Our Lady of the Olympics
* For exhibits of “Our Lady of the London 2012 Olympics,” see Rihanna as “Our Lady of Fátima” - ťPart 44 - 2012 London Paralympics
The goddess that has long been known as the Queen of Heaven is bringing the people of the world together to worship as one through Marian apparitions like those at Fátima, Portugal in 1917. There is a parallel work being done through the Olympics, where her dominating presence is unsuspected by most but yet is quite real. The Romish Church and the Olympism of Greece are partnered in promotion of the same gods and agendas. This activity is preparing the world to receive the lawless one, the Antichrist, with open arms.
The Jesuit trained Baron Pierre de Coubertin founded the modern Olympic Games. He studied humanism in Paris at the Jesuit Collčge, St. Ignace, or Saint Ignatius College. The Jesuits are big on education, and that was certainly Coubertin's occupation. Jesuits have also been big on subversion. Coubertin was a good student. The Olympic Games have had a very significant role in unifying the diverse peoples around the globe in a special way that is not merely secular, humanist or material. When he died, his funeral took place in Lausanne, Switzerland, at the Church of Notre Dame du Valentin. Notre Dame, means, Our Lady! The “Blessed Virgin Mary” of the Jesuits was honored at his funeral as in his life. Today we have the first Jesuit Pope in history, and it seems one of the primary goals of the Jesuits has been met as the Antichrist is shortly to be revealed.
Since 2008 and the Summer Olympics in Beijing, I've written volumes about the symbolism of Olympic ceremonies and the evident signs of the practice of ritual magick on a major scale. The IOC (International Olympics Committee) is the primary vehicle for the religion of Olympism, and by it people from anywhere and everywhere come together to worship as one. The sports and arts and all their familiar activities are dedicated to the gods of Olympus, and those who participate in those activities are giving honor to those gods. You don't have to kneel before a statue because the simple acts of participation in their devoted activities is all that's required for engagement in idolatry.
Where is Mary in all this? What is probably “Our Lady's” most potent presence is found in association with the Sacred Olympic Flame, as Artemis and Hestia. As the goddess Nike, Mary is present as the unseen agent who crowns the victors. She appears in the tradition of the doves of peace as Aphrodite. Her presence and work of bringing forth the Antichrist as Isis is even represented in the ubiquitous logo! Those aspects are common to all the Games, yet sometimes a host nation contributes even further to the Marian presence through their symbolic theatrical entertainments and design elements unique to their setting. In another study, I intend to present some very striking examples from the Games of the XXX Olympiad in London, 2012, including where Our Lady of Fátima is given special recognition.
Mary-Isis: “Our Lady of the Olympic Rings Logo”
The Olympic logo design of interlocking rings is an elegant geometrical exhibit of the esoteric 47th Problem of Euclid. The rings logo was personally designed by the Jesuit trained Baron Pierre de Coubertin in 1912. Jesuits (The Society of Jesus) worship the Marian apparition's Jesus-Horus and they specialize in matters of esoteric symbolism and spiritual inspiration. In 2013, I expounded on the Occult meaning of that geometrical proof in a series titled Signs of Horus Worship. The 47th Problem has to do with producing Horus, or, as he is primarily known to those who practice Olympism, Apollo. By making obscure references to the 47th Problem of Euclid, the Illumined practicers of the Occult are operating an ancient form of sex magick that illustrates the union of Osiris and Isis to produce Horus. The supernaturalism works to produce Horus in reality, who will manifest in a human body as the Antichrist.
As I document in the series mentioned above, the solution to the 47th Problem of Euclid involves the geometric proof that uses the areas of a right triangle and the Pythagorean theorem. The esoteric solution is discovered in the assignment of the Egyptian gods to each of the three sides of the triangle. This is the basis for a symbol code where the number 3 represents Osiris, Isis is 4 and Horus is 5. The way two of the sides combine in a projection onto the hypotenuse geometrically illustrates the union of Osiris and Isis to produce Horus. On this basis, the heavenly union producing Horus in this earthly realm may be advanced magickally using symbolic geometrical or numerical references to the solution.
