PETRUS ROMANUS (Pt 16) The False Prophet And The Antichrist Are Here

From Seventy-Two Demons to Feathered Serpents: What You Do—and Do Not—Learn in School about American History

In public school, children are taught how a world map was created in 1507 by German cartographer Martin Waldseemüller. On this map, the lands of the Western Hemisphere are first called “America,” named so after an Italian explorer and navigator named Amerigo Vespucci. According to the official account, the United States of America received the latter part of its name when Waldseemüller used the feminized Latin version ofAmerigo to call this land America.

Or, at least that’s what we are told.

What kiddies in public education are not taught, however (and which mainstream academia has yet been willing to accept), is a rival explanation for the origin of “America” related to Mesoamerican serpent-worship, biblical giants, Freemasonry, and even the year 2012.

The story begins long before the Spaniards arrived on this continent and was chronicled in the hieroglyphic characters (and repeated in oral history) of the sacred, indigenous Maya narrative called the Popol Vuh. Sometime between 1701 and 1703, a Dominican priest named Father Francisco Ximénez transcribed and translated the Mayan work into Spanish. Later his text was taken from Guatemala to Europe by Abbott Brasseur de Bourbough where it was translated into French. Today the Popol Vuh rests in Chicago’s Newberry Library, but what makes the script interesting is its creation narrative, history, and cosmology, especially as it relates to the worship of the great “feathered serpent” creator deity known as Q’uq’umatz; a god considered by scholars to be roughly equivalent to the Aztec godQuetzalcoatl and the Yucatec Mayan Kukulkan. According to Freemasons like Manly P. Hall, no other ancient work sets forth so completely the initiatory rituals of the great school of philosophic mystery, which was so central to America’s Baconian dream of the New Atlantis, than the Popol Vuh. What’s more, Hall says, it is in this region where we find the true origin of America’s name and destiny.

In The Secret Teachings of All Ages, Hall writes:

This volume [Popol Vuh] alone is sufficient to establish incontestably the philosophical excellence of the red race.

“The Red ‘Children of the Sun,’” writes James Morgan Pryse, “do not worship the One God. For them that One God is absolutely impersonal, and all the Forces emanated from that One God are personal. This is the exact reverse of the popular western conception of a personal God and impersonal working forces in nature. Decide for yourself which of these beliefs is the more philosophical [Hall says sarcastically]. These Children of the Sun adore the Plumèd Serpent, who is the messenger of the Sun. He was the God Quetzalcoatl in Mexico, Gucumatz in Quiché; and in Peru he was called Amaru.From the latter name comes our word America. Amaruca is, literally translated, ‘Land of the Plumèd Serpent.’ The priests of this [flying dragon], from their chief centre in the Cordilleras, once ruled both Americas. All the Red men who have remained true to the ancient religion are still under their sway. One of their strong centres was in Guatemala, and of their Order was the author of the book called Popol Vuh. In the Quiché tongue Gucumatz is the exact equivalent of Quetzalcoatl in the Nahuatl language; quetzal, the bird of Paradise; coatl, serpent—‘the Serpent veiled in plumes of the paradise-bird’!”

The Popol Vuh was discovered by Father Ximinez in the seventeenth century. It was translated into French by Brasseur de Bourbourg and published in 1861. The only complete English translation is that by Kenneth Sylvan Guthrie, which ran through the early files of The Word magazine and which is used as the basis of this article. A portion of the Popol Vuh was translated into English, withextremely valuable commentaries, by James Morgan Pryse, but unfortunately his translation was never completed. The second book of the Popol Vuh is largely devoted to the initiatory rituals of the Quiché nation. These ceremonials are of first importance to students of Masonic symbolism and mystical philosophy, since they establish beyond doubt the existence of ancient and divinely instituted Mystery schools on the American Continent. [i]

Thus from Hall we learn that Freemasons like him believe “ancient and divinely instituted” mystery religion important to students of Masonry came to Amaruca/America—the Land of the Plumèd Serpent—from knowledge that the Red Man received from the dragon himself. What Hall conceals is that when he refers to those “extremely valuable commentaries” made by James Pryes, he is referencing an article from Helena Blavatsky’s Lucifer magazine, which was published by the Theosophical Society and that illuminated the inner doctrine of Rosicrucianism, Freemasonry, and all the secret orders—that Lucifer is the “angel of light” who, in the form of a serpent, bids mankind to partake of the “Tree of Knowledge of Good and Evil” so that their eyes would be open and they could become as gods. Even to this day, in the secret societies, Lucifer is considered this benevolent serpent-god who has nothing more than the best intentions for man, while Jehovah is an evil entity who tries to keep mankind in the dark and punishes him if he seeks the truest wisdom. Since these ancient serpent legends include the Mesoamerican feathered serpent gods and can be looked upon as a historical testament of that Angel thrown down by God, “then perhaps The Land of the Plumèd Serpent may also be known as the Land of Lucifer,” concludes Ken Hudnall in The Occult Connection II: The Hidden Race.[ii]

