Grand Central Portal – Part 2

Continuing my “train of thought” from the Star gates and Portals in Train Stations blog, I’ve found more juicy details about the occult significance of Grand Central Terminal.

This is the Victory Way Celebration at Grand Central Station.

“Victory Way” was set up after World War I ended—captured German war equipment was displayed on Park Avenue just near Grand Central to help raise money for the 5th War Loan. 

In Front of Grand Central Station – 1918

I found while digging around the SIRIS archives . They describe it as  “four undated images depicting large crowds of New York Central Railroad employees at a celebration in Victory Way, featuring towering pyramids of captured German helmets.“

You have to ask yourself how did railroad workers get their hands on so damn many German helmets? No speculation in the article.

Hmmmm….

FYI, SIRIS stand for the Smithsonian Institute Research Information System (so clever, eh?).

In case you haven’t gotten wise to the SI shenanigans I  discovered their dark underbelly.

So, this Smithsonian collection had some interesting clues about the development the statue above the main entrance to Grand Central Station.

At first it was just a clock.

But no, Vanderbilt commissioned a French artist to create a mythological theme for him. Jules Alexis Coulan of Paris was the man who did the sketch, although New York sculptors did the actual carving. He was one of the Controller’s favorite artists.

Here is architect Whitney Warren’s interpretation:

…the glory of commerce, as typified by Mercury, supported by moral and mental energy – Hercules and Minerva. All to attest that this great enterprise has grown and exists not merely from the wealth expended, nor by the revenue derived, but by the brain and brawn constantly concentrated upon its development for nearly a century.

I did not realize the immensity of the statue until I came across this photo:

But in the end they included a fancy jeweled clock!

 In the center is a clock made of Tiffany glass, which measures 13 feet around. In totality, the sculpture is sixty feet wide, fifty feet high, and weighs 1500 tons, and is made of Bedford limestone from Indiana. 

In Coulan’s original sketch below, he portrays a more warrior-like Mercury (in Hermes mode?) with that “AS ABOVE SO BELOW” hand position going on. Only male figures flanking him, no Minerva like the final version.

And what’s up with that angel in a trench coat?

Strange that the caduceus is always held by its base like in this sketch, but in the final version he is holding it higher up with the snakes surrounding his hand, that’s highly unusual!

In the new improved Vanderbilt version, the eagle now hides behind Mercury as Minerva and Hercules hang out around the clock and ponder.

Hmmmm…

That SI article reminded me that there was a fully functional train station at this location. What an Old Empire beauty, eh?

Sigh…

But like all that dazzling architecture around that time, it had to go just 30 years after it was built.  Vanderbilt (aka Controller) decided they needed a whole new station to handle the volume of rail traffic his business was going to generate.

New York’s first Grand Central Station was begun in 1869 and completed in 1871. By the late 1890s, the station was too small and badly outdated. A massive reconstruction was barely completed when railroad owners decided that a totally new station, office space, and rail yards were needed to meet the growing demand for rail service.
Plans for the new Grand Central Terminal Station underwent many changes between 1903, when construction commenced, and 1913, when the building opened for business. Each design modification was drawn and studied with countless revisions as work on the monumental structure progressed.

It gets even weirder when you learn that the original terminal towers were flanked by huge cast iron eagles weighing 4,000 pounds each with a 13 foot wing span!

I kid you not!

They were dispersed into public and private hands, but some are still to be found glaring down on NYC’s populace.

Also did some more investigations on the weird Zodiac mural on the ceiling at Grand Central.

Here is the quote regarding the Zodiac being out of order and Vanderbilt’s flippant answer about it being “from God’s perspective.”

There are two peculiarities to this ceiling: the sky is backwards, and the stars are slightly displaced. One explanation is that the ceiling is based on a medieval manuscript, which visualized the sky as it would look from outside the celestial sphere: this is why the constellations are backwards. Since the celestial sphere is an abstraction (stars are not all at equal distances from Earth), this view does not correspond to the actual view from anywhere in the universe.

The reason for the displacement of the stars is that the manuscript showed a (reflected) view of the sky in the Middle Ages, and since then the stars have shifted due to precession of the equinoxes. Most people, however, simply think that Helleu reversed the image by accident. When they learned that the ceiling was painted backwards, the Vanderbilt family tried to explain that the ceiling reflected God’s view of the sky.

Interesting how they try to pass it off as some kind of replication of a Medieval cosmology.

And last, but not least, imagine my surprise (not!) when I did the simple alignment test on Google Earth and discovered that Grand Central Terminal is right in line with Ground Zero, Washington Park and the Statue of Liberty — all on the list of my favorite suspects for an inter-dimensional interface!

For more portal speculations check out Lady Liberty’s DNA, Star Gates in our Neighborhoods and Star Gates in Caves.

~ by weewarrior on December 8, 2010.