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Marvin Haines

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Everything posted by Marvin Haines

  1. Thank you so much, Mr. Fowler!! The performance was amazing! I don't think we made a single noticeable mistake - a huge accomplishment, given that our last two rehearsals were canceled due to weather complications. I try to make love my motivation in life, but, like Bacon, I often fail. I admit that I have a temper and a low tolerance for disrespect. I have been quite hostile at times toward my teachers, parents, and medical providers - of this I'm not proud. But I always attempt to do better in the future. One of my goals in life is to help abolish the death penalty in our country - somewhat ironic, given that Bacon himself seemed to be in support of it. I firmly believe that we have to start caring for one another and offering forgiveness, even when it's hard to forgive. I hope that Bacon eventually learned to forgive his political enemies and himself. Quote: "An Eye for an Eye only makes the whole world go blind." Thanks again! Have a fantastic weekend!
  2. Hi, all - I will take a lot of time tonight to write more thoughtful responses, but for now, I just wanted to acknowledge your incredible insights and encouragement. I will fully dissect these responses later today when I have time. (I'm performing with the Oregon Repertory Singers' Youth Choir today, so, as you can imagine, I'm quite busy!) Thanks again - and good luck with everything!! M.
  3. Today’s Ramblings: What we have here is a familiar image – the Kabbalistic Tree of Life. I’ve seen it many times before, and it’s always fascinated me. It’s commonly said that only a fully initiated adult can attempt to understand its meaning, but I firmly disagree. First, we’ve got to address the question of what qualifies as an adult? I am sixteen years old as of this writing, and I know that in ancient times – i.e., when Masonry and Kabbalism first appeared – I would be considered fully grown-up. I think we all mature differently, and it is a long and rather vague process. Of course, there has to be a legal age at which a person is declared an “adult,” but that’s to keep the law impartial. Kabbalism, unlike Masonry, is not a rule-bound organization aiding a spiritual journey – rather, it is a spiritual journey in and of itself. It does not require others to deem you worthy of a “higher degree;” instead, you must pursue initiation on your own. We know Sarah Winchester was well aware of that because she designed her House as a self-guided initiatic experience – and indeed, there are many references to Kabbalah built into its architecture. Now that I’ve made my claim and proven that I am more or less ready to study Kabbalah, I’ll share some observations of the Tree of Life. I’d previously seen an image of the Tree superimposed on a Tracing Board of the First Degree. I noticed some remarkable similarities between the two images. For starters, to those of you who don’t know, the Entered Apprentice’s Tracing Board shows three pillars – each in a different basic order of classical architecture. (There are actually five – and, in terms of architecture, 8 – but all that comes later.) The first is in the Doric order, the second is in the Ionic, and the third is in the Corinthian. They are labeled S, W, and B, respectively. You learn throughout the degree that these stand for Strength, Wisdom, and Beauty – three core virtues of Freemasonry, each taught separately in a different Degree. (These virtues are also represented by the three allegorical figures in the Hiramic legend of the Third Degree.) Strength is taught in the First Degree, and the other two are taught in the later ones. In classical architecture, the three orders are ranked from simplest to most elaborate – and indeed, on the façade of a three-story building, they are used hierarchically, with Doric on the bottom floor – as it represents and embodies Strength – Ionic in the middle, and Corinthian on the top. Ever hear Freemasonry described as the building blocks for a metaphorical/allegorical Temple? I certainly have. The idea is that the Candidate uses the virtue of Strength – taught in the First degree – to lay a foundation to carry the weight of the building above. The second degree’s virtue of Wisdom can be seen as a middle floor, and the final degree – the degree in which the Candidate must come to terms with death – and therefore, his tiny, but noble role in the universe compared to God’s – represents the roof. Now, the Tree of Life is really more like a “Temple of Life.” The symbolism is basically the same as in the Tracing Board. Notice that at the top is the Sefriot Keter – the “Crown.” Some take its symbolism literally, seeing it as a representation of God. But I personally see Keter as the ultimate mystery of the universe – the beginning, from which all other Sefriot sprung. At the bottom of the Tree is Malchut – or “Manifestation.” I see this as God’s manifestation of Man – an uncut stone with a lot of potential. He has to complete the three pillars of the Tree to get to his ultimate goal – i.e., Keter. The Tree can also be seen as a representation of Boaz and Jachin, King Solomon’s two pillars. And in fact, even though the Temple was built long before the classical Orders were refined, the left pillar, Boaz, has a name which literally translates to “He shall Establish” – a foreshadow of the Doric order, or the Entered Apprentice. But what about the central pillar? If you recall, there are only two pillars of the Temple. The key is that the initiate must remember there is an invisible central pillar that he must travel to reach his goal of Keter. Thanks for sticking around for my ramblings. I’ll post more later if you guys are interested.