This raises serious questions about what type of “divinely instituted” wisdom Hall had in mind for Amaruca/America, as part of the legitimate concern revolving around this disclosure stems from the fact that the Inca, Aztec, and Maya were either unquestionably gifted mathematicians and astronomers, or they really did receive advanced knowledge from someone or something. They measured the length of the solar year far more accurately than did the Europeans in their Gregorian calendar, and precisely oriented their sacred buildings and cities with stars and star clusters, particularly Pleiades and the Orion Nebula associated throughout the ancient Middle East with Osiris/Apollo/Nimrod. The pre-Columbian book, Codex Dresdensis(a.k.a. the Dresden Codex) by the Yucatecan Maya is famous for its first-known related illustrations of advanced calculations and astronomical phenomena. But how were the pre-telescopic Mesoamericans uniquely aware of such important knowledge? They themselves—like other archaic cultures did—credited ancient “gods” with bringing the heavenly information to Earth.

In 2008, late fellow researcher David Flynn may have uncovered important information related to this legend, the size and scope of which simply surpass comprehension. It involves mammoth traces of intelligence carved in stone and covering hundreds of square miles: possibly the strongest evidence ever detected of prehistoric engineering by those who were known and feared throughout the ancient world as gods—the giant offspring of the Watchers.

In the same way modern archeologists only recently found the ruins of hidden Mayan temples in the Guatemalan jungle by using satellites, Flynn employed above-Earth orbiting satellites to image a vast network of patterns that surround Lake Titicaca in Bolivia, South America, which extend for more than one hundred miles south into the Bolivian desert. The patterns display geometric repetition and intelligent designs, including interlocking rectangular cells and mounds, perfectly straight lines, and repeated sharp-angle turns that do not occur naturally. These cover every topographical feature of the high plateau surrounding the lake, over flood plains, hills, cliffs, and mountains. The full report of this remarkable research plus numerous satellite images is available at RaiderNewsUpdate.com/Giants.

Twelve miles south of Lake Titicaca, located within the center of the array of geoglyphs, lies the megalithic ruins of Tiahuanaco. Known as the “American Stonehenge” or the “Baalbek of the New World,” its architecture exhibits technological skill that exceeds modern feats of building. At Tiahuanaco, immense stone works were joined with modular fittings and complex breach-locking levels that have never been seen in any other ancient culture. According to engineers, one of the largest single stones ever to be moved and put into a building anywhere on earth (about four hundred tons) was transported to Tiahuanaco from a quarry over two hundred miles away. This feat is even more incomprehensible when one realizes the route of transport was through a mountain range up to fifteen thousand feet.

Conventional historians try to assign the age of the structures at Tiahuanaco to around 600 BC, postulating that a pre-Inca civilization, without benefit of the wheel, modern tools, or even a written language constructed these architectural marvels. But historian Arthur Posnansky studied the area for more than fifty years and observed that sediment had been deposited over the site to the depth of six feet. Within this overburden, produced by a massive flood of water sometime around the Pleistocene age (thirteen thousand years ago), fossilized human skulls were unearthed together with seashells and remnants of tropical plants. The skulls have nearly three times the cranial capacity of modern man and are displayed in the La Paz museum in Bolivia.

In addition, when the first Spanish chroniclers arrived with the conquistador Pizaro, the Inca explained that Tiahuanaco had been constructed by a race of giants called “Huaris” before Chamak-pacha, the “period of darkness,” and was already in ruins before their civilization began. They said these giants had been created by Viracocha (“Kukulkan” to the Maya and “Quetzalcoatl” to the Aztecs),the god who came from the heavens (a.k.a. the Watchers).

He (Viracocha) created animals and a race of giants. These beings enraged the Lord, and he turned them into stone. Then he flooded the earth till all was under water, and all life extinguished. This flood was called uñu pachacuti, by the Inca which means “water that overturns the land.” They say that it rained sixty days and nights, that it drowned all created things, and that there alone remained some vestiges of those who were turned into stones. Viracocha rose from the bosom of Lake Titicaca, and presided over the erection of those wondrous cities whose ruins still dot its islands and western shores, and whose history is totally lost in the night of time.^[iii]

Near Lake Titicaca in the Hayu Marca Mountain region of Southern Peru at fourteen thousand feet exists a huge, mysterious, door-like structure carved into a solid rock face in an area long revered by Peruvian Indians as the “City of the Gods.” Shamans still come to perform rituals at this site, which they callPuerta de Hayu Marca or the Gate of the Gods. It measures exactly twenty-three feet in height and width, with a recess in the center slightly smaller than six-feet high. Native Indians say the site is “a gateway to the lands of the Gods” through which, in their ancient past, great heroes arrived and then departed with a “key” that could open the mysterious doorway. Another legend tells of the first Incan priest—the Amaru Meru (note again the Amaru-ca/America connection)—who used a golden disk to open the portal, which turned the solid rock into a stargate. According to local legend, this priest was the first of other “kings” who came to Earth from heavenly locations specifically associated with the Pleiades (Apollo) and Orion (Osiris). This disc-key section of the Gate of the Gods may bedepicted by a small, circular depression on the right side of the recess of Puerta de Hayu Marca, which in turn could be related to another “portal” not far away—the Gate of the Sun at Tiahuanaco, identified by some historians and archaeologists as the gate of Viracocha who created the race of giants ->