A right triangle is most simply described as having sides that are the whole number 3, 4 and 5 units long. Those numbers are inherent in the design of the Olympic Rings logo. Count the rings - five. Horus! Count the vesica piscis formed at the joining of two rings - four. Count the places where three rings join - three. Those are the counts of unique elements created by the elegant design. It says, in the obscure but precise language of what Pagans call sacred geometry, that this symbol is silently working to produce Horus through the supernatural union of Osiris and Isis. The sex magick symbol of Olympism produces Apollo.
The Olympic Rings logo has the form of a pyramid that is inverted and truncated. Such an image appears on the Great Seal of the USA with the glowing capstone eye hovering above it, and that very object is assumed as the sixth ring required to complete the implied form.
Here's an important connection to note. As with the rings logo, a pyramid has the implicit 3, 4 and 5 numbers of the base Pythagorean triple, a fact you should be aware of if you're familiar with the series of Horus worship posts. Each rising face has 3 sides and 3 corners. Osiris. It sits upon a base of 4 sides and 4 corners and has 4 faces that rise to a common apex. Isis. There are 5 faces and 5 corners in total. Horus. Every pyramid testifies in the code language of Euclid's 47th Problem to the union of Osiris and Isis producing Horus.
There is a distinctly feminine aspect to the design. Consider how the shape of the logo is that of the female pubic patch, which is generally represented in symbol as a downward pointing triangle. The female gender is further emphasized because the rings are circles (square-male - circle-female). The intersections of the rings suggest the vesica piscis symbol, which represents the yonic or female genitalia. The logo is quite feminine in gender which presents a strong symbol of the divine feminine or goddess. There are 4 of the yonic vesica piscis, which is the Isis number of Euclid's 47th Problem. Isis, that's the Marian entity who is exalted by the Jesuits: “Our Lady of Olympism.”
In the above collection of posters spanning three consecutive Summer Games you can see how the inspired artists leverage the logo-as-pubic patch imagery.
In the poster promoting the 1900 Games in Paris, we see the goddess positioned above the phallic tower in a way that is more than a little suggestive of sexual intercourse. This poster came about twelve years prior to Coubertin's crafting of the rings logo.
For the poster of the 1946 Summer Games in Paris, the Olympic imagery is overlaid upon the Blazon of Paris, the central part of the city's official coat of arms. The imagery of the logo-as-pubic patch is very evident when considering the scene as sexual intercourse and also a birthing. As a birthing, the woman's water has broken and a head is emerging. The fire represents the life of Apollo. As picturing sexual intercourse, the torch is phallic and the water is seminal fluid. Notice how liberties have been taken with the form of this version of the rings logo. It's pinched, narrowed. In this variant, the upper tier of three rings presents two vesica piscis, the female genitalia. The one central to the lower tier has the phallic shaft superimposed so that we see only the labia of the goddess, which really has to be the reason for the special form of this poster's logo. The torch is an inverted obelisk, capped as it must be with a pyramid. It's the phallus of Osiris. Catholics should find the fleurs-de-lis familiar because it's the classic stylized lily symbol of the Virgin Mary.
The posters for Paris simply declare, Jeux Olympiques, “Olympic Games,” and it appears the sport involved is sexual and divine, for the production of Apollo.
The Olympic rings can be fit into the model of Euclid's proof, like in this illustration. This tells me that it was probably the template Coubertin used when designing his magickal symbol. The angle of the symmetrical logo fits angle 4-5 of the proof exactly.
Paris was Baron Pierre de Coubertin's home city, and the first to repeat as host city in 1924. At one time it was reported that there were 937 Marian shrines in France alone, and that number has probably grown since then. The city of Paris has a name that connects it with three notable Marian goddess identities by referring back to a legend of the Trojan War called, “the Judgement of Paris.” The man, Paris, agreed to judge a beauty contest. The contestants were Hera, Athena, and Aphrodite. Paris chose Aphrodite, Venus, who paid her bribe to him with a gift of the most beautiful woman in the world. Helen of Troy was already married, however, and that did have repercussions.
