In August of last year I decided, for the first time, to attempt to write a fiction novel using themes that I had developed over the last 23 years of my career writing nonfiction about occult subjects. I decided this mainly because everybody told me I should. My plan was to write a quick and simple dime-store novel taking place in the UK, mainly because the characters I wanted to build were going to be based on people I knew who had lived there. Of course, by the time I finished, it had turned to be something else entirely.
Some of my characters were inspired by my knowledge of the existence of a global network of “fake” or unrecognized royalty that I had discovered through a former colleague who happened to be a part of it. These people were either pretending to belong to families that didn’t recognize them, or often claimed membership in royal houses that didn’t exist. They were self-purported heirs du jour to seats of power that no longer existed, or had never existed, sometimes in places that never existed.
I observed the behaviors of these people and their connections with one another for years. What was interesting was that they intermingled with people from real and recognized royal houses, who must surely have known about their membership in the fake ones. Some people claimed membership with both types of groups, and were equally accepted by both.
All of these people belonged to a great many other organizations also purporting prestigious status. Almost all were part of Neo-Templar orders, and elite or obscure Masonic lodges. They had illustrious military careers, and often had served for the security services of one or more countries. Several were involved in diplomacy, and in United Nations NGOs. Dozens of them belonged to an organization in Eastern Europe that provided training and networking opportunities for people working in the intelligence and security sectors.
I decided to conjure up a fictional secret club operating in London within this milieu of fake and real royalty, aristocrats, gentlemen, spies, Masons and neo-Templars. They would be involved in rituals continuing the alleged perverted sex rites of the Templars, the Ophite Gnostics, and the ancient cult of Cybele. This was a subject I wrote about extensively in my previous book, Baphomet: The Temple Mystery Unveiled, co-written with Alexander Rivera, which is available for sale here.
I decided to include in the story the alleged “Templar artifacts” written about by Viennese Orientalist Joseph von Hammer-Purgstall in 1818, which I discussed at great length in my Baphomet book. This was a scholarly essay written in Latin about a series of cups, bowls, boxes, coins, and idols that had been discovered in churches throughout Europe standing on former Templar properties. Many of them depict sex rites with children and animals, as well as androgynous horned figures similar to later depictions by Western occultists of the Templar demon Baphomet.
Here’s a picture of Mete, as she’s called in the inscriptions on the idols found by Hammer-Purgstall, and always referred to as a ‘she.’ This, and other images like it, were part of Hammer-Purgstall’s collection. Notice she has a beard and breasts. Sometimes she has a hint of male genitalia.
Sometimes there’s a hint of hairless female genitalia.
“Mete” was thought by him to be a word derived from “Metis,” the name of a Greek goddess of wisdom. He thought that Baphomet, the name of the demon allegedly worshiped in secret rites by Knights Templar, was a reference to her, and he translated it as “Baptism of Wisdom.” He saw Mete as a conglomerate of Cybele, Metis, and Sophia-Achamoth, the Gnostic wisdom goddess who gave birth to the creator.
Many historians have touched upon Hammer-Purgstall’s work when discussing the Knights Templar and their alleged worship of Baphomet. His images of Mete, along with the others in the collection, are thought by all scholars on the subject to be a direct influence upon occult writer Eliphas Levi when he designed his now-famous depiction of Baphomet. Levi certainly referenced Hammer-Purgstall’s essay in his own work numerous times.
However, the opinions of occultists aside, most modern historians who write about the Templars have dismissed Hammer-Purgstall’s claims about their rituals, as depicted on these artifacts. Most do not believe that the artifacts had anything to do with the Templars. Some have even accused him or his informants of forging the artifacts, even though Hammer-Purgstall was a respected Orientalist scholar whose other works are still referenced today.
I found in my investigation that hardly anybody had actually read the book, which remained untranslated, due to the difficulty of the text, which requires knowledge of Latin, Greek, Arabic, German and French. So I had it translated by an expert, and it is being published by me in English for the first time in the next couple of weeks. It was also part of our extensive analysis of the historical development of the concept of Baphomet and the esoteric Templar tradition, as discussed in the book Baphomet: The Temple Mystery Unveiled.
The images I have shown you so far are all line drawings from Hammer-Purgstall’s book. The artifacts they were based on were speculated by some modern scholars to be fake or even non-existent except as drawings. The latter charge meant that they specifically thought Purgstall himself was in on the deception, as they were his drawings.
But I know this charge is spurious, as several other contemporary authors saw these items also, and published their own line drawings. The most famous image of Mete from Hammer-Purgstall’s collection isn’t even included in his book, although he did include several others that were very much like it. The one I’m speaking of was from Thomas Wright’s book Worship of the Generative Powers, which was about Priapian fertility cults and witchcraft. There it was acknowledged as one of the items referenced by Hammer-Purgstall. This picture went on to be republished in many other books as an image of the Templar Baphomet.
