The reason I am going down this road with literature and art as programming devices is because when I was doing the research for some of the great fires of history, I kept encountering famous authors and artists.
For example, Jack London was specifically-contacted to become a special correspondent for Collier’s Magazine, and wrote an article for it entitled: “Story of an Eyewitness: The San Francisco Earthquake.”
I also found a depiction of the Great Pittsburgh Fire of 1845 illustrated by Nathanial Currier…
…and this illustration of the Burning of Richmond in 1865, towards the end of the Civil War, by Currier & Ives.
I believe that a new historical timeline, officially starting in 1851 with the opening of the Crystal Palace Exhibition, was grafted onto the existing physical infrastructure by negative beings, in order to take control of the planetary grid system and Humanity, after taking approximately 110-years to dig enough infrastructure out of a global mudflow to re-start civilization.
I believe the famous authors and art of the 1800’s and 1900’s were used to shape a new, and false, historical narrative in our collective minds.
First, some background information on why I believe this is the case.
There are so many inconsistencies in the historical narrative we have been taught that make absolutely no sense. Here are just a few examples.
During the time period of the American Canal Age which we are told waS between 1790 and 1855, there was an intense rivalry between the B & O Railroad, and the Chesapeake & Ohio (C & O) Canal, with each project choosing the same day to break-ground – on July 4th, 1828.
Both projects were said to be vying for the narrow right-of-way where the Potomac River cuts through a mountain ridge at Point of Rocks, Maryland, which ended up in court. Even though after four-years the case was said to have been ruled in favor of the canal in 1832, we are told the C & O had to allow the
B & O to go through there, so this is the place there where the canal and the railroad run side-by-side…
…only, we are told, to have the canal, and canals in general, ultimately rendered obsolete in just a few short years as a transportation system by the faster railroad in terms of hauling goods to markets, compared to barges pulled by mules.
This is the Lehigh Canal between Easton, Pennsylvania, and Mauck Chunk, Pennsylvania, with construction said to have started in 1818, and completed in 1838.
What technology existed in America in this time periods, according to the history we have been taught, that would account for the construction of sophisticated, long-distance, engineering projects like these?
Montgomery, Alabama was said to have had the first city-wide system of electric streetcars in 1886, known as the “Lightning Route.”
The electric streetcars in Montgomery were retired 50-years later in a big ceremony in 1936 and replaced by buses.
This was the original Pennsylvania Station in New York, said to have been built between 1905 and 1910, and demolished, 53-years later, in 1963.
This was the fate of many of these original railroad terminals that look like classical architecture, built to last forever!
These are just a few of the countless number of examples of the same story, over and over again.
They are going to put in all the time, energy, money, and effort necessary to develop advanced and sophisticated transportation systems and infrastructure, only to stop using it or demolish it after only using it a short period of time?
Before diving into the subject of some of the famous artists of the 1800s and 1900s, here is a quick recap of what I believe the great fires of history actually were doing in the historical narrative, and the role they played in obscuring the true history of the ancient, advanced Moorish Civilization and its infrastructure, and replacing it with a new historical narrative full of false attributions.
I think up until the advent of photography, the famous fires of history were a fictional device inserted into our history to create the narrative of destruction of sacred and important places, like in Rome’s great fire of 64 AD. It started right next to the location where the Circus Maximus was located, right next to a sacred place where Roman Emperors chose to build their palaces on Palatine Hill.
I think later fires of the 1800’s, for example like the 1845 Great Fire of New York, were inserted into our history to create the narrative that wood structures burned and were replaced by heavy masonry.
We are told the 1845 Great Fire of New York destroyed 345 buildings in the southern part of the Financial District. This fire was said to confirm the effectiveness of restricting the building of wood-frame structures as areas which were rebuilt after the 1835 Great Fire of New York were of stone, masonry, iron roofs and iron shutters.
I think the great fires that have photographic and video evidence represent something else entirely.
Could a regular fire have created this kind of blaze? Quoting from section of the Jack London article for Colliers Magazine I shared previously, he described it thus: “Within an hour after the earthquake shock the smoke of San Francisco’s burning was a lurid tower visible a hundred miles away.”
Now I will look at three famous artists of the 1800s and 1900s, and see what comes to the surface.
Nathaniel Currier, born in 1813, and died in 1888, was an American Lithographer.
Lithography was a method of printing from lithographic limestone or metal plate with a smooth surface that was said to have been invented in 1796.
At the age of 15, Nathaniel was apprenticed to the Boston printing firm of William and John Pendleton, the first successful lithographers in the United States.
In 1835, he opened his own lithography shop as a sole proprietor. While initially he printed things like sheet music, handbills, and letterhead…
…his business very quickly took off in a new direction, and he started to create pictures of current events.
Late in 1835, he issued prints of the 1835 Great Fire of New York, which took place on December 16th and 17th in the same year.
He also did a print illustrating the Great New York Fire of 1845.
He even ventured into political commentary, as evidenced by this 1848 lithograph called “An Available (Electable) Candidate – the One Qualification for a Whig President, referring to either General Zachary Taylor or General Winfield Scott in the aftermath of the Mexican-American War.
Interesting to note that Zachary Taylor was elected president that year, and he died in July of 1850, allegedly after consuming copious amounts of raw fruit and iced milk at a July 4th fundraising event at the Washington Monument, became severely ill with a digestive ailment, and died several days later. Sounds like there might be more to the story than that, but back to Nathaniel Currier.
He was joined by bookkeeper and marketer James Ives in 1850, and the firm became known as Currier and Ives in 1857.