Paris is, of course, the home of the Romish church's renowned Notre Dame (“Our Lady”) Cathedral. The city of Paris is also home to the popular Marian shrine called “The Chapel of Our Lady of the Miraculous Medal.” It was there, on November 27, 1830, that young Catherine Labouré was directed by the apparition regarding the creation of Marian medals that would have special powers. She followed that direction and many claims have been made to validate the goddess' promise. When you see the popular pictures of the goddess standing on a globe with rays of light streaming from her outstretched hands, it derives from the image on the front of the medals. Some Catholics wear them as pendants around their necks. The popular shrine to the Marian apparition would have been visited by many who made the pilgrimage to Paris for the Olympics. Or vice versa.
Mary-Nike-Athena: “Our Lady of the Olympic Medal”
It seems very likely that Coubertin was inspired by the popular Miraculous Medal of “Our Lady” to award similar objects to the victors of the Games as substitutes for the traditional wild olive or laurel wreaths. In this picture of the medal that was given to all the participants in 1924, we see Mary in her guise as Nike (Roman: Victory), wreathing the athletes. It's magical - literally, just like those Miraculous Medals are that are “blessed” according to the promise of the Virgin Mary. The Miraculous Medals are rather more correctly said to be cursed by the lying goddess. Marian medals are charged objects, demonically, whether they are awarded at the Olympic Games or received in connection with a Parisienne shrine.
According to Design Week (London 2012 design icons - the Olympic medals - [27-7-2012] ), “For every games the obverse side of the medal depicts Nike, The Greek Goddess of Victory, stepping out from the Panathenaic stadium in Athens, home to the first modern Olympic Games in 1896, to arrive in the host city.” And so it has been for many years. Every single Olympic medal that has ever been awarded may be identified according to biblical terminology as a Marian goddess idol.
In recent years, the scene common to every medal's obverse side pictures that journey in a way that testifies of the creation of a supernatural link, a wormhole. Those who understand about witchcraft will see in this symbolism of Nike coming through from the Panathenaic Stadium the physical evidence of an evocation and ritual binding, linking the location where games are held today to the very place where the gods were so honored in ancient times. The first Games in the modern era were held there in 1896, and it is the site from which the torch relays conveying the Sacred Flame are staged. The Olympic medal's ritual link opens up traffic lanes, in a sense. If you've got a medal, wearing it or even keeping it around most definitely isn't recommended.
The dynamic here is that territorial authorities are engaged, those related to the Prince of Persia named in Daniel 9. The Baals of record were generally local deities, and as an example of the summoning kind of magick of the medals, these are the kind who answer to the names inscribed on large bells when they are rung. Athena, a Marian goddess identity, is the virgin patroness of Athens. The Parthenon on the Acropolis of Athens was founded in her honor. To the Romans, she is Minerva, and she is by all accounts the goddess of war!
The medal's image of the goddess exiting the Panathenaic Stadium implies the combined attributes and agencies of both Nike and Athena. According to the Nike page on Theoi.com, “Nike was closely identified with the goddess Athena, sometimes appearing merely as an attribute of the goddess.” The famous Nike of Samothrace statue pictures a small version of Nike being held in the hand of Pallas Athena. The statue is displayed at The Louvre in Paris, and an excerpt from the description that attends it is very informative. “At first she [Nike] was considered an aspect of Pallas Athena, the dispenser of victory, but she is gradually separated from her. In her role as a war goddess, Athena, Zeus and Ares can be seen carrying small figures of Nike indicating that she is an attribute to them.” They join together during times of war as Nike wreaths the victors in battle just as she does in sport. This cooperative work was illustrated by the popular American artist, Howard Chandler Christy. In “The History of America,” one goddess wields the sword while the other holds a wreath in readiness to crown the victor in battle. Christy had engaged in the promotion of war efforts over the span of many years. The Olympic medal's image of the goddess suggests her support in time of war as well as in time of peace.
That Coubertin took inspiration for renewing the ancient competitive sport of the Olympians from war is part of the historical record. His native France had been demoralized by their defeat in the Franco-Prussian war of 1870, and that troubled the Baron. One might say that his work backfired on him when the (Prussian) Nazi's so enthusiastically embraced (hijacked) the 1936 summer Games held in Berlin, which are often referred to as the Nazi Olympics.
