The Masonic Mystery on the Speaker of the House Podium

Many people ask ‘What is that silver thing on Nancy Pelosi’s desk in the House?’ The answer is, ‘a mystery.’ A Masonic mystery, in several parts. Conspiracy theorists will love this, and everyone else may find the history lesson involved doubly intriguing, for like cause.

 

by H. Michael Sweeney proparanoid.wordpress.com   Facebook  

Dateline, July 4th, 2019, from the Olympic Peninsula, in the shadow of Liberalism’s scariest Presidential Candidate, Governor Jay Inslee

copyright © 2019, all rights reserved. Permission to repost hereby granted provided entire post with all links in tact, including this notice and byline, are included. Quote freely, links requested. Please comment any such repost or quote link to original posting.

 

What you will learn reading this post, is that:

• a mysterious object has appeared, vanished, and reappeared on the Speaker of the House Podium, and;
• people continually ask what it is, when noticed in TV or press shots, and;
• it is, in simplest answer, a true National treasure, but;
• the answer given is mysteriously incomplete, even conflicting, as officials admit they know little about it, and;
• it contains more than six Masonic mysteries of its own, and;
• they, in turn, imply a Nicolas Cage National Treasure adventure may yet lay ahead, and;
• that all this may tie into today’s Deep State political strife in subtle but frightening ways.

 

What is that thing?

That is the first thing people ask when they see a bit of odd sparkly shape on Nancy Pelosi’s podium, typically seen in the background during closeup shots of the President when speaking in the House Chamber. The official answers tell us that it is an inkwell stand, which is not exactly an answer that makes sense, without knowing the history… which even the various official experts can’t seem to explain usefully. In fact, they can say little about it with certainty… and much of that would seem conflicting, creating uncertainty. We end up, therefore, with more questions than we started with, and the answers would seem… well, rather conspiratorial.

That’s O.K., because in examining the conspiratorial aspects, we get a free and enlightening history lesson.

 

The first mystery is how it came into use… twice. It was known to exist and be in use (some experts say) in the House of Representatives in 1810, shortly after it was first created by silversmith, Jacob Leonard, as an ornate inkwell stand. Others find no actual documentation before 1826, when a painting of that date shows it in place. However, it is often referenced in ways indicating it was generally believed present in 1810. Now, in those times, quill ink pens were dipped in ink frequently in order to write.  A single dip might only allow a short sentence or sentence segment, or a large, fanciful signature, such as found on the Declaration of Independence. We will have reason to get more into the facts of quill writing, shortly (they become taunting clues in the mystery). But the point is, that quite naturally, inkwells were very common in that time frame, and were often artistic creations in the manner of fine ink pens, we see in use, today — and as such, often involved fine cut crystal and/or precious metals, and even faceted jewels. But the first and most obvious mystery surrounds the dating question, itself.

Because… in the War of 1812, the British invaded Washington, D.C. (and elsewhere), and in 1814, set fire to the Capitol building (in which the Senate and House resided, then, as now). They also fired the White House, and the National Library. There was little in the way of national treasures which survived these fires. First Lady, Dolly Madison, has variously been credited for saving from the White House, several paintings (including the famous Portrait of George Washington) and documents, including several of the original documents which framed our nation, such as the Constitution and Declaration of Independence. As far as the Capitol Building was concerned, accounts indicate nothing was saved. 

And yet, the inkwell in question, apparently survived. It should have melted in the fire, or been thieved for its value. Ergo, SOMEONE found it a far more important thing than anything else… important enough to risk life and limb, to save. We know this, because it reappeared in the Senate some years later. We also know it was not a recreation, because the Jeweler’s trademark stamp is one Jacob employed before the war, and after the war, he used a different stamp, likely because his shop had been raided or even destroyed by British troops looking for plunder.

