Brooklyn Museum - Brooklyn, New York, USA Anunnaki, Giants in America, B...

The Cloisters

The Cloisters is a branch of The Metropolitan Museum of Art sitting on a four acre lot overlooking the Hudson River. Donated by philanthropist John D. Rockefeller Jr., the museum was intended to display the medieval art collection he acquired from art collector George Grey Barnard. The museum is a combination of a medieval monastery which was reconstructed stone-by-stone on site, and a new construction designed in the medieval style. It houses more than 2000 works of medieval European art and artifacts. One of the noteworthy pieces is the Unicorn Tapestries, a series of seven which Rockefeller bought in 1922 for about one million dollars.

Buildings and People -135 St George Street Toronto Ontario Canada and the Mud Flood Theory

"The building at 135 St George Street, which now houses The York Club, was completed in 1892 as a mansion for George Gooderham, president of the Gooderham and Worts Distillery. The Annex, was then fast becoming a fashonable area. Timothy Eaton had moved there in 1889 and other notables followed. Gooderham named his house “Waveney,” after a river near his birthplace in Norfolk, England.

Architect, David Roberts Jr designed this house in the then popular Romanesque Revival style. The sprawling plan with its corner tower and porte-cochere, is embellished with round-arched openings and elaborate sandstone detailing. The interiors are equally elaborate with an impressive three-storey staircase, mahogany inlayed parquet floors and finely detailed wood finishes. The George Gooderham House is the last surviving example of the mansions that lined Bloor Street in the late 19th century.

Gooderham resided here until his death in 1905, when he was described as the wealthiest man in Ontario, with a personal fortune of $25 million. The York Club, a private club for gentlemen, has owned the property since 1910."

After George Gooderham Sr. died in May 1905, at the age of 75, his widow Harriet Gooderham (née Dean) sold the house and moved to a smaller home at 224 St. George Street.

The York Club is a private social club that was incorporated on November 22, 1909. It is located at 135 St. George Street in The Annex neighbourhood of central Toronto, Ontario, Canada, close to the University of Toronto. 

Now start anomalies.
Are we talking about a flood building below are old pictures  and the present pictures check the fence. how high is now.

Mud Flood Theory:
Is this a building of an old civilization that was erases from this land and occupied at the beginning of the last century of another set of people that have nothing to do with the original owners and just use the real estate and the buildings?

Private Clubs or Expensive Restaurants
York club got this building just like that and is not allowing pictures inside on media. On the door is written private property even though the feeling is of a restaurant.

Guests that use the restaurant/club"
Pamela Wallin greets guests had a party in her honour at the York Club   August 14, 20029See link beloow). Wallin went to New York to be Canada's Council General. (Photo by Steve Russell/Toronto Star via Getty Images) other way people that use tax dollar money are using this restaurant/ club.


According to The Globe and Mail

YORK CLUB

Location: 135 St. George St.

Initiation fee: $17,000

Who's there and why: Classic old-guard club that's trying to reach beyond its roots ( This text say nothing)

 On another site we find that what is really is: a restaurant that is used for weddings sometime, because we found a request for alcohol use in the premises of the property:

The York Club offers a very unique setting in a beautiful and historic building. Its goal is to be guests� �home away from home� when they�re dining out in Toronto. Because The York Club strives to provide an elegant ambiance and atmosphere, it asks guests to dress with discretion and taste, and business attire is required in all dining rooms.
Because The York Club is an exclusive club, entry for non-member guests is only permitted with a member. Members are responsible for ensuring that guests follow all of The York Club�s protocols and that they do not violate the dress code. This ensures that all guests have a pleasant and elegant experience at this delicious restaurant.

The building has been designated as a heritage Building in May 20 1980 probably to avoid demolition.

Toronto used to be named Muddy York from 1700 to 1800, Yorkville where the the house is is a very old area. according to Mud Flood Mystery North  You tube channel See the link below.

It is possible to have been some cataclysms in the past that deposited layers of mud and engulfed these buildings. We have been digging them out and destroying them altogether and give them to other owners.

Other sources state:

"There was a cataclysm as recently as 200-300 years ago covering buildings in layers of mud and earth, and we are not told about it.. Here is a link to the article about the Church in Omaha": http://www.omaha.com/history/photos-d...

