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Marvin Haines

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  1. Also, she never had any "hired, high-end architects." She only had an architectural builder/designer/foreman named John Hansen. His small home is still standing, adjacent to the property - evidently lodgings were a part of his contract.
  2. HOLY GOD!!! I've never seen this drawing!!! So fascinating. I have to disagree with your statement that, "It may not be a tribute to Bacon, but could be, and certainly was not a crazy woman's attempt to confuse ghosts. But it was a inspired physical manifestation of one California's most wealthy living people, even though a widow. There is enough in the designs to suggest she was informed on RC/FM concepts and knew of Bacon/Shakespeare on some level. Of course, her high-end hired architects were likely connected to the connections connected therein." I mainly disagree with the part that says, "It may not be a tribute to Bacon." Sorry to inform you, but here's some pretty damming evidence, taken again from my pamphlet - which, I can assure you, was thoroughly researched: 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 drawing also gives us a rare glimpse of Sarah's second gable configuration - likely an extension of the gable on the previous farmhouse. It's interesting to note that the article says the house is only two stories. This confirms my suspicion that the 7-story tower and 3d gable were added sometime after 1895. Thanks for posting this!!
  3. Hey, Eric! All the footage I've managed to find is from later than the 1940's. This is not surprising, given that the House did not attract national attention until around that time, and small-scale documentary productions were fairly uncommon. That being said, there is a sort of documentary from the 50's (early 60's??) that shows much of the grounds, accompanied by a painfully inaccurate narration detailing the legend that most people now believe. I don't remember the title, or else I would send you a link. It's all in black and white, but the House appears to be overgrown and faded. A few rare color photos which I've managed to locate confirm that the house was indeed in disrepair. (I think it was repainted/restored sometime in the early 80's - around the time that the hideous visitor center was added.) Here are those images: Notice that this particular image is taken from the same vantage as the image of Sarah in her four-wheel carriage. Her bedroom is on the right; the "13th bathroom" is on the left.
  4. Also, the only pre-earthquake images of the House which I have managed to find are all of the exterior. It seems unlikely that Sarah, as an exceptionally private individual, would allow photographers to visually document the interiors of her home. Here are all the "before" images I've managed to find:
  5. Light-of-Truth, Thank you very much! I actually haven't spoken with Mr. Wagner on the phone, although we occasionally send emails. Sarah was undeniably a philosophical genius. Her Foreman, John Hanson, of which very little is known, was undeniably a master builder. I have studied American architecture extensively, and the House is a prime example - if not the best in the country - of the Queen Anne style. I have made several drawings showing the House as it looked in its various stages of development. Here is a passage from the aforementioned pamphlet, which I wrote as a companion to Wagner's writings, focusing mainly on the symbols of the house, its architecture, and how it may have looked at one point in history - i.e., 1906; before the earthquake: 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.
  6. Hey there, Mr. Fowler!! What a wonderful discovery!! I have to comment that the term "WInchester Mystery House" was never known to Sarah. She, for reasons which I have explained in my pamphlet "Llanada Villa: The House on the Plain" preferred a different name. "WMH" was first introduced by Harry Houdini when he visited the House in the 1920's. (Houdini is unquestionably to blame for the spooky legend. Before he came along, there were versions of the story, but none ever mentioned hauntings or spirits. He himself was a spiritualist, but interestingly, also a Freemason - although there's no evidence that he was ever a Baconian. I find it unlikely that he ever made the connection between Sarah and Bacon.)
  7. Is it just me, or is the greenhouse at Llanada Villa reminiscent of a Triple-Tau?!! It also has thirteen glass roofs - thirteen being her Pythagorean Code Number!
  8. Fantastic!! That's a mouthful, but I think I understand.
  9. This is really interesting!! Thanks for the compliment, and thanks for sharing!
  10. Light-of-Truth - I've gotten through the bulk of your website, and I want to personally congratulate you on these amazing discoveries. You really shine a new light on a topic that has been mostly exhausted. I thought almost everything worthwhile about Bacon/Shakespeare had already been discovered and analyzed, but clearly I was wrong! The man was a genius, and I am now firmly convinced that there will always be room for new interpretations. One bit of constructive critique: You know and I know that we're dealing with Truth, but the word - especially when it's capitalized - can come across as preachy and degrading. You may know the truth, but others have no idea that you do, and the way you introduce it can come across as if you were promoting a conspiracy theory - and believe me, that's the last thing we want! The word "Conspiracy Theory" has become a sort of slur among Stratfordians, and by using potentially preachy language, you may in fact be giving them fuel. Just my opinion, though, and overall, excellent content!!
  11. 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!
  12. 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.
  13. 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.
  14. That might be a stretch to assume, but hey - who knows? He looks more like Death to me.
  15. 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!
  16. 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:)
  17. 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?
  18. 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."
  19. 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!!
  20. Sorry... perhaps you didn't understand. If you're interested, try counting the notes and musical phrases, and you might see a connection...
  21. League Theme Proposal.mp3 I created this with Musescore. You just write the notes and it plays them for you!!
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