Rebuilding of the Capital was not begun in earnest until 1917, after the close of the war, a project which also finished the original construction plans interrupted by the War and the fire. Work would not finish until 1829, but the Senate was able to first convene in the building, again, in 1819. While the government had been being conducted in temporary quarters in Philadelphia without the inkwell, for some reason, the inkwell was once more in use by the 1819 Speaker of the House, Senator Frederick H. Gillett. Why this, and only this small a thing was so important to have been saved and restored to use, and only in the Capital building, is nowhere explained in any official dialogs. There is no record as to how it was returned, much less rescued. Virtually every other bit of furniture, artwork, vase, or bric-brac anywhere in the building has a complete traceable historical pedigree… but not this curious inkwell. That brings us to another mystery.

Masonic Influences: The designer of the inkwell stand, Jacob Leonard, was not a particularly well-known silversmith. Prior to this piece, he was best known for making silver spoons, ladles, tongs, and such. He was a coin silversmith, which is to say, like Silver Dollar coins the day, such silverware and art was of solid silver, .900 fine. While little is known of J. Leonard, one fact which ties to the third mystery, implies that the man was a Mason. To be clear, there is no clear proof, but his principle shop, in the general time frame of the inkwell’s creation, was directly across from a Masonic Hall. While that is a weak indictment or proof of Masonic leanings, the artwork, itself, the third mystery, is far more suggestive. But even if not a Mason, himself, it is possible the piece was commissioned by a Mason.

The inkwell is rich with the mystery of secretive Masonic symbolism, much of which ties back to the Mason’s favorite sources for occult mysticism, Rome, ancient Egypt, and dark Middle East religions. This is seen in a series of design elements employed in the inkwell, all of which are atypical of general use in anything short of intentional Masonic symbolism. In other words, nothing normally found on an inkwell, or simple artistic creations outside of Masonic use. Let’s take a look at the piece, to see; a decorated carry stand with four legs and a frame, with handle, to form a cradle for three crystal ink wells with silver caps. 

First and perhaps easiest Masonic symbols to reveal, are the four legs of the tray. Each is made up of three elements; a ball foot, a fasces standing atop the ball, and an entwining serpent climbing the fasces to peer over and protect it at the top. 

The Ball: in Masonic terms, the ball, of which there are four, generally represent the Earth, Geography, Navigation, and Astronomy and attendant orbital affairs, including Earth’s rotation, the daily cycle, or time, itself. The importance of the Ball is also found in a peculiar and popular Masonic pendant, often made of silver. It is mechanical, as it opens up to form a heraldic Roman Cross… but one made up of six Egyptian Pyramids, it being true that ancient Egyptian symbology is the most central of all Masonic mysteries, which high Masons and the Mason’s ‘bible,’ Morals and Dogma, by head Freemason and Satanaist Albert Pike (also a Confederate General who started the KKK) hold in higher regard than the Christian trinity. The Pyramid is said to have been placed at the center of all land mass on Earth, aligned with N,S,E,W, and containing sighting tunnels to astronomical stars. Thus, we see in the inkwells, that the artwork rests upon these symbols, as their supporting architecture; the very Earth and heavens, and the key arts the Masons hold most dear.

The Fasces: this symbol originates primarily from the Roman Empire, but with some variant history found in Ancient Egypt, as well. In both Egypt and Rome, it was a symbol of power over life and death by governmental authority. It is often associated with edicts written on paper; the power of the official written word. A fully formed Roman fasces consists of an Axe (not all fasces employed the Axe) with its handle wrapped about with rods of wood and bundled tightly with red ribbon, while in Egypt, the ‘Lash’ was a single rod with crook at top from which hung lashes (and used to issue punitive blood-letting lashes), often bound with blue ribbon, and which held identical meaning. It was the fasces symbol which was adopted by Mussolini as the Party symbol for Italian Fascism. Thus, we see that the power of life and death is repeated four times, resting atop of and arising from the Earth and Masonic arts. 

