Print Friendly and PDF

Sunday, August 25, 2024

This is the Place XIII: A House for the Presidency

 Previously: Joseph Smith Finally gets a Building

Welcome readers to part 13, the last installment of my series called "This is the Place." I'm not quite ready to leave the topic of Old World Utah, so my next series will continue where this one leaves off, but will delve into a different class of buildings. 

Judging by the number of comments I received on my last post on the Joseph Smith Memorial Building, perhaps many are wondering why there is so much focus on this topic. I have no specific agenda: I'm following my intuition that this is an important topic that needs more attention. 

Before the Savior returns a lot of things will have to be set right and corrected. All societal constructs as they now exist will need to be completely broken down to make way for His millennial reign. All organized religions that "grind on the face of the poor" will lose their power over the flesh and be brought low in the dust. At some point in the future the Lord has promised to reveal all the secret and hidden things that powerful men in secret societies have done to both our freedoms and our history. 

As a friend recently pointed out to me, the recently published modern English version of the Book of Mormon makes these promises perfectly clear. Nephi records the following near the end of his record:
So the true history of all nations will be made known; indeed, everything will be made known to mankind. There isn't anything secret that won't be revealed, and there isn't any hidden event that won't be shown in the light. And there isn't anything sealed on earth that won't be unsealed. Therefore all things that have happened to mankind will, at that time, be revealed. (Covenant of Christ, 2 Nephi 12: XIII, p. 88, emphasis added)

Nephi is speaking about the future Zion (His Holy Mountain) just before he ends with the verse above, so it seems that we have to wait until the New Jerusalem (the preparatory gathering place to prepare a people for the ascent to Zion) is established to learn the "true history of all nations." 

But I believe that God has begun to pour out His Spirit over many open-minded people who are waking up and beginning to discover the holes in the historical narratives that we have been given. 

God doesn't give everything to us all at once, so line upon line, precept upon precept, here a little and there a little, perhaps we will begin to learn what has really transpired on this earth, and see the bigger picture. 

Maybe all we are supposed to realize right now is that something is seriously wrong with the "official" historical narratives we have been given. Maybe that is the first step in receiving more from the Lord. All I'm hoping to do in this series is to point out the inconsistencies and anomalies in some of those narratives that we are told happened in Utah.

Many people have made comments about preexisting buildings not being mentioned in pioneer journals, by mountain men, or by Native Americans. This is a logical counter argument, and I admit that I don't have access to pioneer journals and haven't been able to do that research yet. 

From what I understand the majority of journal entries are related to the building of the temples and not so much about any of the buildings that I have been researching and blogging about. But if anyone would like to send me copies of their ancestor's journals I would be happy to read them (there is a blog contact form at the top right of the blog). I've asked before, but so far no one has sent me a single entry.

I don't get hung up on locating personal pioneer journals because I think there is a bigger picture to consider here. For instance, the possibility that there actually weren't as many pioneers as we've been told there were (notice the blatant absence of people in 19th century photos), or that men like Jim Bridger didn't actually exist at all. I've also heard that Church leaders confiscated journals from early Mormons who may have been performing renovations instead of new construction on the Manti, St. George, Logan, and Salt Lake temples, and gave the families back redacted copies of the originals. I'm open to this possibility, which would mean that evidence for existing buildings may be hidden and locked away deep within Granite Mountain, or the secure first presidency documents vault.

If Brigham Young was really hand-picked by Jesuit priest Pierre de Smet to repopulate Utah then that means that the LDS Church is part of the "controlling" Jesuit elite that hide true history. And like the Vatican, they require massive underground vaults to bury incriminating records that would reveal their involvement in the historical cover up. Remember what Nephi said, there won't be anything secret that won't be revealed. This means that all the vaults will be open to those who remain in Zion, including Granite Mountain. Do you really think we need a massive cave inside a huge mountain just to keep track of family history records? What are they really hiding down there? 

As for the Native Americans, we may have to consider how easy it is for a people with no written language to forget their history. The Book of Mormon has a term for this, it's called dwindling in unbelief. Remember, one of the reasons that the Book of Mormon was written in the first place was to restore the Lamanites to their true genealogical heritage and knowledge of the covenants the Lord made to their progenitors. Because they didn't write anything down, and because of the wicked traditions of their fathers, they lost the knowledge of who they were. This could easily happen to any people, even those (like us) who do have a written language. Our language has been confounded, and this can be worse than not having a written language at all, because we think we know what our words mean, but in reality they have been dumbed down and changed in a manner that was designed to deceive us.

As an aside on the Native Americans, did you know that some Cherokees actually lived in mansions and told oral legends about red-haired giants? Check out the first hour of the video below:

Is it possible we don't know the history of Native Americans as well as we think we do? Was there a different reason that Andrew Jackson pushed for the Indian removal program in the 1830s, and why Joseph Smith felt such a push to get the Gospel to them?

Perhaps. But let's get to the topic at hand: the original Church Administration Building, built in three years during World War I, from 1914 to 1917. A building some have called "A House for the Presidency."


Before we get into the “construction” history of this building, I found some interesting Masonic symbolism embedded into its narrative that should be addressed

The Square, the Level, and the Plummet

There wasn't much in the way of old newspaper articles covering much of anything about the Church Administration Building during the years of 1914-1917. One of the few articles I found was a report by The Herald-Republican on the cornerstone laying ceremony that supposedly transpired on May 20 of 1915. The meeting was directed by Anthon H. Lund and Charles W. Penrose of the First Presidency, along with Francis W. Lyman, president of the twelve apostles. Other Church leaders who participated were President Joseph F. Smith, Heber J. Grant, B.H. Roberts, Joseph F. Smith, Jr., O.P Miller, David A. Smith, Andrew Jensen, A. William Lund, and William McLaughlin. 

We are told that an 8-ton granite block was laid in the southwest corner, after which First Counselor Anthon H. Lund, "with trowel in hand", performed the cement work to secure the stone. Supposedly, a small copper box was inserted somewhere inside the huge block of granite, said to contain "various church publications", sealed with a copper plate engraved with the words "General Church Office Building". After the ceremony was over, President Lund "declared the stone in the exterior walls as being laid according to 'rule & plummet'".

