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Bacchus Ophiuchus PolO and Pan THE GREEN MAN

Updated: May 25, 2021

Meet Bacchus The Roman version of Greek Dionysus Cupid and Valentine Jude Pete and Paul a Friend of Laddy Jockey DIE and D'Orion Gray they all remained below the DIA FRAME JFK They are the JOKERS ... Yup Rosemary's babies generations Birth The Children of Tomorrows Brave new WHIRL the Under Whirlpool is known as BLACK POOL the other side of the Black MIR ROAR Bacchus was the son of Jupiter, a god. His mother was a mortal named Semele. Jupiter was married to Juno but had an affair with Semele, resulting in the conception of Bacchus.

Bacchus is the GREEN MAN JAKE The Peg in the Rolf Harris LEG OPHIUCHUS ODIN PETER PAN CUPID and VALENTINE the AVATAR the Birth of the Pharmaceutical Industry EUGENICS the result of years of pornography paedophilia poisoning predicative programming and preparation very very few will find it above their guttural desires back to the true Kingdom of above the DOME Most will fall into The GARDEN of earthly delights

Jupiter and Mercury MJ Mick Jagger and Michael Jackson Rule the MUTABLE CROSS the ages of Transmutation they will now close as Pandora's box and as the medusa our DIA FRAME does we learn how to Open and Shut to conduct our own transmutation through the last leg door of Pisces Opposite VirgO aka CORONA and VICTOR the last 77 dub LL spin we are being thrown back onto a new tilt which means the under whirl for those that dont get OFF the merry Go Round in time... this is called ALCHEMY and VitiCulture is VC Victoria Cross or CV Cruella de Vile aka CV 322 Skull n Bone cross is the spinning doors out of the FLESH back to Spiritual beings to become Gods again and VC 223 the Right left Spin of Cupid Gemini and Valentine Sagittarius the masculine axis of the mutable cross feed off Virgo ruled by Mercury Mutable Black earth GRAPES CORONA AMY as Gemini Cupid 💘 and Pisces Mutable Water White ruled by Jupiter as Sagittarius Valentine

Alchemy from Grape Flesh to Wine Spirt AME Amy Wine House

Amy Wine House represents VIRGO she didn't make the opposite axis we leave now Pisces she went from Plump Ripe harvest to a REHAB Mess predicative programming for the Rosemary baby generations to Not make it outta here ... Wine must turn to Spirit and Grapes Flesh our lungs must Breathe through the DIA FRAME back to our higher selves no longer consumed in Lust and desire and ego that stop us passing through the invisible veil

Corona and VicTOR VC/CV Skull n Bone spin 322 223 VitiCulture

MJ JM 322 223 Mercury Jupiter Mutable CROSS From Black Flesh Grapes to White Sprit Water

Cruella de Vil CV VC VitiCulture Black VirgO White Pisces

The same person Black VirgO and White Pisces


the medieval forerunner of chemistry, concerned with the transmutation of matter, in particular with attempts to convert base metals into gold or find a universal elixir.

"occult sciences, such as alchemy and astrology" chemistry, magic, sorcery, witchcraft, enchantment

a seemingly magical process of transformation, creation, or combination. "finding the person who's right for you requires a very subtle alchemy"

Viticulture (from the Latin word for vine) or winegrowing (wine growing) is the cultivation and harvesting of grapes. It is a branch of the science of horticulture. While the native territory of Vitis vinifera, the common grape vine, ranges from Western Europe to the Persian shores of the Caspian Sea, the vine has demonstrated high levels of adaptability to new environments, hence viticulture can be found on every continent except Antarctica.

Duties of the viticulturist include monitoring and controlling pests and diseases, fertilizing, irrigation, canopy management, monitoring fruit development and characteristics, deciding when to harvest, and vine pruning during the winter months. Viticulturists are often intimately involved with winemakers, because vineyard management and the resulting grape characteristics provide the basis from which winemaking can begin. A great number of varieties are now approved in the European Union as true grapes for winegrowing and viticulture.

Theophany (from Ancient Greek meaning ("appearance of a deity") is the manifestation of a deity in an observable way.