Currier & Ives produced over the years about 7,500 images depicting further illustrations of current events, like “Through to the Pacific,” published depicting the railroad heading to the Pacific coast in 1870…
…and significant historical scenes, like the “Landing of the Pilgrims at Plymouth,” in 1876…
…and the “Destruction of Tea at Boston Harbor,” published in 1846.
Is it possible these lithographic prints could have been used to imprint visual historical images in peoples’ minds?
One more aside that I want to point out before moving on from Nathaniel Currier’s life and works.
He lived in Amesbury, Massachusetts, at the time of his death.
This is the Powwow River in Amesbury, with its masonry banks on the top left, and the Powwow River falls at the Millyard in downtown Amesbury on the top right; compared with the masonry banks of the Vantaa River in Helsinki, Finland on the bottom left, and falls on the Vantaa River on the bottom right.
These rivers and falls look the same to me, and not natural!
I stumbled onto an association between Salvador Dali and Currier & Ives. Not only did he collect Currier & Ives prints, he reinterpreted six of them as seen in this advertisement.
This is his 1971 interpretation of Currier & Ives American Yacht Races…
…and “Life of a Fireman.”
Salvador Dali was a surrealist artist, born in Figueres, in the Catalonia region of Spain in 1904, and died there in 1989. He is best-known for his eccentricity…
…and the melting watches he painted quite frequently throughout his artistic career.
Surrealism was an artistic and literary movement that started in France and Belgium in 1917, and on the surface, one of its aims, we are told, was to release the creative potential of the unconscious mind by the juxtaposition of irrational images.
Surrealism is also called one of the most influential cultural, artistic, and literary movements of the 20th-century. It impacted art, philosophy, social theory, and political thought and practice.
Beneath the surface, the founder of Surrealism, Andre Breton, was a dedicated Marxist. He got his start in the Dada movement, which was said to have developed in reaction to World War I by artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-capitalism protest in their works.
He wrote his first of four Surrealism Manifestos in 1924. The Surrealists sought to overthrow the oppressive rules of modern society by demolishing its backbone of rational thought by tapping into the “superior reality” of the subconscious mind.
Salvador Dali studied at an art academy in Madrid between 1922 and 1926, and his technical mastery of skills is seen in his 1926 painting called the “Basket of Bread.”
He was already acquainted with the Spanish surrealist Joan Miro, who painted Harlequin’s Carnival in 1924…
…and as Dali developed his style, he became immersed in Surrealism in his works of art and in the eccentric way he lived his life.
One of Salvador Dali’s best known works was from 1931, and called the “Persistence of Memory.”
Apparently the melting watches epitomize his theory of hardness and softness, his message being that our subconscious mind is present in what we do in our daily lives and has more power over us than manmade objects of the conscious world.
The Surrealists hailed his development of the “Paranoiac-critical” surrealistic technique in the 1930s, in which the artist invokes a paranoid state, said to result in the deconstruction of the concept of identity, allowing subjectivity to become the primary aspect of the artwork.
Surrealism definitely seemed to promote mental illness and the breakdown of society!
Diego Rivera, born in 1886 and died in 1957, was a prominent Mexican painter.
He started studying art in Mexico City at the age of 10, and eventually he was sponsored to study in Europe in 1907, and he did so in Madrid, as well as with the artists who gathered at La Ruche, an artists’ residence in the Montparnasse area on the Left Bank of the Seine in Paris.
At the urging of Mexico’s Ambassador to France, Rivera travelled to Italy in 1920, and studied its art Renaissance frescoes.
He returned to Mexico to become involved in the government-sponsored Mexican Mural Program which involved the promotion of mural painting, generally with social or political messages said to have been part of an effort to reunify the country under the post-Mexican Revolution government.
His first significant mural was in 1922. Called “Creation,” it is in the Bolivar Auditorium of the National Preparatory School, the oldest senior high school system in Mexico.
Rivera was one of the founders of the Revolutionary Union of Technical Workers, Painters, and Sculptors in 1922, and later that year he became a member of the Mexican Communist Party, as well as of its Central Committee.
Also in 1922, he started a series of what became 124 frescoes at the Secretariat of Public Education in Mexico City, including “In the Arsenal…”
…and “The Market.”
In 1930, he painted a mural for the City Club of the San Francisco Stock Exchange, called the “Allegory of California.”
The San Francisco Art Institute President commissioned Rivera in 1931, and he produced “The Making of a Fresco Showing the Building of a City…”
…and in 1940, he completed “The Pan-American Unity Detail,” which is at what is now the Diego Rivera Theater in San Francisco.
Between 1932 and 1933, he completed the “Detroit Industry” murals at the Detroit Institute of Art.
There was controversy surrounding the mural Rivera painted at Rockefeller Center in New York. Called “Man at the Crossroads,” he began it in 1933, but it was ultimately said to have been destroyed by furor because it depicted Lenin, and he refused to remove the portrait from the mural. He was asked to leave. An assistant took some pictures of it before it was plastered over, and he recreated it later.
It can be found at the Palacio de Bellas Artes in Mexico City, and is called “Man, Controller of the Universe.”
Diego Rivera died in 1957, and was interred in a tomb…
…at the “Rotunda of Illustrious Persons” in Mexico City, reserved for honoring those who have exalted the civic, national, and human values of Mexico.
While there are many other artists to choose from, I am going to end this post here with this small, yet highly informative, sample of artists to illustrate the role they played in either shaping the historical narrative, and/or promote a particular political and social agenda, unbeknownst to the general public.
In my next post, I am going to be starting a new series about an planetary alignment I found that emanates from San Francisco, and will first go through Kiribati, the Caroline Islands, Palau, and the Phillipines on its way to China’s Hainan Island.