What you've just read here, whether this event actually transpired or not, is the script of a Masonic ceremony. The square, the level (rule), the plummet (another word for plumb), and the trowel are all symbols used in Masonic ceremonies, and they contain hidden meanings. Usually the cornerstone is laid in the northeast corner of the building (as it was in the case of the Salt Lake temple), which has direct correlation to the Masonic degree of the Entered Apprentice. To the Masons, north represents darkness and east represents the sun, so northeast is symbolism for light and darkness. 

In the case of the CAB (Church Administration Building), the cornerstone was laid in the southwest corner, the direct inverse of northeast, but I'm not sure what it means in this case. It is interesting that the two most important buildings to Church leaders at the time, the Salt Lake temple and the CAB, were said to have had their cornerstones laid in direct inverse of each other. This could have something to do with Masonic symbolism on opposition, usually displayed in the checkerboard floor that represents this physical realm or matrix and its opposites, such as good and evil and light and darkness.

To understand the significance of Lund's comment regarding "rule and plummet", this requires a deeper dive into Masonic ceremonies. Thanks to a man named Captain William Morgan, the Masonic meaning of the square, the level, the plumb, and the trowel have been exposed. Morgan was a former Mason, and published an expose of Freemasonry in the late 1800s after he began to question its ethics. He disappeared shortly thereafter and was rumored to have been drowned in Lake Ontario. (It was Morgan's death that spurred the creation of the Anti-Masonic Party during the 1820s; see this video for more on William Morgan.)

According to Morgan's book, which lays out the actual ceremonies of the Masons, the plumb, square, and level are the "working-tools of a Fellow-Craft Mason". Here is what they represent:
The Plumb is an instrument made use of by operative Masons to raise perpendiculars; the Square, to square their work; and the Level to lay the horizontals; but we, as Free and Accepted Masons, are taught to make use of them for more noble and glorious purposes: the Plumb admonishes us to walk uprightly in our several stations before God and man, squaring our actions by the square of virtue, and remembering that we are all traveling upon the level of time to that undiscovered country from whose bourn no traveler returns. (Morgan's Freemasonry, p. 41)

Sounds benign and innocent enough, but remember that the god they worship, which was absolutely declared with pride by Albert Pike, is not Jesus but Lucifer. Also bear in mind that Lucifer is unable to create anything and must imitate God, so he uses terms that are also used in scripture in order to deceive his followers into thinking that they are doing good and acting virtuous, even if they are complicit in murder, theft, etc., for what they term "the greater good".

Now, its no coincidence that the "tools" of Fellow-Craft Masons have everything to do with construction, because the Masons are taking credit for building the buildings of the past civilization, just as Lucifer is taking credit for being the "Great Architect of the Universe", a position clearly held by the true Creator-God, Jesus Christ.

The meaning of the trowel takes this symbolism a level deeper, because it is the tool that is used to cement a building together, or in other words, it is the instrument used to finish the work begun by the plumb, the level, and the square. In what you're about to read you'll notice language that seems virtuous and noble, as well as language that you'd expect to hear by someone talking about the Lord's latter-day Zion, but don't be deceived, it's an imitation:

The trowel is an instrument made use of by operative Masons to spread the cement which unites a building into one common mass; but we, as free and accepted Masons, are taught to make use of it for the more noble and glorious purpose of spreading the cement of brotherly love and affection; that cement which unites us into one sacred band or society of friends and brothers, among whom no contention should ever exist, but that noble contention or rather emulation of who can best work or best agree. (Ibid, p. 50, emphasis original)

Notice that this "brotherly love" and "no contention" only exists in their "sacred band" or secret society of brothers. This is referring to a closed group, which is the complete opposite of Zion, in which everyone is invited to the wedding feast. In my opinion, the reference to uniting "a building into one common mass", is a hidden code for collectivism, which is the modus operandi of how the Freemasons and Luciferians control the masses today. Remember, these Masons are not builders of buildings, they are meddlers in social constructs in order to control our historical narrative, and ultimately, us, their slaves. (He who controls the past controls the future.)

So right off the bat with this CAB building, we get a blast of Masonic symbolism, revealing that the Church leaders at the time were most likely high-ranking Freemasons, and that the building was in fact not built by our society, but by a past civilization. 

The symbolism in the CONSTRUCTION narrative is giving away the story. It didn't happen like they said it did. 

In past posts I've mentioned something called the “Revelation of the Method", in which the controllers, and Lucifer for that matter, have to reveal in some form (parables, fables, plays, movies, etc.) what they are up to in this fallen world. They have to play by the rules of agency in this mortal world, and they have to get us to consent, with our agency, to slavery; they have to get our permission. Of course they use manipulation and deception to get this consent, but nonetheless they are compelled by some eternal and immutable preexistent law to lay out their agenda in plain sight. 

Albert Pike wrote a book on this very thing, almost bragging about how they have used words against us. He references a 12th century book with the Latin title, Artephil Liber Secretus, which means "art that liberates." Here is what Pike said about it:

Is not this an art full of secrets? And believest thou, O fool! that we plainly teach this Secret of Secrets, taking our words according to their literal interpretation?

(This quote was taken out of a lecture by Manly P. Hall, who references Pike's book by his pseudonym, Sephar H. Debarim, recorded in D. Christian Markham's book, There are Save Two Churches Only, read it here.) 

In the same lecture Hall reveals that Vitruvius, the Ancient Roman architect, was an initiate of the Mystery Schools. This is important because Vitruvius wrote the definitive work on “ancient” Greek and Roman architecture, laid out in ten books. Hall reveals that Vitruvius could not reveal everything he knew because he was under oath, so it's interesting that such an emphasis is put on his guide for architects. On page 6 Vitruvius reveals who he really is, a Freemasonic plant, which tells me that the book was written much later in our timeline, making me wonder if this character existed at all. Here is what Vitruvius said:

Geometry, also, is of much assistance in architecture, and in particular it teaches us the use of the rule and compass, by which especially we acquire readiness in making plans for buildings in their grounds, and righty apply the square, the level, and the plummet. (Vitruvius: Ten Books on Architecture, p. 6, emphasis added)

In my opinion, this is coded language. Vitruvius is a character used to explain away the architecture of the previous civilization, which is not Greek or Roman, but Tartarian (or whatever name the past civilization was called). Our timelines are not what they are telling us they are.