  4. I've written a ballad about Sarah Winchester to teach to the Oregon Repertory Singers' Youth Choir, of which I am a member. A friend has offered to be an accompanist (French horn). I don't know if we'll ever get to performing the piece, but we're enjoying practicing it! Lyrics: The Galled Goose of Winchester has flown – And all my songs are over but for one; I’ve lived and loved and lost, and now my time is at an end – But I know this story is not done. In the valley of Santa Clara, Many years ago, A House was built upon Flat Land And ordained to grow; It was a mighty palace, Conceived out of passion, Woven with symbols, And hallowed with love. I conceived and I constructed, I demolished and rebuilt – And they say that I was driven Not by passion, but by guilt – They portray me as a lunatic, Who bore a cursed name, And built her Legacy on fear And stories fraught with shame. But now, in verse, I live again, So, sing aloud my word They say the Master died in vain, But still his voice is heard, For it was more than Masonry That made the Temple stand; With this, I leave my Legacy – The House upon Flat Land.
  5. Sorry - the screenshot captured my drawing tablet as well as my monitor. You can't see it that well in this image, but its the circular motif at the left. You might have to zoom in!
  6. That might be a stretch to assume, but hey - who knows? He looks more like Death to me.
  7. That's an interesting idea. It brings to mind Sarah Winchester's front gates, which are decorated by the S. Deacon's crest and daisy motif, surrounded by a certain number of alternating radii.
  8. Hi, all - I recently came across a photo of Raphael's "The School of Athens." (I won't bother posting an image here because I'm sure you all have seen it many times). The first thing that struck me, oddly enough, upon rediscovering this fantastic artwork, was that the architecture was distinctly Roman, rather than Greek. The building was finished in the Tuscan order of architecture (introduced later by the Romans), with pilasters lining the walls instead of columns, and the coffered, barrel-vaulted ceiling reminded me of some roman basilicas I had seen. Correct me if I'm wrong, but I don't believe the Greeks ever used octagonal coffers in their architecture. But here's the interesting part: The two statues really jump out at me. One is obviously a depiction of Apollo, and the other is just as obviously Athena. Any Baconian will of course notice the spear in the latter's hand, and possibly even make the connection Bacon's "double A" headpiece. (I think Rick Wagner had a theory about the first "A" - i.e., the light one - representing the god of the sun, with the dark "A" representing his female counterpart, the Spear Shaker.) I see them in "School" occupying niches on opposite sides of the main gallery - almost like the twin Pillars of the First Temple. Also, there is a tryptic opening at the very top center of the image - just like the tryptic entrances of Gothic/Masonic cathedrals. If anyone has any thoughts about this remarkable painting, I would love to hear what you all think!
  9. AHA!!! I see it now! His language may be hard to pick through sometimes, but I can usually get what he's saying. I do agree with your statement that the essays are something of a decoy... perhaps that's too strong a word, as I'm sure they meant a lot to him. It's always tricky when we're trying to guess the the motivations and intents of people who were intentionally secretive, but I think it is fair to assume that Bacon created the essays to draw attention away from his "other" writing. So, I think a more appropriate word would be "diversion" - as "decoy" implies that they were set up entirely to fool people. Just my opinion:)
  10. Thank you so incredibly much for the compliment!! I honestly don't know what to say to "a child Genius" without sounding arrogant or self-righteous. Needless to say, I am incredibly flattered. The passage from "Of Masques and Triumphs" makes for an interesting window into Bacon's view of music and revelry... it is dense and lofty, like the Shakespeare I've read, but the style seems more critical and less playful. I realize that most of the Bacon I've read has been sonnets and the occasional part of a play - never really the essays he published under his own name. His legal work is dry and distressing. I tried to read "On Treason," and it bored me to tears:) I want to thank you all for your encouragement and insight!! I'm glad I could share some of this project. And, Light-of-Truth, perhaps you could give me some guidance on creating my own website? Yours is quite effective, and I assume you did the work yourself?
  11. The score is actually the overture to The Life of Arti Usher, my second attempt at a musical! The work is based on my novel (which as Eric suggested, I've mostly rewritten). It's the story of a 16-year-old musical genius who has to solve a series of grizzly murders in the fictional city of Weameworth. Other numbers include, "Bandsmen of Hell," "Innocent until Proven," and "O Stranger to This City."
  12. Hey guys! This is not an AI. I did all the work myself. I think you misunderstood me when I said, "you just write the notes, and it plays them for you." This is, in fact, an original composition of mine!!
  13. Sorry... perhaps you didn't understand. If you're interested, try counting the notes and musical phrases, and you might see a connection...
