Foucault's pendulum and the mysteries of the construction of the Roman Pantheon
Foucault's pendulum and the mysteries of the construction of the Roman Pantheon

Many have heard of the famous experiment with the Foucault pendulum, which was demonstrated in 1854 in the building of the Pantheon in the capital of France - Paris. But few people paid attention to the fact that this beautiful building was also built in a characteristic antique style and has many architectural elements that are characteristic of ancient architecture.

According to the official version of history, the project of this building was "ripped off" from the building of the ancient Roman Pantheon by the French architect J. Soufflot. The construction of the building began in 1758 and was completed in 1789, i.e. lasted 31 years. During this time, in France several times (again, according to the official history), the government changed and many well-known events took place. But let's leave them on the conscience of historians. At the same time, Wikipedia talks about certain difficulties that arose during the 40-year-old construction of this building (apparently someone has problems with arithmetic):


"The temple was supposed to represent a Greek cross, 104 m long, counting the vestibule, and 76 m wide between the walls; in the middle there was a dome of 23 m, supported inside by four pillars, so light that it was hardly possible to distinguish them between the individual columns that made up 4 branches of the cross The same lightness was seen in the round vaults of the building, where with great skill they made gaps in different directions, which, with their overflows of light, produce a varied and pleasant effect.The height from the floor to the frame of the upper skylight in the middle of the vault is 52 m.

It remained to finish the marble floor, as they noticed several spalls and small cracks in the pillars holding the dome, and in the adjacent columns: the weight of the vaults suppressed the weak supports and threatened the imminent destruction of the building. It was necessary to adapt new arches, make supports with pillars and in some way spoil the interior appearance of the building, which was already considered completed after continuous 40 years of work and more than 15 million in costs.

Experienced architects had already foreseen this misfortune and submitted notes, where they proved that the building could not resist. Patt (Pierre Patte, 1723-1814) clearly showed where the damage occurred. The government ordered the creation of a commission, to which the artists joined and which made sure that the dome and three vaults were skillfully and prudently folded; that there are enough iron ties, that the masonry is correct and of the best stone, and there is no damage in the upper part of the church, although the lower pillars supporting it have sagged and cracked. This means that the weakness and poor construction of the pillars were a drawback.

After the conclusion of the commission, they began to correct and prevent destruction, without spoiling the internal arrangement and without adding pillars or columns, so as not to disrupt the harmony of the plan. Jean-Baptiste Rondelet (Rondelet, 1743-1829) was commissioned to manage the work at the end of 1770; he remodeled the dome and vaults, remaining true to Soufflot's plan."


At the same time, it is surprising, or even already not surprising. but the project of this building, which historians refer to, has neither the date nor the signature of the author of the project. But this is not the only "oddity". Please note that the floor was made of marble. But marble and granite were exactly the same materials that ancient civilization used. True, I have nowhere to find what materials the rest of the elements of this building were made of. And this would significantly clarify the situation on the subject in what era it was still built. Moreover, no one denies his clearly antique style.

For example, what is written about this on the resource "Soufflot, while working on the project, foresaw a Greek-style colonnade in the future building. He saw it covered with a strict laconic dome, with a ceiling painted in a Romanesque manner, The architect conceived the arrangement of the colonnades according to the principle of the ancient sanctuaries of Greece and Rome, that is, they were supposed to be not only outside, but also decorate the inner hall.The contours of the future temple of Soufflot were corresponding to the Greek cross. Its length together with the vestibule was supposed to be 104 m, and the width between the ceilings is 76 m. This light, spacious and airy structure had to be crowned with a high vault, which would have been supported by four columns. fold into four independent crosses."

So, we have a project of a building executed by unknown when and by unknown by whom, judging by its appearance, but which is attributed to the French architect J. Soufflot, attributing to him and his students the construction of this building in the period 1758-1789. Well, of course. who else could build such beautiful buildings in "civilized" France, if not French architects. It is only in "bastard" Russia for the construction of a suspiciously similar and also made in the antique style of St. Isaac's Cathedral, again turned to the help of the French architect (or simply artist) O. Montferrand.


Of course, it is logical, given that the French architects already had the experience of building such buildings on the example of the same Parisian Pantheon. Is there little similarity in the architectural style of these buildings? The same dome (on which, by the way, there is a sketch of Montferrand with his signature certified by the seal of the king), the same antique colonades. Here is the truth in Isaac, it is noticeable that the columns are made of granite. Well, they built it already in the next century, from 1818 to 1858, and, according to Vicky, "using the most modern technologies."

True, the construction work took almost 10 years more, although the builders did not have to face such difficulties as the builders of the Pantheon. And it was here that the construction took as long as 40 years, in contrast to Paris. Oh yes, probably just these 10 years were spent on "grinding" granite columns and their "transportation to St. Petersburg", so colorfully though incredibly sketched in his drawings (the analysis of which I have already done earlier) by the undoubtedly talented artist O. Montferrand.