Mythology involving such giants, followed by world deluge, is universally recorded in the legends of the Inca, Maya, Olmec, and Aztec cultures of Mexico. These stories are consistent with Sumerian and Hebrew accounts of the Great Flood and of the subsequent destruction of giant nephilim whose history of human sacrifices parallel Mayan rituals (victims of Maya had their arms and legs held down while a priest cut their chests open and ripped out their hearts). The Greeks likewise recorded how prehistoric giants were responsible for the creation of megalithic structures discovered around the world, and Islamic folklore ascribes this prehistoric “building” activity to a race of super beings called “jinn” (genies):

The Jinn were before Adam: They built huge cities whose ruins still stand in forgotten places.^[iv]

In Egypt, the Edfu temple texts, believed to predate the Egyptians themselves, explain something of additional significance, reminiscent of nephilim activity before and after the Flood:

The most ancient of earth’s temples and monuments were built to bring about the resurrection of the destroyed world of the gods[v].

Within the Inca religious paradigm, the oldest record of the Andean region available, the Tiahuanaco geoglyphs are therefore viewed as the vestiges of a lost civilization that knew its destiny…to be destroyed by world cataclysm. In this regard, the geoglyphs serve not only as a memorial of an ancient existence, but also as a warning for future humanity and the return of a destructive epoch, or as David Flynn concluded:

The geoglyphs seem to be physical evidence that supports the Middle and South American myths of world deluge and giants. Their discovery in modern times fits Inca and Mayan prophecies of an “awakening” to knowledge of the ancient past, of the “builder gods” and of their return. It is perhaps testament to the accuracy of these prophecies that the date, December 21, 2012, is known so widely in modern times…the end of the Mayan calendar.[vi]

Secrets of Amaru-Ca in the US Capital Dome

That the Maya prehistory echoes the advent of the mysterious Watchers, their giant offspring, the end date 2012, and a connection between these histories and early American freemasonry could be beyond coincidence. In fact, what appears to be fabulous evidence that early Freemasons and those working with them were not only aware of the Mesoamerican belief system and the calendar ending date 2012, but actually incorporated it directly into the design of the Capital Dome in Washington, DC, is vividly illustrated in the commissioned artwork of Constantino Brumidi, the artist who also painted the Apotheosis of George Washington. The book Apollyon Rising 2012 explains:

Born July 26, 1805, in Rome, Brumidi was an Italian/Greek painter who made his name restoring sixteenth-century Vatican frescos, as well as artwork in several Roman palaces. Following the French occupation of Rome in 1849, Brumidi immigrated to the United States, where he became a citizen and began work for the Jesuits in New York (viewed at that time as the “hidden power and authority” of the Roman Catholic Church). This work included frescos in the Church of St. Ignatius in Baltimore, Maryland; the Church of St. Aloysius in Washington DC; and St. Stephen’s Church in Philadelphia, namely, the Crucifixion, the Martydom of St. Stephen, and the Assumption of Mary.

Abruptly in 1854, the Jesuits financed a trip for Brumidi to Mexico, where he… engaged in the curious task of making copious notes of the ancient Aztec Calendar Stone (also known as the “Stone of the Sun”), which ends in the year 2012.

Immediately upon his return from Mexico, Brumidi took his collection of notes and drawings to Washington DC, where he met with Quartermaster General Montgomery C. Meigs, supervisor of construction over the wings and Dome of the United States Capitol. Brumidi was quickly commissioned to be the “government painter,” and began adorning the hallways and Rotunda of the Capitol with pagan frescos sacred to Freemasonry, including theApotheosis of George Washington and the famous Frieze of American History. Brumidi died in 1880 and three other artists completed the frieze, but not before Brumidi attached to his historic work—sometime between 1878–1880—a scene called Cortez and Montezuma at Mexican Temple, featuring the Aztec Calendar Stone and other important symbolism.

The Stone of the Sun depicted in Brumidi’s frieze (the circular object behind the figures on the right) is based on the actual twelve-foot tall, four-foot thick, twenty-four-ton, monolithic Aztec Calendar Stone. During the pinnacle of Aztec civilization when the Aztec dominated all other tribes of Mexico, this Stone rested atop the Tenochtitlan Temple in the midst of the most powerful and largest city in Mesoamerica. Today, Mexico City’s Cathedral, where Brumidi worked, occupies this site. The Spaniards buried the Stone there, and it remained hidden beneath the Cathedral until it was rediscovered in 1790. Then it was raised and embedded into the wall of the Cathedral, where it remained until 1885. Today, the Stone of the Sun is on display in the National Museum of Anthropology in Mexico City’s Chapultepec Park.