In my research, I managed to track down two of the artifacts referenced by Hammer-Purgstall. They’re in the British Museum—not on display but in their back catalogue that’s available online. Here’s one of them. The museum had it labeled as an image of Cybele and “fake.” But it didn’t say what it purported to be.
I paid the museum to have this one photographed all the way around for the first time. On the four sides you see the depiction of an orgy involving animals. Then on the lid you see that famous image of Mete.
The museum already had these ones photographed. These are the four sides of another similar box without the lid. I haven’t seen it published anywhere, even in Hammer-Purgstall’s book, but he does describe it in the text. Here you see not only the sex rites, but also the sacrifice of a bull, which is central to the worship of the goddess Cybele.
I’m not sure if the British Museum knows the historical significance of these items. These pictures are in my Baphomet nonfiction book, which came out two years ago. When I conceived of my fictional adventure in London in August 2016, I felt that these items in the British Museum should be central to the plot. I found myself wondering if Cybele was way more important to the Templar mysteries than I had previously given her credit for.
I began to wonder if the Templar mascot, Baphomet, as depicted by occultist Eliphas Levi, was actually a victim of the rite of castration practiced on Cybele’s priests. In these rituals, initiates into the priesthood of this ecstatic mystery religion in ancient Rome would go into a frenzy and castrate themselves for the “Great Mother Goddess,” Cybele.
It was a rite to reenact her sacrifice of her son, Attis, who was also her lover. When he wanted to marry someone else, she infected him with a spirit of madness that made him castrate himself and bleed to death. Then she allegedly resurrected him a few days later.
Cybele’s followers held a public rite called the “Day of Blood” on March 24 to commemorate this, in which their newly-initiated priests were castrated, and the followers mourned the death of Attis. A few days later, the resurrection of Attis was celebrated with feasting and orgies. And if you assume that the castrated priests were excluded from the orgies, you’re wrong. That’s not what I’ve found at all. And I’ll just leave it at that for now, but there’s much more detail in the book.
Now if you look at Eliphas Levi’s depiction of Baphomet, you see that Levi didn’t show him with a penis, but instead with a pole—the pole of the caduceus between his legs. The Cybele priests were said to keep reeds inside their urethras to keep them from closing up. I found all sorts of, shall we say, ‘occult’ reasons why this would be done, but again, I’ll leave it at that. There is a lot of detail about this in the upcoming novel.
The story I’ve written is very extreme, but accurate, in its depiction of the types of sex, torture and murder rites that have been and are still being committed by certain groups of people. Very important as part of this is the use of particular body fluids from living people for certain works of alchemy and magick. Also important is the use of amputated body parts, each type with its own significance.
These, of course, can be from dead or still-living victims, as in the case of amputated genitals, which were consumed by pagan cultists in the ancient past, and are still consumed today in certain underground communities. At so-called “cutting parties,” people who have chosen to have their testicles removed by unlicensed surgeons often cook them and eat them afterwards, or let someone else eat them. All these considerations are part of my plotline.
I spent weeks looking into the possible connections between the Templars, Baphomet, and Cybele. Indeed, I found that there was a lot of evidence supporting the idea that these things were connected. This connection became one of the central themes in the novel. As noted by one of the characters in the story, a researcher into such matters, Eliphas Levi wrote that “the aim of the Templars had been to create the synthesis of all persecuted beliefs,” which means a combination of all Christian heresies and abandoned pre-Christian cults. This goes along with what Pope Pius IX said about the Templars, accusing them of trying to start a new religion, inspired by kabbalism, Gnosticism, and heretical beliefs about John the Baptist. But Hammer-Purgstall specifically said that the Templars were Ophite Gnostics, or Naassenes.
The Christian Church Father Hippolytus described the Naassenes likewise as a cult of synthesis. He said it was derived from the mystery religions of Rome, but mixed with Christian heresy along with blasphemous inversions of Christian symbols and myths. And he said they practiced horrible sex rites. Among these were the castrations for Cybele, and of that he wrote:
On account of these and such like reasons, these constantly attend the mysteries called those of the Great Mother, supposing especially that they behold by means of the ceremonies performed there the entire mystery.
As I began writing, I started trying to come up with place-settings for scenes in London. I found that Cybele worship was big in ancient Roman Londinium, which provided the border of the original city. It was abandoned by the empire in the fifth century, and later was settled by Saxons. As it turns out, an ancient altar of Cybele, which I include the story, once belonged to a wealthy gentleman in London, though nobody is certain if it was found locally. This altar is featured in my novel. Here are pictures of its sides.
