What’s really behind ‘The Secret Destiny of America’
By Thomas Horn
Some years ago I (Tom Horn) was on my way to Roswell, New Mexico, to meet with David Flynn and some other friends. As I recall, we were joining up to support David, who was scheduled to give a presentation during the famous International UFO Festival. While driving, my cell phone rang and on the other end of the line was another friend, filmmaker Chris Pinto. He wanted to know if I would be interested in meeting with him in Washington, DC, in just two days from then to be part of the History Channel’s Brad Meltzer’s Decoded series. Normally I decline all such invitations, as I have witnessed too many times how these programs twist the Christian’s worldview, and I’m typically uninterested in sacrificing myself to help somebody’s secular ratings. Yet because it was Pinto and the project sounded like it was right down his alley (the Brad Meltzer’s team was going to “investigate the historical mystery as to what happened to the White House Cornerstone”), I agreed to participate. The History Channel wanted me to speak to the issue of the Washington Monument, why and how it was built, and whether the missing White House cornerstone may lay hidden beneath it. It sounded harmless enough, and so I agreed to turn around and head that way.
Two days later—while Pinto was somewhere across town having already been filmed for the program—I met up with Meltzer’s two main field investigators (who can be seen running around the world in the History Channel series checking into whatever the producers pretend to investigate) in DC—Christine McKinley and Scott Rolle. Christine has a mechanical engineering degree from the California Polytechnic University, and Scott Rolle is a circuit court judge in Frederick County, Maryland (and an actor), so I was interested especially in what Christine might think of the engineering feat that the Freemasons had employed in building the largest obelisk of its kind in the world (the Washington Monument). A special permit had been ascertained for the film project, and besides Christine and Scott there were at least five camera operators, two producers, technicians, and a huge crowd of people that had gathered to see what was going on. The producer wanted to film McKinley and Rolle (the “investigators”) walking up (with the Capitol Dome in their background) while I approached the obelisk from the other direction, and then we would meet up at the base of the monument, greet each other, and begin talking about the mysterious construction project, why it was built, and finally whether I believed the stone was buried beneath it.
But something else happened.
As I started describing the obelisk facing the dome and the rich Egyptian symbolism involving Osiris, Isis, the Freemasons, and how the mechanics of these magical devices were specifically designed to open a doorway or “stargate” that allows Osiris to arise from the underworld to take his rightful place inside every US president (more on that in a bit), the producer became enthralled with the storyline and wanted to continue filming me (for almost two hours) basically describing the plotline from my book Zenith 2016. Then Christine McKinley went off script too, explaining that her father had been a 32nd–Degree Freemason and she wanted to know if I thought he had been part of an occult organization, which led to another half-hour of discussion and, well, we never did get back to the original reason for my being there. The producer then approached me to ask if they could use the film they had shot to pitch a different project to the History Channel, which I agreed to but never heard any more about.
When the Decoded episode on the missing White House cornerstone played on television, I was—once again—happy that my face was not included in a History Channel production (and I have since turned them down several times, most recently for their “Search for the Lost Giants” program in which they practically begged me to appear to discuss how transhumanism and the genetics revolution may be repeating what the ancient Watchers did in creating Nephilim). They did, however, include Chris Pinto’s interview in the Decoded episode filmed that day, followed by the “investigators” at a bar or pool hall somewhere afterward, defending the Freemasons as American heroes and depicting Pinto as a nut-job conspiracy theorist. I only had to watch a couple other episodes of Decoded to get that it’s a ruse meant for entertainment, ratings, and sales, but not a whit about serious investigative work or “decoding” anything.
That said, I do have to thank the History Channel and Brad Meltzer for that Washington, DC, experience and their disgraceful treatment (frame-up) of award-winning and real exploratory filmmaker, Chris Pinto. They unintentionally provided me one of the “thousand points of light” that eventually convinced us to launch SkyWatchTV and to make bona fide investigative reports an integral part of our future media endeavors.