Also, Please check out following channels for more information on World Fairs, Mud Flood and History Falsification:

Nik Research - https://www.youtube.com/user/N1k420
Martin Liedtke - https://www.youtube.com/channel/UC3Vz...
Phillip Druzhinin - https://www.youtube.com/channel/UCIZo...

 Here are some old pictures of the same building see the street level.

Links
http://www.lostrivers.ca/content/points/yorkclub.html
https://www.theglobeandmail.com/news/national/new-club-on-the-block/article4125210/
https://commons.wikimedia.org/wiki/File:York_Club_(Toronto)_-_DSC00779.JPG
https://www.opentable.ca/r/the-york-club-toronto
https://www.heritagetrust.on.ca/en/index.php/oha/details/file?id=3351&id=3351
https://www.toronto.ca/legdocs/mmis/2015/te/comm/communicationfile-54504.pdf
https://en.wikipedia.org/wiki/York_Club
https://www.gettyimages.ca/detail/news-photo/pamela-wallin-greets-guests-arriving-at-a-party-in-her-news-photo/165323274
https://www.youtube.com/watch?v=i-mEvJOBnm8
https://www.youtube.com/watch?v=ud7BQ-EC6Ks

Sculpturi la Metropolitan Museum in New York

Sunion

 Between myth and history
There are stories about the ship of King Menelaus who stopped briefly at Sounio on his way back from Troy; or about the unfortunate King Aegeus who drowned himself on that spot and the Aegean Sea got named after him; or about the people who built a temple using local marble to honour the god of the sea and safeguard the profits from the neighbouring Lavrio mines.

Decorative elements

The unknown architect is probably the same one who built Theseion in the Ancient Agora of Athens. He decorated the temple with sculptures made of Parian marble (i.e. from Paros Island), which depicted the labours of Theseus as well as battles with Centaurs and Giants (Gigantes). The remaining sculptures are showcased in the Lavrio Museum whereas the impressive kouroi [male youths] that once stood in the temple yard are now on display in the National Archaeological Museum of Athens.
Notice the Doric columns, count their flutes and you will see that they are less in number than those on other temples of the same period (mid 5th c. BC). This feature is also found in other seaside ancient temples, for instance in the Temple of Aphaea in Aegina etc.

How to get there
Sounio is located on the southernmost tip of Attica; it is the end point of the Athenian Riviera, at a 69km distance from Athens. Take the intercity coach (KTEL) from Aigyptou Sq. (Victoria ISAP Station) or travel by car along the coast of Athens and Attica (passing by Glyfada, Vouliagmeni, Varkiza, Lagonisi, Anavyssos, Legrena and so on). You will be impressed by the lovely view of the sea and of the Saronic Gulf Islands.

Archaeological evidence indicates that Sounion was a sacred area as far back as the Bronze Age, but the temple visible in our day was built in the middle of the 5th century BCE (between 444 and 440 BCE). It was part of the ambitious building project initiated by Perikles, which included other renown temples such as the Parthenon and the Hephaisteion. Given the similariteis of the Temple of Poseidon to the Hephaisteion and the temple of Nemesis in Rhamnous, many historians have concluded that they were designed by the same architect. One particularly unifying feature of all three temples is the fact that the columns of the porch were aligned with the third column of the peristyle.

An inscription confirms that the temple was dedicated to Poseidon, and it was built upon the remains of an even earlier poros temple whose foundations are still visible. This Archaic temple was razed by the Persians in 490 BCE when it still under construction. Very little is known about this earlier temple, but it is certain that it was a revered landmark, visible from afar as sailors approached or left the safety of the Attica harbors. The newer temple closely follows the size and plan of the more ancient one.

The temple of Poseidon was a peripteral building of the Doric order, made of marble from nearby Agrileza, with six columns at its ends and thirteen on each long side for a total of 34--of which thirteen survive today. Four of the north columns were reconstructed in the late 1950's. The Doric colums are about 20 feet tall and three feet in diameter, with the unusual number of 16 flutes instead of the usual 20. The base of the temple consists of two stacked terraces that supported the peristyle, the cella, the pronaos, and the opisthodromos. The temple's stylobate is 31.1 x 13.4 meters.
The temple's metopes were smooth with no decoration, but the architrave of the pronaos was decorated with a shallow Ionic continous frieze. The frieze's fragments that have survived are baddly erroded but it is believed they illustrated popular mythological themes of amazonomachy (or a battle between Centaurs and Lapiths), gigantomachy, and the deeds of Theseus. They were carved in white marble from Paros. The pediments' raking cornice had a pitch of 12.5° (instead of the usual 15°) and were decorate with sculptures, of which only one fragmented seated female figure has survived.