Although the origin of this altar is uncertain, it is known from contemporary records that there was a Temple to Cybele in London, but nobody knows where. Most have thought that it was located underneath the ruins of St. Paul’s Cathedral. This is because, after the Great Fire, when the church was being rebuilt according to the designs of Christopher Wren, they found hundreds bull remains consistent with the taurobolium rite sacred to Cybele, in which cult initiates are drenched in the blood of a freshly killed bull.
In my research I found historians also referring to the site of St. Paul’s as the location of the “Temple of Diana,” and even the “Temple of Isis.” Some have said that the taurobolium was performed there for Diana. I think this indicates that these words were used interchangeably for the same goddess.
Another figure who has been conflated with Diana by some ancient worshippers was Britomart, a nymph in Greek mythology, the mother of both Dionysus and Hades according to some stories. She was sometimes called “Artemis Diktynna.” Some have thought her name to be a possible etymological ancestor of the name “Britain,” as “Britannia,” a female figure invented to personify the kingdom, was also patterned after the imagery of Diana and Cybele.
Britomart shows up in Edmund Spenser’s sixteenth-century epic poem The Faerie Queene, mythologizing the origins of England. There he says that she was the patroness of England’s military ambitions. There he said that her name comes from “Briton,” a British person, and “Mars,” the Roman war god.
So at any rate, I decided to make St. Paul’s Cathedral a location of the story, but not the interior of it. Instead some events take place in the courtyard outside, which is called Paternoster Square, a ritually significant name in the story. There, installed in 1996, is something called the Flaming Orb Monument, which is actually there to hide a ventilation shaft for an underground structure described as either a car park or a subway tunnel.
I speculate that this object is a subtle nod to the story claiming that King Arthur once donated a magical golden candlestick to the original St. Paul’s church there. This story is told in the Holy Grail romance Perlesvaus. The association is further strengthened by the fact that in 1620 the Bishop of London compared St. Paul’s itself to a “golden candlestick.” The image of light from St. Paul’s rising upward connects in my mind to the scene in the 1985 film Lifeforce, based on a book by Colin Wilson. In this scene, a female space vampire who has sucked the life force out of many people is shown lying on the altar of the church, transferring the energy she’s collected to her spaceship above in the form of a shaft of white light beaming upward to the sky. This is not unrelated to some of the things that happen in my story, in a nearby location.
Also at Paternoster Square is an archway known as “Temple Bar.” It has been transported there from another location. It once marked the entrance to the City of London, and the Temple District, which is so-called because it was the location of the Knights Templar headquarters in London in medieval times. The Temple district is where the British legal system was born, and the tradition of the “bar exam” for lawyers was named after the Temple Bar.
The Templar church in the district was preserved, and still operates as Temple Church. It’s the one featured in The Da Vinci Code, where the show the famous effigies of Templar knights that are buried there. Here, as with other Templar graves elsewhere, the knights are all shown crossing their legs in an uncomfortable manner. While this is traditionally a sign that a knight has seen action in the Crusades, the same positioning is seen on depictions of the castrated priests of Cybele.
I believe this is a symbol indicating that some Templars may have sacrificed their genitals to the cult, either at the end of their lives, or immediately before burial. This goes along with the Templars’ known preference for abstinence from sex with females (although sex with males was encouraged, according to their own confessions to the Pope and French police).
Templars were also associated with the Cathars, a heretical Christian sect in Europe that practiced a secret ritual before death, the purpose of which was to make them “pure.” I highly suspect that this was a castration ritual, as the Cathars were against procreation. Documents have been found indicating that the Templars had a similar purity ritual for those who knew that death was coming.
Like the Heaven’s Gate people, who castrated themselves before committing suicide, they felt that it would be better to not have genitals when they journeyed to the other side. I have not seen anyone else point out before that the Heaven’s Gate suicides took place on March 24, Cybele’s Day of Blood, when the priests were castrated, commemorating the death of Attis.
These facts are mentioned in my novel, which does have a scene at Temple Church, as well as the Olde Cock Tavern next door, where Shakespeare, and dozens of other famous playwrights and poets, once drank. I have fond memories of drinking there myself on one of my visits to London.
When I began writing the novel, I tried to draw upon my memories of these visits to come up with scene locations. I considered Freemason’s Hall, the headquarters of the Grand Lodge of the UK, which has a large pentagram carved into the pavement on the sidewalk right in front of the main entrance. I remembered drinking once at a pub across the street from there called “Freemason’s Arms,” which I thought might be useful. I looked up the hotel I had stayed at in 2005 and found it had been demolished. But in the process I began learning about what I remembered as a statue of Cupid at Piccadilly Circus, and this became key.
It turns that out it’s not Cupid, whom the Greeks called Eros, but his antithetical twin brother, Anteros. He’s said to be the god of “Counter-Love.” Well, the concept of “strange love,” or “mad love” has come up repeatedly in my research of the depraved sex rituals of the Gnostics and the Templars. This term can be applied to any sex act outside of the norm, particularly if it is non-procreative, or results in some kind of unnatural spawning of life.