  14. League Theme Proposal.mp3 I created this with Musescore. You just write the notes and it plays them for you!!
  15. Light-of-Truth, you make some good points. I will reconsider and likely rewrite this introduction. I was already thinking it had some problems, like the order of the paragraphs and its assumption that the reader was already acquainted with the Theory. I'll also post some of my drawings. Here's an unfinished sketch for now. I did it awhile ago, when I was still getting used to digital painting, and I plan to redraw it.
  16. Thank you so much, Eric!! It's wonderful to hear back from you! I've made a lot more progress on my stories and artwork, and would love to share them with you. Happy New Year!!
  17. INTRODUCTION THERE IS no doubt that in her later years, Sarah Pardee Winchester was an exceptionally private individual, so it is no surprise that her life – and more importantly, her vast architectural legacy – have dwindled to mere fiction. This illustrated pamphlet is offered in the hope that her motives and activities may be better understood by a new generation. It is offered not as a speculative or sensationalist work, but rather as a carefully researched, carefully assembled resource for young Baconians and aspiring Freemasons to reference when visiting the House. DISCLAIMER: The word Baconian as used here refers simply to the theory of Shakespeare authorship and the community of serious thinkers associated with it. As Richard Allan Wagner, a highly respected Baconian scholar with whom I have shared a delightful acquaintanceship so rightly put it, “…there's no shortage of kooky Baconians (such as those who perpetually try to connect Bacon with the ‘Oak Island Treasure’, or with the notion of the man as a deified ‘Ascended Master’).” This is a serious resource for serious Baconians, not conspiracy theorists. In fact, the entire purpose of this study is to discredit conspiracy theories. I have coined the term Llanadian to describe any people, matters, interests, or pursuits pertaining to the House, Llanada Villa, or the architect herself. It is my hope that in time, the word will become an epithet among Stratfordians and embracers of the “haunted house” literature, as has the word Baconian. Does the House require any introduction? In all likelihood, you have heard of the “Winchester Mystery House,” or even set foot inside it. Perhaps, you have heard the stories tirelessly recited by House tour guides – stories of hauntings and seances, which have been collectively referred to by Llanadians as “The Folklore” – the WMH’s marketing campaign. If these stories seem obviously fake to you, congratulations: you are a full step ahead. The WMH literature all reads very similarly: Sarah Winchester, recently widowed, and the sole heiress to the Winchester Repeating Arms Company fortune, consulted a medium after her husband’s death. The medium, Adam Coons, told her that the spirits who had killed her husband and daughter – spirits of men slain by Winchester rifles – were plotting further revenge, and that her only option was to move far away and build a labyrinthine mansion in which to hide from them. This Folklore has been widely accepted, and most Americans who know of the House believe every word of it. There is, however, little evidence to suggest that any of the Folklore is true. There are no direct sources which state that Mrs. Winchester ever believed in spirits, let alone attempted to communicate with them. And as for Adam Coons the spiritualist, there are no records of Mrs. Winchester ever having attended a séance with him. Some will argue that the House is proof enough; its abruptly ending staircases, maze-like hallways, and doors-to-nowhere are undoubtedly suggestive of a labyrinth. But there are many reasons to construct a labyrinth, and the deception of ghosts would seem, to any rational person, the least obvious. Once the myth has been dispelled, two important questions arise: 1. If the myth is so obviously false, how did it originate and why is it so widely believed and accepted? 2. If we are to suppose that the myth is false, what was Mrs. Winchester’s real motive for building such a strange house? These questions and others will be answered soon enough. THE BACONIAN LITERATURE THE BACONIAN school of thought and its literature can be traced to one influential thinker, Delia Bacon (no relation to Lord Bacon), who, throughout her career, published many essays claiming that Francis Bacon was the true author of the Shakespearian works. In addition, Mrs. Bacon gave numerous lectures on the subject and attracted the attention of such intellectuals as Nathaniel Hawthorne and later, Samuel Clemens (Mark Twain.) Her theory is still accepted by many, but to paraphrase Wikipedia, “is generally dismissed by Shakespeare scholars.” I do not know what qualifies as a “Shakespeare scholar;” however, I know for certain that anyone who has taken the time to read and study his work can reasonably make such a claim. This now brings us to two more important questions: 1. If Wikipedia is indeed right, how has her theory, despite being widely discredited, endured so long? 2. Why did Mrs. Bacon challenge such a widely accepted belief, and how did she succeed in convincing such a large academic population? The first question is answered easily: There will always be critical thinkers. There will always be some who question the histories they have been taught. However, there is danger in