That said, how many people know that located right inside Washington, DC, is: 1) a stargate; 2) Seventy-two (72) pentagrams at the base of the stargate to control the “Immortals”; 3) powerful generators (Dome and Obelisk) designed from antiquity to make the stargate work; and 4) ancient prophecies connected to this device that make it clear exactly who will be coming through the mystical doorway in the future! How many also know that similar devices and prophecies are built into the Vatican’s headquarters in Rome?
The Dome and Obelisk
Undoubtedly, the vast majority of people, when looking at Washington, DC, and at the Vatican, never comprehend how these cities constitute one of the greatest open conspiracies of all time. There, reproduced in all their glory and right before the world’s eyes, is an ancient talismanic diagram based on the history and cult of Isis, Osiris, and Horus, including the magical utilities meant to generate the deities’ return.
The primeval concept—especially that of sacred Domes facing Obelisks—was designed in antiquity for the express purpose of regeneration, resurrection, and apotheosis, for deity incarnation from the underworld to earth’s surface through union of the respective figures—the Dome (ancient structural representation of the womb of Isis) and the Obelisk (ancient representation of the erect male phallus of Osiris).
This layout, as modeled in antiquity, exists today on the grandest scale at the heart of the capital of the most powerful government on earth—the United States—as well as in the heart of the most politically influential Church on earth—the Vatican. Given this fact and the pattern provided by the apostle Paul and the Apocalypse of John (the book of Revelation) that the end times would culminate in a marriage between political (Antichrist) and religious (False Prophet) authorities at the return of Osiris/Apollo, it behooves open-minded researchers to carefully consider this prophecy in stone, as it defines the spiritual energy that is knowingly or unknowingly being invoked at both locations by Shadowland elite.
The US capital has been called the “Mirror Vatican” due to the strikingly similar layout and design of its primary buildings and streets. This is no accident. In fact, America’s forefathers first named the capital city “Rome.” But the parallelism between Washington and the Vatican is most clearly illustrated by the Capitol building and Dome facing the Obelisk known as the Washington Monument, and at St. Peter’s Basilica in the Vatican by a similar Dome facing a familiar Obelisk—both of which were, according to their own official records, fashioned after the Roman Pantheon, the circular Domed Rotunda “dedicated to all pagan gods.” This layout—a Domed temple facing an Obelisk—is an ancient, alchemical blueprint that holds significant esoteric meaning.
For those who may not know, the US Capitol building in Washington, DC, is historically based on a pagan Masonic temple theme. Thomas Jefferson, who shepherded the antichristian “Roman Pantheon” design, wrote to the Capitol’s architect, Benjamin LaTrobe, defining it as “the first temple dedicated to…embellishing with Athenian taste the course of a nation looking far beyond the range of Athenian destinies”[i] (the “Athenian” empire was first known as “Osiria,” the kingdom of Osiris). In 1833, Massachusetts Representative Rufus Choate agreed, writing, “We have built no national temples but the Capitol.”[ii] William Henry and Mark Gray in their book, Freedom’s Gate: Lost Symbols in the US Capitol, add that, “The US Capitol has numerous architectural and other features that unquestionably identify it with ancient 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 in 2012]. The measurements for this orientation were made from the location of the center of the Dome of the US 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]
To understand what these statements may soon mean for the future of the world, one needs to comprehend how these [stargate] aparati—the Dome and the Obelisk facing it—facilitate important archaic and modern protocols for invigorating prophetic supernatural alchemy. In ancient times, the Obelisk represented the god Osiris’ “missing” male organ, which Isis was not able to find after her husband/brother was slain and chopped into fourteen pieces by his evil brother Seth (or Set). The story involves a detailed account of the envious brother and seventy-two conspirators tricking Osiris into climbing inside a box, which Seth quickly locked and threw into the Nile. Osiris drowned, and his body floated down the Nile River, where it snagged on the limbs of a tamarisk tree. In Byblos, Isis recovered his body from the riverbank and took it into her care. In her absence, Seth stole the body again and chopped it into fourteen pieces, which he threw into the Nile. Isis searched the riverbank until she recovered every piece, except for the genitals, which had been swallowed by a fish (Plutarch says a crocodile). Isis recombined the thirteen pieces of Osiris’ corpse and replaced the missing organ with a magic facsimile (Obelisk), which she used to impregnate herself, thus giving rise to Osiris again in the person of his son, Horus. This legendary ritual for reincarnating Osiris formed the core of Egyptian cosmology (as well as the Rosicrucian/Masonic dying-and-rising myths) and was fantastically venerated on the most imposing scale throughout all of Egypt by towering Obelisks (representing the phallus of Osiris) and Domes (representing the pregnant belly of Isis) including at Karnak where the upright Obelisks were “vitalized” or “stimulated” from the energy of the masturbatory Sun god Ra shining down upon them.