The inclusion of this symbolism and its accompanying idols in the U.S. Capitol Dome is important. The sun god Tonatiuh, whose face and protruding tongue are seen at the center of the Sun Stone, is the god of the present (fifth) time, which began in 3114 BC and ends in 2012. The Aztec solar calendar is second only in accuracy to the Mayan calendar, which also ends on December 21, 2012. Tonatiuh—who delivered important prophecies and demanded human sacrifices (more than twenty thousand victims per year were offered to him, according to Aztec and Spanish records, and in the single year of 1487, Aztec priests sacrificed eighty thousand people to him at the dedication of the reconstructed temple of the sun god)—was also known as the lord of the thirteen days (from 1 Death to 13 Flint), a number sacred to Aztec, Maya, and Freemasons for prophetic and mystical reasons.

Like the Maya, Aztecs believed the first age, or “First Sun,” was a time when giants had lived on earth who were destroyed by a great flood or deluge long before the Mayan or Toltec civilizations came along. The final age, or “Fifth Sun,” would end in 2012. While the Aztecs assimilated such knowledge from the Maya, they built their culture primarily on Toltec ideas. Their great city of Tenochtitlan, on an island in Lake Texcoco with its causeways, canals, marketplaces, and vast towers and temples rising majestically into the air, was so spectacular that when the conquistador Bernal Díaz del Castillo, who wrote an eyewitness account of the conquest of Mexico by the Spaniards, saw it, he exclaimed:

When we saw so many cities and villages built in the water and other great towns on dry land we were amazed and said that it was like the enchantments…on account of the great towers and cues and buildings rising from the water, and all built of masonry. And some of our soldiers even asked whether the things that we saw were not a dream.… I do not know how to describe it, seeing things as we did that had never been heard of or seen before, not even dreamed about.^[vii]

Not only was the Aztec culture so advanced in engineering, astronomy, and mathematics, but the warriors of Montezuma outnumbered the expedition of Cortez by a thousand to one. How then did the Spaniards conquer the Aztecs so easily? Toltec prophecy had told of Quetzalcoatl, who would come from the east as a light-skinned priest to rule their civilization. Nezhaulcoyotl, a great astrologer who supported Montezuma, believed this vision, and when Cortez arrived exactly when the prophecy said the god would return, Montezuma received him as the coming of Quetzalcoatl, and surrendered. This event is symbolized in the Cortez and Montezuma frieze by Brumidi.

Another connection between Brumidi’s prophetic Stone of the Sun depiction and Freemasonry can be seen in the serpent coiled around the sacred fire, toward which Montezuma’s left hand intentionally gestures. The sacred fire was connected to the seven-star Pleiades (Tianquiztli, the “gathering place”) by the Aztecs, and represented the final year in a fifty-two-year cycle called “calendar round,” which ended when the Pleiades crossed the fifth cardinal point at midnight that year. At this time, the Aztecs would let the fires go out and conduct the “dance of the new fire” to start the cycle again. When the priests lit the new “sacred fire” as well as the hearth fires, it ensured the movement of the sun (the serpent coiled around the sacred fire in Brumidi’s painting) along the precession anew. In the year 2012, not only will the Pleiades be in this zenith over Mesoamerica, but the alignment will come into full conjunction with the sun... This sacred knowledge is why the Pyramid of the Sun at Teotihuacan near Mexico City also corresponds with the Pleiades. Its west side and surrounding streets are aligned directly with the setting point of the Pleiades, a configuration held in high esteem by the Maya as well. They built the Kukulcan pyramid at Chichen Itza so that during the spring and autumn equinox, at the rising and setting of the sun, a slithering, snake-like shadow representing Kukulcan (Quetzalcoatl, the plumed serpent) would cast along the north stairway to the serpent’s head at the bottom. Sixty days later, when the sun rises over the Pyramid at midday, it aligns with the Pleiades again.

By portraying the Stone of the Sun that ends in 2012, the sacred fire that ends in 2012, and the astrological alignment with the Pleiades in the Frieze of American History, Brumidi is telling us quite clearly that the designers of the Capitol were aware of the implications of 2012. This adds clarity to the reasons the designers of the Great Seal of the United States similarly incorporated the Mayan 13 katun system—which started in 1776 and ends in 2012—on the nation’s primary cipher [the Great Seal of the United States and the Sibyl's 'Novus Ordo Seclorum' prophecy which predicts the return of Apollo as Antichrist in 2012].[viii]

