PETRUS ROMANUS (Pt 14) The False Prophet And The Antichrist Are Here

Where the Vitality of the Beast that Was, and Is Not, and Yet Is Pulsates in Anticipation of His Final “Raising”

We ended Part 13 of this series stating that, in order for the agents of the prophetic dates 2012-2016 to materialize on time, certain wizardry and alchemical machines were required to invoke the coming of the destroyers.

The three-hundred-thirty ton Obelisk in St. Peter’s Square in the Vatican City is not just any Obelisk. It was cut from a single block of red granite during the Fifth dynasty of Egypt to stand as Osiris’ erect phallus at the Temple of the Sun in ancient Heliopolis (Ἡλιούπολις, meaning city of the sun or principal seat of Atum-Ra sun-worship), the city of “On” in the Bible, dedicated to Ra, Osiris, and Isis. 

The Obelisk was moved from Heliopolis to the Julian Forum of Alexandria by Emperor Augustus and later from thence (approximately 37 AD) by Caligula to Rome to stand at the spine of the Circus. There, under Nero, its excited presence maintained a counter-vigil over countless brutal Christian executions, including the martyrdom of the apostle Peter (according to some historians). Over fifteen hundred years following that, Pope Sixtus V ordered hundreds of workmen under celebrated engineer-architects Giovanni and Domenico Fontana (who also erected three other ancient obelisks in the old Roman city including one dedicated to Osiris by Rameses III—at the Piazza del Popolo, Piazza di S. Maria Maggiore, and Piazza di S. Giovanni in Laterano) to move the phallic pillar to the center of St. Peter’s Square in Rome. 

This proved a daunting task, which took over four months, nine hundred laborers, one hundred forty horses, and seventy winches. Though worshipped at its present location ever since by countless admirers, the proximity of the Obelisk to the old Basilica was formerly “resented as something of a provocation, almost as a slight to the Christian religion. It had stood there like a false idol, as it were vaingloriously, on what was believed to be the center of the accursed circus where the early Christians and St. Peter had been put to death. Its sides, then as now, were graven with dedications to [the worst of ruthless pagans] Augustus and Tiberius.”[i]

The fact that many traditional Catholics as well as Protestants perceived such idols of stone to be not only objects of heathen adoration but the worship of demons (see Acts 7:41–42; Psalms 96:5; and 1 Corinthians 10:20) makes what motivated Pope Sixtus to erect the phallus of Osiris in the heart of St. Peter’s Square, located in Vatican City and bordering St. Peter’s Basilica, very curious. To ancient Christians, the image of a cross and symbol of Jesus sitting atop (or emitting from) the head of a demonic god’s erect manhood would have been at a minimum a very serious blasphemy. Yet Sixtus was not content with simply restoring and using such ancient pagan relics (which were believed in those days to actually house the pagan spirit they represented) but even destroyed Christian artifacts in the process. Michael W. Cole, Associate Professor in the Department of the History of Art at the University of Pennsylvania, and Professor Rebecca E. Zorach, Associate Professor of Art History at the University of Chicago, raise critical questions about this in their scholarly bookThe Idol in the Age of Art when they state:

Whereas Gregory, to follow the chroniclers, had ritually dismembered the city’s imagines daemonem [demonic images], Sixtus fixed what was in disrepair, added missing parts, and made the “idols” into prominent urban features. Two of the four obelisks had to be reconstructed from found or excavated pieces… The pope was even content to destroy Christian antiquities in the process: as Jennifer Montagu has pointed out, the bronze for the statues of Peter and Paul came from the medieval doors of S. Agnese, from the Scala Santa at the Lateran, and from a ciborium at St. Peter’s.

[Sixtus] must have realized that, especially in their work on the two [broken obelisks], they were not merely repairing injured objects, but also restoring a type… In his classic book The Gothic Idol, Michael Camille showed literally dozens of medieval images in which the freestanding figure atop a column betokened the pagan idol. The sheer quantity of Camille’s examples makes it clear that the device, and what it stood for, would have been immediately recognizable to medieval viewers, and there is no reason to assume that, by Sixtus’s time, this had ceased to be true.[ii]

The important point made by Professors Cole and Zorach is that at the time Sixtus was busy reintroducing to the Roman public square restored images and statues on columns, the belief remained strong that these idols housed their patron deity, and further that, if these were not treated properly and even placed into service during proper constellations related to their myth, it could beckon evil omens. Leonardo da Vinci had even written in his Codex Urbinas how those who would adore and pray to the image were likely to believe the god represented by it was alive in the stone and watching their behavior. There is strong indication that Sixtus believed this too, and that he “worried about the powers that might inhabit his new urban markers.”[iii] This was clearly evident when the cross was placed on top of the Obelisk in the midst of St. Peter’s Square and the pope marked the occasion by conducting the ancient rite of exorcism against the phallic symbol. First scheduled to occur on September 14^th to coincide with the liturgical Feast of the Exaltation of the Cross and not coincidently under the zodiacal sign of Virgo (Isis), the event was delayed until later in the month and fell under the sign of Libra, representing a zenith event for the year. On that morning, a pontifical High Mass was held just before the cross was raised from a portable altar to the apex of Baal’s Shaft (as such phallic towers were also known). While clergy prayed and a choir sang Psalms, Pope Sixtus stood facing the Obelisk and, extending his hand toward it, announced: “Exorcizote, creatura lapidis, in nomine Dei” (“I exorcize you, creature of stone, in the name of God”). Sixtus then cast sanctified water upon the pillar’s middle, then its right side, then left, then above, and finally below to form a cross, followed by, “In nomine Patris, et Filij, et Spiritus sancti. Amen” (“In the Name of the Father and of the Son and of the Holy Ghost. Amen”). He then crossed himself three times and watched as the symbol of Christ was placed atop Osiris’ erect phallus.