saying this, for a critical thinker is not a person who blindly accepts every theory contradictory to the establishment. A critical thinker is someone who weighs all the options, even the ones they may be biased against, and selects the one that fits the problem best. With regards to the second question, it is not the purpose of this pamphlet to convince the reader of the Baconian Theory. An appendix of Baconian works is included in the last pages, and I advise you to examine them. As I have stated, this work is not a direct argument for the Baconian Theory. Its purpose is to explain Sarah Winchester’s personal connection to Bacon as a historical figure, and her use of his symbols and cypher devices in her architecture. BACONIAN CYPHER DEVICES IN ACCORDANCE with the Baconian Literature, Francis Bacon used multiple cypher devices in his writing, particularly the four Elizabethan cypher tables, the Kaye, the Simple, the Short, and the Reverse. In addition, the literature states that he also developed the Pythagorean Cypher – Sarah Winchester’s cypher of choice. These tables are self-explanatory, a simple matter of matching a letter to its corresponding number and adding all the numbers in a word. In some cases, the words are added also. One must understand that these cyphers were not designed to render specific encoded messages; rather, numbers and names that were of special importance to Bacon and the Craft of Freemasonry, and which ultimately revealed his authorship. It is important to note that in this cypher system, 0s are regarded as nulls, meaning they are not counted. SOME IMPORTANT CYPHER NAMES, NUMBERS, AND SYMBOLOLOGY SIMPLE CYPHER Shake-Speare = 103 = 13 Fra Rosi Crosse = 157 Francis = 67 Bacon = 33 Francis Bacon = 100 William Tudor = 148 Hiram = 47 PYTHAGOREAN CYPHER Christian Rosenkreutz = 103 = 13 Brother CRC = 103 = 13 Father CRC = 103 = 13 Shake-Speare = 45 Hiram Abiff = 55 Bacon = 17 Francis Bacon = 51 Sarah = 20 = 2 Pardee = 31 = 4 Lockwood = 25 = 7 Sarah Lockwood Pardee = 76 = 13 = 4 William = 34 = 7 Wirt = 25 = 7 Winchester = 52 = 7 William Wirt Winchester = 111 William Winchester = 77 W. W. W. = 555 Sarah Pardee Winchester = 103 = 13 Annie Pardee = 56 Annie Winchester = 77 KAYE CYPHER Bacon = 111 Fra Rosi Crosse = 287 REVERSE CYPHER John Dee = 117 SHORT CYPHER Bacon = 15 SIGNIFICANCE OF NUMBERS 13 – an important Kabbalistic number, later adopted by Sarah Winchester 103 – an important Kabbalistic number, simplifies to 13 22 – Bacon’s birth date, January 22 47 – a reference to the 47th Problem of Euclid’s Elements, otherwise known as the Pythagorean Theorem. 444 – an important Kabbalistic number 287 – one of Bacon’s Fra Rosi Crosse Seals 157 – one of Bacon’s Fra Rosi Crosse Seals 777 – an important Kabbalistic number SARAH AND BACON SARAH WINCHESTER was likely exposed to the Baconian Theory at a very young age. She attended school at the Young Ladies Collegiate Institute in New Haven, Conn, alongside Susan and Rebecca Bacon, daughters of Delia Bacon, the originator of the Baconian Theory. In addition, Judson and N. W. Taylor Root, two of the school’s professors, were respected Baconians as well as Freemasons. There is no doubt that she would have learned the Baconian doctrine from them, and to again quote Richard Allan Wagner, “…the Baconian-Masonic preoccupation with secret encryption techniques using numbered cipher systems most certainly influenced young Sarah’s world view.” But by far the most jarring piece of evidence for the Winchester-Bacon connection lies in the last sentence of Bacon’s Troilus and Cressida: It should be now, but that my fear is this,— Some galled goose of Winchester would hiss: Till then, I’ll sweat and seek about for eases; And at that time bequeath you my diseases. In the Greco-Trojan context of the play, the word Winchester appears unnecessary. Most scholars will argue that the line refers to Elizabethan prostitution – for the term “Winchester Goose” is believed to have been slang for whore. But still this explanation does not address the fact that such a term is utterly out of place in a Trojan setting. A more likely explanation (at least for Sarah,) is that Bacon is leaving an encoded message. To begin, the sentence contains 34 words – discounting Winchester, 33 – Bacon’s favorite code number. The word “galled” = 111 – Bacon in Kaye Cypher. And “goose” leaves 67 in Reverse Cypher (Francis). Winchester is the 15th word from the start of the sentence and the 20th word from the end. You will recall that 15 = Bacon (Short Cypher), and as for 20, in the Pythagorean Cypher, it corresponds to Sarah. And “Winchester Goose” has 15 letters. If that were not enough, Bacon ensured that his message would be understood by selecting the words “Galled,” “Goose,” and “Winchester,” which add up to 100 (Pythagorean Cypher.) Remember that 100 is Francis Bacon in Simple Cypher. To complete the encryption, this sentence is found in Act 5, Scene 10 of the play, and I will remind you that 5 and 10, when combined, render 52 – Sarah Pardee and Francis Bacon in Pythagorean Cypher. With Bacon’s belief in Reincarnation, which is enforced by his Theosophical outlook on life, Sarah must have gleaned from this message that it was her purpose to continue Bacon’s work. SARAH’S GRAND VISION NOW THAT the myth has been dispelled and Sarah’s Baconian background established, again the great question arises: why did she do it? To any Baconian or Freemason, the answer is quite