Yet a deeper and related message is also openly hidden in the Capitol Dome. A third piece of imagery from Brumidi’s Cortez and Montezuma scene that not only connects Mesoamerican belief to the Freemasons and prophecy, but to the Vatican, can be found in the drum behind the kneeling Aztec. The drum bears the shape of the Maltese cross, a symbol connected in history with the empire of Osiris as starting on the island of Malta. The Maltese cross was adopted by the Knights of Malta (connected with Freemasonry) and the Vatican (where Brumidi first worked and found favor). We believe this is not by chance. Captain Montgomery C. Meigs, the engineer who placed Brumidi over the paintings for the new Dome, wanted artwork reminiscent of that at the Vatican. With Brumidi’s ties to the Vatican and the Jesuits, it was a match “made in heaven.” By including this well-known Mayan, Illuminati, and Freemasonic symbol, Brumidi cleverly connected the deisgn of the Capitol Dome in Washington, DC with the Vatican, Masonic mysticism, and the year 2012 in more ways than one. 

Yet to understand the significance of where we are today facing the arrival of Petrus Romanus, it is essential in the next section to examine "The Transnational Hand Behind The Rise Of President Obama, The Coming Kingdom Of Antichrist, And Petrus Romanus"

Tom Horn

Raidersnewsupdate.com

PETRUS ROMANUS (Pt 15) The False Prophet And The Antichrist Are Here

Magic Squares, 666, and Human Sacrifice?

While finding the body of Osiris and resurrecting it—either figuratively or literally—is central to the prophetic beliefs of Freemasonry, until Apollo/Osiris return, formal procedures will continue in secret for installing within America’s national leader the divine right of Kingship through the raising of Osiris ceremony. 

But it is very important to note how, when this ritual is carried out in the Temple Room of the Heredom, it unfolds below a vast thirty-six-paneled skylight that forms a stylized Magic 666 Square. 

Around the four sides of the skylight can be seen the Winged Sun-Disc. This positioning above the altar is in keeping with historical occultism. Egyptian magicians employed the same symbolism above the altar for invoking the sun deity. In the St. Martin's Press book Practical Egyptian Magic it is noted: “Emblematic of the element of air, this consists of a circle or solar-type disk enclosed by a pair of wings. In ritual magic it is suspended over the altar in an easterly direction and used when invoking the protection and co-operation of the sylphs.” [i] The Renaissance occultist Paracelsus describes these sylphs as invisible beings of the air, entities that the New Testament book of Ephesians (2:2) describes as working beneath “the prince [Lucifer/Satan] of the power of the air, the spirit that now worketh in the children of disobedience.” 

In applied magic, the “magic square of the sun” itself was associated in antiquity with binding or loosing the sun god Apollo/Osiris and was the most famous of all magical utilities because the sum of any row, column, or diagonal is equal to the number 111, while the total of all the numbers in the square from 1 to 36 equals 666. In the magical Hebrew Kabbalah, each planet is associated with a number, intelligence, and spirit. The intelligence of the Sun is Nakiel, which equals 111, while the spirit of the Sun is Sorath and equals 666. It makes sense therefore that Freemasons built the Washington Monument Obelisk to form a magic square at its base and to stand 555 feet above earth, so that when a line is drawn 111 feet directly below it toward the underworld of Osiris, it equals the total of 666 (555+111=666)—the exact values of the binding square of the Sun God Apollo/Osiris installed in the ceiling above where the Osiris raising ceremony is conducted in the House of the Temple.

Magic Squares

36-Paneled Magic Skylight above the Altar in the House of the Temple where the raising of Osiris is conducted.

Freemason and occultist Aleister Crowley practiced such Kabbalah and likewise connected the number 111 with the number 6, which he described as the greatest number of the Sun or sun god. He employed the magic square in rituals to make contact with a spirit described inThe Book of the Sacred Magic of Abramelin the Mage, a work from the 1600s or 1700s that involves evocation of demons. In Book Four of the magic text, a set of magical word-square talismans provides for the magician’s Holy Guardian Angel who appears and reveals occult secrets for calling forth and gaining control over the twelve underworld authorities including Lucifer, Satan, Leviathan, and Belial. In addition to Crowley, the most influential founding father and Freemason, Benjamin Franklin, not only used such magic squares, but according to his own biography and numerous other authoritative sources even created magic squares and circles for use by himself and his brethren. Yet the gentle appearance and keen astuteness of America’s most famous bespeckled Freemason might have hidden an even darker history than the story told by those magic squares, which his strong, deft hands once held. Award-winning filmmaker Christian J. Pinto explains:

One of the most influential founding fathers, and the only one of them to have signed all of the original founding documents (the Declaration of Independence, the Treaty of Paris, and the U.S. Constitution) was Benjamin Franklin. Franklin was…without question, deeply involved in Freemasonry and in other secret societies. He belonged to secret groups in the three countries involved in the War of Independence: America, France, and England. He was master of the Masonic Lodge of Philadelphia; while over in France, he was master of the Nine Sisters Lodge, from which sprang the French Revolution. In England, he joined a rakish political group founded by Sir Francis Dashwood (member of Parliament, advisor to King George III) called the “Monks of Medmenham Abbey,” otherwise known as the “Hellfire Club.” This eighteenth-century group is described as follows.