Ironic, then, that the modern American Democratic Party as currently headed by Nancy Pelosi (as Speaker of the House, where the ink wells reside upon her desk), is employing fascist tactics (i.e., ANTIFA ‘Brown Shirt’ style violence, race and victim political pandering, collectivist shaming and boycotts, censorship and disinformation) in its march toward harder political leftist ideologies, and globalism.

 

The Entwining Serpent: this symbol has ancient Egyptian origins tied to the Satanic God, Ishtar, often expressed in Masonic material as an entwining Serpent about the ‘egg’ of creation. In some art, the egg is depicted as an egg-shaped Earth. It relates to creation much in the same way the serpent entwined about the Tree of Life relates to the Biblic story of the creation of Man and the origin of temptation and sin… but giving more power to the Serpent as creator and divine force, as one might attribute to Luciferian identities, which is exactly what Ishtar, is.  A serpent, of course, can also represent death or deadly threat. That there are two intertwined serpents are found on the winged staff of the medical cadeusus emblem, relates to the fact that early physicians often sold poisons, as well as cures, and that sometimes, the cure proved fatal.

 

A Mystery Trio: there is also mystery in the number of ink wells, and the actual ‘wells,’ themselves. It serves no purpose for there to be so many. In the time of its making, and especially when dealing with official documents where long-lived preservation was of concern, the only viable inks available in the day were ‘iron gall’ inks made of Iron sulfate and tannic acids, or similar constructs. The only color available was black, though the acidic nature of it would react with various papers (in some cases, eating away the paper, as some degree of sulfuric acid would result) in ways which might create a brownish writing, or with age, wax grayish. It might be mixed with blue aniline dye to form a blue-black ink, which would appear blue when written, but later become black. While colored inks existed for non quill writing instruments (i.e., brushes), the quills required a higher degree of liquidity only available with iron gall inks. As stated, quill pens did not hold much ink at a time, and frequent dipping was commonly required.

So why three wells? In Masonry, there are three Degrees all Masons must first proceed through to become Master Masons. There are three chief officers or posts to each Lodge, each of which, like the Speaker of the House, employ a gavel as symbol of authority… the gavel itself a Masonic symbol, but nothing like that associated with the instrument of law; is is more about the character traits of Masonic leaders. There are also the Masonic concepts of the three Greater Lights and the Three Lesser Lights of Masonic Illumination, which is reflected in the three greater volumes of the wells outer size, vs. the the three lesser actual contents, each of which, by their differing shapes (faceted and cubical, vs rounded and semi-conical, as seen in the image), provide and entirely different reflective, refractive, and transmittal properties of light (there is even a rainbow tinge seen in one of the faceted faces of the right-most well, for instance). Interesting also to note, that the three wells are not identically cut: the facets are larger on the left-most well.

A secondary aspect of the ink well mystery which I find rather curious, is the extremely small interior well capacity, within the rather large (by comparison) bottles. One normal bottle of the same size with full capacity for ink, would easily allow the full Senate to sign a document… whereas all three of these bottles, with their tiny chambers, would be found insufficient — as based on my own experience with quill pens in a high-school chemistry class project where we made our own ink, and then used it. 

The Handle Mysteries: the handle employs a curious set of stylized flowers (presumbly flowers), showing two rows of 7 petals, each. No flower has 14 petals. It may simply be artistic license, but the number 14 has meaning to Masons, tied to both the phases of the Moon, and the death and dismemberment of the Egyptian God, Osiris, into 14 parts. Osiris is the God of the Underworld (Luciferian connection) and of the Moon (natch) who wields the Flail (fasces connection). That there are four of these ‘flowers’ (two per side) on the ink well stand, ties well with the four main phases of the Moon, within which, there are 14 days of ‘lunar darkness’ in the waning Moon. 