This symbolism was deeply embedded into the Lego Movie, in which Vitruvius, the guru of the "Master Builders", was played by Morgan Freeman. In the animated movie his character dies and becomes an apparition, almost as if they are telling you that the historical Vitruvius never existed at all. The movie draws some interesting parallels with the research I've been doing. Lord Business, played by Will Ferrell, is a dictator representing the Maritime/Admiralty law model that we labor under today. The heroic "Master Builders" represent the Freemasons or "Master Masons" who have learned to construct things with no instructions, or no plans. Interestingly, many of the old world buildings said to have been built in the 19th century are missing the original architectural plans.

In the movie, Lord Business has created different realities made of Legos which are connected by portals throughout the realm. Each of the realities are controlled by Lord Business, and the company he owns, Octan (a word close to octane, representing the robber-baron-controllers and their expensive fossil fuel model). Octan makes all products including history books

One of the realities is a simulation of the 19th century old west, and during one scene two cowboys are talking at a bar and one says to the other, "do you think zeppelins are a good investment?" A zeppelin is an airship, and in my opinion, this is an allusion to old world technology existing in what we've been told was an era of primitive technology. Also during the old west scenes we see buildings going up with wood scaffolding and pulley cranes like we see in so many 19th century construction photos. 

They are putting their narrative of the Old World right in our faces: Revelation of the Method in plain sight, embedded in a movie

Pay attention to this movie. They are telling you a story. A story that plays out in the architecture of the past, designed by 19th century architects - Master Masons/Builders who have no training, or who DO NOT USE plans to build buildings, and seem to be able to build them out of nothing in record time.

One of these untrained architects who supposedly designed some iconic structures in Utah was one of Brigham Young's many sons. 

Joseph Don Carlos Young: Ma Son of Brigham Young

You have to hand it to Brigham Young when he was coming up with names for his many sons, man was he original. Joseph Don Carlos Young combines the names of Joseph Smith with his younger brother Don Carlos who died in 1841 of pneumonia at the young age of 25 (another mysterious death?). For short we will refer to this son of Brigham's as JDC. 

JDC was born in Salt Lake valley in 1855. His mother was Emily Dow Partridge. He was said to have been a leading architect in Utah, with his most well-known building projects being the Brigham Young Academy, the Bear Lake Paris Tabernacle, and the building under consideration in this blog post: the Church Administration Building. He was said to to have taken over the interior work of the Salt Lake Temple after Truman Angell died, at which time he was made the official Church architect. Other projects attributed to him were landscape design plans for the Utah Territorial Insane Asylum and Salt Lake's Liberty Park, as well as designing the 2nd Eagle Gate. 

Young would later form a partnership called Young & Son, with his son, named, wait for it, Don Carlos Young. Interestingly, JDC's grandson, Richard Young, is given credit for designing the modern Church Office Building (COB), built during the 1970s. That's a whole lot of keepin' it in the family. 

Here is a photo of JDC with two of his brothers.



Here you can see the man standing in the center displaying a Masonic symbol called the "hidden hand", a common pose seen in many 19th centuries photos featuring powerful Freemasons in high-ranking political, industrial, and military positions. 
This photo was taken out of a Master's Thesis written by Bradford West and published by the University of Pennsylvania in 1994 (I can't begin to tell you how many gems on Old World Utah I have discovered in obscure master's theses that are free to read online).
Bradford West names the man sitting down on the left as JDC, but if you look at other pictures of him he looks more like the one standing in the middle. I'm not actually sure which one is which, but here is another photo of JDC for comparison:



The strange thing about this thesis is that Bradford West basically proves, despite the title, that JDC had zero training as an architect, even though Church scholars claim the contrary.

For instance, the only article I've been able to find on the construction history of the CAB was written by Matthew O. Richardson, who taught as a Church History professor at BYU from 2002 to 2006. The article was published by BYU Religious Studies Center as part of a book in 2011, entitled, Salt Lake City: A Place Which God Prepared. Richardson's article, entitled, A House for the Presidency, can be read for free here.

Richardson makes the claim that JDC "graduated from Rensselaer Polytechnic Institute in Troy, New York, in 1879 with degrees in architectural engineering". This statement, as I'm about to show you, is not entirely true. JDC received no instruction in architectural engineering at Rensselaer simply because - they did not offer any courses in that subject. JDC graduated with training as a civil engineer, not an architect. 

Bradford makes this explicitly clear in his thesis, and provides the sources to back up his findings. You can read his thesis here and check the sources yourself. What is significant about JDC receiving no instruction in architecture is the fact that he is claimed to have been Utah's first 19th century architect trained in an academic venue. Just think about that for a moment. If you want to go down the rabbit hole even deeper, take a look at some of America's most iconic architects during the same time period and you'll notice a similar pattern. Virtually none of them were trained academically in architecture. Most were said to have been carpenters, engineers, or builders who added architect to their repertoires after extensive "self-training."

Here is what Bradford West says Rensselaer did not offer in training to JDC in the 1870s:
...Young received very little, if any, systematic instruction, before or during his studies at Rensselaer, in fine art and informed architecture. Absent in Young's academic training, in regards to the practice of architecture, were: (1) systematic architectural planning and analysis, (2) an operative understanding of historical precedent, including the lessons gained by studying, memorizing, and drawing the five orders and by studying the growing canon of accepted ancient and modern landmarks, and (3) instruction in the prevailing aesthetic and construction philosophies of the time. By no means did Young acquire the best architectural education available during the late 1870s in the United States -- indeed, far from it. (pp. 20-21, emphasis added)

No training in architecture whatsoever yet JDC went on to design epic Greco-Roman buildings with Corinthian columns?

Really?

Throughout his thesis, West uses the following words and phrases in describing JDC's training and/or participation in building designs that are attributed to him: conspicuously absent, circumstantial evidence, tenuous circumstances, it is not known, plausible, may have been, presumably, probable cause, etc.

By the time you finish reading the thesis, which is a few hundred pages, you're not sure if JDC designed anything at all in Utah. Even in JDC's obituary not a single reference to architecture is made. The Deseret News stated the following at the time of Young's death:

Mr. Young taught at the University of Deseret following his graduation and at the same time engaged in railroading and irrigation engineering from 1879 to 1883. (See p. 42 of West's thesis for quotation)

Apparently, JDC retired from the railroad in 1879, and moved to a farm house after receiving an inheritance from his deceased father. And it was there at the farm that JDC began to teach himself architecture. According to West, he collected books, subscribed to architectural periodicals and magazines, and purchased a drawing table and "sundry drafting equipment", and thus his "self-training" began.  