Another quote from the same Design Week article quoted above includes language that rightly suggests the supernaturalism of the reverse side of the special medals (pictured above) that were awarded at the London Paralympics in 2012.
The Paralympic medals, meanwhile, are designed by jewellery designer Lin Cheung who has used the reverse canvas as a representation of forward flight, power and lightness. Her design is a close-up of Nike’s outstretched wing, and, cleverly, to give it godly kudos, the form has been taken directly from a cast of the British Museum’s Nike of Paionios. Sir John Sorrell, who was at the unveiling of the medals back in September 2011, said ‘To take a cast from a statue in the museum – all designers would like that. It’s extraordinary design-thinking which shows a different relationship with the fabric and it will inspire athletes in the run-up.’
The use of a cast does more than just lend it a sense of authenticity. Can you interpret what it means “to give it godly kudos”? That can be taken literally as a transference from the ancient and historically significant idol of Nike of Paionios that is spiritual in nature. Will that “inspire athletes in the run-up” like Sir John Sorrell said? The word “inspire” comes from the Latin for, “to breathe.” Spirit and breath are very closely linked, as demonstrated in the following verse of scripture.
21 So Jesus said to them again, “Peace be with you; as the Father has sent Me, I also send you.” 22 And when He had said this, He breathed on them and said to them, “Receive the Holy Spirit.
Because winning an Olympic medal is the hope of every participating athlete, coach and sponsor of their efforts, it may be seen that their hopes represent an energetic desire to engage Nike-Victoria-Athena-Mary on their behalf, which genuinely empowers that spirit. To be inspired by an idol is literally to be possessed by a demon. Mary's agency is implicit in every award ceremony, and, through the agency of those prized medals, she accompanies every victor and participant home to be exalted thereafter throughout the world.
In 1960, a notable symbolic element was added to the award ceremonies when the medallions began to be placed over the heads of the medal winners, literally crowning them momentarily. Every time the three medalists in an event stand and receive honor for their victories, the medallions hang around their necks. The ribbons that support them display a V shape. The evident symbol is that of the beast and his mark because the three ribbons each contribute a V, the Hebrew letter vav. As the 6th letter, vav-vav-vav signals 666.
For more insight into the ritual magick practiced during the London Olympics using the medals, see Part 25 - 2012 London Olympics - The Medal: Magickal Medallion and Schematic of Dark Energy.
Mary-Aphrodite: “Our Lady of the Doves”
Beginning at the post–World War I 1920 Summer Olympics, the lighting of the Olympic Flame was followed by the release of doves, symbolizing peace. (Experienced athletes brought newspapers to cover themselves because of the birds' droppings.) The release was discontinued after several doves were burned alive in the Olympic Flame during the opening ceremony of the 1988 Summer Olympics. It was later replaced with a symbolic release of doves after the flame has been lit. In the 2000 ceremony, a dove image was projected on an enormous white cloth held by the athletes on the stadium floor. In 2004, an LED screen was used. In 2006, acrobats formed the shape of a dove. The 2008 ceremony had fireworks representing doves. In 2010, dove figures were projected on the stage floor. The 2012 ceremony had bicyclists with dove-wings, lit by LEDs. In the 2014 ceremony several dancers, holding strands of blue LED lights, danced on the shape of a dove projected on the stadium floor. (Wikipedia)
While the doves are always claimed to symbolize peace, it's really a misrepresentation because the worshipers of the Greek pantheon are secretly honoring the Marian goddess in her alias, Aphrodite. The following excerpt is from, Lady of the Beasts: The Goddess and Her Sacred Animals, by Buffie Johnson.
Aphrodite's most persistent symbol is the dove. Statues of Paphos Aphrodite usually show her holding a dove, while the coins of Salamis in Cyprus, her birthplace, are stamped with the dove. A flock released during the festival of the Amagogia, at Erys in Phoenicia, was believed to accompany Aphrodite/Astarte back to her home in Libya. Tradition held that when she returned to Phoenicia from her Libyan visit, the doves were a great white multitude among which flew one dove with feathers of gold: Aphrodite, the Golden One, in what may have been her original bird form.
