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 that became corrupt and disloyal to God in their administration of those nations (Psalm 82). These beings quickly became worshiped on earth as gods following Babel, led by Nimrod/Gilgamesh/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 pagan Golden 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 the Apotheosis 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.” The idea that the mystical Name of God could be invoked to bind or release 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 releasing 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.
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, 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 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.
And something most people do not know and will be shocked to learn is that the Freemasons even constructed a symbolic “seed” of Osiris at the Washington Monument obelisk. If an anatomically correct phallus is placed over the Washington Monument, right in the testicular section beneath a manhole cover where it should be, is a miniature, twelve-foot-tall obelisk hidden just beneath the surface of the ground representing the seed of Osiris. The number twelve (12) is the biblical and occult numerology for perfect government—in this case that New World Order over which Osiris-Apollo will reign when:
The beast that thou sawest was, and is not; and shall ascend out of the bottomless pit, and go into (Apollo-Osiris): and they that dwell on the earth shall wonder, whose names were not written in the book of life from the foundation of the world, when they behold the beast that was, and is not, and yet is. (Revelation 17:8)
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This metaphysical phenomenon of deity resurrection involving mystical “seed” reminds of the Messianic protoevangelium promise, “And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel” (Genesis 3:15), which, for occultists, was countered by Nimrod/Semiramis and was central to numerous other ancient cultures, 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 worshiping 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.
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.
To Serve the Political—and Spiritual—Leaders
Because the book of Revelation depicts a final global political figure (Antichrist) who gains allegiance of the world’s religious community through a powerful religious leader (False Prophet), it is not surprising to find that the magical constructs in Washington, DC, necessary for Apollo-Osiris’ resurrection are mirrored in the very city where the Apostle John said a global “harlot” church would lead mankind into subservience to the Man of Sin (see Revelation 17:18 regarding Rome).
To be sure, the 330-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, requiring more than four months, nine hundred laborers, one hundred forty horses, and seventy winches. Though worshiped 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.”
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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 History of Art department at the University of Pennsylvania, and 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.
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.” 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, 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.
Strolling from the obelisk in St. Peter’s square to inside the Sistine Chapel, one finds the parallels between Washington and the prophecies of the Great Seal do not stop with the dome design and symbol of Osiris’s erect manhood. But the very Cumaean Sibyl whose prophecy about the return of the god Apollo is encoded in the Great Seal of the United States is prominently depicted inside Catholicism’s most celebrated chapel. On close examination of her portrait, the Cumaean of Rome unveils a secret—a magnificent clue—which her Italian Renaissance artist left concerning her and her returning Lord’s origin and identity. Upon consideration, she reveals what elsewhere I have called “the sign of the sixth knuckle.” The Cumaean’s left thumb is inside the book and the fingers of her left hand are wrapped outside in standard book-holding fashion. But a clearly visible extra knuckle is portrayed, secreted perhaps by Michelangelo to depict a sixth digit bent under the palm, or to illustrate that a sixth finger had been lost or cut off at the knuckle. Either meaning is deeply occultic, and as students of history and the Bible clearly know, this ties both the Sibyl and her prophesied savior Apollo to the offspring of the fallen Watchers, the Nephilim (see 2 Samuel 21:20), of which Apollo/Osiris/Nimrod was chief…and will be again.
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With all of this in mind, whatever happens between now and 2025, this writer firmly believes events unfolding around the world today and especially inside the United States indeed suggest a near future in which a man of superior intelligence, wit, charm, and diplomacy will emerge on the world scene as a savior. He will seemingly possess transcendent wisdom that enables him to solve problems and offer solutions for many of today’s most perplexing issues. His popularity will be widespread, and his fans will include young and old, religious and nonreligious, male and female. Talk-show hosts will interview his colleagues, news anchors will cover his movements, scholars will applaud his uncanny ability at resolving what has escaped the rest of us, and the poor will bow down at his table. He will, in all human respects, appeal to the best idea of society. But his profound comprehension and irresistible presence will be the result of an invisible network of thousands of years of collective knowledge. He will, quite literally, represent the embodiment of that very old, super-intelligent spirit predicted on the Great Seal and in the layout of the Capitol of the United States. As Jesus Christ was the “seed of the woman” (Genesis 3:15), he will be the “seed of the serpent.” Moreover, though his arrival in the form of a man was foretold by numerous Scriptures, the broad masses will not immediately recognize him for what he actually is—paganism’s ultimate incarnation; the “beast” Apollo-Osiris of Revelation 13:1 and 17:8.
I must ask, therefore: Are you prepared spiritually, mentally, and physically for what is just ahead? Ancient and modern occultists obviously have plans for the near future, including strategies to install the dreaded Man of Sin who will, for a short period of time, conquer and then betray the human race. Thankfully, it is the true Father of heaven and His Son, Jesus Christ, who will have the final word and ultimately determine the fate of mankind. Therefore, knowing Jesus as Savior is the first and most important “emergency planning step” you can take for your future security and survival. With Christ as your Lord, you will be able to “enter thou into thy chambers, and shut thy doors about thee: hide thyself as it were for a little moment, until the indignation be overpast” (Isaiah 26:20).
 Hall, Secret Destiny of America (Penguin Group, 2008), chapter 18.
 James Lees-Milne, Saint Peter’s: The Story of Saint Peter’s Basilica in Rome (Little, Brown, 1967), 221.
 Rebecca Zorach and Michael W. Cole, The Idol in the Age of Art (Ashgate, 2009), 61.
 Ibid., 61.
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