According to Aleister Crowley, who rewrote the sex rituals for a neo-Templar ceremonial magick group, these “strange love” acts are the most useful. He writes of the magical power contained in the male seed, and in the male rectum, particularly that of a young boy, as being greatly superior to any female body parts or fluids for this purpose. He wrote about his aim to conceive “magical children,” and even “a messiah,” by somehow fertilizing an anus. The person born from this would be a golem or homunculus, an artificial man made from dead matter activated somehow with male seed and dark rituals.
All of these ideas found there way into my story. For among the alleged Templar artifacts discovered by Hammer-Purgstall, many depicted the anal rape of boys. Hammer-Purgstall found inscriptions on his monuments repeating variations of the phrases “the Distinguished Charity of Mete uproots the Enemy,” and “through the prokton (the rectum) return is made easy.” The words translated “distinguished charity” could also be rendered “strange love.”
As for the line about “returning” through the rectum, I believe they were referring to the Gnostic idea that once can, by properly applying Gnostic sex rituals, project one’s consciousness outside of this earthly realm, which they viewed as a prison. The “returning” is to a place the Gnostics call the “Pleroma,” which refers to whatever is outside of the prison.
It was, to Ophite Gnostics like the Templars may have been, a multi-layered prison. Each layer was ruled over by an “archon,” one of the seven “classical planets” recognized in antiquity. These were the Sun and Moon, Mars, Venus, Mercury, Jupiter, and Saturn. These were the seven “heavens,” depicted as concentric spheres surrounding Earth. “Urania,” occupied by Saturn’s dethroned father Uranus, was the first level outside, and considered the place where the fixed stars lived.
According to the Greek myths, Saturn became the king of the gods after “castrating” his father Uranus, who was the first. Uranus was married to “Gaia,” the Earth goddess. And they were also joined together as one being. They were perpetually locked in sexual union, from which there was no escape from the womb for the children that were spawned. The myth says that Uranus wouldn’t let his children out of the womb because he was afraid they would usurp him, and because he knew that they were hideously ugly. But the mother somehow smuggled a cutting blade to her son Saturn inside her.
This is how he was able to “castrate” his father, as they say he did, and escape with his brothers from the womb of his mother. This also caused the separation of Uranus, the sky, and Gaia, the Earth. Between them formed all the different layers of existence, the first among them being the realm of Saturn, the planetary archon who ruled over this first era, called the Golden Age.
These things, which I had written of several times before, were fresh in my mind, when I began to outline the plot for my new novel and to choose scene locations. I remembered that during my 2005 London visit, me and my husband at the time, Brian Albert, had quite accidentally come across the remains of a Roman Temple of Mithras, a Persian god who was imported into the empire early but later became the dominant religion right at the empire’s end.
Mithras is mentioned in at least three of my nonfiction books in several different contexts. One of the things I’ve noted is that Aleister Crowley thought that the name of Baphomet should be properly translated to “Father Mithras.” However, I hadn’t taken this explanation very seriously before, only because I really didn’t know enough about Mithras.
The Temple of Mithras we found in London was literally just sitting there, fixed into the pavement in the middle of a courtyard outside. All that was left of it were the foundations, and a few stacked stone bricks left over from the walls. The plaque next to it said that it had been moved from its original location down the street to make room for an office building. I remember how shocked we were that something which seemed so historically significant had been so badly restored and displayed. The bricks even seemed poorly laid. My husband seemed offended at this.
So when I started writing my novel, I decided to look up the location of the Temple of Mithras again. That’s where I hit the mother lode. For as it turns out, the Temple has been restored to its original location, with a new office building now being formed around it, which will be unveiled later this year. This is being done by Michael Bloomberg, former mayor of New York and sixth-richest man in the world, worth 32 times more than Queen Elizabeth. He has bought the original site to build his company’s new European headquarters there. (25,26)
This complex, which consists of two buildings connected with a sky bridge, was originally to be called “Bloomberg Place.” But I have spoken with their press office and learned that they want it referred to as “Bloomberg London.” They may be emphasizing its London location, rather than its connection to “Europe,” since the UK has recently decided to pull out of the European Union.
Over the last few months I have done tons of research about this location, about Michael Bloomberg, and about Mithraism. It all fit in perfectly with the story I was already writing, so I decided to use Bloomberg as the basis for my story’s main villain, Blake Rosenberg, and his new building as the basis for the location of the story’s most important scenes.
The villain’s relationship to Bloomberg is only skeletal, and the character is truly fictional. There are some similar traits and life histories between the two figures. However, I would like to stress that most of the criminal and deviant sexual activity that my character engages in are episodes wholly invented by me for storytelling purposes. I have no evidence that Michael Bloomberg has ever been involved in any of these things, or that his properties have been used for rituals involving child rape and murder.