In the following we see a picture taken during an opening ceremony just after a flock of doves was released. The other picture is a revealing scene of the shrine in Atlanta that honors Baron Pierre de Coubertin. Notice how the doves bear a wreath as if they are about to crown the Baron.
Who is it that wreaths the victor but the goddess Nike. The doves represent Aphrodite. Isis is identified in the Olympic Rings. They are one - even Mary!
There is another Marian dove that attends the Games. She is hidden away in everyone's purse or wallet until it's time to transfer the wealth. Only one payment system and card is accepted at the Olympic Games, and that's the Visa card. On every card you'll find a holographic security feature that bears the image of a dove. It's Aphrodite! The Visa brand features a stylized letter V which may suggest Venus, Aphrodite's Roman identity, or Victory, the Roman name of the goddess Nike. The style element on the V is called a wing. I've blogged about the symbolism of the card and demonstrated how it relates to Hermes, or Mercury. It is a composite akin to the offspring of Hermes and Aphrodite named Hermaphrodite.
Saints, if you've abandoned the symbol of the cross for its pagan roots and merely exchanged it for the “holy spirit dove,” you've been duped.
I find it interesting that the IOC discontinued the practice of releasing live doves after several of them were burned alive at the lighting of the Sacred Flame at the Summer Games in Seoul, South Korea, 1988. It is known that Romans sometimes sacrificed doves to Aphrodite. It will be seen that the goddess is responsible for the Sacred Flame, so that sacrifice just seems so fitting.
The tradition of releasing doves during the Olympic ceremonies compares to the practice of releasing doves at the Vatican, where the Marian worshipers cloak the honoring of the same goddess with the same lie about the birds being symbols of peace. You may recall two fairly recent incidents at the Vatican involving the release of doves and both of the Popes. On the last Sunday in January, the annual Caravan of Peace is celebrated. The Pope publicly prays the Angelus prayer then releases two doves from his window. The majority of the Angelus prayer is focused on Mary, containing three embeddings of the Hail Mary prayer. In 2013, one of the doves released by Pope Benedict XVI was attacked by a seagull. In 2014, both of the doves released by Pope Francis were attacked, one by a seagull and the other by a crow - unclean birds. Many saw it as a sign, and so they should.
The dove as Aphrodite is not a symbol of peace. From Wikipedia, “Aphrodite is also known as Areia, showing her connection to Ares, the god of war, whom she had extramarital relations with. As a result, she was, to some extent, made into a goddess of war. This is especially true in Sparta.” Aphrodite bore children with the god of war. The planet Mars is named for Ares, which is his Roman name. The two moons of Mars are named after two sons born of Aphrodite's union with Ares. From Theoi.com - Demos & Phobos: “DEIMOS (or Deimus) was the god (daimon) of fear, dread and terror, and his twin-brother PHOBOS (Phobus) of panic fear, flight and battlefield rout.” I note that during the incidents with the doves in Seoul and at the Vatican, the attributes of Phobos and Demos were produced, some in the horrified crowd's reaction and some with the birds themselves.
Mary-Artemis-Hestia: “Our Lady of the Olympic Flame”
The religion of Olympism is perhaps most visible in the exaltation of the Sacred Flame that burns throughout an Olympic season. It will be demonstrated that Mary's agency is implicit in the flaming torch and Cauldron. Mary is “Our Lady of the Olympic Flame.” She appears as Isis in the Rings, Nike and Athena in the medals and Aphrodite in the doves. In connection with the flame she is the virgin goddesses Artemis and Hestia.
“Holy Mary, Mother of God, you have given the world its true light...” That's a quote from Pope Benedict XVI's 2005 encyclical, “Deus caritas est” (God is Love), which is also included in “Maria: Pope Benedict XVI on the Mother of God.” He immediately followed that expression with a reference to her son Jesus as that metaphorical light, but to understand what is meant you must realize that the language of the Pope is crafted to express his cult's mystery religion.
