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SHADOWLAND—PART 13: Sundials, Solar Deities, Masonic Witchcraft

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IMPORTANT EDITOR’S NOTE: Starting with natural events most people can comprehend but ultimately leading to the supra-natural, this online investigative series highlights just a hint of the groundwork covered in Dr. Thomas Horn’s upcoming expose, Shadowland (FROM DEFENDER PUBLISHING IN MARCH).

PART 1 / PART 2 / PART 3 / PART 4 / PART 5 / PART 6 PART 7 / PART 8 / PART 9 / PART 10 / PART 11  / PART 12

Further serious and appropriate connections between the occult symbols and facilities already mentioned on Epstein’s properties and examined in Shadowland involving mystical paths, circles, and squares, are artifacts that not only beam with “illumination” but that are highly suggestive of human sacrifice similar to those once made to solar deities. This includes the massive sundial on Epstein’s island (sundials are believed to have originated in ancient Babylonian astronomy for tracking the movements of solar gods), which bares uncanny resemblance to the face of the “Masonic Man” from classic art and curiously incorporating something like “Rune” sacrificial stones (used for incantations and magic spells granting power to subdue and eliminate others) similar to Viking blót spots placed at the open “magic” hours of the clock. Also note the 13 benches around the perimeter of Epstein’s sundial where 13 persons of interest could have sat during the Holy Days of Witchcraft (Esbats and Sabbats). The number thirteen is the number of “evil power” in occult practices and thus why serious witches’ Covens total 13 members.

Large sundial on Epstein’s orgy island with “magic hours” marked by Rune sacrifice stones with 13 seats presumably for occult sessions.

Image of the Masonic Man from classic Masonic literature shows nearly identical face to the one on Epstein’s grandiose sundial.

Interestingly, the Old Testament describes the sundial or “dial of Ahaz” in Isaiah 38:8 and 2 Kings 20:9 that likely was of Egyptian or Babylonian design. Ahaz was an evil king of Judah who worshipped such idols and whose abhorrent deeds included sacrificing children to pagan gods counting his own (2 Kings 16:3; 2 Chronicles 28:3).

Around the world many primal cultures including Egyptian, Mesoamerican, and Indo-European societies developed religious concepts around the worship of the sun, moon and stars as lords of the heavens and underworld. They associated these respective deities to divine rights of the elite, especially as it pertained to nobility or those having sovereignty over others. These solar gods were credited with beneficial agriculture and demanded human sacrifice to guarantee bountiful crop yields, including entities of pre-Columbian Peru and Mexico that freemason Manly P. Hall cherished.

Anthropology professor John Verano explains why human sacrifice—in this case to the sun god Huitzilopochtli—held spiritual significance for the Aztecs:

“It was a deeply serious and important thing for them,” says Verano. Large and small human sacrifices would be made throughout the year to coincide with important calendar dates, he explains, to dedicate temples, to reverse drought and famine, and more.

The rationale for Aztec human sacrifice was, first and foremost, a matter of survival. According to Aztec cosmology, the sun god Huitzilopochtli was waging a constant war against darkness, and if the darkness won, the world would end. To keep the sun moving across the sky and preserve their very lives, the Aztecs had to feed Huitzilopochtli with human hearts and blood.[i]

As I’ve written before, irrefutable evidence exists that early Freemasons and those working with them were aware of these Mesoamerican beliefs including sundials connected to human sacrifice, and such is actually incorporated directly into the design of the Capital Dome in Washington DC as vividly illustrated in the commissioned artwork of Constantino Brumidi. 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.

For reasons that remain somewhat unclear, abruptly in 1854, the Jesuits financed a trip for Brumidi to Mexico, where among other things 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 so famously rolled over 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 the Apotheosis 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.