It's a nice story n' all, but as usual, I'm not buying it. Something else is going on here.

West included in his thesis a major clue from something Brigham Young said about God. This quote, in my opinion, clearly stipulates that the loyalties of the Young family were to Freemasonry and Luciferianism. The language used here is similar to what men like Albert Pike and Manly P. Hall have said about "The Great Architect of the Universe," which they have revealed to the initiated is Lucifer:

God, for Brigham, was a craftsman, a scientist, who molded the material elements into various shapes and forms according to his design... "God speaks He is obeyed, and matter comes together and is organized. We take the rock, and the lime from the mountain and burn it and make mortar with lime and sand and lay the foundation of houses, and rear the superstructure with brick, stones, adobes, or lumber. We bring these elements together and organize..." (A quote by Leonard Arrington, found on p. 17 of West's thesis, emphasis added)

To speak of God as a "craftsman" and a "scientist" is Masonic language. 

Albert Pike said something similar in Morals and Dogma, and as you may recall from this post I wrote on music, Pike and Brigham knew each other. A craftsman is a person skilled in some occupation that requires the use of their hands, but the root word craft has a few definitions, one of which is "a skill used in deceiving others." Nowhere in scripture do you see the word "craft" being used to describe God and His Priesthood. But you do see it used in conjunction with priestcraft and witchcraft. With that definition in mind here is what Pike wrote in Morals and Dogma:

The ingenious artificer and craftsman, like Solomon, searches the earth for his materials, and transforms the misshapen matter into glorious workmanship. (Kindle Version, Loc 932, emphasis added)

The Masons project themselves as creators, taking raw materials from the earth and forming them into beautiful structures. This is why they refer to Lucifer as an "architect." But this is all an illusion. Lucifer and his followers do not create anything. They cannot. They have been stripped of their creative power because of who and what they have chosen to follow. All they can do is imitate and pretend.  

In Manly P. Hall's book The Secret Teachings of All Ages, he gives away a clue that, in my opinion, creates a major hole in the narrative of the Freemasons building edifices that really belong to the Tartarians (who I believe are descendants of the lost Tribes of Israel). He plainly writes that the Freemasonic focus on architecture and building is nothing but a parable for manipulating and controlling human societies.

Hall writes about an ancient group called the Dionsyiac Architects, a fraternity that Vitruvius belonged to. They were also called the Roman Collegia, and were "initiates of the Bacchus-Dionysos cult... peculiarly consecrated to the science of building and the art of decoration." He claimed that they built "public buildings and monuments," and were the "master craftsmen of the earth."

Master craftsmen, in my opinion, is coded language for expert liars and deceivers.

Hall claims that this fraternity built edifices all over Europe, Asia Minor, India, and Egypt, referring to these structures as "sermons in stone." To the uninitiated, Hall surmises that the buildings inspired "a sense of majesty and symmetry resulting from the perfect coordination of pillars, spans, arches, and domes." These buildings, he claimed, could "induce any desired mental attitude or emotion", and were constructed as to be "perfectly harmonious with the structure of the universe itself", and "were based upon geometrical patterns derived from the constellations."

Is this sounding familiar yet? He is giving credit to a group that DID NOT build these buildings. A secret fraternity that worshipped a Roman god named Bacchus. But the next excerpt is where he gives it all away:

While stigmatized as pagans by reason of their philosophic principles, it is noteworthy that these Dionysiac craftsmen were almost universally employed in the erection of early Christian abbeys and cathedrals, whose stones even to this very day bear distinguishing marks and symbols cut into their surfaces by these illustrious builders. Among the ornate carvings of great churches of the Old World are frequently found representations of compasses, squares, rules, mallets, and clusters of builder's tools skillfully incorporated into mural decorations and even placed in the hands of the effigies of saints and prophets standing in exalted niches. (Hall, The Secret Teachings of All Ages, p. 507, emphasis added)

Do you see how Hall is masterfully weaving the Freemasonry narrative into our official architectural history?

Hall continues by revealing what this whole deception is really about: controlling human populations:

But Freemasonry most of all owes to the Dionsyiac cult the great mass of its symbols and rituals which are related to the science of architecture. From these ancient and illustrious artisans it [Freemasonry] also received the legacy of the unfinished Temple of Civilization-that vast, invisible structure upon which these initiated builders have labored continuously since the inception of their fraternity. This mighty edifice [human civilization], which has fallen and been rebuilt time after time but whose foundations remain unmoved, is the true Everlasting House of which the temple on the brow of Mount Moriah was but an impermanent symbol. (p. 508, emphasis added)

Hall is telling you here that there have been multiple resets in human history. He is hinting to you that Freemasonic fraternities control human populations. He makes this expressly clear in the next paragraph:

Human society they [the Dionysiac Architects] considered as a rough stone and untrued ashlar but lately chiseled from the quarry of elemental Nature. This crude block [human society] was the true object upon which these skilled craftsmen labored -- polishing it, squaring it, and with the aid of fine carvings transforming it into a miracle of beauty. (p. 508, emphasis added)

Finally, Hall joins the chorus of Brigham Young and Albert Pike in this last passage:

They [again the Dionysiac Architects] venerated the Deity under the guise of the Great Architect and Master Craftsman who was ever gouging rough ashlars from the fields of space and truing them into universes. (p. 508, emphasis added)

So what does this all mean for Brigham and his son JDC? If they were truly part of this Jesuit-controlled Freemasonic organization, then it is very plausible that they were only pretenders, and didn't build any of the iconic structures in Utah that they are credited for building. It may all be a ruse to deceive us into believing in a narrative that is designed for one purpose: the control and manipulation of our modern society.

I know this is a lot of information to process. But keep in mind that understanding how Freemasonry fits into the topic of the Old World is paramount to exposing the false architectural narrative. Once you open your mind to this deception, you begin to see it in every narrative of every Old World building. 

And once you see it, you can never unsee it. 

Did the First Presidency Really need a House that Big?