There is historical evidence that this elaborate myth and its rituals may have been based originally on real characters and events. Regarding this, it is noteworthy that in 1998, former secretary general of Egypt’s Supreme Council of Antiquities, Zahi Hawass, claimed to have found the burial tomb of the god Osiris (Apollo/Nimrod) at the Giza Plateau. In the article, “Sandpit of Royalty,” from the newspaper Extra Bladet (Copenhagen), January 31, 1999, Hawasswas quoted saying:
I have found a shaft, going twenty-nine meters vertically down into the ground, exactly halfway between the Chefren Pyramid and the Sphinx. At the bottom, which was filled with water, we have found a burial chamber with four pillars. In the middle is a large granite sarcophagus, which I expect to be the grave of Osiris, the god.… I have been digging in Egypt’s sand for more than thirty years, and up to date this is the most exciting discovery I have made.… We found the shaft in November and began pumping up the water recently. So several years will pass before we have finished investigating the find.[v]
As far as we know, this discovery did not ultimately provide the physical remains of the deified person. But what it did illustrate is that at least some very powerful Egyptologists believe Osiris was a historical figure, and that his body was stored somewhere at or near the Great Pyramid. Manly P. Hall, who knew that the Masonic legend of Hiram Abiff was a thinly veiled prophecy of the resurrection of Osiris, may have understood what Zahi Hawass was looking for, and why. Consider that he wrote in The Secret Teachings of All Ages: “The Dying God [Osiris] shall rise again! The secret room in the House of the Hidden Places shall be rediscovered. The Pyramid again shall stand as the ideal emblem of…resurrection, and regeneration.”[vi]
In Egypt, where rituals were performed to actually “raise” the spirit of Osiris into the reigning Pharaoh, political authority in the form of divine kingship or theocratic statesmanship was established (later reflected in the political and religious doctrine of royal and political legitimacy or “the divine right of kings,” who supposedly derived their right to rule from the will of God, with the exception in some countries that the king is subject to the Church and the pope). This meant, among other things, the Egyptian pharaoh enjoyed extraordinary authority as the “son of the sun god” (Ra) and the incarnation of the falcon god Horus during his lifetime. At death, Pharaoh became the Osiris, the divine judge of the netherworld, and on earth, his son and predecessor took his place as the newly anointed manifestation of Horus. Thus each generation of pharaohs provided the gods with a spokesman for the present world and for the afterlife while also offering the nation divinely appointed leadership.
Yet the observant reader may wonder, “Was there something more to the pharaoh’s deification than faith in ritual magic?” The cult center of Amun-Ra at Thebes may hold the answer, as it was the site of the largest religious structure ever built—the temple of Amun-Ra at Karnak—and the location of many extraordinary mysterious rites. The great temple with its one hundred miles of walls and gardens (the primary object of fascination and worship by the nemesis of Moses—Pharaoh of the Exodus, Ramses II) was the place where each pharaoh reconciled his divinity in the company of Amun-Ra during the festival of Opet. The festival was held at the temple of Luxor and included a procession of gods carried on barges up the Nile River from Karnak to the temple. The royal family accompanied the gods on boats while the Egyptian laity walked along the shore, calling aloud and making requests of the gods. Once at Luxor, the pharaoh and his entourage entered the holy of holies, where the ceremony to raise the spirit of Osiris into the king was performed and the pharaoh was transmogrified into a living deity. Outside, large groups of dancers and musicians waited anxiously. When the king emerged as the “born again” Osiris, the crowd erupted in gaiety. From that day forward, the pharaoh was considered to be—just as the god ciphered in the Great Seal of the United States will be—the son and spiritual incarnation of the Supreme Deity. The all-seeing eye of Horus/Apollo/Osiris above the unfinished pyramid on the Great Seal represents this event, as thoroughly examined in the groundbreaking prophetic documentary, Belly of the Beast.