The deity Benedict addressed in his exaltation was that ancient light bearing goddess known as Artemis-Diana, and also Hestia-Vesta. Artemis is often pictured with a torch as the bearer of light. Familiar images of her include the Statue of Liberty, who is stylized and labeled as Lady Helotry in the Heliofant video, “I, pet goat II.” Another figure syncretized with Artemis is known as Columbia, who appears in the familiar animated logo of her namesake Hollywood film studio. Columbia, aka Liberty represents the national entity of the USA.
The goddess of many names is the agent of the Sacred Flame with it's shining light that is so highly exalted during the Olympic season. That flame is ceremonially lit by her priestesses on Mt. Olympus, according to her ancient identity as Hera, wife of Zeus. They summon Apollo, who provides his flame at her altar before her temple in the Acropolis above Athens. While the legend of Prometheus has him stealing the flame from the gods, the High Priestess of the goddess formally makes her request, and permission is granted.
To be very direct about the nature of this light, it's that illumination that is valued by Luciferians, what lights the Illuminati. It's the light of the Blazing Star of Freemasonry, the lantern of the Hermit and lamp that provides gnosis and illumination for the alchemists.
The flame lit by the sun on Mount Olympus is treated with great respect. Here's the prayer offered when the flame was lit for the 2010 Winter Games in Vancouver. (See the similar prayer for Beijing here)
Apollo God of Sun and the idea of light send your rays and light the sacred torch for the hospitable city of Vancouver and you Zeus give peace to all peoples on earth and wreath the winners of the Sacred race.
About the request made of Zeus, it is foundational for us to identify him as the god named in Revelation 2 as Satan. The worship of Zeus is, therefore, nothing more or less than the worship of Satan. Yes, Olympism is a form of Satanism. When false gods offer peace it's akin to the mob offering protection. My Lord is the Prince of Peace (Isaiah 9:6) and there is no other.
In the words of that prayer, we should understand by now that Mary-Nike-Victory is implicit as the agent who wreaths the victors. Her agency is implied in the petition her High Priestess makes for the peace of Zeus. Mary is often called the Queen of Peace and many prayers to her are for peace in the world. It should be noted here that Illuminati programmers and handlers sometimes bring their slaves into a trance state for programming or ritual by sodomizing them with a crucifix. This ritual practice is called the Peace of Mary. The Romish priesthood has been sodomizing young children for centuries, a tradition that has been widely documented worldwide. Their victims seldom come to terms with what actually happened to them because of how that supernatural control mechanism works. The Marian worshipers know a peace that is an enchantment of the kind that subdues its prey and protects the sodomite perpetrators and the institution they represent. This is the nature of the enchantment called “peace” that is associated with the Sacred Olympic Flame. It facilitates the work of the aggressors and provides protective cover. About the Great City, Babylon, it is written (Rev. 18:23) that she will be judged, “because all the nations were deceived by your sorcery.” This magick is Mary's specialty and at the Olympics she's in her wheelhouse!
The following excerpt is from VisitGreece.com. (Greek light travels the world)
The Olympic Flame is alight for the very first time by the Greek sun at the sacred and historic site of Ancient Olympia. Ever since, the unique event of the Flame Lighting Ceremony has acted as herald for the Olympic Games worldwide. The Sacred Flame travels the country where the games are to be held and burns for as long as the Olympic Games last, as a strong reminder of the land that gave birth to them. The ritual of the Lighting, in simplicity and mystagogy, starts with the procession of the priestesses from the Altar of Hera, in front of the goddess’s temple. Dressed in archaic-style clothing, priestesses surround the Altar while the High-priestess, invoking god Apollo, lights the torch, using a concave mirror. According to the Myth of Promytheus, the fire is the symbol of life, rationalism and freedom as well as inventiveness and so had been the ageless flame that used to burn on the Altar of Prytaneion in Ancient Olympia.
Again, Mary is the facilitating agent of the illuminating light of the “Sacred Flame,” which is lit before her altar as Hera. She is the herald and the light is her illuminating message to which the whole world is drawn. The ceremonial lighting of the flame is theatrical so the High Priestess is a role played by an actress from nearby Athens, Ino Menegaki, but this ceremonial is far more than “just for show.”