obvious. Sarah’s love of all things Baconian coupled with her vast knowledge of esoteric symbols and reinforced by her ambition to carry on Bacon’s work undoubtedly led to the conception of a great masterpiece on the level of the Shakespearean literary canon. But instead of writing in words on paper, as Bacon had done, she chose instead to express her knowledge through symbols in architecture. And so, the House acts as a visual poem – an architectural metaphor for Bacon’s work. But Llanada Villa is far more than that. Like the Shakespearean works, it is also a tool for initiation, comparable to the famous stone Labyrinth set into the floor of the nave of Chartres Cathedral, symbolizing the initiatic journey, which candidates of the old mystery schools were required to walk. It also can be seen as a metaphor for the great labyrinth on the isle of Crete, or more likely, the initiatic labyrinths conceived by such 18th-century architects as Jean-Jacques Lequeu and Claude-Nicolas Ledoux, both Freemasons. There is no doubt that with her background, Sarah was well aware of these precursors to her design. The symbols of the House will be further explained shortly. THE HOUSE PRIOR TO THE 1906 EARTHQUAKE THE GREAT earthquake of 1906, which devastated San Francisco and the entire Santa Clara Valley, demolished much of the House, a part of its history which is known but rarely explored by Llanadians. In fact, the most stunning feature of the House, the 7-story tower and its 5-story, open-air deck, was among the losses, so, in effect, what remains is not the complete architectural metaphor which Sarah originally conceived, but rather a partly spoiled version from which we must glean all our discoveries. This section explores these lost features and what they might have once symbolized. It is also important to note that the architectural fabric of the House was constantly revised, so that many features were discarded and demolished at Sarah’s own request. One wonders just how massive she believed her creation would be when she planned this demolished construction. The next chapter will explain the symbols which currently exist in the House and how they relate to the initiate’s journey. What follows is a summary of the most distinctive lost features of the House. THE ORIGINAL FARMHOUSE THE ORIGINAL 8-room farmhouse which Sarah purchased in 1885 from Dr. Robert Caldwell was, like the finished House, a distinctive, albeit more modest, example of the Queen Anne style of architecture. Only one photograph of the farmhouse exists, but from this image, we can see that it was fairly typical of California Queen Annes built during the 1880s. One immediately notices the details of the porch, which were copied in the initial remodeling, including the Eastlake baluster design, posts, and gabled entrance, which was moved forward when the porte-cochere was added. The windows are of a design which was copied in subsequent additions. The front gable was later extended and fitted with a Palladian-arched balcony, and still later was removed altogether and replaced with a higher-pitched one, which in turn was replaced after damage from the earthquake with the present architecturally awkward configuration. Of special interest is the Palladian dormer with its jerkinhead gable – a motif that was retained at least twice in later construction. THE FIRST GABLE THE FRONT gable of the original farmhouse was extended forward sometime in the 1880s and was likely one of Sarah’s first alterations. The new configuration was much more attractive, with an arched balcony that mirrored the Palladian dormer. Around this time, a cluster of architectural elements was built near the southwest corner of the façade, one of the only features from this early period of construction which still survives, albeit somewhat changed. Also near the first gable was a cupola that Sarah later demolished. THE STONE CHIMNEY WHEN SARAH added the southwest wing, she conceived an unusual architectural device of placing a window in the center of a chimney and building a flue on either side. This chimney was one of the focal points of the façade and was reduced to rubble in the earthquake. Sarah never chose to rebuild it, opting instead to board up the opening and plant a creeper vine to cover it. THE SECOND GABLE AS THE mansion grew, it became clear that a more striking visual element was needed to crown the façade. Sarah likely constructed the second gable in the same place as the first. It was also faced with a balcony and was topped by a cupola. The balcony conformed to the shape of the bay below and was fitted with delicate fretwork. The earthquake destroyed the balcony, and it was hastily rebuilt to a different design, although the fretwork screens survive and are on display in the House’s attic. THE 7-STORY TOWER AND 5-STORY DECK IN THE early 1890s, Sarah began constructing the most distinctive element of the House: A 7-story tower connected to a 5-story, open-air deck only accessible by a turret in the northwest corner. This feature was by far the most tragic loss of the earthquake, and because there are no close-up images, we can only guess as to what symbolism was intended here. It is possible that the 7 stories were symbolic of William’s name, but that is merely an educated guess. One image suggests that Sarah later built another turret in the southeast corner of the deck to complete the symmetry. SYMBOLS IN THE HOUSE TODAY ALTHOUGH THE earthquake took its