I also have no evidence that Mr. Bloomberg has any interest in occultism, alchemy, philosophy, or surrealist art, like my character Rosenberg. His building is not, as far as I know, an apparatus harvesting body fluids for alchemical operations, as the building in my story is used for. However, Bloomberg Place is supposed to be “the smartest building in Europe,” built to generate its own energy and even share it with nearby buildings.
Bloomberg’s building will itself be a completely integrated AI system that will watch the employees’ every move, even monitor their every heartbeat, supposedly to anticipate their needs for energy efficiency. But to my knowledge the closest thing to body energy harvesting there will be in the form of treadmills that are hooked up to generators.
The Temple of Mithras will be housed in the main floor of the main building, with its own entrance, accessible to the public. I’m really glad that Bloomberg has done this, because the Temple of Mithras is acknowledged as one of the most significant ancient Roman finds ever. It was discovered by accident in 1954 while they were constructing the office building known as Bucklersbury House. At the time, the City of London could not afford to keep the site open for restoration, or even to explore it properly. So after the main contents were removed, construction on the office building proceed just two weeks later, amid protests.
When Bloomberg began his current project, which will be the building with the largest mass in all of London, many more temple artifacts were discovered, including a set of wooden writing tablets that have now been dubbed the “Bloomberg Tablets” by historians. It’s agreed that his restoration of the temple not only places it once again on its original spot, but recreates it beautifully, and as accurately as possible. From what I understand, the statues of deities found there, including not only Mithras, but also Hades and Mercury, will be on display there, and the altar has been restored.
Now let us talk a bit about the location itself. I figured it must have some esoteric significance, and it didn’t take me long to find plenty. I believe that this was the most holy site in Roman London, and that it remains the spiritual center of London’s financial power. I shall explain.
Here’s a picture of the site. On the South side is 111 Cannon Street, which is the original location where an object called “the London stone” was once displayed, and will be again later this year. This is the stone upon which the “Lord Mayor” of the “City of London” was once traditionally sworn in—and I’ll explain what those specific terms mean in a moment.
The London Stone is thought to have been the millarium of the Roman city, the foundation of all the geographical measurements within. It also marked the center of the pomoerium, the religious boundary around the original Roman city.
As my character Blake Rosenberg explains in the story:
The pomoerium of a Roman city… which was the area within the walls, was officially designated by a state auger using divination, and did not necessarily encompass all of the territory controlled politically by the city. It was a sacred boundary, serving obscure purposes that historians still don’t totally understand. Yet for some reason, perhaps mystical, even though most of London’s wall is gone, the sacred boundary remains.
The boundary remains because the same space once surrounded by the Roman wall is now called “the City of London,” which is but a district of “Greater London.” The Houses of Parliament, Westminster Abbey, and Buckingham Palace are all part of Westminster, a totally different district. But “the City of London,” controlled by a political entity called “the Corporation of London,” is the business district, and it has been since the beginning. Greater London has a mayor, but the City of London has its own “Lord Mayor,” whose house is right next to the new Bloomberg building. Again I’ll quote Blake Rosenberg, who says in the story that the City of London:
…has always been a political power on equal par with the Crown, keeping it in check. The rights of the City are actually protected eternally in a special clause provided in the Magna Carta, to which the Lord Mayor was a signatory. This Corporation is formed by the Freemen of the City, and the Livery Companies. It was a government made of merchants and artisans who owned the freeholds to the buildings out of which they operated, or belonged to guilds that did, and were therefore called “free.”
And this is true. The City’s leaders can be shown to have been responsible for instigating virtually every change of dynasty that has marked the history of Britain. This is outside of the scope of today’s lecture though.
Concepts associated with Mithras came to be central to the kind of financial and mercantile empire that rose up from that very location in London. As Blake Rosenberg explains in Genuflect:
The ranks of the Mithraic cult throughout the Roman Empire were initially filled with soldiers. Most of them were foreign legionnaires, rather than native Romans. And these, as any student of history knows, were not free men, but slaves.
In the Roman Empire, virtually every person with any sort of functional job was officially a slave to some landholder. The landholders did not work. They owned people who would do everything for them. Even the office-holders in the municipal governments were not free men, with the occasional exception of someone who was able somehow to purchase or earn their freedom. This is why these government office-holders were called, in Latin, servi publici—‘public servants.’
Within the Temples of Mithras, the social order was always upended in the same manner. Even in the later years, when the Emperor himself had joined and the latifundia were flocking to mithraeums, we find in the records the names of slaves shown to be worshipping alongside their free superiors, often with the slaves occupying the positions of leadership. As Mithraic scholar Franz Cumont put it, ‘In these societies, the last frequently became the first, and the first the last….’
