Alexandr Korol

And then I found another image, “The Vision of the Seven Candlesticks” by Matthias Gerung (1500–1570) — again, it depicts this Seated One, His head is glowing, and here are the candlesticks: three on one side, four on the other. I start from the question — how do I decipher where He sits, whether the elders are around Him or, as mentioned elsewhere, if I’m not mistaken, in chapter 21 or another chapter, there is also a mention not only of elders but of these gates — three gates on each side. I begin to dig deeper and deeper into all of this and come to the realization that the geometric figure in which He sits is a cube. And since I wrote the first volume in the Spirit — this is very important, in the Spirit — that is when you are connected to the system, and the system writes through you; it is not you, the person, doing it with your mind, but rather, you surrender your will to God, as if the system enters you and does everything through you — so the system creates the first volume through me, and the system creates the second volume through me. And in the second volume, I start to realize and understand that this Throne, or the New City, the New Jerusalem, is again a sacred language, it has nothing to do with Jerusalem. But the new sacred city, or the new something — it is precisely a cube. I find confirmation that it is a cube, that the Throne of Glory, the Throne of God, is a cube. And then a voice speaks to me — this is the system, this is the Spirit speaking to me — saying, “Sit in the corner.” I get up and sit in the corner, just like a child, I sit on the floor in the corner. And the Spirit says, “What do you see? Look, how many corners do you see in front of you at the bottom?” I say, “Well, mainly three.” It says, “And how many above?” I answer, “Well, four.” And then I realize — here they are, these seven candlesticks. And once again, I reopen all these ancient images, icons where the Seated One is depicted, and I begin to read and study everything about the seven candlesticks. And indeed, His head is always shining as the eighth candlestick. And I realize that this depiction shows that He is sitting in the eighth corner, and then the light spreads further, exactly as I was deciphering before, as the unfolding of light. And I understand that He is seated in the eighth corner, and from there, the light is distributed into the seven corners — so here it is, before Him are seven corners, and He is the eighth. But here, one crucial moment is extremely important — it is fundamentally significant: three and four. Three and four. That is why, although it is not depicted in Dürer’s work, in many other places, it is intentionally shown that on one side, there are four