The Hellfire Club was an exclusive, English club that met sporadically during the mid-eighteenth century. Its purpose, at best, was to mock traditional religion and conduct orgies. At worst, it involved the indulgence of satanic rites and sacrifices. The club to which Franklin belonged was established by Francis Dashwood, a member of Parliament and friend of Franklin. The club, which consisted of “The Superior Order” of twelve members, allegedly took part in basic forms of satanic worship. In addition to taking part in the occult, orgies and parties with prostitutes were also said to be the norm.

Pinto continues this connection between Benjamin Franklin and dark occultism:

On February 11, 1998, the Sunday Times reported that ten bodies were dug up from beneath Benjamin Franklin’s home at 36 Craven Street in London. The bodies were of four adults and six children. They were discovered during a costly renovation of Franklin’s former home. The Times reported: “Initial estimates are that the bones are about two hundred years old and were buried at the time Franklin was living in the house, which was his home from 1757 to 1762 and from 1764 to 1775. Most of the bones show signs of having been dissected, sawn or cut. One skull has been drilled with several holes.”

The original Times article reported that the bones were “deeply buried, probably to hide them because grave robbing was illegal.” They said, “There could be more buried, and there probably are.” But the story doesn’t end there. Later reports from the Benjamin Franklin House reveal that not only were human remains found, but animal remains were discovered as well. This is where things get very interesting. From the published photographs, some of the bones appear to be blackened or charred, as if by fire… It is well documented that Satanists perform ritual killings of both humans and animals alike.[ii]

While many students of history are aware of the magic 666 square and its use by occultists down through time to control the spirit of Apollo/Osiris, what some will not know is how this magical binding and loosing of supernatural entities also extends to the testes of Washington’s 6,666 inch-high phallic Obelisk, dedicated by Freemasons seventy-two years following 1776 (note the magic number 72), where a Bible (that Dan Brown identified as the “Lost Symbol” in his latest book) is encased within the cornerstone of its 666-inch-square base. One wonders what type of Bible this is. If a Masonic version, it is covered with occult symbols of the Brotherhood and Rosicrucianism and the purpose for having it so encased might be to energize the Mason’s interpretation of Scripture in bringing forth the seed of Osiris/Apollo from the testes/cornerstone. If it is a non-Masonic Bible, the purpose may be to “bind” its influence inside the 666 square and thus allow the seed of Osiris/Apollo to prevail. The dedication of the cornerstone during the astrological alignment with Virgo/Isis as the sun was passing over Sirius indicates a high degree of magic was indeed intended by those in charge.

The First American Osiris

Through Masonic alchemistry, presidentialapotheosis—that is, the leader of the United States (America’s Pharaoh) being transformed into a god within the Capitol Dome/womb of Isis in sight of the Obelisk of Osiris (the Washington Monument to those whom Masons call “profane,” the uninitiated)—actually began with America’s first and most revered president, Master Freemason George Washington. In fact, Masons in attendance at Washington’s funeral in 1799 cast sprigs of acacia “to symbolize both Osiris’ resurrection and Washington’s imminent resurrection in the realm where Osiris presides.”^[iii] According to this Masonic enchantment, Osiris (Horus) was rising within a new president in DC as Washington took his role as Osiris of the underworld. This is further simulated and symbolized by the three-story design of the Capitol building. Freemasons point out how the Great Pyramid of Giza was made up of three main chambers to facilitate Pharaoh’s transference to Osiris, just as the temple of Solomon was a three-sectioned tabernacle made up of the ground floor, middle chamber, and Holy of Holies. The U.S. Capitol building was thus designed with three stories—Washington’s Tomb, the Crypt, and the Rotunda—capped by a Dome. Each floor has significant esoteric meaning regarding apotheosis, and the tomb of Washington is empty. 

The official narrative is that a legal issue kept the government from placing Washington’s body there. However, just as the tomb of Jesus Christ was emptied before His ascension, Washington is not in his tomb because he has travelled to the home of Osiris, as depicted high overhead in the womb/Dome of Isis.

When visitors to Washington DC tour the Capitol, one of the unquestionable highlights is to visit the womb of Isis—the Capitol Dome—where, when peering upward from inside Isis’ continuously pregnant belly, tourists can see hidden in plain sight Brumidi’s 4,664-square-foot fresco, The Apotheosis of George Washington. The word “apotheosis” means to “deify” or to “become a god,” and explains part of the reason U.S. presidents, military commanders, and members of Congress lay in state in the Capitol Dome. The womb of Isis is where they go at death to magically reach apotheosis and transform into gods.