This term has been used to refer to appearances of the gods in ancient Greek and Near Eastern religions. While the Iliad is the earliest source for descriptions of theophanies in classical antiquity (which occur throughout Greek mythology), probably the earliest description appears in the Epic of Gilgamesh.

A specific usage for Christians and Jews, with respect to the Bible: theophany refers to a manifestation of the Abrahamic God, a revealed presence sensed by a person.

The Jungle Book Animal Farm Dr WHO Doolittle Never Ever land The Orchard NEIL KLIMS Under WHIRL MAD MAX The WATER BABIES The earthly Delights of the GARDEN the AIN TREE ANUS ENTRY awaits all those who just cant get past DESIRE LUST and EGO the MIR ROAR takes immense courage we are contracting and that takes balance self control and the ability to see through the ILLUSIONS of DECEIT

The Light of LUCY FER

Will I AM Blake BLACK

Tyger Tyger, burning bright,

In the forests of the night;

What immortal hand or eye,

Could frame thy fearful symmetry?

In what distant deeps or skies,

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand, dare sieze the fire?

And what shoulder, & what art,

Could twist the sinews of thy heart?

And when thy heart began to beat,

What dread hand? & what dread feet?

What the hammer? what the chain,

In what furnace was thy brain?

What the anvil? what dread grasp,

Dare its deadly terrors clasp!

When the stars threw down their spears

And water'd heaven with their tears:

Did he smile his work to see?

Did he who made the Lamb make thee?

Tyger Tyger burning bright,

In the forests of the night:

What immortal hand or eye,

Dare frame thy fearful symmetry?

"In the midst of colossal aerial buildings, with neither foundations nor roof-tops, covered with teeming, quivering vegetation, this sacred flora standing out against the dark blues of the starry vaults and the deserts of the sky, the God so often invoked appears in his still veiled splendor."

Who Is Bacchus?,process%20the%20grapes%20for%20wine.

Bacchus was essentially a copy of the Greek god Dionysus. He was the god of agriculture and wine and the son of Jupiter (Zeus in Greek mythology). He wandered the earth, showing people how to grow vines and process the grapes for wine.


Bacchus is often confused with Dionysus. They represent the same symbology and myths, as Bacchus is the Roman version of the Greek god.

Legends and Stories

When exploring the myths surrounding Bacchus, it’s easy to see that he is a duplicate of Dionysus. Their myths are virtually identical except for the names of supporting roles.

The Birth of Bacchus

Bacchus was the son of Jupiter, a god. His mother was a mortal named Semele. Jupiter was married to Juno but had an affair with Semele, resulting in the conception of Bacchus.

Juno learned of the affair and sought revenge against the woman who seduced her husband. Mortals were unable to view gods in their original form. Instead, gods transformed their appearances when they associated with mortals. Knowing very well of this, Juno tricked Semele into seeing Jupiter in his true form and she was burned up by seeing him in his divine form. She had not yet given birth to Bacchus, so Jupiter sewed the baby to his thigh and carried him until he was ready to be born.

Bacchus and Wine

Bacchus was known as the god of agriculture and wine. He spent his childhood in training by Silenus, a great lover of wine. After his training was complete, he chose to share his knowledge with the masses and traveled the world teaching others how to grow the necessary components and turn them into wine. He did this until he took his place at Olympus.


There are many statues and painted works of art dedicated to Bacchus. He is usually shown as a middle-aged man with a beard and a full head of hair that’s been crowned with an intricate headpiece filled with grapes and vines. He is also often shown with a glass of wine, presumably made by him.


Bacchus is most often associated with wine and vines. It is uncommon to see him pictured without them. Another symbol for the god is his staff, which was topped with a pinecone. He often carried this staff and used it while traveling the world. He is also associated with celebration, as he always had a procession filled with followers who would dance while he made wine.


The Garden of Earthly Delights is a story about moral and sin in a particular time. The painting however is timeless. The journey that the visitor sets out on in the interactive documentary is a personal one. Beneath the surface we aim to invite the visitor to reflect upon and question their sins and morals.

The interactive documentary Jheronimus Bosch, the Garden of Earthly Delights provides an in-depth tour though The Garden of Earthly Delights. Accompanied by high resolution images of the painting, the exciting story of this masterpiece unfolds.