The flame is held to be sacred as the living and abiding presence, illumination and blessing of the gods. Things that are devoted to false gods are charged objects; cursed idols. The same kind of supernaturalism I described earlier that works in the medals' connection with the Panathenaic Stadium and the idol of Nike is working in the flame. The IOC goes to great lengths to assure the continuity of the flame as it passes through many hands before finally coming to light the Olympic Park and stadium. The tradition of the flame was reintroduced at the Games in Amsterdam in 1928. It seems worthy of note that women's athletics were introduced in those same Games, given the goddess Marian presence attending the flame. The torch relay tradition was launched in 1936 for the Summer Games and, for the Winter Games, in 1964. The Sacred Flame is sent throughout both Greece and the host country. Some see all this pomp as just a promotional gimmick but the lighting of the people and lands each season in advance of the Games is a potent ceremonial ritual. The torch relay establishes a domain, supernaturally, and builds ritual energy for the enchantment. When the Games were held in Athens in 2004, instead of having the torch simply remain within Greece, the “Sacred Flame” was sent throughout the world before returning to Athens, visiting every continent and crossing through 34 (symbolizing Osiris(3) + Isis(4)) cities in 27 countries.
During the Games, the Lighting of the Cauldron and the Extinguishing of the Flame are the two most exalted elements of their respective ceremonies. The IOC regulations stipulate that the light of the flame from the cauldron in an Olympic Park must be visible everywhere within the park, although they have neglected to enforce this point on rare occasions when yielding to other considerations. The goal is that all who attend the Games are illuminated by this beacon without exception. At the 2012 Summer Games in London, the unique Cauldron remained inside the stadium instead of being exalted to the rooftop. So that the essential requirement would be met, the light of the flame shined forth from video screens placed around the Olympic Park. The “Sacred Flame” is clearly central to the Games. It is the presence of the Antichrist god and his facilitating goddess.
When the VisitGreece.com article quoted above mentioned, “the ageless flame that used to burn on the Altar of Prytaneion,” reference was rightly made to the holy fire of Hestia, the virgin goddess of the hearth who is yet another Virgin Mary identity. This Greek goddess's Roman counterpart is Vesta. You've heard of Vestal Virgins, the priestesses of Vesta and keepers of the eternal flame, right? Think - Marian worshiping Nuns and candle lighting. Consider the sanctuary lamp and eternal flame that burns in so many churches. The ageless holy flame was the symbol of the life of the city. It burned on the altar in the Prytaneion, a building located in the agora, the center of the city's athletic, artistic, spiritual and political life. That building was where the officials and winners of the Olympic games met. The Prytaneion corresponds to today's Olympic Stadium where the official ceremonies are held. The altar where the Sacred Flame burns is that Cauldron that is central to today's agora, the Olympic Park.
When Carl Dium launched the modern tradition of the Olympic Torch Relay in 1936, he must have taken inspiration from an ancient custom. The torch was Hestia's symbol. “With the establishment of a new colony, flame from Hestia's public hearth in the mother city would be carried to the new settlement.” (Wikipedia) The multiplication of Olympic Stadiums, where the fire from Hestia's hearth has burned, is a sign of the colonization of the world with Marian worshipers, it must be said.
The flame is exalted in the singing of the Olympic Hymn at the opening ceremony. We're going to discover connections to Mary in this Hymn. There are variants, and here's two versions of the first verse.
Olympian flame immortal
Whose beacon lights our way
Emblaze our hearts with the fires of hope
On this momentous day
Immortal spirit of antiquity
Father of the true, beautiful and good
Descend, appear, shed over us thy light
Upon this ground and under this sky
Which has first witnessed thy unperishable fame
The gods were claimed to dwell upon that mountain where the flame was lit. Those who care little about the identity of the god being summoned are participating in Satan ritual invocation, and it matters little whether they accept that it is so.
14 No wonder, for even Satan disguises himself as an angel of light. 15 Therefore it is not surprising if his servants also disguise themselves as servants of righteousness, whose end will be according to their deeds.