As the story goes, the CAB was built in order to fulfill a commandment given to Joseph Smith in 1833 (better late than never I suppose) that "a house for the presidency" should be erected next to the Kirtland temple. The Lord declared that He would give specific instructions on how the building should be built. Here is the original revelation given to Joseph:
And again, verily I say unto you my friends, a commandment I given unto you that you shall commence a work of laying out and preparing a beginning and foundation of the city of the stake of Zion, here in the land of Kirtland, beginning at my house. And let the first lot on the south be consecrated unto me the for the building of a house for the presidency, for the work of the presidency in obtaining revelations, and for the work of the ministry of the presidency in all things pertaining to the church and kingdom.

Verily I say unto you that it shall be built fifty-five by sixty-five feet, in the width thereof and the length thereof, in the inner court. And there shall be a lower court and a higher court, according to the pattern which shall be given you hereafter. And it shall be dedicated unto the Lord from the foundation thereof, according to the Order of the Priesthood, according to the pattern which shall be given you hereafter. (T&C 97:1-2)

Matthew O. Richardson points on in his article that this building was never built because of a lack of funds, and that the First Presidency had to meet in places like the Kirtland temple, various schoolhouses, Joseph's home, and the Red Brick Store in Nauvoo to hold meetings and conduct business.

But somehow, over 80 years later in 1917, Richardson claims that the new CAB fulfilled the original commandment to build this "house for the presidency." Given everything that happened in Church history during that 80 year period, this claim is quite a stretch. 

For one, the Church Administration Building was not built according to the pattern the Lord set. We're told that JDC designed the building to be at least 10 times larger than what was specified in the revelation, and the pattern that the Lord was going to reveal "hereafter" was never given as far as we know. Secondly, there was no inner and outer court, and thirdly, the CAB was not "dedicated unto the Lord from the foundation thereof". In fact, it wasn't dedicated at all until 1978, 61 years later. The reason for the long postponement, according to Richardson, was the Spanish flu epidemic of 1919.

The postponement of a proper dedication is strange indeed, especially considering the fact that Joseph Fielding Smith later declared that the CAB was "'one of the most important of all the structures' built during his father's administration". A structure so important that it apparently didn’t need a formal dedication to the Lord? 

What is going on in this narrative? 

As the story goes, JDC was commissioned to design a building that would both serve the administrative needs of Church leaders and offer protection from natural disasters. Therefore, it was decided that the building would be framed with a steel skeleton and formed with reinforced concrete and granite. 

Interestingly, Richardson mentions in his article that the CAB was “built on a grade that was considerably higher than the normal street grade to provide additional protection from the periodic flood waters of City Creek." 

Why would they build the CAB with a higher grade when Richardson stated in the sentence before that the "windowless basement was designed to be constructed of steel, granite, and reinforced concrete, making it both fireproof and waterproof."

Richardson goes on so say that:

The primary purpose of the basement was to provide the best possible security against any foreseeable natural disasters. Consequently, the concrete walls were reinforced and waterproofed. A vault to store the most prized historical documents of the Church was installed in the basement. (Richardson, A House For the Presidency, p. 242)

So the building was waterproofed to the max but the main floor still needed to be set at a "considerably higher grade" to protect it from City Creek?

As you study Old World building narratives you'll notice another theme that I haven't mentioned much on this blog. Have you ever wondered why virtually all court houses and capital buildings have steps going up to what seems like a second floor? Is it because stairs look really cool and local governments were just dying to spend ass-loads of money making the main floor higher than street grade? Or is something else going on here?

Here is a photo showing the stairs of the CAB:


And here is the Utah State Capital Building's stairs:


And here is a photo of the Washington D.C. Capital Building:


You can check pictures of every capital and county building in the nation and see the same pattern. 

Were all the 18th and 19th century architects and builders really worried about flooding to the point that they spent a considerable amount of money building stairs and raising the main floor up two or three levels? 

Again, this makes no sense at all, unless of course there was some kind of massive flood event that buried the first several levels of these buildings and required the founders (who literally found the buildings) to build stairways up to the first usable floor after a mud flood. 

And speaking of basements, Richardson reports of a strange event that transpired with the foundation of the CAB. Often in these narratives, especially the buildings supposedly built by organized religions, you find vignettes that hinge on the supernatural, with narrators proclaiming that the providence of God was involved in the construction process, because you know, God loves massive and elaborate buildings that are paid for out of the tithes and taxes of the poor.

As with most of the building narratives of old world structures in Utah, foundations were said to have been excavated in fall or winter. The CAB's foundation was supposedly dug out in September of 1913 and the concrete poured shortly thereafter. Richardson claims that the newly poured "foundation froze in the severe winter conditions", and "upon initial inspection and testing... crumbled to dust and could not support the weight of the five-story building".

But never fear, in the spring of 1914 the once-faulty concrete was retested and "much to the shock of the architects, engineers, contractors, and builders, the foundation was deemed to the structurally sound and could be left intact." This phenomenon, according to JDC and Richardson, "was nothing short of miraculous providence."

Are you kidding me? 

Why would God care about a massive building that, according to the Richardson, had to built with tithing funds from the lay members of the Church? The lies in this narrative are multilayered: they are using a building they didn't build to push a false idea about tithing that they are still using against the lay membership today.

Tithing is for the poor, not for building elaborate offices for Church leaders.  

The foundation was supposedly completed by contractor J.W. Mellen, who Richardson claims was the general contractor for the entire job. There are no subcontractors named in the narrative, even though the building required a massive 600 ton steel skeleton, "4,517 granite blocks... totaling 73,000 cubical feet of granite weighing 6,025 tons", as well as several tons of "white Tennessee marble" for floors "veneered with large blocks of golden travertine", and offices adorned with "rich panels of Circassian walnut." 

How did ol' J.W. Mellen complete all this work himself? How many men did he have on his construction crew? What contracts did he have with steel manufacturers, Utah granite and marble quarries, Tennessee marble quarries, granite block makers, masonry companies, lumber mills, and carpenters? Conveniently, all of those logistical details are left out of the narrative. In the few contemporary articles that I've found written by Salt Lake newspapers that even mention the CAB building at all (see "Church Office Building", Deseret Evening News, Friday, October 10, 1913), Mr. Mellen is only named as the contractor hired to complete the concrete foundation. 