Besides the exploration of the art historical story of the painting we will give insight to the creative process of Jheronimus Bosch. In a web interface the visitor will be taken on an audio-visual journey, including sound, music, video and images to enrich the storytelling. The visitor of the interactive documentary will get a better understanding of what it was like to live in the Late Middle Ages, and for example of what importance religion was in daily life. The interactive documentary can be read like a book, one can come back after a visit and pick up the book again from the shelf to further explore.

The interactive documentary Hieronymus Bosch, The Garden of Delights is part of the transmedia tryptich: ‘Hieronymus Bosch’. The transmedia tryptich consists of the documentary film ‘Hieronymus Bosch, touched by the devil’, the interactive documentary ‘Hieronymus Bosch: Garden of Earthly Delights’ and the Virtual Reality documentary ‘Hieronymus Bosch, the Eyes of the Owl’.


A LIE N THE VISITORS ALEF TAV TAV is the last V 22 Venus fly Trap for Victory the last leg completed into the world of the BARBERS BAR BAR the ELLY 77 HIEROPHANT THE JOKER you have been FRAMED Nelly Packed her bags This French film explains the Mary POPOV we live now.. mad max whirl we enter AINTREE is the ANUS under the DORION GRAY DIA FRAME BELT JFK jelly fish KUT today is the splitting of the MilkyWay snake of the two whirls you gotta be both sides of the MIRROAR to be above the circus ... death of the Old generations cause Rose Marys babies are born and they know only below the belt coding WHAT DID YOU EXPECT??? by 2025 only 17 percent of the White Europeans will be left Only the gypsy's will survive cause if you don't know how to be a snake charmer you wont be in the Cobra gypsy Clan

Just an example of french Cinema but when you see through the mirror all films tell us where we head

Jupiter et Sémélé

Jupiter et Sémélé (1894–95; English, Jupiter and Semele) is a painting by the French Symbolist artist Gustave Moreau (1826–1898). It depicts a moment from the classical myth[1] of the mortal woman Semele, mother of the god Dionysus, and her lover, Jupiter, the king of the gods. She was treacherously advised by the goddess Juno, Jupiter's wife, to ask him to appear to her in all his divine splendor. He obliged, but, in so doing, brought about her violent death by his divine thunder and lightning. The painting is a representation of "divinized physical love" and the overpowering experience that consumes Semele as the god appears in his supreme beauty which has been called "quite simply the most sumptuous expression imaginable of an orgasm".[2]

Of this work, Moreau himself wrote, "Semele, penetrated by the divine effluence, regenerated and purified by this consecration, dies struck by lightning and with her dies the genius of terrestrial love, the genius with the goat hooves".[citation needed]

Moreau described his canvas thus:

"In the midst of colossal aerial buildings, with neither foundations nor roof-tops, covered with teeming, quivering vegetation, this sacred flora standing out against the dark blues of the starry vaults and the deserts of the sky, the God so often invoked appears in his still veiled splendor."

Moreau's work depicts an intricate, intense, and startling mystical world, haunting and heavily laden with symbolic imagery. Its iconography is drawn from the ancient myth, from Symbolist writings and from his own personal interpretations, which are deliberately meant to be mysterious and ambiguous. Jupiter is represented conventionally, seated “in Majesty” with the hapless and bloodied Semele astride his right thigh. His gaze is severe, wide-eyed and fixed straight ahead in fierce prepossession. His throne and surrounding court, however, present an unorthodox and extravagant profusion of architectural and vegetal elements which — while depicted in fine, realistic, even jewel-like, detail — give the overall impression of a dream-like fantasy world. Everywhere a profusion of vivid colors vies with dark shadows for prominence. Countless teeming gods, goddesses and allegorical figures seem to exist at different scales, independent of, and oblivious to, one another. The eye must accommodate bizarre shifts in proportion as it ranges across the canvas. Among the figures are three immediately at the feet of Jupiter: a figure of "Sadness" (cradling a bloodied sword), a Great Pan, and a female “Death” holding aloft a white lily. (Moreau: “At the foot of the throne, Death and Sorrow form the tragic basis of Human Life, and not far from them, under the aegis of the eagle of Jupiter, the great Pan, symbol of Earth, bows his sorrowful brow, mourning his slavery and exile, while at his feet is piled the somber phalanx of the monsters of Erebus and Night….”) Jupiter's right foot rests on a snake biting its own tail. A frightful Hecate, with her polos and crescent moon, appears in the lower left corner. Among the other figures are a three-headed demon and several winged, angelic figures