Those who believe the United States was founded on Christianity and visit the Capitol for the first time will be surprised by the stark contrast to historic Christian artwork of the ascension of Jesus Christ compared to the “heaven” George Washington rises into from within the energized Capitol Dome/womb of Isis. It is not occupied by angels, but with devils and pagan deities important to Masonic belief. These include Hermes, Neptune, Venus (Isis), Ceres, Minerva, and Vulcan (Satan), of course, the son of Jupiter and Juno to which human sacrifices are made and about whom Manly Hall said brings “the seething energies of Lucifer” into the Mason’s hands.[iv]

Beside those pagan gods which accompany Washington inside the Capitol Dome, the scene is rich with symbols analogous with ancient and modern magic, including the powerful trident—considered of the utmost importance for sorcery and indispensable to the efficacy of infernal rites—and the caduceus, tied to Apollo and Freemasonic Gnosticism in which Jesus was a myth based on Apollo’s son, Asclepius, the god of medicine and healing whose snake-entwined staff remains a symbol of medicine today. Occult numerology associated with the legend of Isis and Osiris is also encoded throughout the painting, such as the thirteen maidens, the six scenes of pagan gods around the perimeter forming a hexagram, and the entire scene bounded by the powerful Pythagorian/Freemasonic “binding” utility—seventy-two five-pointed stars within circles.

Much has been written by historians within and without Masonry as to the relevance of the number seventy-two (72) and the alchemy related to it. In the Kabbalah, Freemasonry, and Jewish apocalyptic writings, the number equals the total of wings Enoch received when transformed into Metatron (3 Enoch 9:2). This plays an important role for the Brotherhood, as Metatron or “the angel in the whirlwind” was enabled as the guiding spirit over America during George W. Bush’s administration for the purpose of directing the future and fate of the United States (as also prayed by Congressman Major R. Owens of New York before the House of Representatives on Wednesday, February 28, 2001).

But in the context of the Capitol Dome and the seventy-two stars that circle Washington’s apotheosis in the womb of Isis, the significance of this symbolism is far more important. In sacred literature, including the Bible, stars are symbolic of angels, and within Masonic Gnosticism, seventy-two is the number of fallen angels or “kosmokrators” (reflected in the seventy-two conspirators that controlled Osiris’ life in Egyptian myth) that currently administer the affairs of earth. Experts in the study of the Divine Council believe that, beginning at the Tower of Babel, the world and its inhabitants were disinherited by the sovereign God of Israel and placed under the authority of seventy-two angels (the earliest records had the number of angels at seventy, but this was later changed to seventy-two) which became corrupt and disloyal to God in their administration of those nations (Psalm 82). These beings quickly became worshipped on earth as gods following Babel, led by Osiris/Apollo. Consistent with this tradition, the designers of the Capitol Dome, the Great Seal of the United States, and the Obelisk Washington Monument circled the Apotheosis of Washington with seventy-two pentagram stars, dedicated the Obelisk seventy-two years after the signing of the Declaration of Independence, and placed seventy-two stones on the Great Seal’s uncapped pyramid, above which the eye of Horus/Osiris/Apollo stares. These three sets of seventy-two (72), combined with the imagery and occult numerology of the Osiris/Obelisk, the Isis/Dome, and the oracular Great Seal, are richly symbolic of the influence of Satan and his angels over the world (see Luke 4:5–6, 2 Corinthians 4:4, and Ephesians 6:12) with a prophecy toward Satan’s final earthly empire—the coming novus ordo seclorum, or new golden pagan age.

In order for the “inevitable” worship of Osiris to be “reestablished” on earth, the seventy-two demons that govern the nations must be controlled, thus they are set in magical constraints on the Great Seal, the Washington Obelisk, and the pentagram circles around theApotheosis of Washington to bind and force the desired effect.

In The Secret Destiny of America, Hall noted as well that the seventy-two stones of the pyramid on the Great Seal correspond to the seventy-two arrangements of the Tetragrammaton, or the four-lettered name of God in Hebrew. “These four letters can be combined in seventy-two combinations, resulting in what is called the Shemhamforesh, which represents, in turn, the laws, powers, and energies of Nature.”^[v] The idea that the mystical name of God could be invoked to bind or loose those supernatural agents (powers and energies of nature, as Hall called them) is meaningful creed within many occult tenets, including Kabbalah and Freemasonry. This is why the seventy-two stars are pentagram-shaped around the deified Freemason, George Washington. Medieval books of magic, or grimoires such as the Key of Solomon and the Lesser Key of Solomon not only identify the star systems Orion (Osiris) and Pleiades (Apollo) as the “home” of these powers, but applies great importance to the pentagram shape of the stars for binding and loosing their influence. Adept Rosicrucians and Freemasons have long used these magical texts—the Key of Solomon and the Lesser Key of Solomon—to do just that. Peter Goodgame makes an important observation about this in “The Giza Discovery”:

