The Roman poet Virgil wrote in his Eclogue IV that the return of “old Saturn” was accompanied by the return of Justice. The poet wasn’t using allegory to depict the return to an age of law and order; Justice was a goddess, Justitia, equivalent to the Greek goddess Dike.
Justitia was believed to be the daughter of Zeus and the Titaness Themis, the goddess of divine law and order, the rules of conduct established by the gods. Justice is the punisher of those who transgress the statutes of the gods. In that sense, she’s like the ancient Mesopotamian goddess Inanna, who tricked her uncle Enki, the god who’d sent the apkallu (Watchers) to humanity with the gifts of civilization, into giving her the mes (pronounced “mezz”), which were the concepts that established the divine order of life. Inanna, better known as the Akkadian goddess Ishtar (and Astarte of the Bible), was the goddess associated with sex, war, justice and political power. I discussed this entity in depth in my book Bad Moon Rising:
An Old Babylonian text first translated and published in 1997 seems to confirm at least some of the Bible’s negative characterizations of Inanna’s Canaanite counterpart, Astarte, including cult prostitution, “cross-gender activities…and the performance of sexual acts.” […]
With all due respect to the learned scholars who have described this entity as “a complex, multifaceted goddess,” the character of Inanna/Ishtar isn’t as complicated as she’s made out to be. Frankly, she’s a bad screenwriter’s idea of a fifteen-year-old boy’s fantasy, interested mainly in sex and fighting and better than men at both. She was selfish and violent, ruled by her passions, and incredibly destructive when she didn’t get her way.
This is consistent with what we’ve seen of the riots for social justice that have spread around the world since the end of May, 2020. We shouldn’t be surprised; myths of the pagan gods are propaganda to persuade humanity that they, not God, are the rightful rulers of earth. The divine order that “Justice” defends is opposed to the order decreed by God. The recent focus on “social justice” by activists around the world is a case in point. What rational person would conclude that civil disorder resulting in the most costly insurance claims since 1950 from “arson, vandalism, and looting” (the first year those figures were tracked) is in any sense justified? It’s not justice by any normal definition of the word. “Social justice” has been deployed by movements like Antifa and Black Lives Matter to rebrand hatred, bigotry, and discrimination. “Anti-racism” in the form of Critical Race Theory is good, old-fashioned racism that’s been weaponized to tear apart the fabric of Western civilization. As far back as 1934, Henry Wallace, later FDR’s vice president during World War II, decried a failure to “bring the kingdom of heaven to earth in terms of social justice” that he blamed on racism, capitalism, and nationalism. These are the very sins laid at the feet of Donald Trump and his supporters, typically identified by progressives in the media as white conservative Christians. As Sharon put it in Zeitgeist 2025:
Welcome to the Age of Aquarius, my friends, when the gods of harmony and understanding define us all as bigots and haters. Social justice is being poured out like water from the NEW GODS of Capitol Hill, Saturn and Justitia, and we’re expected to enjoy owning nothing.
This and the draconian response to COVID-19 comprise the chaos that occult adepts believe will produce a New World Order, the manifestation of Ordo ab Chao—Order Out of Chaos. This is the return of Justice, who heralds the imminent arrival of old Saturn and his Golden Age. The Great Reset initiative of the World Economic Forum is one of the physical manifestations of the spiritual sea change that occult adepts are working to bring about.
There are additional identities by which old Saturn has shown himself to the world. Describing them in detail would fill a few extra chapters of this book. For example, Cernunnos, the horned god of the Celtic pantheon, possibly derives his name from Kronos (= Semitic qeren, “horned one”). Based on his representations in art, Cernunnos was one of the most important gods in Celtic cosmology, but because the Celts didn’t leave a body of literature to explain their religion, we’re left guessing as to his character and cult. However, there is a clear link between Cernunnos and the underworld, consistent with the character of this entity throughout history:
[Cernunnos] is commonly represented squatting with crossed legs. Why? I think it is an allusion to his chthonian infernal nature. Macrobius tells us that Saturn was sometimes represented with tied legs, while Triton trumpeters with their tails thrust into the ground were sculpted on the fronton of his temple. Being assimilated to Kronos, Saturn, as well as the Titans and Giants, is son of Uran and Earth. Since the Giants were often represented with snake coils instead of legs, we may generically suggest that this feature alluded to supernatural beings which could live under ground. As Lampridius (Comm. 9) observes “to go with coils instead of legs and feet is like to move with the knees tied by bands, quasi dracones [as dragons].”