violent toll on the House, much of Sarah’s vision has been preserved. It still becomes distinctly clear to any Baconian or Freemason entering the House that Sarah wove an intricate pattern of symbols into its design – symbols that can be read and understood by any candidate willing to put aside their doubts and biases and hone their powers of insight and intuition. THE FRONT GATES THE INITIATIC journey naturally begins at the front gates, the symbolic entrance to the estate. The gates are wrought iron and set between two rusticated stone piers, which are visually supported by two smaller gates which terminate in two secondary piers. It is important to note that the piers originally had the inscriptions, “S. L. Winchester,” and “Llanada Villa” carved into them. The lettering was removed at an unknown date, likely after Sarah’s death. The name “Llanada Villa” is perplexing. It translates from Spanish to “House on the Plain” – of course, superficially a reference to the House’s original setting. But of course, it must carry a deeper meaning. The most elementary approach to this puzzle is to apply the Baconian cyphers to the inscriptions. Upon trying this, one finds that in Simple Cypher, the letters add up to 18 and 20, which simplify to 11. When one counts the number of letters in the names Sarah (5) and Pardee (6), and adds them together, the result is 11. 11, like 13, (as will later be revealed), was one of Sarah’s favorite numbers. But still more symbols can be found in the three gates, namely the sunburst and daisy motif, which appears on all four panels. The sunburst disk symbol was used frequently in the engravings which accompanied Bacon’s work and carries multiple meanings. To begin, the symbol has been used for centuries as the insignia of the Senior Deacon of a Masonic Blue Lodge. Any Mason will know that it is the S. D's job to oversee the initiation ceremony and guide the candidate to his enlightenment. Sarah invites her candidates to pursue enlightenment by including this symbol in the gates’ design. Furthermore, the daisy motif set in the center of each sunburst represents the two most important qualities possessed by any worthy initiate: Fidelity and Innocence. As you will see, the daisy is a metaphor used repeatedly throughout the House. To once more quote Wagner, Many species of the daisy have 13 petals. Moreover, most daisy species have 13 branches growing out of their stalks (when they mature), and they possess another remarkable feature—the head of every daisy flower forms a “Fibonacci Spiral” consisting of 34 tiny florets spiraling clockwise, inward, from the outer ring to the center—and, 21 florets spiraling, outward, counter-clockwise from the center to the outer ring. The “invisible difference” is 13. The Fibonacci Spiral which Mr. Wagner is alluding to was clearly very important to Sarah, firstly because 13 was her code number, and secondly, because the Spiral has many properties associated with Phi, the Divine Ratio. The Fibonacci Sequence, which accompanies the spiral, is a numerical sequence in which each number can be reached by adding the two preceding ones. 13 occupies the 8th ordinal point – meaning it is the 8th digit from the start of the series. Thus, 8 and 13 share a remarkable relationship. Sarah makes certain that we see this relationship by showing us 8-petaled daisies, which do not exist in nature. THE FRONT FACADE EVERY OBSERVER must remember that the façade of the House changed drastically after the earthquake. The left gable, as previously stated, was once fitted with a fretwork balcony and topped by a cupola, both of which were destroyed. The right Palladian balcony was originally semi-detached but was encased in a second large gable, most likely after sustaining damage. The current façade is an architectural mess, the result of the shoddily repaired damage, but it still retains aspects of its original design. As in all well-executed Queen Anne architecture, the façade is asymmetrical, but balanced. Notice that the second story literally hovers over the porte-cochere, supported merely by the wooden posts cemented into the stone wall below. The first story of the central portion is symmetrical, but as one’s gaze moves higher up the façade, asymmetries begin to appear. The entrance is in the exact center of the porte-cochere. One immediately notices that the House faces East, towards the rising sun. In a Blue Lodge room, the Worshipful Master sits in the East, for East is the direction associated with enlightenment in the Masonic literature. It was also the direction which King Solomon’s Temple faced, and as will later be revealed, the House is in many ways a modern metaphor for this original House of Enlightenment. Upon entering the gates, one first sees the façade through two palm trees. These trees represent the Masonic pillars of Boaz and Jachin, which originally appeared at the entrance of the first Temple. It must be noted that the two palms were planted by Sarah after the earthquake and were not a part of the original design. The original plantings were much denser, so the House could not be seen well from the street. In the garden’s pre-1906 configuration, a drive led straight through the gates to the entrance, but now the path curves around a lawn containing the trees. THE FRONT DOORS RICHARD A. WAGNER, certainly the most respected Llanadian, states that to enter the House, the candidate must first climb the Winding Stairs in the northwest