Cortez and Montezuma at Mexican Temple, by Brumidi

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, elaborately carved Aztec Calendar Stone, which some scholars believe may have been an ancient sundial[ii] connected to the solar deity Tonatiuh. 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 name is derived from Aztec verbs depicting the sun as lighted or shimmering, is seen at the center of the Sun Stone. He was a solar deity that delivered vital prophecies and demanded human sacrifices. In fact, 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.

Some scholars believe the Stone of the Sun whose reproduction sits inside the U.S. Capitol Dome was an ancient sundial for tracking the movements of the god that required human sacrifice.

Another connection between Brumidi’s Stone of the Sun depiction, Freemasonry, Epstein’s island, and the Vatican can be seen in the Cortez and Montezuma scene where what looks like a drum sits behind the kneeling Aztec. This image 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). Readers will immediately note that this shape, once again, involves four paths toward a circular middle, just like the berm image at Epstein’s island did before it was obscured.

The Maltese Cross bares uncanny similarity to the four paths leading to a circular middle at Epstein’s island as well as to the Aztec sundial depicting Tonatiuh, the god who demanded human sacrifice.

Connected to all this at the US Capitol building in Washington, DC is an essential point made by William Henry and Mark Gray in their book, Freedom’s Gate: Lost Symbols in the U.S. Capitol recognized: “The U.S. Capitol has numerous architectural and other features that unquestionably identify it with ancient [sun] temples.”[iii] After listing various features to make their case that the US Capitol building is a “religious temple”—including housing the image of a deified being, heavenly beings, gods, symbols, inscriptions, sacred geometry, columns, prayers, and orientation to the sun—they conclude:

The designers of the city of Washington DC oriented it to the Sun—especially the rising Sun on June 21 and December 21 [the same day and month as the end of the Mayan calendar]. The measurements for this orientation were made from the location of the center of the Dome of the U.S. Capitol, rendering it a “solar temple.” Its alignment and encoded numerology point to the Sun as well as the stars. A golden circle on the Rotunda story and a white star in the Crypt marks this spot.… It is clear that the builders viewed the Capitol as America’s sole temple: a solemn…Solar Temple to be exact.”[iv]



Are such connections to solar worship, Freemasons, obelisks and human sacrifice reflected in the large sundial on Epstein’s island? Are the “Rune” sacrificial stones at the open “magic” hours of the clock further confirmation? There certainly seems to be redundant imagery tied to the historicity of all these structures and architecture.

For example, as mentioned earlier, the Obelisk in St. Peter’s Square at the Vatican was originally built to stand at the ancient epicenter of Egyptian sun worship at Heliopolis, and some scholars believe the Obelisk there as well as the one built by Freemasons in America’s capitol may also have been designed to serve as the center needle of a giant sundial to follow the movements of the great sun gods, including the Egyptian Ra. Add to that the fact that ritualized sex (such as I believe occurred with Epstein and his pals) was central to the worship of solar deities including those that demanded human sacrifice. It would be superficial to perceive such symbolism incorporated in Washington, DC involving the Capitol Dome (representing the habitually pregnant belly of Isis), and the Obelisk (representing the erect phallus of Osiris), as profane or pornographic. These are in fact ritual fertility objects, the same as those from Heliopolis, which the ancients believed could produce tangible reactions, properties, or “manifestations” within the material world.

As I’ve explained before:

The Obelisk and Dome as imitations of the deities’ male and female reproductive organs could, through government representation, invoke into existence the being or beings symbolized by them. This alchemy was supported through temple prostitutes who represented the human manifestation of the goddess (Isis in this case) who performed ritual sex as a form of imitative magic. These prostitutes usually began their services to the goddess as children such as Epstein preferred, and were deflowered at a very young age by a priest or, as Isis was, by a modeled Obelisk of Osiris’ phallus. Sometimes these prostitutes were chosen on the basis of their beauty, as the sexual mates of sacred temple bulls who were considered the incarnation of Osiris. In other places, such as at Mendes, temple prostitutes were offered in coitus to divine goats. Through such imitative sex, the Dome and Obelisk became “energy receivers,” capable of assimilating Ra’s essence from the rays of the sun, which in turn drew forth the “seed” of the underworld Osiris. The seed of the dead deity would, according to the supernaturalism, transmit upward from out of the underworld through the base (testes) of the Obelisk and magically emit from the tower’s head into the womb (Dome) of Isis where incarnation into the sitting pharaoh/king/president would occur (during what Freemasons also call the raising [of Osiris] ceremony). In this way, Osiris could be habitually “born again” or reincarnated as Horus and constantly direct the spiritual destiny of the nation.