This is an unexpected connection between Saturn and the divinized Washington on the Capitol dome, who’s clearly sitting with his legs crossed beneath the purple cloak.
Now, let’s go back to the riot at the Capitol. January 6 is the date celebrated each year by Western Christians as Epiphany, and Theophany by Christians in the Eastern churches. It’s sometimes called Three Kings Day; the twelfth day of Christmas, when the three wise men from the East visited the Christ child. It marks the revelation of God incarnate in the form of Jesus. And what happened on Epiphany in 2021? America’s temple was invaded by, as Sharon colorfully described them, the “‘Q-Anon Shaman’ in his crazy buffalo hat along with his selfie-taking hooligan buddies.”
Remember the very long association of bull imagery with this old entity—the horned helmets of ancient Sumer that indicated divine status, the name Kronos, the “horned one,” king of the Titans (from Akkadian ditânu, “bison”), and the epithet of the god who held court on Mount Hermon, “Bull El.”
Isn’t it odd that a man wearing a symbol of this old god should burst into the Capitol, and the national consciousness, on the day Christians celebrate the revelation of the One True God?
It would be a startling coincidence, if I believed in coincidences. Whether he knew it or not, the Q-Anon Shaman announced the return of the old horned god Saturn/Kronos/El in America’s temple on the day marking the revelation of Christ’s divinity.
There is one other strange convergence of symbols inside the United States Capitol. Several figures depicted inside the Capitol wear a Phrygian cap, a soft conical hat bent over at the top. According to the architect of the Capitol, this piece of headgear, also referred to as a liberty cap, was adopted as a symbol of freedom in the nineteenth century.It’s called a Phrygian cap because it was associated with Phrygia, an ancient kingdom in west central Anatolia (modern Turkey) that reached its peak in the eighth century BC under King Midas (yes, that one; he was real, although his “golden touch” was made up). A similar conical felt cap called a pileus was given to freed slaves in ancient Rome, and it made a comeback as a symbol during the American and French revolutions.
Constantino Brumidi painted figures wearing the red Phrygian cap throughout the Capitol. They are generally female—for example, the goddess Liberty to Washington’s right in The Apotheosis of Washington and the war-goddess Bellona in the Senate wing. However, Young America is depicted as a young man wearing a toga and a Phrygian cap in the section of The Apotheosis of Washington called “Agriculture,” where America holds the reins of a horse while standing next to the grain-goddess Ceres, who’s seated on a McCormick Reaper, a mechanical harvester that helped revolutionize American farming. The relevant bit here is that the depiction of America wearing a Phrygian cap is oddly similar to classical artwork featuring Ganymede, a minor figure in Greco-Roman religion.
Ganymede was believed to be the son of Tros, king of Troy, and “was comeliest of mortal men.” He was so comely, in fact, that he caught the fancy of the king of the gods, Jupiter/Zeus. By the late sixth century BC, after the Persian conquest of Asia Minor, Phrygia had expanded to include northwestern Anatolia, the region around Troy—hence Ganymede’s Phrygian cap. Zeus/Jupiter was so smitten with the young man that the storm-god transformed himself into an eagle and abducted Ganymede while he tended sheep on Mount Ida.
If you’ve heard the story, it was probably characterized as an honor for the young shepherd. After all, Ganymede was made the cupbearer of Zeus/Jupiter and allowed to live among the gods of Olympus. Who wouldn’t want that?
But there’s more to the story. The original tale is darker.
First, we need to remember that the storm-god—Baal in Canaan, Zeus in Greece, and Jupiter in Rome—was identified by Jesus as Satan (see Matthew 12:22–26, and note that Beelzebul = “Baal the prince”). The Canaanites believed the Rephaim were the “warriors of Baal.” Recall the importance of the kispum among the ancient Amorites, a monthly ritual meal for the ancestral dead. The kispum featured a libation (drink offering), and the rite was so integral to Amorite society that the eldest son, the heir to the family estate responsible for performing the ritual, was called the “pourer of water” or “son of the cup.” This custom was transmitted to the Greeks and Romans, who preserved the practice of preparing communal meals for the ancestral dead.
So, the story of Ganymede is essentially the tale of a beautiful boy abducted by the lord of the Rephaim to serve as his personal “pourer of water.”
But the relationship went much farther than that. The Greek philosopher Plato, writing in the fourth century BC, attributed the story of Ganymede to the people of Crete:
Whether one makes the observation in earnest or in jest, one certainly should not fail to observe that when male unites with female for procreation the pleasure experienced is held to be due to nature, but contrary to nature when male mates with male or female with female, and that those first guilty of such enormities were impelled by their slavery to pleasure. And we all accuse the Cretans of concocting the story about Ganymede. Because it was the belief that they derived their laws from Zeus, they added on this story about Zeus in order that they might be following his example in enjoying this pleasure as well.