Next, look at each base of the handle. We see that it is designed to pivot, presumably to give better access to the ink wells, though one descriptive of the piece makes it sound like it automatically opens the wells. I don’t think so; there is no visible connection to the well caps, and no photos with the handle moved aside show open caps. But each ‘hinge’ forms a ball which is seemingly the same size as the feet, but unlike the feet, each has four ‘leaf-like’ shapes rising upward. Two are, one each, affixed to each of hubs of the hinge, while one rides on on each side with the handle when pivoted. Notice two things: one, is that the ‘leaves’ are different on the left, than on the right, and that if you look carefully, they are not actually like leaves, at all, not even presuming them stylized. The other, is that they give these ‘balls’ the appearance of the Masonic Balls in the unlatched position, which enables their opening. The one curiosity to Masonic Balls, is that the one thing which was not a constant in their design, was the latches, which these leaves resemble, when the Balls are in the unlatched state. This may tie to the final mystery, next.

The Final Mystery: it is found in the construction of the walls. A silversmith has many ways of fastening two pieces of silver together. The most common is to solder with silver, which appears to be in use on the work. Another is to establish a press fit, as in the backs of a pocket watch. Yet another is to create silver clasps which can grip the added piece into place. Nowhere in silver work (not that I am expert), have I seen use of rivets, screws, or bolts. Yet silver rivets are found in the walls of the ink well. Two are used to attach each of the two Elegant Eagle oval shaped pieces (one Eagle per lengthwise side), and two are used to attach the ‘cloth bunting’ drapes on each side of each eagle. But none are used to attach the drapes on the end sides. This makes little sense.

Also curious, is that the rivets on the Eagle sections are visible both on the interior and exterior of the wall, passing through fully. But not so on the bunting drapes, where they are visible on the wall (look to far interior wall, just right of the right-most bottle), but not on the outside of the drapes (left-most interior wall). Tied to this observation is that the eagle piece could easily have been assembled either via solder or a press fit, or clasps, as is true of the bunting… and that the eagle appears to be upon a plate which is bowed outward, implying the possibility (by shape and the fact of rivets) of a hollow chamber… perhaps with something being hidden, within. The resemblance of the handle’s balls to the Masonic Ball pendant’s, also points to the possibility that something may be hidden, within. If one wanted more reasons to suspect such, look at the handle, itself, again. It has an oval which exactly matches the Eagle’s oval in size, shape, and central positioning, and the ‘flower’s are positioned in perfect sympathy with the inset rivets holding the Eagle into place… if they even are actually rivets. They may simply be clues deliberately placed to draw one’s mind to discovery… if knowing something was hidden, and in need of recovery. 

I find myself recalling the National Treasure movie series, the one where the Templar Treasure was found following a set of clues hidden in various ways, each pointing to the next, until at last, the treasure might be reclaimed. I don’t for one moment believe the inkwell fits that bill… because my research for my book set, Fatal Rebirth, revealed the far greater likelihood is that the templar treasure is actually the wealth used to create the Rothschild banking empire… and that the Rothschilds were not jewish money changers, but Templars in hiding among the Jews, as such. No money changer could have amassed that much wealth, even in several generations of family members in the trade. It also revealed that many Templars went into hiding by becoming (and eventually taking over) the Masonry Guild… in time becoming Freemasons. But one thing is for certain.

The Speaker of the house has one very mysterious object on her podium… one perfectly useless to its original function, even upon its first creation… but quite useful symbolically… to someone — especially if a Mason. Whatever purpose made it thus useful is also an unknown, but we do know it was significant and important enough to risk life and limb, and to originally install it, and to later restore it, with some level of quiet secrecy. The ties between the Freemasons and the Illuminati, and between the Illuminati and the modern equivalent ‘Round Table Groups’ like the Club of Rome, Bilderbergers, Council on Foreign Relations, and the Trilateral Commission… and between the Masonic guilds and the masonic-like constructs of secret societies such as the Thule, the Skull and Bones, and the Knights of Malta, etc… all lead me to find this mystery very tasty, if not conspiratorial.

It is truly, a National Treasure, one perhaps worthy of yet another movie?