The point here is that the rise of Mithraism signaled a cultural change in which things other than the accident of birth determined one’s social status. But it would take two thousand more years, the invention of credit-based banking by the Knights Templar, the rise of Italian mercantilism, then the Industrial Revolution, and the rise of corporate power against the crown represented by the City of London before the social order would be changed from one of blood to one of money. Our system now is based on credit, which is based on trust in the validity of contracts.
It has been repeatedly pointed out by other authors, especially when the Temple was first discovered, that the presence of an ancient Roman mithraeum in the City of London, the heart of global finance, is ironic. As Blake Rosenberg explains in Genuflect:
The Mithraic cult was called the Syndicoi—the “People of the Handshake,” from which we get our word “syndicate.” This is based on the deal that was struck, according to Mithraic mythology, between Sol and Mithras. After Sol and all of his henchmen, the other planetary Archons, had been defeated by Mithras in his march to the highest sphere in heaven, they made an agreement with each other to share both the power and the glory of the Sun, which they sealed with a handshake, before sitting down to break bread together.
Some historians believe that the very origin of the custom of shaking hands, performed millions of times a day now, most often in a business setting, had its origins with the Mithras cult. This agreement between Sol and Mithras, which Mithraists believed kept the Sun rising and setting each day, was based upon mutual trust in the sacred nature of the oath. This is why they would invoke the name of Mithras as the enforcer of oaths whenever a new contract was signed. This same ethic, as we all know, is what lies behind everything that happens in business and finance today….
Returning again to the site of Bloomberg’s new headquarters and the restored Temple of Mithras, we should now note the other places nearby. Down the street is St. Paul’s Cathedral, and right across from that, the stock exchange. But right next door are the Bank of England and the Rothschilds headquarters, New Court.
The Rothschilds financed the Bank of England since the beginning, and were largely responsible for insisting that it be created in the first place. New Court has been the site of the Rothschild empire in London since Nathan Rothschild purchased property there in the 1800s. His family have run their business from that very site, and even raised many of their children there, since that time, though the building has been reconstructed several times. They used to fix the price of gold and silver there everyday, before the London Bullion Market Association started doing it next door.
In my novel, several scenes take place at New Court. I feel the Rothschilds are sufficiently famous and powerful enough that they are open to this kind of fictionalizing. Much of what I’ve said about them, and this location, in the novel is entirely based on truth. However, I did invent a few family members that don’t exist just for the story, and some weird practices that I have no proof they’ve ever engaged in.
But there are many rumors surrounding the Rothschilds that are really much worse than anything I have invented. Their involvement in the occult has been suspected from the very beginning. Many don’t know it, but Nathan Rothschild was rumored to have an alleged “Hebrew talisman” that allowed him to become the “Leviathan of finance.” The name “Rothschild” means “red shield,” and is thought to refer to a sign their ancestor Mayer Amschel used to put outside his shop in Frankfurt. Many have assumed it featured a hexagram. This is not the case.
The red shield is represented on their coat of arms, and on top of this is a buckler, a smaller, round shield with a point in the middle. I find it an extraordinary coincidence that the location of both the Rothschilds’ headquarters in London and the new Bloomberg building is called “Bucklersbury,” and nobody is certain about the origin of the name. It seems to come from the original property owner, Buckerel, a per-medieval Germanic name that does indeed translate to “buckler.”
Then I noticed something else while looking at an aerial shot of the site. I thought the main Bloomberg building kind of looked like a keystone with a chunk taken out of it. The one on the side, by itself, looks like a coffin to me.
However, I also noted that the plot of land itself surrounding both of these buildings looked a lot like the diamond-shaped Superman logo. At first I just thought this was funny, but subsequent research revealed that it was a very important connection, and it plays a huge role in my fiction story.
I won’t give away here the meaning of the shape, but keep in mind that the Superman character is considered a representation of Jewish identity. As I learned in film school, it was literally created to represent Jewish immigrants from Europe hiding in plain sight in the entertainment industry behind Westernized names, just like Superman hides behind the persona of Clark Kent. However, the significance of the shape also has to do with alchemy, sacred geometry, the Masonic Royal Arch keystone, the gem-cutters of Belgium, and the work of John Dee, who once lived on this very site because of his obsession with the London stone, another relic that plays an important role in [the story of Genuflect]. Dee’s most cryptic masterpiece, Monas Hieroglyphica was written in Antwerp in a two-week mystic frenzy, completed on January 25, 1564, and published on March 31 of that year–the same date on which the events in Genuflect culminate, coincidentally (I did not know this until the novel was almost totally finished and had already chosen the date). Below are some visual hints as to what it means in the context of the story.
[Note: This part of the mystery dealt with in Genuflect is so deep it will be developed even more in future writings.]