corner. While this is certainly a valid statement, regarding the House prior to the earthquake, one must recognize that the Winding Stairs were not added until sometime in the 1910s or 20s, as evidenced by the marks on the walls left by a previous stairway configuration. And so, we have a conundrum: What was Sarah’s motive for building the Winding Stairs, (which, as any Mason will know, represent the candidate’s ascension to greater knowledge, and thus are obviously the symbolic point of entrance), when the impressive front doors were already installed? There is no obvious answer, and as we only have the partially intact version of the House to work with, we cannot ever fully understand Sarah’s complete vision. This resource will focus the initiate’s entrance on the front of the house, by way of the vestibule doors. The doors are, simply put, a work of art. But as with all the art in the House, they contain a metaphor. The doors were crafted in Europe to Sarah’s own specifications and contain superb art glass. The upper glass panels consist of two 3s facing each other, representing Bacon’s code number 33. The space in the center is occupied by 7 fleur-de-lis – so, with two panels, two 7s. The fleur-de-lis is a well-known Baconian symbol, appearing 3 times on his crest. The significance of the “double 7” will be explained later. If one peers closer, he will notice that each of the 3s is made up of two C-like symbols. These symbols are called Tubal-Cains, and they are a revised version of the original symbol used by John Dee, Bacon’s mentor, as his hieroglyphic signature. The original version of the Tubal-Cain had a very erotic appearance, and so, Sarah, being a respectable lady, had to change it. The new symbol consists of a C wrapping around two balls and appears elsewhere in the House. The design is also likely a reference to Bacon’s famous “double C” headpiece, which he used on the title page of nearly all his works. The lower glass panels in the doors each have 11 fleur-de-lis – 11 representing the name Sarah Pardee, as does the “Llanada Villa” inscription on the right gate pier. At the bottom of both panels, we find a symbol that is not easily traced to Bacon, and whose meaning is yet undiscovered. THE “BALLROOM” JUST OFF of the entrance hall is a room known today as the Ballroom, although there is no evidence that this was ever its use. The room is undoubtedly the grandest in the House and is one of the only rooms finished in the high Eastlake style, with the others being a simple Queen Anne style. The room is constructed entirely without nails, yet another reference to King Solomon’s Temple, and the floor is a checkerboard parquet pattern reminiscent of the black-and-white checkered mosaic which can be found in every well-established Masonic Lodge. The focal point of the Ballroom is the wall opposite the entrance, which sports an intricate system of display shelving, a fireplace with an overmantel mirror, and two large stained glass windows. The windows are essentially mirror images of each other, and that is not simply a design choice on Sarah’s part, for the mirror that reflects light and knowledge is a well-known Baconian symbol. In addition to this, the elongated tear-drop shape filled with beveled glass in the center of each window can be seen as a kind of mirror. The most surprising element of the windows’ design is a winding banner (another Baconian symbol) which wraps around the central beveled portion of each window. The banner on the left reads: WIDE.UNCLASP THE.TABLES.OF. THEIR.THOUGHTS. These words were taken from Act 4, scene 5 of Bacon’s Troilus and Cressida, and are Sarah’s way of saying, “Open the sacred book of knowledge.” (One must note that in Bacon’s time, many books had metal clasps.) Here, the “book” is a reference to the House itself, for as previously stated, the House can be seen as a great metaphorical book containing secret knowledge. The banner on the right reads: THESE.SAME. THOUGHTS.PEOPLE THIS.LITTLE.WORLD This, in effect, means, “When you have learned the symbols, pass them on to others.” The number 45 is not an accident, nor is the number 55. 45 is Pythagorean Cypher for Shakespeare, and 55 is Pythagorean Cypher for Hiram Abiff. Hiram Abiff was an allegorical figure created by Bacon to aid in the symbolism of the Masonic 3d degree ritual. He is known to this day as the mythical builder of the first Temple. When the two numbers are added together, the product is 100 – Francis Bacon in Simple Cypher. Sarah also made sure that the first word in each of the original sentences was omitted from her design, leaving only seven words in each inscription, which can be viewed as the number 77. The explanation for this number lies in the coffered ceiling. The ceiling consists of 9 large coffers, the center one containing the medallion which supports the great chandelier. The number 9 refers to the Pythagorean Cypher, which Sarah invites us to use in this part of the puzzle. Each of the 8 major coffers surrounding the center one contains 13 smaller coffers, so, she is also inviting us to multiply 9 times 13. The result is 117 – John dee in Reverse Cypher. 