Sarah Payne’s Painting

A repost of an update on Sarah’s painting published on the former Buzz Xtra in 2014:


For those who continue to suggest that the person in Sarah’s painting is a woman: Notice too, what looks, upon closer inspection, to be a laurel crown or cap; and the letter ‘S’ used to depict the structure of his ears.


Laurel symbolises victory, fame, glory, attainment of rank or degree, the gift of prophecy. It is used in mystical and religious ceremonies to afford protection from spiritual rivals and adversaries; and to enhance psychic functions. Apt, I’d say, considering the interdimensional portal-like impression of this scene.

33 studs or buttons on the apron: And the item in his hand may match the foot on the floor.

maninsarahspainting200shoe and footOn the man’s right, next to his feet, is an object painted in the skin tone. It is possible that the object is an ankle and foot.

What this object is, is hard to tell but I think it could be either a bottle, or a shoe. Why would a man be carrying a shoe when he is already wearing a pair – shoes or slippers? is another question.

You may recall that one of the items located during the investigation was a shoe.
Sarah Payne’s shoe gives hope of link to killer


…and then there is the chequered floor.


Why has Sarah filled in the white squares with red circles and squares? I find it peculiar. Wouldn’t a child be much more likely to fill squares with o’s and x’s?

In iconography circles represent ‘Heaven’, squares ‘Earth’ (this world). For an example of this please click here. Circles also represent the invisible, the transcendent, cycles, time. The Babylonians called a circle, ‘a shar’ (an anagram of Sarah); which meant the universe or the cosmos. (Those who read my 2012 Megaspell may be able to see by now now why I connected the crimes against little Sarah with it’s rites.) Together with squares they illustrate inter-dimensional movement

There are four foundational geometric shapes: the centre, the circle, the cross, and the square. We can readily see the circles and the squares. The centre is indicated by large circles (yes, they are ovals and rectangles but we are talking about an 8-year-old here; and, in any case the symbolism is very similar – with exceptions, I’ll grant). It is interesting that the newspaper picture cuts off to only show 11 vertical squares. This gives the impression that the central shape is the largest red circle in a white square.

If the board is in reality 13×13 squares the centre is marked by a black square. 13×13 = 169, which totals 16, this is very Pythagorean. (In any case, it’s a huge number of squares for a child to be bothered with, let alone decorate them.) Squares represent the crystallisation and ingredients of the manifested world, the four elements; perfection, stability and establishment; but also stages such as we see in the phases of the moon, the seasons, the four points of the compass, divisions of cycles. It is the number four. Squares though are temporal, and temporary, circles are eternal. Squares and circles work together in profound and mysterious ways, as mystics and magicians everywhere have noted for generations. The big black square is 6 down and 10 across (16), and if the painting is 13×13 it is the 101st square (11) – see Sarah’s painting. Sarah’s birth day was the 13th. Her full birth date totals 26, 2×13 and the same number as Whiting’s birth day. 26 totals 8. An 11×13 square chequerboard would give 143 squares = 8. Numerosymbologically the name Sarah is heavily involved with 8. Sarah vanished on 1st July (8) and was discovered on 17th July 2000, an 8 day and date, close by the A29 (11). 1st July is the 182nd day of the year – totals 11. 29, 2, 9, and 11 are lunar aspect-ed numbers. 29 to do with its cycles, 2 as cooperating with the sun(1), 9 to do with its tethering to Earth, 11 as the reflector. Sarah, as mentioned in Sarah’s painting, means ‘Moon princess’, Whiting’s first name, ‘Roy’ means king, so sun. 33, the number of studs on the apron, and Whiting’s birth date total, reflects the relative sizes of the moon and the earth, 3 to 11; as the late John Michel famously noted, this relates to the Great Pyramid of Giza (back to Egypt we go again) and a means of squaring the circle. The sun also has a significant repeat cycle of 33 (3×11 years) and this, as mathematician and megalith researcher, Robin Heath writes in his book, ‘Sun, Moon, and Earth’, enabled the ancients to calculate the value of pi to four decimal places; a fact recorded in many ancient constructions, including Stonehenge – which I have connected to Sarah’s (and others) disappearance and murder.