Of course Nietzsche and later Hitler used the word “ubermensch,” or “superman,” to indicate a new breed of humanity, superior in abilities, but also cruel and vicious, whom they believed would come about someday. Hitler believed in forcing the issue by controlling human breeding to create supermen. Aleister Crowley was perhaps the first to use the English word “superman,” which he used to describe a magical being created through ritual by supernatural means, such as the anal birth of a homunculus previously mentioned.
Now here’s another amazing coincidence to consider. It is known that the character of Lois Lane, Clark Kent’s girlfriend, is based on a girl that Superman’s creator, Jerry Siegel, had a crush on in high school in Cleveland. Her name was Lois Rothschild. I did not discover this until after I started looking for occult significance to the Superman logo. None of the articles on this subject say she’s related to the banking family. But even if this is all a coincidence, I still believe it points to something significant. An interpretation is hinted at in the novel, as you can discover for yourself.
The reason why I chose “Blake” as Rosenberg’s first name was as a shout-out to William Blake, whose ideas about London wound up influencing my story quite a bit. He wrote about London as a sort of microcosm of the world, and analogous, or even truly identical to “Jerusalem.” This primordial city he called “Golgonooza,” but it had all the same street names and monuments as his own contemporary London.
To Blake it was the first created space, out from which creation radiated as it case into being at the beginning of time, analogous to the “Even Shitiyah,” the rock in the Dome of the Rock. Jews believe it was the Foundation Stone of creation, from which everything else sprang, and from which all the dimensions of space should be measured, just like the Roman millarium stones, like what the London Stone was used for. And interestingly, a reproduction of the Even Shitiyah is used as the altar in the church called “St. Stephen Walbrook,” located on St. Swithin’s Lane, essentially an alley between Bloomberg London and the Rothschild headquarters of New Court.
In Blake’s poems, Jerusalem/London/Golgonooza is not just a city, but also a living being. It is at once the female sex partner and the “emanation” of a more all-encompassing being called “Albion,” an ancient name applied to the British Isles. Blake’s Albion is said to be the same as Chronos or Saturn.
As it turns out, Chronos was said by Plutarch to be buried somewhere beneath the British Isles, in a “death-like sleep,” in a “tomb” guarded by someone named Briareus. This is a Titan, a son of Ouranos like Chronos. He is one of the Titans that guards the gates of Tartarus. When he was defeated by his son Zeus, Chronos and the Titans were locked in Tartarus, which is in the center of the Earth. That means the tomb beneath England where Chronos resides is Hell, and the myth is telling us that there’s an entrance to Hell in England.
This myth must certainly be connected to the ravens that are said to “guard” the Tower of London. Supposedly, if there are ever less than six ravens there, the kingdom will fall. So they always keep nine there, the required six, plus a few spare, just in case something bad happens to one or more of them. Ravens are closely related to crows (and referred to by the same word in many languages). These are symbols of Chronos, associated with death and flesh-eating, although in the rites of Mithras, “Raven” is the introductory grade, associated with the mysteries of Mercury. But in alchemy, the “Crow’s Head” or “Raven’s Head” is a term for the putrefaction stage of the process, representing death and the power of Saturn.
In my mind I couldn’t help but connect the ravens in the Tower of London to the birds that are said to bring Chronos ambrosia to eat while he sleeps in his tomb. As I have always suspected “ambrosia” to be human flesh, it makes sense that these birds would be ravens. Six is a number associated with Saturn also.
Mithras, meanwhile, was also considered to be identical with Saturn. In the cult, the highest ranking members, the “Fathers,” were thought of as his incarnations. These priests, like Mithras himself, wore the same Phrygian cap, just like Saturn did. And strangely, also, Cybele’s priests wore them too. This hat was also known as a “liberty cap,” because in Rome it was the symbol of a slave that had been freed. All slaves wore them during the festival of Saturnalia at the winter solstice, because they were considered free during this time period. Indeed, all rules were considered null during these days, giving way to orgies, drinking, and mischief.
This was done in honor of Saturn and his Golden Age, when, it is said, nobody had to work. It is the reason why we all take vacation around Christmas, and why Santa Claus wears that funny red hat. It’s also why we get wildly drunk on New Years Eve, just on the like the “Feast of Fools” celebrated in medieval Europe, when the social order would be upturned in honor of the “Lord of Misrule.” It’s why the liberty cap became the symbol of the French Revolution, inspired by Freemasons, who, like the temples of Mithras, gave no regard to social status within the boundaries of their lodges.
Now you may be wondering if there is any connection between the cults of Mithras and Cybele, since they are both featured in my story and both connected to the figure of Baphomet. Despite many claims to the contrary by scholars, I am convinced there is. Besides the fact both cults were imported to Rome from Persia and both featured bull sacrifices, the myths of both figures fit together in an important way that has been largely ignored until now.