Vatican Dome facing Obelisk

Yet if what Sixtus established in the heart of Vatican City gives some readers pause (numerous other signature events by Sixtus aligned the Sistine city with constellations sacred to Osiris and Isis, which we are not taking time to discuss here but that caused Profs. Zorach and Cole to conclude that, in the end, Sixtus wanted to remain in the good graces of the pagan gods), in Washington, DC near the west end of the National Mall, the Obelisk built by Freemasons and dedicated to America’s first president brings the fullest meaning to the nephilim-originated and modern porn-industry impression that “size matters.” This is no crude declaration, as adepts of ritual sex-magic know, and dates back to ancient women who wanted to give birth to the offspring of the gods and who judged the size of the male generative organ as indicative of the “giant” genetics or divine seed needed for such offspring. While such phallic symbols have been and still are found in cultures around the world, in ancient Egypt, devotion to this type “obscene divinity” began with Amun-Min and reached its crescendo in the Obelisks of Osiris.

Throughout Greece and Rome the god Priapus (son of Aphrodite) was invoked as a symbol of such divine fertility and later became directly linked to the cult of pornography reflected in the more modern sentiments about “size.” This is important because, in addition to the Washington Monument being intentionally constructed to be the tallest Obelisk of its kind in the world at 6,666 (some say 6,660) inches high and 666 inches wide along each side at the base, one of the original concepts for the Washington Monument included Apollo (the Greek version of Osiris) triumphantly returning in his heavenly chariot, and another illustrating a tower “like that of Babel” for its head. Any of these designs would have been equally appropriate to the thirty-three-hundred-pound pyramidal capstone it now displays, as all three concepts carried the meaning necessary to accomplish what late researcher David Flynn described as “the same secret knowledge preserved by the mystery schools since the time of the Pelasgians [that] display modern Isis Osiris worship.”^[iv] This is to say, the “seed” discharged from a Tower-of-Babel-shaped head would magically issue forth the same as would proceed from the existing Egyptian capstone—the offspring of Apollo/Osiris/Nimrod.

The greatest minds in Freemasonry, whose beliefs set the tone for the design of the capital city, its Great Seal, its Dome, and its Obelisk, understood and wrote about this intent. Albert Pike described it as Isis and Osiris’ “Active and Passive Principles of the Universe…commonly symbolized by the generative parts of man and woman,”^[v] and Freemason writer Albert Mackey described not only the Obelisk, but added the importance of the circle around its base, saying, “The Phallus was an imitation of the male generative organ. It was represented…by a column [Obelisk] that was surrounded by a circle at the base.”^[vi] 

Washington Dome facing Obelisk

In Egypt, where the parodies and rituals for raising Osiris to life through these magical constructs was perfected, Pharaoh served as the “fit extension” for the reborn god to take residence in as the “sex act” was ritualized at the temple of Amun-Ra. The all-seeing eye of Horus/Osiris/Apollo above the unfinished pyramid on the Great Seal forecasts the culmination of this event—that is, the actual return of Osiris—for the United States during or closely following the year 2012, and the Dome and Obelisk stand ready for the metaphysical ritual to be performed in secret by the elite. We use the phrase “performed in secret” because what the vast majority of people throughout America do not know is that the “raising” ceremony is still conducted inside the headquarters of the Scottish Rite Freemasonry in the House of the Temple by the Supreme Council 33^rd Degree over Washington, DC for at least two reasons. First, whenever a Mason reaches the Master level, the ritual includes a parody representing the death, burial, and future resurrection of Hiram Abiff (Osiris). The world at large finally caught a glimpse of this custom when Dan Brown, in his book The Lost Symbol, opened with a scene depicting the start of the tradition:

The secret is how to die.

Since the beginning of time, the secret had always been how to die.

The thirty-four-year-old initiate gazed down at the human skull cradled in his palms. The skull was hollow, like a bowl, filled with bloodred wine.

Drink it, he told himself. You have nothing to fear.

As was tradition, he had begun his journey adorned in the ritualistic garb of a medieval heretic being led to the gallows, his loose-fitting shirt gaping open to reveal his pale chest, his left pant leg rolled up to the knee, and his right sleeve rolled up to the elbow. Around his neck hung a heavy rope noose—a “cable-tow” as the brethren called it. Tonight, however, like the brethren bearing witness, he was dressed as a master.