Cape Sounion (Modern Greek: Aκρωτήριο Σούνιο Akrotírio Soúnio [akroˈtirʝo ˈsuɲo]; Ancient Greek: Ἄκρον Σούνιον Άkron Soúnion, latinized Sunium; Venetian: Capo Colonne "Cape of Columns") is the promontory at the southernmost tip of the Attic peninsula, 8 kilometres (5.0 mi) south of the town of Lavrio (ancient Thoricus), and 70 kilometres (43 mi) southeast of Athens. It is part of Lavreotiki municipality, East Attica, Greece.
Cape Sounion is noted for its Temple of Poseidon, one of the major monuments of the Golden Age of Athens. Its remains are perched on the headland, surrounded on three sides by the sea.

History

The earliest literary reference to Sounion is in Homer's Odyssey (III. 278–285). The story recounts that as the various Greek commanders sailed back from Troy, the helmsman of the ship of King Menelaus of Sparta died at his post while rounding "Holy Sounion, Cape of Athens."^[1] Menelaus landed at Sounion to give his companion full funeral honours (i.e., cremation on a funeral pyre on the beach).
Archaeological finds on the site date from as early as 700 BC. Herodotus (VI.87) mentions that in sixth century BC, the Athenians celebrated a quinquennial festival at Sounion, which involved Athens' leaders sailing to the cape in a sacred boat.

Deme

Further information: Mines of Laurion

Sounion was a deme of the Leontis tribe (phyle) even before its fortification in the Peloponnesian War. It sent four men to the ancient Boule of 500 at the time of Cleisthenes, and later (3rd century BC) six men to the Boule of 600. In the 2nd century BC, Sounion is still on record as a deme, but now considered part of the recently-introduced Attalid phyle (created in honour of Attalus I).^[2]
The deme was located between Amphitrope to the west and Thorikos to the north. Its territory included parts of the Mines of Laurion. According to Traill (1986), the center of the settlement was situated somewhat to the north of the cape, between the modern settlements of Ano Sounio and Kato Sounio (close to 37.674°N 24.030°E).^[3]
Sounion was fortified in the nineteenth year of the Peloponnesian War (413 BCE) for the purpose of protecting the passage of the cornships to Athens,^[4] and was regarded from that time as one of the principal fortreses of Attica.^[5] Its proximity to the silver mines of Laurium probably contributed to its prosperity, which passed into a proverb;^[6] but even in the time of Cicero it had sunk into decay.^[7] The circuit of the walls may still be traced, except where the precipitous nature of the rocks afforded a natural defence. The walls which are fortified with square towers, are of the most regular Hellenic masonry, and enclose a space or a little more than half a mile in circumference. The southern part of Attica, extending northwards from the promontory of Sounion as far as Thoricus on the east, and Anaphlystus on the west, is called by Herodotus the Suniac angle (τὸν γουνὸν τὸν Σουνιακόν).^[8] Though Sounion was especially sacred to Athena, we learn from Aristophanes that Poseidon was also worshipped there.^[9]

Temple of Poseidon

Main article: Temple of Poseidon at Sounion

The original, Archaic-period temple of Poseidon on the site was built of tufa. The Sounion Kouros, discovered in 1906 in a pit east of the temple alongside fragments of other statues, was probably one of a number of votive statues dedicated to Poseidon which probably stood in front of the god's sanctuary. The archaic temple was probably destroyed in 480 BC by Persian troops during Xerxes I's invasion of Greece.^[10] After they defeated Xerxes in the naval Battle of Salamis, the Athenians placed an entire captured enemy trireme (warship with three banks of oars) at Sounion as a trophy dedicated to Poseidon.^[11]

Temple of Poseidon at Cape Sounion, built circa 440 BC.