This metaphysical phenomenon, which originated with Nimrod/Semiramis and was central to numerous other ancient cultures, was especially developed in Egypt, where Nimrod/Semiramis were known as Osiris/Isis (and in Ezekiel chapter 8 the children of Israel set up the Obelisk [“image of jealousy,” verse 5] facing the entry of their temple—just as the Dome faces the Obelisk in Washington, DC and in the Vatican City—and were condemned by God for worshipping the Sun [Ra] while weeping for Osiris [Tammuz]). The familiar Masonic figure of the point within a circle is the symbol of this union between Ra, Osiris, and Isis. The “point” represents Osiris’ phallus in the center of the circle or womb of Isis, which in turn is enlivened by the sun rays from Ra, just as is represented today at the Vatican, where the Egyptian Obelisk of Osiris sits within a circle, and in Washington, DC, where the Obelisk does similarly, situated so as to be the first thing the sun (Ra) strikes as it rises over the capital city and which, when viewed from overhead, forms the magical point within a circle known as a circumpunct. The sorcery is further amplified, according to ancient occultic beliefs, by the presence of the Reflecting Pool in DC, which serves as a mirror to heaven and “transferring point” for those spirits and energies.[v]

Although the Hebrew Bible (for example Deuteronomy 4:19, 17:3) contains strict prohibitions against worshipping the sun, moon, and stars, Ezekiel chapter 8 describes how sun-worship was nevertheless observed for a while in the temple of Jerusalem itself by paganized Hebrews, and even after the temple was destroyed, the worship of the “queen of heaven” continued (Jeremiah 44:17) during an advent when sacrificing children to gods was widespread.

Around the same time this was happening in the Middle East, across the sea in the West, a trade route of some kind between ancient Mexicans and early American Indians appears to have been established (as thoroughly documented in our books On the Path of the Immortals and Unearthing the Lost World of the Cloudeaters), which appears to have resulted in the transference of those religious ideas Freemason Manly P. Hall celebrated, including worship of solar deities and human sacrifice.

In fact, I recall when studying the Anasazi (ancient Puebloans of Native American culture that lived in the present-day Four Corners region of the United States—Utah, northeastern Arizona, northwestern New Mexico, and southwestern Colorado) and the question of how these cliff-dwellers disappeared in what seems like overnight, I met up with a native guide at Mesa Verde National Park in southwest Colorado who directed me to the mysterious Sun Temple, an enigmatic structure that overlooks some of the area’s most popular attractions including the Cliff Palace. I wanted to study and measure these ruins because the large and significant site holds much inscrutability in that nobody, including archaeologists and cultural historians, know what it was for. An eroded stone basin with three indentations at the southwest corner of the structure suggests that it too may have been purposed as a sundial to mark the changes in the seasons. Two kivas on top of the structure, together with the lack of windows or doors elsewhere, intimates that it was not meant for housing, which has led modern Pueblo Indians to propose that it was some type of ceremonial structure probably planned for ritual purposes dedicated to the Sun God. The amount of fallen stone that was removed during its excavation is said to indicate that the original walls were between eleven and fourteen feet tall. These walls were thick, double-coursed construction, with a rubble core placed between the panels for strength and insulation. After studying the Sun Temple and comparing it to ancient Mesoamerican culture and edifices, it is this author’s opinion (which is as good as anybody else’s, since we don’t really know) that this site may have been intended as a place for human sacrifice similar to those of the Aztec and Maya. I say this for a couple reasons. First, Dr. Don Mose Jr., a third-generation medicine man I met with for a large part of a day during the Path of the Immortals investigation for Defender Publishing and SkyWatch TV, told us that the oldest legends of the Anasazi, which he had been told by his great-grandfather (who likewise had been told by his ancestors) included stories of the Anasazi turning to sorcery, sacrifice, and cannibalism after they “lost their way” and were driven insane by a reptilian creature, which they depict with a halo above his head. (Images of this being are included in the petroglyphs we filmed inside the canyons, and I believe they likely attest to the fallen reptile [or reptiles] of biblical fame, which also misled humanity.) Second, blood sacrifice was a religious activity in most premodern cultures during some stage of their development, especially as it involved invoking the gods, and the “Sun God” was typically chief among them. This included animals and humans or the bloodletting of community members during rituals overseen by their priests. In fact, the Mayans—who may have influenced the Anasazi or vice versa—believed “that the only way for the sun to rise was for them to sacrifice someone or something every day to the gods.”[vi]