The assembly of brothers encircling him all were adorned in their full regalia of lambskin aprons, sashes, and white gloves. Around their necks hung ceremonial jewels that glistened like ghostly eyes in the muted light. Many of these men held powerful stations in life, and yet the initiate knew their worldly ranks meant nothing within these walls. Here all men were equals, sworn brothers sharing a mystical bond.

As he surveyed the daunting assembly, the initiate wondered who on the outside would ever believe that this collection of men would assemble in one place…much less this place. The room looked like a holy sanctuary from the ancient world.

The truth, however, was stranger still.

I am just blocks away from the White House.

This colossal edifice, located at 1733 Sixteenth Street NW in Washington, D.C., was a replica of a pre-Christian temple—the temple of King Mausolus, the original mausoleum…a place to be taken after death. Outside the main entrance, two seventeen-ton sphinxes guarded the bronze doors. The interior was an ornate labyrinth of ritualistic chambers, halls, sealed vaults, libraries, and even a hallow wall that held the remains of two human bodies. The initiate had been told every room in the building held a secret, and yet he knew no room held deeper secrets than the gigantic chamber in which he was currently kneeling with a skull cradled in his palms.

The Temple Room[vii].

While such drama makes for excellent fiction, The Lost Symbol turns out to be at best a love fest and at worst a cover up between Dan Brown and the Freemasons. However, one thing Brown said is true—the Temple Room in the Heredom does hold an important secret. We’ve been there, stood inside and prayed for protection under our breath, because according to our sources (who provided facts that have not been denied when we were interviewed by a U.S. Congressman, U.S. Senator, and even a 33^rd-Degree Freemason on his radio show), in addition to when a Mason reaches the Master level, the ancient raising ceremony is conducted following the election of an American President—just as their Egyptian forefathers did at the temple of Amun-Ra in Karnak—in keeping with the tradition of installing within him the representative spirit of Osiris until such time as the god himself shall fulfill the Great Seal prophecy and return in flesh.

In the prologue of 33^rd-Degree Freemason Manly P. Hall’s book, The Lost Keys of Freemasonry, detailed recounting of the underlying and familiar story of Hiram Abiff (Osiris) is told, who sets out to construct the temple of the Great Architect of the Universe, but is killed by three spectres. This story, impersonated every time an initiate reaches the level of Master Mason, is by admission of Freemasons a retelling of the death-epic of the god Osiris. In Lost Keys, Hall narrates how the Great Architect gives Hiram (Osiris) the trestleboard for the construction of the great temple, and when he is killed by three ruffians, the Great Architect bathes him in “a glory celestial,” as in the glory surrounding the all-seeing eye of Osiris above the pyramid on the Great Seal. The Great Architect follows this by charging those who would finish the building with the task of finding the body of Hiram (Osiris) and raising him from the dead. When this has been accomplished, the great work will conclude and the god will inhabit the (third) temple:

Seek ye where the broken twig lies and the dead stick molds away, where the clouds float together and the stones rest by the hillside, for all these mark the grave of Hiram [Osiris] who has carried my Will with him to the tomb. This eternal quest is yours until ye have found your Builder, until the cup giveth up its secret, until the grave giveth up its ghosts. No more shall I speak until ye have found and raised my beloved Son [Osiris], and have listened to the words of my Messenger and with Him as your guide have finished the temple which I shall then inhabit. Amen.^[viii]

Thus the appearance of the uncapped pyramid of Giza on the Great Seal of the United States echoes the ancient pagan as well as Masonic beliefs concerning the old mysteries and the prophecy of the return of Osiris/Apollo/Nimrod. In Rosicrucian and Masonic Origins, Hall, who had said in The Secret Teachings of All Ages that the Great Pyramid was “the tomb of Osiris,”^[ix] explains that Preston, Gould, Mackey, Oliver, Pike, and nearly every other great historian of Freemasonry were aware of this connection between Freemasonry and the ancient mysteries and primitive ceremonials based on Osiris. “These eminent Masonic scholars have all recognized in the legend of Hiram Abiff an adaptation of the Osiris myth; nor do they deny that the major part of the symbolism of the craft is derived from the pagan institutions of antiquity when the gods were venerated in secret places with strange figures and appropriate rituals.”^[x] In Morals and Dogma, Albert Pike even enumerated the esoteric significance of the Osiris epic at length, adding that lower-level Masons (Blue Masonry) are ignorant of its true meaning, which is only known to those who are “initiated into the Mysteries.”^[xi] Pike also spoke of the star Sirius—connected to Isis and at length to Lucifer/Satan—as “still glittering” in the Masonic lodges as “the Blazing Star.” Elsewhere in Morals and Dogma, Pike reiterated that the “All-Seeing Eye…was the emblem of Osiris”^[xii] and that the “Sun was termed by the Greeks the Eye of Jupiter, and the Eye of the World; and his is the All-Seeing Eye in our Lodges.”^[xiii]

We continue our investigation in the next entry, titled: Magic Squares, Human Sacrifice, and the Mystery of the Number 666

Tom Horn

Raidersnewsupdate.com