In his bid he stipulated that the job would only take 75 days. If the building was excavated in September as the narrative affirms, then this means that Mr. Mellen was building frames and pouring concrete during the beginning of the cold winter months. An interesting thing about concrete is that if it freezes too quickly after it's been poured, much of its overall strength can become comprised. In Mr. Richardson's article that I've been quoting throughout this post, he wants you to believe that the concrete was compromised because of cold weather, but was miraculously fixed by God Himself the following spring, all to save the Church "precious tithing funds" that would've had to be used to redo the foundation.

In one of the only other articles I found mentioning the CAB building, the Deseret Evening News claims that in 1917, after the building was finished, an unnamed "eastern traveler" commented that it was a "Poem in Stone" (Remember the quote from Manly P. Hall where he stated that ancient buildings were referred to as "Sermons in Stone"?) The article goes into eloquent detail describing the extravagance of the building:

Ascending the granite steps one is ushered through the grilled entrance finished in glass and bronze into the imposing lobby. The exquisite marble work is a revelation of the finest example of the stonecutter's art. Here the walls are in a solid paneling of travertine and leading to the floors above are the spiral marble stairways while here and there are elevators with massive bronze fronts.

The suite of the First Presidency is the principal feature of the main floor. In the reception hall of marble stand sixteen graceful columns, and back of the reception hall to the back of the building are the commodious offices of the First Presidency... the walls being paneled in Circassian Walnut, and the ceiling heavily beamed. Adding to the cheeriness of the place is the fire place and mantel of light onyx. Here the electric features are in cast bronze... The private office of President Joseph F. Smith leads off the large room to the east. It is finished in mahogany birch...

You can find the same details (and many more) laid out in the Utah Genealogical and Historical Magazine published in 1917. Start on page 58. This publication is a nothing more than a description of a building that, in my opinion, already existed. Richardson relives heavily on this magazine as source material for his article, continuously weaving the details it offers throughout his writing. If the narrative is true, it is quite amazing that construction workers during this period were able to produce such exquisitely detailed and elaborate work in such a short amount of time (and during a major world war no less), especially with hard materials like marble (I want to know who built the spiraling marble staircase; of course they don't tell us) and granite. Just take a moment to scroll through these pictures to appreciate the craftsmanship:







See this article for more photos. 

And just for fun, here is a symbol representing the pineal gland found on the marble staircase railing that is also found in the Vatican:


Is it just a coincidence that the same symbolism is found in both the CAB and the Vatican? This should make us wonder who really built these buildings and complexes. Was it the same group? Have the LDS and Catholic Churches simply just taken over the buildings?

Take another moment and look at the workmanship on the marble staircase. 



Do you really think they were capable of this kind of work in 1917? Do you know any contractors today that could duplicate this? And why do they not tell us the name of the contractor who performed this work, or how the marble was shaped? In my opinion, whoever built this should be recognized, yet the narrative cannot provide us a single name outside of J.W. Mellen, the general contractor, who apparently did everything himself, a ridiculous notion.

And speaking of workmanship, we can't end this post without talking about the ionic columns (both of granite and marble) lining the exterior and interior of the building. They hold esoteric meanings and clues that should make us really question this narrative.

An Administration Building, an Apollonian Temple, or a Tartarian Power Station?


In my opinion, this narrative is at least three layers deep. On the surface we have the story that JDC designed and built this building for Church leadership (which seems way over the top for just office space), but if we look a little deeper, the design and ornamentation of the building matches Vitruvius' description of a Greek Ionian temple (associated with the god Apollo). But is this also a ruse? A deception within a deception? Was the building actually built by the Tartarians? And was it designed to be a receiver and distributor of wireless electricity?

There is a lot to unpack here, but I'm going to make this concise as possible, and let you, the reader, decide for yourself what this building really is.

The character Vitruvius, which at this point I do not believe was a real person, lays out in his ten books on architecture the meaning behind Ionic, Doric, and Corinthian columns and temples. The CAB has an exterior colonnade of 24 granite columns surrounding the building, as well as an interior room (called the pillar room) containing 16 marble columns. According to the Utah Genealogical and Historical Magazine, the granite columns are Ionic and the marble columns are Doric.

The magazine describes the style of the building as Grecian Ionic, with the exterior granite columns as being 48 feet tall. At the top of the columns we find what is referred to as a volute:


A volute is a scroll-like design on the capital (top) of a column. As you can see, it looks like a scroll that has been rolled up on either side, in a Fibonacci-spiral-type design. The word volute comes from the Latin voluta meaning "a spiral scroll." Voluta is a past participle of volvere, which means to turn around, roll, or revolve. So a volute is a symbol of something in motion. Keep that in mind. Ionian temples, according to Vitruvius, always display volutes on the capital of a column.

Now, when we hear the word ion we think of subatomic particles with an electrical charge. But did you know that Ion was also a character in Greek mythology? He was the son of Xuthus and Creusa, and in the legend of oracles of Delphi, the god Apollo acknowledged Ion as his own (illegitimate) son. Ion was the commander-in-chief of thirteen colonies that were dispatched to Asia Minor as part of the Ionian League. After they were established they built a temple to Apollo at Delphi, the ruins of which you can still see today (or at least that is what we're told). View them below:


After giving this short history, Vitruvius lays out the column dimensions and architectural style of an Ionian temple... and the CAB matches the descriptions almost perfectly.

Ionian and Doric columns are based upon the proportions of the male and female body, starting with the base number six. 

(According to Vitruvius, Doris came before Ion and was the son of Hellen and the nymph Phthia, and was the first to build a temple in the precinct of Juno at Argolis. Interestingly, Ionian and Dorian are also the names of scale modes in music. For Instance, the guitarist Santana plays nearly all his guitar solos in the Dorian mode).

The number six was supposedly the perfect number to the Greeks, because the foot of a man was typically one-sixth of his height. Furthermore, the Greek cubit consisted of six palms, which amounts to 24 fingers, and remember there are 24 Ionian columns on the exterior of the CAB. The Greeks also considered ten another perfect number, and when combined with six, the "most perfect" number became sixteen, and there are sixteen Doric columns in the interior of the CAB. And as you may recall from my post on music, 16 is the harmonic position of middle C, and 24 is the harmonic position of G, which is the mese, or middle, or the perfect 5th of the C major scale. 
  