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Modern people, especially in America, may view the symbols used in this magic—the Dome representing the habitually pregnant belly of Isis, and the Obelisk, representing the erect phallus of Osiris—as profane or pornographic. But they were in fact ritualized fertility objects, which the ancients believed could produce tangible reactions, properties, or “manifestations” within the material world. 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 is why inside the temple or Dome, temple prostitutes representing the human manifestation of the goddess were also available for ritual sex as a form of imitative magic. These prostitutes usually began their services to the goddess as children, 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 [through the portal] 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 [the immortals] spirits and energies.
And just what is it the spirits see when they look downward on the Reflecting Pool in Washington? They find a city dedicated to and built in honor of the legendary deities Isis and Osiris complete with the thirteen gathered pieces of Osiris (America’s original thirteen colonies); the required Obelisk known as the Washington Monument; the Capitol Dome (of Isis) for impregnation and incarnation of deity into each Pharaoh (President); and last but not least, the official government buildings erected to face their respective counterparts and whose cornerstones—including the US. Capitol Dome—were dedicated during astrological alignments related to the zodiacal constellation Virgo (Isis) as required for the magic to occur.
Where the Vitality of Osiris/Apollo (the Beast that Was, and Is Not, and Yet Is) Pulsates in Anticipation of His Final “Raising”
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 AD 37) 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.”[vii]
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; Psalm 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 book The 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.[viii]
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.”[ix] 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 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, creaturalapidis, 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 Spiritussancti. 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.
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.”[x] 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,”[xi] 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.”[xii]
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 of the United States forecasts the culmination of this event—that is, the actual return of Osiris—for the United States, 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 33rd 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, DC, 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[xiii].
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 US Congressman, US Senator, and even a 33rd-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 33rd-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.[xiv]
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,”[xv] 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.”[xvi] 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.”[xvii] 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”[xviii] 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.”[xix]
UP NEXT IN PART 2: Magic Squares, 666, and Human Sacrifice
[i] “Growth of a Young Nation,” U.S. House of Representatives: Office of the Clerk, last accessed January 30, 2012, http://artandhistory.house.gov/art_artifacts/virtual_tours/splendid_hall/young_nation.aspx.
[ii]“1964–Present: September 11, 2001, The Capitol Building as a Target,” United States Senate, last accessed January 30, 2012, http://www.senate.gov/artandhistory/history/minute/Attack.htm.
[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] “Sandpit of Royalty,”Extra Bladet (Copenhagen, January 31, 1999).
[vi] Manly P. Hall, Secret Teachings, 104.
[vii] James Lees-Milne, Saint Peter’s: The Story of Saint Peter’s Basilica in Rome (Little, Brown, 1967), 221.
[viii] Rebecca Zorach and Michael W. Cole, The Idol in the Age of Art (Ashgate, 2009), 61.
[ix] Ibid., 63.
[x] David Flynn, Cydonia: The Secret Chronicles of Mars (Bozwman, MT: End Time Thunder, 2002), 156.
[xi] Albert Pike, Morals and Dogma: Of the Ancient and Accepted Scottish Rite of Freemasonry (Forgotten Books), 401.
[xii] Albert Mackey, A Manual of the Lodge (1870), 56.
[xiii]Dan Brown, The Lost Symbol (Anchor; Reprint edition, 2010), 3–4.
[xiv] Manly P. Hall, Lost Keys, Prologue.
[xv] Manly P. Hall, Secret Teachings, 116–120.
[xvi] Manly P. Hall, “Rosicrucianism and Masonic Origins,” from Lectures on Ancient Philosophy—An Introduction to the Study and Application of Rational Procedure (Los Angeles: Hall, 1929), 397–417.
[xvii]Albert Pike, Morals and Dogma, 335.