2 Corinthians 11:14-15
The final verse of the Hymn is as follows.
In thy light, plains, mountains and seas
Shine in a roseate hue and form a vast temple
To which all nations throng to adore thee
Oh immortal spirit of antiquity!
After this religious Hymn has been sung during an Olympic ceremony and that stadium and Olympic Park has been subsequently lit by the flame, it is a token that the gods have responded to the summons and the temple of Zeus is manifest. All that is illumined in that roseate hue forms a vast temple to which all nations throng. Is this not engaging also the Marian goddess, whose apparitions are undeniably drawing all nations to herself to adore her son Jesus? All nations throng to this light and temple to adore the “immortal spirit of antiquity,” Lucifer, Zeus and Apollo, Satan and the spirit of Antichrist.
The Olympic Hymn describes the light as shining in a roseate hue, and in that descriptive detail we find a distinct connection to the Marian goddess. Roseate, means, “rose-colored.” The rosette is a symbol identified with Inanna-Ishtar-Astarte, the Queen of Heaven. The planet Venus that is associated with the goddess creates a rosette pattern in the celestial heavens that is sometimes referred to as the Venus Rose. In ancient Mystery religions, the rose was sacred to Isis. The rose is also linked to Apollo as Horus and his child identity, Harpocrates. This flower is one of the most recognizable symbols of Mary. The white lily is another flower that is identified with Mary (and the fleur-de-lis), but it is primarily the rose that is her flower symbol. Marian shrines are frequently associated with rose gardens. Mary venerating Catholics pray the Rosary, from the Latin, Rosarium: “Crown of Roses.” Mary is sometimes called Our Lady of the Roses. The Miracle of the Roses is associated with the Marian apparition in Guadeloupe in 1531. When Our Lady of Fátima is celebrated each year on the 13th of October there is an International Rosary and Candlelight Procession. When Pope Francis consecrated the world to Our Lady of Fátima on the 96th anniversary of the Miracle of the Sun, the goddess idol from Fátima was set in the midst of a bed of roses, as you see below. She holds Rosary beads.
As in every Olympic Park, so it is annually at the shrine of Our Lady of Fátima and so it was in St. Peter's Square, all cast in the light of a roseate hue for the same purpose and with the same result.
The worship of Mary is very strongly associated with the burning of candles. Why do you suppose that might be? In my neighborhood grocery stores you can find candles for Marian veneration on the shelves next to tortillas, refried beans and salsa because so many Latin Americans are devoted to Marian worship. You can download animated Blessed Virgin Mary Candle apps for your smart phone, like the one you see in this image of Our Lady of Guadalupe. The flames are lit as an act of veneration and for petitioning her help; for healing, for guidance, for peace.
Practicing witches and those who understand the ritual use of candles know very well how that, by means of this activity, spirits are being summoned. Candle lighting for Mary is the practice of witchcraft. A 1958 film titled Bell, Book and Candle starred Kim Novak as a spell casting witch with a cat familiar. The production (Columbia “torch goddess” Classics [CC-Code 33]) put some of the practices of real witchcraft on display. The movie's title names a spell that is based on the Catholic Excommunication Rite. It should be seen that the priesthoods who practice the Mass and the Black Mass are not very different in their bewitching sorceries. Many are those who practice the one, publicly, and the other in secret. In this informative post about the Olympics, I identify the Olympic Cauldron as the candle in a “Bell, Book and Candle” mass ritual: Part 12 - 2012 London Olympics - Death Rituals: A "Bell, Book and Candle" Mega-Ritual on the BBC.
Isis is the goddess of magick. She is known as the goddess of 10,000 names and she is the enchantress Mary, Our Lady of the Olympic Flame, who thereby draws all nations of the world unto herself.
As I've demonstrated, the goddess of the Marian apparition has an exalted presence and fundamental role in every celebration of the Olympics and wherever that branding appears.
Update: For exhibits of “Our Lady of the London 2012 Olympics”, see Rihanna as “Our Lady of Fátima” - ťPart 44 - 2012 London Paralympics