareidolia, what’s that, you ask? Well, it’s the phenomenon whereby people perceive likenesses in random images such as faces, animals, clouds or rock formations. Believed to be a product of the brain assigning meaning to something it’s struggling to interpret, pareidolia is not a clinical diagnosis nor a disorder but can lead to people seeing things that don’t really exist, like an image of a rabbit in the clouds or an animal rather than leaves hiding in a brush.

But, as clever as it clearly is, why Nervi thought the Vatican auditorium needed a snake gazing through it remains a mystery to me... although it’s pretty clear it could hold great relevance to the Masonic brotherhood attending any of those four Scottish Rite lodges that exist within its eight city blocks.

However, time to move on to New York and the UN’s Security Council Chamber, where strategic decisions are made about matters of war and retribution with a backdrop of a huge “Mural For Peace” painted by Norwegian artist Per Krohg.

Described by the UN as being in “colours and style reminiscent of a tapestry” it was donated by Norway in 1952 and symbolises the changes the world will undergo because of the efforts of the organisation, and mankind in general, “to achieve peace, equality and freedom”.

The symbolism on display is certainly quite unnerving for the backdrop to the most influential diplomats on the planet making key decisions about sanctions, invasions and regime changes around the globe but here’s a brief synopsis.

The overall narrative across the series of eight integrated panels seems to portray the idea of endeavour bringing about an arduous ascent from historical suffering to rapid technological development.

Its lower section incorporates stark visions of human conflict and subjugation focusing on war, dungeons and a malevolent dragon’s lair. There are also bound figures that clearly symbolise enslavement and oppression, with the inspiration seeming to be a reflection of the historical realities of tyranny and warfare.

A phoenix rising from its shed skin provides the central theme of the composition, perhaps symbolising mankind’s endeavour to transcend devastation through post-conflict renewal; while the upper panels depict images of family unity that could represent Krohg's attempt to illustrate progression to a future illuminated by science and the arts where innovation and creativity replace wartime suffering.

It’s all pretty nightmarish stuff though so I suggest you follow the link below for a more in-depth analysis of the creepy imagery as the mural is not the only aspect of the UN Headquarters in New York that I’d like to get onto here, with the connections between it, the Lucis Trust and the Rockefeller family perhaps even more of an indictment of its nefarious ideology.

The UN’s headquarters beside the East River in Manhattan, between 42nd and 48th Street, was built in 1945 and was largely financed by John D Rockefeller. However a central feature of the complex is an ominous meditation room, whose custodian is the Lucis Trust... originally called the Lucifer Publishing Company and once formerly located at 666 United Nations Plaza.

Now, not being a New Yorker myself, I’m finding it quite a challenge to put together a picture of United Nations Plaza as it appears today but I understand the Lucis Trust is now located at 866, with a park area occupied by a central statue now standing at 666. However, it’s all quite irrelevant really as the entire area around the UNHQ is littered with symbolism, even having a statue likened to the “End Times Beast” displayed on the Visitors Plaza immediately outside the entrance in autumn 2021.

From 9 November the controversial “Guardian for International Peace and Security” sculpture – donated by the government of Oaxaca, Mexico, and created by artists Jacobo and Maria Angeles – had pride of place in front of the building until a backlash from Christian groups is believed to have seen it removed, although UN spokesman Stephane Dujarric had a different explanation.

“The statue you refer to was a temporary exhibit organised by the Permanent Mission of Mexico to the United Nations,” Dujarric explained in a statement to the Christian Post in January 2022. “It was taken down, as scheduled and anticipated, on 20 December.”

Widely perceived by Christians as depicting the “harbinger of the apocalypse” described in the Bible (Daniel 7:2-4), the statue featured a fantastical fusion of creatures melded into a vibrant winged-feline characteristic of the “alebrijes” prominent in Mexican folk art.

Funnily enough before its transfer to the UN, the statue had been on display at the Rockefeller Center as part of its annual “Dia de los Muertos” (Day of the Dead) display, where the winged beast stood alongside an 11-foot dragon sculpture also created by Atelier Angeles.

And so back to the Lucis Trust meditation room, which measures 33 feet long and 18 feet wide... 18 being “six”, plus “six”, plus “six”. Shaped like a pyramid on its side, it was designed by Norwegian artist Bo Beskow under the direction of Dag Hammarskjold, the second secretary general of the UN.

Officially unveiled in 1952 the original purpose of the room was to serve as a space “dedicated to silence, where people could withdraw into themselves, regardless of their faith, creed or religion”. However, the initial plan was ultimately tossed aside by Hammarskjold who “wanted something more dignified” in its place.