One of the co-founders of the occult society known as the Golden Dawn^[vi] was a Rosicrucian Freemason named S. L. MacGregor Mathers, who was the first to print and publish the Key of Solomon (in 1889) making it readily available to the public. Mathers describes it as a primary occult text: “The fountainhead and storehouse of Qabalistic Magic, and the origin of much of the Ceremonial Magic of mediaeval times, the ‘Key’ has been ever valued by occult writers as a work of the highest authority.” Of the 519 esoteric titles included in the catalogue of the Golden Dawn library, the Key was listed as number one. As far as contents are concerned, the Key included instructions on how to prepare for the summoning of spirits including…demons.… One of the most well-known members of the Golden Dawn was the magician [and 33^rd-degree freemason] Aleister Crowley. In 1904 Crowley published the first part of the five-part Lesser Key of Solomon known as the Ars Goetia,^[vii] which is Latin for “art of sorcery.” The Goetia is a grimoire for summoning seventy-two different demons that were allegedly summoned, restrained, and put to work by King Solomon [according to Masonic mysticism] during the construction of the Temple of YHWH.^[viii]

Unlike other grimoires including the sixteenth-century Pseudomonarchia Daemonum and the seventeenth-centuryLemegeton, the Key of Solomon does not contain the “Diabolical Signature” of the devil or demons, which the Ars Goetia describes as numbering seventy-two and who were, according to legend, constrained to assist King Solomon after he bound them in a bronze vessel sealed by magic symbols. Such books routinely contain invocations and curses for summoning, binding, and loosing these demons in order to force them to do the conjurers will. Even members of the Church of Satan sign letters using the Shemhamforash, from the Hebrew name of God or Tetragrammaton, producing a blasphemous reinterpretation of the seventy-two entities. And then there is Michelangelo, who painted what we have called the “Sign of the Sixth Knuckle” inside the Sistine Chapel (diagramed in our upcoming book Petrus Romanus: The Final Pope Is Here) that tied the prophecy on the Great Seal of the United States from the Cumaean Sibyl to the return of the Nephilim Apollo. But incredibly, Michelangelo also produced the Shemhamforash on the Vatican’s famous ceiling, as his fresco has “an architectural design of 24 columns. On each of these columns are two cherubs, which are mirror imaged on the adjoining column totaling 48 cherubs figures. Then on the 12 triangular spandrels flanking the ceiling borders are an additional 24 nude figures (two bronze nude figures per triangular spandrel) also mirror imaging each other. This totals to 72 cherub figures or the 72 angels of God or names of God [or conversely, the 72 angels that fell and are now the demons or kosmokrators over the nations of the earth].”[ix]

Once one understands the importance that these mystical keys hold in Kabbalah, Rosicrucianism, Freemasonic mysticism, and other mystery traditions, there can be (and is) but one reasonable interpretation for the connection in the Vatican and the seventy-two pentagrams at the base of the Apotheosis of Washington. These are there to bind and control the demons over the nations to honor the dedication made by early American Freemasons and certain Roman devotees for a New Atlantis and New World Order under the reign of the False Prophet (Petrus Romanus) and his antichrist master, Osiris/Apollo.

In the next entry we go from Seventy-Two Demons to Feathered Serpents: What You Do—and Do Not—Learn in School about American History

Tom Horn

Raidersnewsupdate.com

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

The World's Biggest Gold Storage Company Is Now Turning Away American Clients

ViaMat, a Swiss logistics company that has been safeguarding precious metals since 1945, is literally the gold standard in secure storage.

They have vaults from Switzerland to Hong Kong to Dubai, and they count among their clients some of the largest mining companies in the world. They know what they’re doing.

And now they’re dumping US citizens.

ViaMat does a great deal of business within the United States. As such, the company is heavily exposed to the insane US regulatory environment.

As an example, the 2010 Foreign Account Tax Compliance Act turned into more than 500 pages of regulation! The costs and risks associated with compliance simply became too much for ViaMat to bear.

This matter-of-fact letter from ViaMat management explains their decision:

“We are currently experiencing rapid and substantial changes in the general regulations within this business. The changes mainly relate to the tax structures and taxation systems of various countries. As a consequence of these changes VIA MAT INTERNATIONAL has taken the decision to stop offering this service at its vault [sic] outside of the US to private customers with potential US-tax liability.”

This is huge. I can’t possibly overstate the potential ramifications.

For one, the big gold depositories like Gold Money and Bullion Vault ALL use ViaMat as a primary secure storage provider. So it’s only a matter of time before ViaMat’s decision cascades across these other firms.

I have written extensively about this to subscribers of our premium service, Sovereign Man: Confidential; most gold storage firms are all essentially different varieties of the exact same product. They are retail marketing channels that ultimately use ViaMat to store their gold bars. If ViaMat has US exposure, THEY have US exposure. It’s the same risk.

Now, if you’re in the United States in particular, one of the most important (and cost effective) steps you can take in international diversification is to store precious metals overseas.



Read more: http://www.sovereignman.com/important-information/red-alert-worlds-biggest-gold-storage-company-dumps-us-citizens-10958/#ixzz2LqvZRiVE