But you know, I discovered another amazing connection between the Parisian Pantheon and St. Isaac's Cathedral, besides their antique architectural style and the fact that their construction is attributed to French architects. And, as always, the counterfeiters have pierced the details. Let's take a closer look at the very room of the Pantheon, where the famous Foucault pendulum is still located.


Remember, I drew your attention to the fact that the floor in it is made of marble - just that material. which was actively used by the ancient civilization along with granite. Well, let's take a closer look at the floor, the drawing of which they tried to "shade" with the Foucault pendulum, in the hope (and it seems, not unreasonably) that the pendulum will distract all the attention of tourists. What did they want to hide? Take a close look at the characteristic Vedic swastika ornament that surrounds the enclosure-dial with numbers and rucks. When I saw him, I immediately felt the state of deja vu.


Do you know why? Because exactly the same Vedic swastika ornament is found on the floor of St. Isaac's Cathedral, by the way, also marble. So maybe this ornament is just such a "feature" of French architects? But if you look closely at the very center of this pattern, you will notice there is clearly a solar symbol - our luminary. And this is a characteristic feature of not Christian, but solar Vedic culture.And the swastika is also a very ancient symbol of the Sun.

And the same solar symbol was concealed with a design to demonstrate the Foucault pendulum. Apparently in France they were more afraid than in Russia of bad questions about where in the building, supposedly built initially as a Christian temple, there is clearly Vedic pre-Christian symbolism. But if you look closely, you can clearly see a yellow circle with yellow rays radiating from it under the structure. I must say that the very idea of ​​concealing Vedic symbols with a Foucault pendulum is very original. Indeed, in order to hide something, you need to put it in the most conspicuous place.

Every day, thousands of people visit the Pantheon admiring its antique elements and taking pictures against the background of the famous Foucault pendulum, described in all textbooks, and at the same time absolutely does not pay attention to the swastika ornament.

But after all, just this symbolism was one of the characteristic "visiting cards" of ancient civilization. Don't believe me? Well then, compare the swastika ornaments of the floor of the Parisian Pantheon and St. Isaac's Cathedral in St. Petersburg with a similar ornament recognized by scientists as the ancient temple of Jupiter in Baalbek. Don't you recognize? But for some reason historians call this ornament "Greek". So that. the Parisian Pantheon and Isaac were built by the "Greeks"? Of course not. A similar ornament is found on the territory of numerous "Roman villas" scattered throughout the territory of the "Roman Empire".


We just came up with a story in which a single ancient Vedic civilization, which perished in a cataclysm at the turn of the 16-17 centuries, was dismembered both territorially and in time. The most destroyed and not subject to restoration buildings were transferred to "Ancient Greece" and "Ancient Rome". Well, where these buildings were not so badly destroyed and it turned out to be restored and restored, their construction was attributed to later architects. Although in fact they were engaged in the restoration and reconstruction of these buildings. And it is precisely with this that the described difficulties in their alleged construction are connected.

And here's some more information to think about. The Roman Pantheon, from which Jean Souflo allegedly ripped off his project, according to the official version of history, was built in 126 AD. on the site of the previous burned down Pantheon. But if you look at the tables of the durability of materials and facing stones, to which I have already referred more than once, you will understand that by our time it should have already turned into dust, because even the granite elements of buildings are completely destroyed after 1500 years. And the Roman Pantheon has quite happily survived to this day. Only in the 17th century three corner columns collapsed (and at the turn of the 16-17th centuries a catastrophe occurred that destroyed the ancient civilization) and instead of them two completely identical columns from the baths of Nero and one column from the villa of Domitian were erected.

And again the falsifiers "pierced". This is what happens during the "Roman Empire" there was an industrial serial production of granite columns, since they were completely the same type all over Rome? After all, only the colonnade at the entrance to the Roman Pantheon consisted of 16 such columns, made of gray and red Egyptian granite. Each of these columns was almost 12 meters high with a diameter of 1.5 meters and a weight of 60 tons. I would also like to know: how the Romans carried out not only the manufacture, but the transportation of these columns from Egypt. And of course, their installation. It's another matter if this so-called. The "Roman Empire" once existed as part of a single ancient civilization, and by no means in antiquity, but in the Middle Ages. Moreover, this building, if it were really built in the 2nd century AD, would certainly not have survived to our times.

I must admit that in the Roman Pantheon I did not find a swastika ornament on the floor and, apparently, here the falsifiers of history took more seriously the concealment of the Vedic past of ancient civilization than in France and Russia.It is not for nothing that the main center coordinating the total project of falsification of history was not far away and now it is known by the name of the Vatican. It is in its multi-level and many kilometers underground storage facilities that many artifacts of ancient civilization and their original written sources are hidden.

But nevertheless, the location on the floor of the Roman Pantheon of a large number of bulky benches, as well as a granite slab that was clearly laid just a couple of centuries ago, on top of which some altars stand, suggests that there is still something that needs to be hidden from view. visitors. And, by the way, I would like to know the opinion of the officials, how they explain the fact that the swastika ornament found now in numerous "Roman villas" from Britain to Asia Minor and the Middle East is suddenly absent from the "Roman" Pantheon, built during the times " Roman Empire ".

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