So, upon a redesign, it was reopened in 1957 with an abstract mural, of interlocking geometric patterns, overlooking a huge iron-ore altar, with foundations believed to go down into the bedrock, placed in the centre of the space.

“We have within us a centre of stillness surrounded by silence,” Hammarskjold stated during the exhibit’s opening ceremony. “This house, dedicated to work and debate in the service of peace, should have one room dedicated to silence in the outward sense and stillness in the inner sense... people of many faiths will meet here and, for that reason, none of the symbols to which we are accustomed in our meditation could be used.”

And, referring to the altar, he would later state that it represents “a meeting of the light, of the sky and the earth… it is the altar to the God of all”.

But in order to truly understand the bizarre nature of the room you have to examine its custodian... the Lucis Trust, established in the early 1920s by occultist scholars Alice and Foster Bailey (who was apparently a 32nd degree Mason) as a “vehicle to foster recognition of the universal spiritual principles at the heart of all work to build right relations”.

In 1922 the Baileys launched the Lucifer Publishing Company, purportedly to publish Alice’s “New Age” book, “Initiation Human And Solar”, which “covers the order of the planetary hierarchy of spiritual entities and its stages of mastery through initiation, by which it delineates the 14 rules through which the neophyte initiate might become an applicant at the portal of initiation”.

Can’t say that enlightens me greatly about the trust’s doctrines or manifesto but the passage does sound somewhat Masonic, so given Foster’s degree of participation in freemasonry I suspect the organisation to have strong affiliations to the movement too.

Anyway, a year or two after its formation it changed its identity to the Lucis Trust and by 1932 had established World Goodwill, cementing a role for it at the heart of the fledgling UN in 1945 through its participation on the Economic and Social Council (ECOSOC)... with World Goodwill recognised by the UN as a non-governmental organisation (NGO).

Through this relationship the Lucis Trust and World Goodwill occupy seats among the community of hundreds of NGOs that play an active role in the UN, spreading information about programmes run by the organisation. And, although its website doesn’t trumpet this, the trust is believed to fulfil the UN’s printing function too, publishing a huge chunk, if not the vast majority, of its publications.

Other offshoots of the trust include the Arcane School and Triangles. The school, established by Alice in 1923, provides the means to train “spiritual aspirants” in the art of meditation and the evolution of consciousness; while Triangles “links men and women of goodwill in a planetary service that transcends all barriers of race, creed, class, economic and political conviction” and provides a worldwide network of light and goodwill “for the distribution of spiritual energies”.

How all this fits into the work of the UN I’m afraid I don’t totally understand but author Isobel Blackthorn, who holds a PhD in “western esotericism” as a result of her in-depth study of the trust and co-founder Alice, contends: “Conspiracists are not wrong when they point to the infiltration of the UN by Alice Bailey’s co-workers. Membership of the UN’s Spiritual Caucus is filled with her people. Her organisation, World Goodwill, is a UN NGO.”

The connection is so great that in 1952, the year when the meditation room was first unveiled prior to its refit, the United States' former "first lady" Eleanor Roosevelt read the Lucis prayer, “The Great Invocation”, on a radio broadcast from the UNHQ.

A fundamental paradigm at the core of World Goodwill, The Great Invocation is a call to the planet to prepare for "the Coming One's return to Earth" and is such a central tenet of the organisation that there's an annual "World Invocation Day" set aside for its global use to "let light and love and power restore the plan on Earth".

I'm afraid it all sounds like a load of gobbledygook to me but were I enlightened like affiliates of Lucis Trust, the UN, Vatican, Masonic lodges or the Illuminati I'm sure I'd know exactly what it's all alluding to.

However, all this creepy artwork does not grace these spaces by chance or through coincidence, there is clearly a purpose at its core disseminating a message only a chosen few are intended to fully understand. And, from the volume of imagery itself, you'd have to think the Vatican and UN are both sending out warnings to the world that, if unheeded, the repercussions that follow are totally justifiable in their eyes. After all, if you warn someone the apocalypse is coming and they choose to do nothing, they've nobody else to blame other than themselves.

But the hard part to fathom is probably not that something ominous could be about to happen but the timeframe for when it will actually take place... since the cryptic symbolism has been around for a few millennia at least and despite the warmongering that's taken place during the UN's lifetime we've not yet witnessed the return of the Coming One yet.

So you have to wonder how much warning we're likely to get and whether it's actually in our faces on a daily basis through the logos of the corporate partners financing the takeover by the military-industrial complex running the show?

Perhaps the Coming One is already in the building, just waiting in the wings for the right moment to step out onto the podium... check out PART THREE of this investigation to see if a Google search might produce the big reveal!