You may also notice how the artist has discretely depicted the 3rd member of the quartet with  cross shapes in the floor pattern, chains of them in fact, marked with either red squares or crosses. Notice too that the circles are mostly concentrated in the bottom triangle (top for the man) and the squares the top triangle.

crosscutfloorCrosses in squares are called ‘gammadions‘. It is used as a Christian symbol representing Christ surrounded by the four evangelists. There are black and white gammadions. A swastika is also a form of a gammadion.
My feeling is that Sarah is depicting a leather 33-studded apron. What I’ve only just discovered, and makes me shudder, is that ‘Leather Man’ was one of the epithets of a suspect (John Piser) for the ‘Jack the Ripper’ murders. This is from The Crime Library: Jack the Ripper by Marilyn Bardsley:

“While police were searching for the killer of Polly Nichols, a story surfaced about a bizarre character named “Leather Apron.” This man required prostitutes to pay him money or he would beat them. The Star claimed the man was a Jewish slipper maker of the following description:

From all accounts he is five feet four or five inches in height and wears a dark, close-fitting cap. He is thickset and has an unusually thick neck. His hair is black, and closely clipped, his age being about 38 or 40. He has a small, black moustache. The distinguishing feature of his costume is a leather apron, which he always wears…His expression is sinister, and seems to be full of terror for the women who describe it. His eyes are small and glittering. His lips are usually parted in a grin which is not only not reassuring, but excessively repellent.”

Several details in the above description fit the character in the painting. I somehow doubt that the story of the Whitechapel murders were on the curriculum at Sarah’s school.

Also: Casebook: Jack the Ripper – Daily Telegraph – 13th September 1988 (a pdf)
A cobbler, or shoemaker, or a cellarman?…maybe.



January 2014

Updated and reposted 29th July 2015


Added 3rd August 2015
Terror raid house was home to Sarah Payne killer Roy Whiting
This information added 15th July 2008:




Dictionary of Symbols:






John Michel and Robin Heath’s books:

newviewoveratlantis100measureofalbion100sun moon earth120



7 thoughts on “Sarah Payne’s Painting

  1. I would like to point out the fact that Stella Tenant of the Devonshire family has a photograph of someone’s cut off foot proudly displayed in her kitchen. Her children have breakfast in that room every morning and they look at that sickening picture. Ever since you made a link between the Devonshires and a relative of Sarah Payne, who was an architect in the 18th Century, I have come to dislike this family intensely. Also, the Columba prophecy that Samantha Carr alluded to in one of her articles was realized in October 2015 when a flood devastated Columbia, South Carolina shortly after the birth of a monster in another aristocratic family. It is deplorable that your articles are no longer available on the internet, Ellis. Some of us cannot even afford to buy your books, and a request was made to you for the Megaspell Expose to be republished here among others articles without success. You say that Sarah Payne was an angel and that one should not be disrespectful to her spirit. Your knowledge was given to you by angels for Mankind, but you are starving our souls by withholding it.


    • Thank you writing Paul. I’m not withholding anything, my articles are still available for anyone to copy on Waybackmachine. Everything, or at least 99.99999% of my work I’ve gone without to produce myself; the hours I’ve put in are beyond counting. I’m heartened to know that you appreciate what I’ve done in your round-about way of saying it but there’s only me and the hours available in this world to do it. Please feel free to copy any articles you value that I’ve written.


      • Thank you so much, Ellis. It was very honorable and thoroughly decent of you to publish my comment. I have been trying for weeks to find your articles on the Waybackmachine, but I only found Two Towers. I shall try again. Thank you for all your hard work, and apologies for having misjudged you. You truly are an immense blessing for this world.


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