Baháʼí Faith

Main article: Manifestation of God (Baháʼí Faith)

In his 1914 publication entitled The Reconciliation of Races and Religions, Thomas Kelly Cheyne, FBA (1841 – 1915), an ordained minister in the Church of England and Oxford University scholar, described theophany within the context of the Baháʼí Faith.[8][9] Cheyne wrote, " feels that a theology without a theophany is both dry and difficult to defend. We want an avatar, i.e. a 'descent' of God in human form".[9] Cheyne described Baháʼu'lláh as a "human being of such consummate excellence that many think it is both permissible and inevitable even to identify him mystically with the invisible Godhead."[9]:4,5 He wrote that Baháʼu'lláh was a "true image of God and a true lover of man, and helps forward the reform of all those manifold abuses which hinder the firm establishment of the kingdom of God."[9]:4,5 He said, "We want Messiah badly now; specially, I should say, we Christians want "great-souled ones" (Mahatmas), who can "guide us into all the truth" (John xvi. 13). One thousand Jews of Tihran are said to have accepted Baha'u'llah as the expected Messiah. They were right in what they affirmed."[9]:36–37 At Oxford University, on December 31, 1912, Professor Cheyne met ʻAbdu'l-Bahá (1844 – 1921) KBE, who was Baháʼu'lláh's son and who led the Baháʼí Faith from 1892 until 1921.[10] A 1991 article in the Journal of Bahá’í Studies (JBS), described "Bahá’í theophanology" as "acceptance of the Prophet, or 'Manifestation of God,' who speaks on behalf of God."[11]

The author wrote that Bahá’u’lláh wrote a series of epistles in the 1860s to kings and rulers, including, Pope Pius IX, Napoleon III, Tsar Alexander II of Russia, Queen Victoria, and Naser al-Din Shah Qajar, in a "forceful, theophanic voice" calling them to undertake reforms.[11] These letters were published in a compilation entitled Summons of the Lord of Hosts in 2002.[12] The JBS article described Bahá’u’lláh's "theophanology" as "progressivist". He claimed "spiritual authority" in these letters in which he warned western leaders of the dangers facing humanity should they choose to not act on his guidance. For example, in his c.1891 Tablet—"Words of Paradise"—he wrote, "Strange and astonishing things exist in the earth but they are hidden from the minds and the understanding of men. These things are capable of changing the whole atmosphere of the earth and their contamination would prove lethal."

Rosemary's Baby

is a 1968 American psychological horror film written and directed by Roman Polanski, and starring Mia Farrow,


Rosemary becomes pregnant, due the last week of June. The elated Castevets insist that Rosemary go to their close friend, Dr. Abraham Sapirstein, a prominent obstetrician, rather than her own physician, Dr. Hill. During her first trimester, Rosemary suffers severe abdominal pains and loses weight. By Christmastime, her gaunt appearance alarms Hutch, who has been researching the Bramford's history. Before sharing his findings with Rosemary, he falls into a mysterious coma. Rosemary, unable to withstand the pain, insists on seeing Dr. Hill, while Guy argues against it, saying Dr. Sapirstein will be offended. As they argue, the pains suddenly stop and Rosemary feels the baby move.

Three months later, Hutch's friend, Grace Cardiff, informs Rosemary that Hutch is dead. Before dying, he briefly regained consciousness and said to give Rosemary a book on witchcraft along with the cryptic message: "The name is an anagram". Rosemary eventually deduces that Roman Castevet is an anagram for Steven Marcato, the son of a former Bramford resident and a reputed Satanist. She suspects that the Castevets and Dr. Sapirstein belong to a Satanic coven and have sinister intentions for her baby. Guy discounts her suspicions an