Archive for the ‘Human Alchemy’ Category

Founder of American Judaism, Rabbi Isaac Mayer Wise: "Masonry founded by Jews as a cosmopolitical institution"

December 7, 2012

Also see:

A Lesson in Globalism

NOACHIDAE. The descendants of Noah, and the transmitters of his religious dogmas, which were the unity of God and the immortality of the soul. The name has from the earliest times been bestowed upon the Freemasons, who teach the same doctrines. Thus in the “old charges,” as quoted by Anderson (Const. edit. 1738, p. 143), it is said, “A mason is obliged by his tenure to observe the moral law as a true Noachidae.” (The Symbolism of Freemasonry: Illustrating and Explaining Its Science and Philosophy, its Legends, Myths and Symbols, Albert G. Mackey)

TALMUD. The mystical philosophy of the Jewish Rabbins is contained in the Talmud … In the Talmud much will be found of great interest to the masonic student. (The Symbolism of Freemasonry: Illustrating and Explaining Its Science and Philosophy, its Legends, Myths and Symbols, Albert G. Mackey)

CABALA. The mystical philosophy of the Jews. The word which is derived from a Hebrew root, signifying to receive, has sometimes been used in an enlarged sense, as comprehending all the explanations, maxims, and ceremonies which have been traditionally handed down to the Jews; but in that more limited acceptation, in which it is intimately connected with the symbolic science of Freemasonry, the cabala may be defined to be a system of philosophy which embraces certain mystical interpretations of Scripture, and metaphysical speculations concerning the Deity, man, and spiritual beings. In these interpretations and speculations, according to the Jewish doctors, were enveloped the most profound truths of religion, which, to be comprehended by finite beings, are obliged to be revealed through the medium of symbols and allegories … (The Symbolism of Freemasonry: Illustrating and Explaining Its Science and Philosophy, its Legends, Myths and Symbols, Albert G. Mackey)

Also see:

Papal Commission Promotes Noahide Laws

Pope Benedict’s ‘Noahide Law’ Commission Mocks Victims of Talmudic Economics


Hans Kung, Pied Noahide Piper


One World Religion Under the ‘Noahide’ Rainbow

The REAL Hidden Dangers of the Rainbow

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On the Contrary: The John Paul II Theology of Pope Benedict XVI

February 3, 2009

On the Contrary: The John Paul II Theology of Pope Benedict XVI

On the Contrary: The John Paul II Theology of Pope Benedict XVI

February 3, 2009

On the Contrary: The John Paul II Theology of Pope Benedict XVI

Paul VI Portrait

April 18, 2007

One overt signal of occult infiltration in the Catholic Church came through a painting. In 1970 a German Lutheran received permission from Pope Paul VI to observe him during papal audiences in order to paint his portrait. Ernst Günter Hansing presented the Pope with the finished portrait in 1972. It was published in full color in the April 1972 edition of the Smithsonian, together with Paul VI’s cryptic commentary: the Pope stated that the portrait is “a mirror of the situation in the Church today,” and furthermore that “one almost needs a new philosophy to grasp the meaning of it’s context.”

The last comment is certainly no understatement, for the painting is pure Revelation-of-the-Method and portrays the pontiff as not only ugly, but even repellent and evil–clutching a dagger and destroying St. Peter’s Basilica …

The Pope’s ambiguity concerning the diabolical images [and] themes in the painting and his public acceptance of the portrait and it’s artist appear to be signals for those who could discern their meaning … (Craig Heimbichner, Blood on the Altar, pg. 106-107)

Paul VI Portrait

April 18, 2007

One overt signal of occult infiltration in the Catholic Church came through a painting. In 1970 a German Lutheran received permission from Pope Paul VI to observe him during papal audiences in order to paint his portrait. Ernst Günter Hansing presented the Pope with the finished portrait in 1972. It was published in full color in the April 1972 edition of the Smithsonian, together with Paul VI’s cryptic commentary: the Pope stated that the portrait is “a mirror of the situation in the Church today,” and furthermore that “one almost needs a new philosophy to grasp the meaning of it’s context.”

The last comment is certainly no understatement, for the painting is pure Revelation-of-the-Method and portrays the pontiff as not only ugly, but even repellent and evil–clutching a dagger and destroying St. Peter’s Basilica …

The Pope’s ambiguity concerning the diabolical images [and] themes in the painting and his public acceptance of the portrait and it’s artist appear to be signals for those who could discern their meaning … (Craig Heimbichner, Blood on the Altar, pg. 106-107)

Paul VI Portrait

April 18, 2007

One overt signal of occult infiltration in the Catholic Church came through a painting. In 1970 a German Lutheran received permission from Pope Paul VI to observe him during papal audiences in order to paint his portrait. Ernst Günter Hansing presented the Pope with the finished portrait in 1972. It was published in full color in the April 1972 edition of the Smithsonian, together with Paul VI’s cryptic commentary: the Pope stated that the portrait is “a mirror of the situation in the Church today,” and furthermore that “one almost needs a new philosophy to grasp the meaning of it’s context.”

The last comment is certainly no understatement, for the painting is pure Revelation-of-the-Method and portrays the pontiff as not only ugly, but even repellent and evil–clutching a dagger and destroying St. Peter’s Basilica …

The Pope’s ambiguity concerning the diabolical images [and] themes in the painting and his public acceptance of the portrait and it’s artist appear to be signals for those who could discern their meaning … (Craig Heimbichner, Blood on the Altar, pg. 106-107)