Another interesting artifact linked with human sacrifice and reflected at both Epstein’s island and at his New Mexico estate are labyrinthian designs, which extend back as far as 5,000 years. Strangely, this too may be connected to at least one example of how the Vatican Knights and later Freemasons combined labyrinth’s with initiatory paths or rituals they connected with Jesus Christ[vii] as a “solar deity” (labyrinths were Christianized especially during the Middle Ages and placed on floors of cathedrals for use in meditation). This practice continues today and in fact I personally witnessed denominational youth camps in Oregon where children were taken into the woods and taught to use tree branches, pebbles, and other ‘Gaia’ products to outline such magic prayer trails, with participants moving through the labyrinths to specific mystical areas where they would then stop and meditate to “connect with the spirit.” The occult significance of this symbolism in church youth events is dangerously meaningful, as navigating labyrinths actually began in mythology with the story of Queen Pasiphae and her amorous affair with a sacrificial bull. The union resulted in the birth of the transgenic Minotaur, a creature that lived in at the center of the labyrinth—an elaborate circular maze designed by the architect Daedalus, a craftsman and artist in Greek mythology, and his son Icarus, on the command of King Minos of Crete—where every year boys and girls were sent to be sacrificed.

Is this why Epstein’s island and his New Mexico estate are littered with labyrinthian imagery and structures? There is no doubt what labyrinths were originally designed for. In mythology, the people of Athens “were at one point compelled by King Minos of Crete to choose 14 young noble citizens (seven young men and seven maidens) to be offered as sacrificial victims to the half-human, half-taurine monster Minotaur to be killed in retribution for the death of Minos’ son Androgeos. The victims were drawn by lots, were required to go unarmed, and would end up either being consumed by the Minotaur or getting lost and perishing in the Labyrinth, the maze-like structure where the Minotaur was kept.”[viii]

Christ in the center of a labyrinth discovered in Alatri, a province of Frosinone in the Italian region of the Lazio.

Every year boys and girls were sent into the labyrinth to be sacrificed to the Minotaur, a creature with the head and tail of a bull and the body of a man.

Very large labyrinth-like structure seen in aerial photograph of Epstein’s Zorro Ranch bears four walkways inside a confined area leading to a circular mid-section.

UP NEXT: The Plot Thickens—Jeffrey Epstein, Hillary Clinton, Ghislaine Maxwell, and Crowley Inspired Sex Magic






[iii] William Henry and Mark Gray, Freedom’s Gate: Lost Symbols in the U.S. (Hendersonville, TN: Scala Dei, 2009), 3.

[iv] Ibid., 4.

[v] Thomas Horn, Apollyon Rising, Defender Publishing, Crane MO, 2009, 289-290




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