33 Watch: Uruguay and the Thirty-Three Orientals

The "Thirty-Three Orientals" were a militant revolution, lead by Juan Antonio Lavalleja, against the Empire of Brazil.  One of their major accomplishments as a revolutionary movement, was the establishment of Uruguay.  Not by surprise, Uruguay is one of only eight nations in the world that has a numerology/gematria of thirty-three (33).

• Uruguay = 3937317 = 33

Let us also quickly examine the numerology of Juan Antonio Lavalleja, to find the coded 22, 33 and 66 within his name; numbers that are very important to the powers that be.

• Juan = 1315 = 10
• Antonio = 1526596 = 34
• Lavalleja = 314133511 = 22
• Juan (10) + Antonio (34) + Lavalleja (22) = 66

The legendary name "Thirty-Three Orientals" came in 1825, when they began an insurrection for the independence of Oriental Province, a historical territory encompassing modern Uruguay and part of modern Brazilian Rio Grande do Sul State, from Brazilian control.

The historic movement began April 15, 1825, when Lavalleja and his men took ship from San Isidro, a Buenos Aires neighborhood on the banks of the Río de la Plata. They advanced among the isles of the Paraná Delta evading the vigil of the Brazilian flotilla. After nightfall they crossed the Río Uruguay in two boats and disembarked at Agraciada Beach in the dawn of April 19. There they planted what would become known as the Bandera de los Treinta y Tres Orientales (Flag of the Thirty-Three Easterners), a flag of blue, white, and red horizontal bars. These colors had been traditional since the times of Artigas, not only in Oriental Province but also in others of the Río de la Plata region.

• It should be noted that Buenos Aires was established February 2, the thirty-third day of the year, 1536.  Further, Buenos Aires is located directly on the 33rd Parallel South.

Long afterwards, in 1877, the event would be portrayed by the painter Juan Manuel Blanes, in El Juramento de los Treinta y Tres Orientales (Oath of the Thirty-Three Easterners, pictured on the right) one of the images most deeply inscribed in the historical memory of Uruguayans. Blanes often addressed historical themes in his works, and in this case achieved detailed renderings of the protagonists' faces, interviewing some survivors and taking extensive notes.

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