The temple of Poseidon at Sounion was constructed in 444–440 BC. This was during the ascendancy of the Athenian statesman Pericles, who also rebuilt the Parthenon in Athens. It was built on the ruins of a temple dating from the Archaic period. It is perched above the sea at a height of almost 60 metres (200 ft). The design of the temple is a typical hexastyle, i.e., it had a front portico with six columns.^[12] Only some columns of the Sounion temple stand today, but when intact it would have closely resembled the contemporary and well-preserved Temple of Hephaestus beneath the Acropolis, which may have been designed by the same architect.
As with all Greek temples, the Poseidon building was rectangular, with a colonnade on all four sides. The total number of original columns was 36: 15  columns still stand today. The columns are of the Doric Order. They were made of locally quarried white marble. They were 6.10 m (20 ft) high, with a diameter of 1 m (3.1 ft) at the base and 79 cm (31 inches) at the top.^[13] At the center of the temple, colonnade would have been the hall of worship (naos), a windowless rectangular room, similar to the partly intact hall at the Temple of Hephaestus. It would have contained, at one end facing the entrance, the cult image, a colossal, ceiling-height (6 metres (20 ft)) bronze statue of Poseidon.^[14]

Temple of Athena

View from within the remains of the temple of Athena, looking west.

The temple of Athena Sounias (Ναός της Αθηνάς Σουνιάδος 37.653°N 024.027°E), some 300 m northeast of the temple of Poseidon, is built on a low hill. It was built in 470 BC, replacing an older building of the 6th century. Its architecture was unusual inasmuch as it had a colonnades on the southern and eastern, but not on the western or northern sides, a peculiarity mentioned by Vitruvius.^[15] It was built adjacent to a peribolos identified as the burial mound and shrine to Phrontis, the helmsman of Menelaus whose burial at Sounion is mentioned in the Odyssey.
A smaller Doric temple next to the temple of Athena is thought to have been dedicated either to the hero Phrontis or to Artemis.^[16] A deep pit to the southeast of the temenos was used to deposit the remains of the Archaic-period offerings destroyed in the Persian invasion.
The temple of Athena was demolished in the 1st century AD, and parts of its columns were taken to Athens to be used in the South-East temple of the Agora.^[17]

Fortress

Remains of Bastion Delta seen from the north.

In 413 BC, during the Peloponnesian War against the Spartans, the Athenians fortified the site with a wall and towers to prevent it from falling into Spartan hands. This would have threatened Athens' seaborne grain supply route from Euboea. Athens' supply situation had become critical since the city's land supply lines had been cut by the Spartan fortification of Dekeleia, in north Attica.^[18] The Sounion fortress was soon later seized from the Athenians by a force of rebel slaves from the nearby silver mines of Laurium.^[19]
The Temple of Poseidon was situated in the southeastern corner of the fortress, with the garrison quarters arranged along a main stream on the western slope of the hill. The fortress included a small naval base, with a shipshed for two warships in the northwestern corner (37.6524°N 24.0228°E).^[20] The fortress was maintained well into the Hellenistic period.^[21] Repairs and additions to the fortress were made during the Chremonidean War (266–261 BC).

Literary reception

Byron's name carved into temple of Poseidon

The name Capo Colonne (graecicized Καβοκολώνες Kavokolones) is reported from the 17th century, for the reason that unusually, several columns of the temple of Poseidon had remained standing since antiquity. Early modern descriptions in travelogues include those by G. Wheler (1676), J.-D. Le Roy (1754), R. Chandler (1765) and E. Dodwell (1805). Scottish poet William Falconer (1732-1769) was shipwrecked off off Cape Colonna, as Sounion was then known, in 1750, an event depicted in the central scene of his The Shipwreck (1762).^[22]
The inscribed name of George Lord Byron, carved into the base of one of the columns of the Temple of Poseidon, possibly dates from his first visit to Greece, on his Grand Tour of Europe before he acquired fame. Byron spent several months in 1810–11 in Athens, including two documented visits to Sounion. There is, however, no direct evidence that the inscription was made by Byron himself. Byron mentions Sounion in his poem Isles of Greece:

Place me on Sunium's marbled steep,

Where nothing, save the waves and I,

May hear our mutual murmurs sweep...^[23]

Martin Heidegger visited Sounion during his journey to Greece in 1962, as described in his book Sojourns.^[24] He refers to the "gleaming-white ruins of the temple". In the strong sea breeze "these few standing columns were the strings of an invisible lyre, the song of which the far-seeing Delian god let resonate over the Cycladic world of islands". He marvels at "the way that this single gesture of the land suggests the invisible nearness of the divine and dedicates to it every growth and every human work" (ibid.). He goes on to reflect "the people of this country knew how to inhabit and demarcate the world against the barbarous in honour of the seat of the gods. ...they knew how to praise what is great and by acknowledging it, to bring themselves in front of the sublime, founding, in this way, a world" (ibid.).