117 can be broken into 11 and 7 which, when multiplied, render 77 – Annie Winchester, William Winchester, and the words “Winchester Goose” in Pythagorean Cypher. It should be noted that 117 also simplifies to 72, which as previously stated, renders Sarah Winchester (Pythagorean Cypher). On a deeper level, there are 7 letters in the name “William” and 11 letters in the name “Shakespeare.” THE MAIN STAIRWAY THE MAIN stairway is a fine example of late Victorian craftsmanship. At the bottom, it terminates in a fairly typical Queen Anne newel topped by a beautiful 4-globe light fixture. The newel has 3 daisies carved into it on each side. The staircase itself has 13 steps, and at the landing is a magnificent Tiffany stained glass window, the most expensive in the House. This window represents the “great golden window” in Solomon’s Temple, which faced north, towards the star Sirius, an Egyptian symbol of the afterlife. (More on the window shortly.) One of the most famous Masonic Lectures appears in the Fellowcraft degree, during which the candidate must walk a floorcloth representing the mythical “Winding Stairs,” which lead upward to knowledge and enlightenment. Although the Winding Staircase traditionally has 15 steps, Sarah likely chose a 13-step version because 13 was her code number of choice. Another possibility is that the Stairs also represent the 13-step Egyptian version of Jacob’s Ladder, the path to heaven. It was believed that the first 12 steps were easily achievable, but the 13th step could only be reached by those worthy of it. At the top of this metaphorical staircase was a door that led to ultimate truth, represented here by Sarah’s Tiffany window. It is important to note that the window swings open, rather like a door. The window itself contains a myriad of symbolism. To begin, there are 11 Tubal-Cains, which by now the initiate must remember stand for Sarah Pardee. In the upper portion of the window is a ribbon design that forms the letter W on top and two mirrored Ss on the bottom. WS stands for “Winding Stairs” and “William Shakespeare,” and SW stands for “Sarah Winchester. THE “7-11” STAIRWAY NEAR THE main stairway is an architectural feature that has come to be known as the “7-11” stairway – due to the fact that 7 steps continue up from the landing in one direction and 11 steps continue up in another. Of course, this number is a reference to John Dee and the name William Shakespeare. But also, it is symbolic of the Masonic “fork-in the road,” which is one of many tests given to the initiate – a test in which he must choose between an easy path (7 steps) and a more difficult but also more rewarding path (11 steps). THE CRESCENT IN THE middle of the central courtyard is a curious garden feature forming a crescent moon-shaped hedge filled with chrysanthemums. The significance of this unique feature, as with nearly every symbolic device in the House, is multi-layered. As a starting place, research confirms that Sarah contributed often to a literary magazine published by the Young Ladies Collegiate Institute called The Crescent. Also, the crescent can be seen as a version of the letter C, which was important to Bacon for various reasons and appeared on his family crest. SARAH’S BEDROOM CEILING THE CEILING of Sarah’s bedroom is coffered, like the ballroom. It consists of 49 perfectly square coffers. One must remember that there is always a reason for the most prominent features of the House, and this is no exception. To start, 4+9=13. But 49 can also be divided into three 7s, and 777 times 13 is 10101, or, 111, because 0s are not counted. I will remind you that 111 is Bacon in Kaye Cypher. THE SANCTUM SANCTORUM WMH TOUR guides will tell you that the small, cube-like room in the center of the House is where Sarah conducted nightly seances, but there is absolutely no evidence that this was ever its purpose, and now that her Masonic connection has been established, the story can be readily discarded. The room is, in fact, her Sanctum Santorum, or Holy of Holies. The Sanctum is an essential for every practicing Rosicrucian. When design permits, it is always located near the center of the practitioner’s home. This is important because, as a room of quiet reflection and prayer, it must be as self-contained and shut-off from the outside world as possible. In Freemasonry, a similar room is sometimes used, called the Chamber of Reflection. The main difference in the Masonic version is that the Chamber is a solemn place where the prospective initiate is encouraged to contemplate death and the tragedies of life. As previously mentioned, the Sanctum at Llanada is built in the shape of a cube. This is important because it represents the Holy of Holies in Solomon’s Temple – so shaped because a cube is the shape which represents the three-dimensional geometry of the World, while a sphere represents the higher dimensional geometry of the heavens. The room measures 11 ft. by 11 ft. by 11 ft. On a superficial level, I will remind the observer that 11 is one of Sarah’s favorite code numbers, representing the name Sarah Pardee. But she clearly expects us to understand that 11 times 3 = 33, of course, rendering Bacon in Simple Cypher. Furthermore, the Sanctum was originally painted blue, like a Masonic Blue Lodge room. JACOB’S LADDER IN THE northwest corner of the mansion, near the attached carriage house, is a staircase known by Llanadians as Jacob’s Ladder. Jacob’s Ladder is a symbolic ramp which rises around 7 turns to heaven, as taught in the Hebrew and Masonic literature. In the Masonic tradition, the 7 turns represent the 7 liberal arts and sciences. In addition, the staircase has 44 steps. 44+7=51, Francis Bacon and Sarah Pardee in Pythagorean Cypher.
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