In other words, Plato claimed the Cretans invented the tale to justify their practice of homosexuality.
However the story originated, the relationship between Ganymede and Zeus/Jupiter was well understood in the Greco-Roman world. The Latin form of Ganymede’s name is Catamitus, from which we get the English word “catamite,” which is a pubescent boy who’s sexually intimate with an adult man. And the depiction of America on the Capitol dome as a young man wearing a Phrygian cap is similar to classical images of Ganymede, who was abducted to serve as the boy toy of Zeus/Jupiter (Satan), whose temple in Rome is the source of the name of the Capitol.
But the significance of Young America as Ganymede doesn’t end there. You see, as a reward for his, well, service, Zeus immortalized the young shepherd by placing him among the stars—as Aquarius, the Water Bearer.
Aquarius—the new age inaugurated by the Great Conjunction of December 21, 2020.
So, not only is Young America represented in the United States Capitol as the submissive sexual partner of Jupiter (Satan), he symbolizes the new Golden Age ruled by Saturn (Shemihazah).
Rather than exhausting the subject after the point has been made, we’ll summarize: The chief god of the Roman pantheon, the deity worshiped in the Capitolium, was the storm-god, Jupiter. Under the names Zeus, the storm-god of the Greeks, and Baal, the West Semitic storm-god, he was unmasked by Jesus and identified as Satan. He is the god of this world, the spirit of this age. But Virgil, and others since, longed for a return of the Golden Age of Saturn that would replace the Age of Iron ruled by Jupiter and bring back a time of ease and prosperity.
The Capitol, America’s “temple to democracy,” was named for the temple of Jupiter Optimus Maximus but modeled on the Pantheon. That structure was designed by a friend of Caesar Augustus to represent the apotheosis of Caesar and his predecessor, his uncle Julius, the founders of the Roman Empire. Likewise, the Capitol symbolizes the godhood of the man described as the father of our nation, George Washington. Like Augustus, through whom Virgil believed the Golden Age of Saturn had returned, Washington was cast as the agent of this supernatural transfer of power—the return of the god who’s been imprisoned in Tartarus to bring with him a new Golden Age.
The modern-day spiritual descendants of Virgil are trying to make the return of Saturn a reality. There are powerful, wealthy people who believe the stars signaled the advent of this new Golden Age, Saturn’s return to his proper place in the Capitol, on December 21, 2020, with the conjunction of the planets that bear the names of the two great Roman gods.
Next: The cults of Saturn
 Sjur Cappelen Papazian, “Lady Justice (mother) and Lady Liberty (maiden).” Cradle of Civilization, Sept. 25, 2018. https://aratta.wordpress.com/2018/09/25/lady-justice-and-lady-liberty/, retrieved 5/1/21.
 Derek P. Gilbert, Bad Moon Rising (Crane, MO: Defender, 2018), pp. 116–120.
 Jennifer A. Kingson, ”Exclusive: $1 Billion-plus Riot Damage Is Most Expensive in Insurance History.” Axios, Sept. 16, 2020. https://www.axios.com/riots-cost-property-damage-276c9bcc-a455-4067-b06a-66f9db4cea9c.html, retrieved 5/1/21.
 Henry A. Wallace, Statesmanship and Religion (New York: Round Table Press, 1934), pp. 78–83.
 S. Gilbert (2021), op. cit.
 Wyatt (2010), op. cit., p. 55.
 Adolfo Zavaroni, “Remarks on Three Figures of Cernunnos.” Academia.edu. https://www.academia.edu/13354523/Remarks_on_three_figures_of_Cernunnos, retrieved 5/1/21.
 S. Gilbert (2021), op. cit.
 AOC Curator, “The Liberty Cap in the Art of the U.S. Capitol.” Explore the Capitol Campus: Our Blog, Jan. 29, 2013. https://www.aoc.gov/explore-capitol-campus/blog/liberty-cap-art-us-capitol, retrieved 5/7/21.
 Homer, The Iliad of Homer. Rendered into English Prose for the Use of Those Who Cannot Read the Original, ed. by Samuel Butler. Book XX, line 233 (Medford, MA: Longmans, Green and Co., 1898), digital edition.
 Plato, Laws 1.636c—1.636d. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0166%3Abook%3D1%3Asection%3D636c, retrieved 5/7/21.