Doric columns represent male energy, with the diameter being measured at one-sixth of their total height (this is based upon the concept that a man's foot is one-sixth of his total height). The height of the interior marble columns in the pillar room of the CAB are 14 feet tall, but we are not given their base diameter. Ionian columns represent female energy, and according to Vitruvius, the Greek measurement of the diameter of these columns were only one-eight of their height, giving them a more slender, and thus feminine look. The measurements of the granite exterior columns on the CAB are five feet at the base diameter and 48 feet tall. 5 goes into 48 9.6 times, so these columns appear much more slender than the 14 foot tall (shorter and stouter) marble columns found in the pillar room.

Interestingly, we find the gender roles reversed in the material used for the columns. Granite, being an igneous rock formed by liquid magma, has male properties, while marble, being a derivative of sedimentary limestone, has female properties. In my opinion, limestone and granite have been used in ancient structures, like the Pyramid of Giza for example, to produce electrical energy.

Vitruvius explains that Ionic temples have both interior and exterior columns, and carved lion's heads in the exterior entablature (the entablature of a building is the horizontal beam that is supported by the columns). The CAB also has small lion's heads carved in its entablature. Vitruvius says that the "lion's heads are to be carved and arranged at intervals... over the columns" as gutter drains and appearing "to be vomiting as they discharge streams of water from their mouths".

Let's just pause here for a moment and ask ourselves a question: do we really think that JDC, a rich and spoiled son of Brigham Young, spent years studying Vitruvius (in his spare time) so that he could design an Ionian/Apollonian temple for Church leaders? And why would leaders of a Christian Church want an administration building dedicated to a false god? 

As always, the narrative makes entirely no sense. But let's go deeper. 

What if the entire concept of Greek architecture was made up? What if the Greeks (and Romans for that matter) did not exist in the way we think they did?

Why would 19th century architects and builders become so obsessed with ancient architecture that they would want to duplicate it 2000 years later (at a time when presidents were born in wooden shacks?) And why is Greco-Roman architecture ubiquitous all over the world, found on every continent and in every nation? Furthermore, why do 19th century photos of U.S. cities show massive and elaborate stone and brick buildings with ornate carvings surrounded by streets made of dirt and mud? How did our progenitors build these amazing structures yet lack the ability to even make functional matching stone roads? How did they transport multi-ton heavy stones and brick on horse-drawn wagons with wooden wheels while trudging through muddy streets during winter construction? 

Something else is going on here. There is a Russian mathematician named Anatoly Fomenko who wrote a series of books in the 80s and 90s entitled History: Fiction or Science?. His basic premise is that our current chronology, largely based on the chronology of Joseph Scaliger, is blatantly false. Using mathematical equations Fomenko shows in his books that establishment history is nothing but mirroring mathematical patterns, and this should make us wonder: who wrote our history and which part of it, if any, is authentic? See Fomenko's website and books here.

If history is such a jumbled mess, than how are we supposed to know anything about our past? 

As Nephi stated in the scripture I quoted at the beginning of this post, we won't know the true history of all nations until God reveals it upon the housetops after Zion is established. Until then, all we have is the only physical evidence that exists that we had a past at all: buildings, melted brick structures, underground tunnels and citadels, star forts, and old city infrastructures that we can see outlines of on google earth. At this point, anything written by any historian simply cannot be trusted.

Getting back to JDC's CAB building we have to ask: what if there is nothing Greek at all about this building? What if Vitruvius' books are Masonic smokescreens designed to hide the true civilization that constructed buildings like the CAB? And what if the deeper purpose of all this deception is to hide the true function of the buildings as free power stations and healing centers? 

I'm going to leave you with just a few clues that should make you wonder what the CAB really is, and why the LDS Church is claiming that its leaders built it. 

Let's start with the word column. The Luciferian controllers of this realm have to leave clues revealing what they are really up to, and in my opinion, language is a major source of these clues. Have you ever wondered why so many English words have dual meanings, or why someone's last name (the person who discovers a thing) can also become a scientific term? (Hertz, the measurement of frequency vibration, discovered by Henrich Hertz, is an example of this).

The word column means, in modern English, an upright pillar made of stone or other material that supports an entablature on a building or monument, or "a vertical diversion of a page or text." But if we look deeper, we find that column is also the root word for Columbus, or Columbia, the female goddess associated with the Statue of Liberty and the District of Columbia. As you may recall, a statue of Columbia is also found on the City-County building in Salt Lake City supposedly built between 1890 and 1894.

But did you know that the French surname of Columbus is Coulomb? And in 1881, a French chemist by the name of Charles-Agustin de Coulomb came up with a method of quantifying electricity. The term for this measurement is not surprisingly called a coulomb, which is a "unit of quantity in measuring electrical current." So in the word column, we have a link to both Columbus/Columbia and electrical energy. So I ask you dear reader, what is a column

Is it a device for receiving, storing, and distributing electrical energy? 

Now let's go deeper and further explore what a volute (the double scroll at the top of a column) is. As you'll recall from earlier, one of the meanings of the word volute is to "turn, or revolve." The word revolve means "to move on a circle on a central axis." In the case of an architectural volute atop a stone column or pillar, what exactly is moving? What is revolving or rotating on a central axis? Is it something that we cannot see? Is it electrical energy? 

Here is a photo (a screenshot of a video made by YouTuber Lucius Aurelian) of the original Telsa Tower and a drawing of its internal components:



Look at the design at the top. Does it not resemble the double spiral of a volute, sitting atop a column? Are the lines across the top of the drawing representing the revolving energy flow of Tesla's wireless electricity tower? (As a side note, the word tower, or rather its root word tow, means to draw forth, as in drawing forth energy.)

Here is a close up of a volute for comparison:


Dear readers, I think we've been lied to. The CAB building, and many other buildings on Temple Square and in Salt Lake City, are not what the official history tells us they are. These buildings, and this earth for that matter, are so much more than that we've been told. This realm, a simulation created by God designed to help us ascend and be added upon, is far more wonderous and fascinating than what we've been led to believe. 

Our true history is far more engaging, vastly more complex, and invigoratingly mysterious than the drab that has been written, and technology that is far more advanced and superior to what we think we have has been around for a very long time, dating back centuries and even millennia. 