To summarize as briefly as possible, Mithras was said to be born from a rock, which he ripped his way out of with a knife, just like Saturn or Chronos ripped his way out of the connected bodies of his mother and father. And just like Chronos, Mithras then became the new god of whatever was outside.
Now Mithras reportedly hated women, which is why his cult only admitted men. When he wanted to have a son of his own, he is said to have spilled his seed on a rock, from which sprang the god Orphos. This is the cosmic egg. This is how he created a universe for himself to rule over.
Cybele, on the other hand, was said to actually BE a rock herself, from which her son, who was later castrated, parthenogenically sprang. However, a further story tells that she was originally a hermaphrodite god in Olympus. The other gods were afraid of her freakishness, it was said, so they had her castrated and then threw her out, down to Earth. Now just as Mithras hated women and natural procreation, Cybele had a similar attitude.
Prudentius, a Roman Christian poet, writing in the fourth century, said:
Both sexes are displeasing to Cybele’s holiness, so he keeps a middle gender between the two.
Notice he referred to Cybele as ‘he.’ We are dealing with the personalities of a hermaphrodite that has been separated, and from which our universe was made. In my novel I explore the cosmic consequences of this at great length.
Returning to William Blake, his main writing on the subject of Albion and London was an epic poem, Jerusalem, which he called a “prophecy,” although it seems more about the beginning of time than the end. He also explored some of the same themes in Milton, a Poem, where he famously used the phrase “Satanic mills.” This is almost invariably interpreted solely as a reference to Industrial Revolution-era factories, but seem to me to refer more to the “Starry Wheels of Heaven” that he described elsewhere in these two poems, covered with eyes and turned by Albion himself.
This is what Blake said causes the wheels of Heaven to turn. In my story I linked these wheels with the well-known Sator Square of ritual magick—Sator Arepo Tenet Opera Rotas—where the figure of Saturn is named in metaphor and then is said to “work the wheels” of a mysterious plough.
The Romans considered Saturn a god of agriculture, just as Blake’s Albion is a god of vegetation, and they credited Saturn with inventing the plough. But since Saturn is considered the patron planet ruling over the art of alchemy, it is likely the “celestial agriculture” of supernatural transmutation that is being referred to by the Latin square.
Part of the preface to Blake’s Milton poem was turned into a song that became a sort of national anthem in England. It’s called “And did those feet in ancient time.” The title is also the first line of the poem, questioning whether or not Jesus once walked in England, as legends associated with Glastonbury and Arthurian lore suggest.
Interestingly, Prince William and Kate Middleton chose to have the Blake’s Jerusalem played at their wedding. Furthermore, the House of Windsor’s official wedding announcement on their website included an image of two naked people floating in the sky holding hands. This is taken from an illustration made by William Blake for another poem of his, with an ominous name given this context: The Marriage of Heaven and Hell.
Prince William, in fact, figures as a character in my story, though he is not directly identified by name.
My story takes place at the end of March 2018, coinciding with the traditional dates of the rites of Cybele and Mithras both, around the time of the equinox. It ends on Easter, which just so happens to be April Fools Day next year, a point of significance in the story.
POSTSCRIPT: Two days ago, I discovered that all of the angles on Bloomberg’s main building on the site add up to 729, the numerical value of both the names “MITHRAS” and “BAPHOMET,” which I had embedded throughout my whole story since I started it many months ago. The parallels between my fiction story and reality are freaking me out every day.
Here’s a YouTube playlist I compiled while I was writing the book, full of videos I used for research into the various subjects dealt with therein.
BOW DOWN TO THE NEWBORN SUN
Can a perverted sex magic ritual, performed in an ancient temple in the heart of modern London, destroy the very foundations of both Heaven and Earth?
Holy Week, March 2018: Pamela Auger, an independent American author and researcher of the occult, has been hired by a member of Britain’s House of Lords to give a lecture at a gentleman’s club in London. Leopold Black, Baron of Alphamstone, wants her to discuss an artifact that she’s discovered hidden in the overstock rooms of the British Museum, allegedly connected to the Knights Templar. But when her flight to England is delayed, she’s a full day late to arrive, and lands herself in a living nightmare. She discovers quite by accident, with the help of two MI5 agents, what kind of people truly control London, and the rest of the world. The gruesome, fantastic and existentially horrifying events that follow will shake her understanding of reality into something she could not have imagined.
TRIGGER WARNING: This book contains scenes of rape, torture, and murder of people, including children, that any sane person will find disturbing.
NOTA BENE: While several of the characters in this story have certain aspects based on known, powerful figures in the modern world, I make no claim that these people are involved in any nefarious deeds such as those depicted here, nor is it my intention to malign them. These characteristics were borrowed for artistic purposes only.
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