Modern development

Sounion beach and Aegeon Beach hotel, seen from Cape Sounion (July 2009 photograph).

Cape Sounino a popular day-excursion for tourists from Athens, with the sunset over the Aegean Sea, as viewed from the ruins, a sought-after sight since the first development of modern tourism in the early 19th century.^[25]
Lavreotiki municipality was established in 1890 under the name of Sounio, but renamed to Lavreotiki in 1891. Cape Sounion itself is located between the villages of Kato Sounio and Legena.
The Sounio national park (Εθνικός Δρυμός τού Σουνίου) was established in 1974 with a core area of 750 hectares.
Forming the southeastern endpoint of the Athens Riviera, Sounio is now an upscale summer home location for Athenians. Construction of villas across the bay northwest of Cape Sounio flourished in the 1960s to 1970s. The Grecotel Cape Sounio luxury resort was built in 1973.^[26]
The project Arrangement of the Archaeological Site of Sounion (2011–2013) was co-financed by the Greek Ministry of Culture and Sports and the European Union (ERDF).

Cherokee Fire Ceremony , Where? Toronto Ontario When? 2016

2016 Toronto Fire Ceremony

A fire ceremony is a Native American practice that is usually performed every full moon. You do not have to wait for a full moon in order to do a fire ceremony. Fire Ceremonies are wonderful during a New Moon, when you want to introduce newness into your Life. This Native American ritual is easy, simple and an awe-inspiring event.

You can do a fire ceremony yourself during the New Moon (probably every other month) or with friends in the backyard where you dug a large pit in the ground in order to build a safe fire. You can use a large clay pot, a campfire, a bonfire or an old barbecue grill.

Here is an extras from the Native American Website listed in the link section:

HOW IS A FIRE CEREMONY PERFORMED?

Each of us bring something to burn that we would like to rid the emotions associated with our past (on the Full Moon) or a prayer request of something new (during the New Moon), that will burn, turn to smoke and release into the ethers. 

This allows the past energy to move along to its highest spiritual progression path and the new prayer request to move along to its highest spiritual progression path.
We may bring pictures, drawings, or intentions written on a piece of paper for the past or the newness.

For the past, after we have burned and released the emotions associated with it, then we have something prepared that is written down on a clean sheet of paper. This would be something new that we would like to call forth from God. For the newness, the prayer request is then burned and released into the ethers thereby replacing the past emotions with new ones. 

We form a circle around the fire and one by one we call in support from Divine Sources that give us peace. E.g. - God, Jesus, Creator, the Blessed Virgin Mother, Spirit, the Universe, the Archangels, the Saints that we may feel closest to, Guardian Angels, etc. 

We start with a prayer, and end with a prayer that is coupled with thanksgiving that our prayers and intentions have already been answered.
Keep in mind, no one is obligated to speak during a Fire Ceremony. Anyone can participate without stating what they are releasing or calling forth. 

After we have called in our Divine Source we place into the fire our pictures, drawings and intended release of the emotions associated with the past. Once these things have burned to smoke and ash, we then place into the fire what we have written on clean sheet of paper. This would be what we desire to replace those old energies with and call in new. 

The things we address from our past or call into our future can be shared with the group or kept to ourselves as we go through the Fire Ceremony. 

In strict Native American custom - the burning of sage, sweetgrass or tobacco is burned along with the past, which is given as an offering. When the smoke rises up into the ethers and is carried away to God there should be a quiet or meditative break in order to embrace a new awareness of transformation in your life. It is also symbolic that you can offer up a bit of food you wanted and only ate half of so that you could offer the other half in thanks.

THE VALUE OF IMAGERY

Do not minimize the value of imagery in Native American ceremony. The Spirit of God is real. This is a way of demonstrating our gratefulness and thanksgiving to God. When we pray to our Source and Supply who is God; He can, will and does affect our lives. So honoring Him and showing Him respect is part of this ceremony. 

After your fire gets going, each person may contribute to the prayer and then the items are offered to the fire. Tell God and all the Divine Spirits that you have called forth that you offer these things in thanksgiving. Meditate and feel the presence of God all around you. Singing praise, playing peaceful music either through tapes or instruments may also be used. 

Every Divine Source you called in is present, so give thanks and believe you have already received.

Links

http://www.drstandley.com/nativeamerican_fire.shtml

https://photos.app.goo.gl/9hmiNusLNcHZZKUj9