Let's circle back the word ion. What is Vitruvius really talking about when he is describing an Ionian temple? In modern scientific discourse an ion is an electrically charged subatomic particle such as an electron or proton. A positively charged ion is known as a cation, while a negatively charged ion is called an anion. These two types of ions are attracted to each other and the process of combining them forms ionic compounds. The word ion, according to Wikipedia, is a Greek word meaning "to go". Anion, meaning to move up, and cation, to move down, are also Greek words. Why then, is Ion also a character in Greek mythology? What is really going on here? 

In my opinion, Vitruvius, or the Jesuit/Freemasonic organizations that have written our history, are using mythological parables to tell us what the true purpose of these buildings are. An Ionian temple therefore, is nothing but a large-scale model (or macrocosm) of the electrical microcosm found in an atom. It's made of ionic compounds such as granite and marble that cause electrons to move, and using some type of advanced technology, it harnesses the energy created by that movement and converts it into usable power. The words ion and volute both have to do with movement, and in a large stone structure, what else could be moving unless it was electricity? Also consider the fact that the word cathedral is a variant of the word cathode, which comes from the word cation. Anodes and cathodes are positive and negatively charged components of a common battery, which begs another question: what is a cathedral?    

I'll leave you with just one more clue from Vitruvius, found in his description of an architectural triglyph. A triglyph is shown in the diagram below. It consists of three lines separated by flutes and six guttae (or triangular pegs) at the bottom:

Here are triglyphs on a real-life building:


According to Vitruvius, the middle triglyph is called a "femur", a term that should raise alarm bells in association with certain secret societies. This should make us more curious about the catacombs found under cathedrals in Europe. Why are there only skulls and femur bones found in these underground ossuaries?


Notice that the skulls and bones above are arranged in rows that resemble a triglyph. What is really going on here and do these ossuaries also exist in America? Check out the videos below for further details:


 

Bonus Addendum: JDC's Other Buildings and an Interesting Perspective on Cornerstones


Just when I think I'm done writing a post I always seen to find else something that blows my mind. Before I share what I've recently learned I thought it pertinent to show two other buildings that JDC was said to have designed. This first one is the Paris Tabernacle in Bear Lake Idaho:



Notice the steps leading up to the first floor like we see on almost all old buildings.



Paris, Idaho is nothing but a small blip on a map. If you blink your eyes as you drive through you'll miss it. This building was said to have been built between 1884 and 1889, with the rock being hauled from Indian Creek Canyon by oxen-drawn wagons nearly 18 miles away. Paris is 60 miles from Logan and 141 miles from Salt Lake City. It seems strange that a branch of the Church in Paris would need such a large building to meet in considering that even today the population of this small town is only around 500 people. 

According to the narrative, as soon as the Logan temple was finished construction began on the Paris tabernacle, which cost $50K and seated 2000 people (where did all these people come from?). This is also strange because we are told the the Logan temple exhausted the resources of the Saints in that area. 

The building also holds a fire narrative. Just before it was dedicated in 1888 a fire destroyed some of the interior, which had to be "restored". I go down to Bear Lake every summer to attend a family reunion, and driving by the building is a surreal experience - it definitely invokes a feeling of enigma.

This next building, the Brigham Young Academy, was the original building for Brigham Young University, supposedly designed by JDC. 


 

As you can clearly see, the first level of the building appears to have been partially buried, with basement windows being cut off and stairs going up to the first floor.

The first building on the site was known as Lewis Hall, which, wait for it, burned down in 1884.


Isn't it interesting how when brick and stone structures "burn" they leave partial walls and rubble that appear as if a bomb went off?

Students met in a ZCMI warehouse until the new Brigham Young Academy building was completed. As the story goes, JDC was given the drawings for the building from Karl G. Maeser, who was the university's first principal. Maeser drew up the architectural plans based upon a dream he had in which he was visited by Brigham Young and escorted through the building. JDC improved upon the plan and after six years of construction, the edifice was completed and dedicated in 1892. (Read the text of the dream here). 

The early 1890s was a busy time for construction workers in Utah, at least that's what we're told anyway. The Salt Lake Temple was nearing completion, the Great Saltair bathing resort would be constructed in the winter/spring of 1893 in less than three months, and the City-County Building would be completed in 1894. So much accomplished in so little time. Not to mention that 1893 was the year that the Columbian Expedition (Word's Fair) in Chicago was held. 

If you're still undecided on whether a previous civilization existed in America and built many of our iconic buildings than I suggest you study the World's Fairs. In these narratives we find the most ridiculous stories and building timelines. I recommend Howdie Mickoski's book, Exposing the Expositions, 1851-1915Click here for the Amazon link.

Finally, I came across a video documenting some anomalies about the cornerstone on the courthouse building in Portland, Maine. This YouTuber, The Observation Lounge, has an interesting theory on Tartaria that actually makes a lot of sense. He does not believe that the Tartarian empire expanded west into North America, but that our unexplainable buildings were constructed by the Vikings and their descendants. 

Check out the video below on the Portland, Maine, courthouse cornerstone:

  

This video got me thinking. So I looked at photos of the CAB building where I could see the southwest corner where the cornerstone is supposed to be - and strangely, I don't see it at all. Check it out for yourself, the lower left corner of the photo is the southwest corner of the building:

Here is a photo of the building in 1917:


Here just above the black car that is furthest left you can kind of see a a smudge that may be a cornerstone placard. If you zoom in on the photo you can see two people standing on the lawn on the left side of the building who look disproportionately small next to the structure. It certainly appears as if this photo has been tampered with. 

Here we have a modern photo:



As you can clearly see, there is no cornerstone placard in the southwest corner (behind the tree). I wonder where it went? According to the newspaper article I found on the ceremony, there were all kinds of Church history documents stuffed inside a copper box and inserted into the cornerstone. I wonder if these could be retrieved today and what they would reveal? 

This cornerstone phenomenon begs the question: did the Freemasons replace many of the cornerstones on these Old World buildings in order to hide and destroy relics from the previous civilization? This video seems to concur:



Stay tuned for my upcoming series on more buildings in Utah...

No comments:

Post a Comment

Ancient Temples II: A Gothic Castle in Logan

  Previously: Saint George and the Dragon Welcome readers to Ancient Temples part II, where we'll explore the official story of Utah...