The St. George Who Never Was

Shimon Perez was educated by Jesuits in his native Poland, and is was a Knight Commander of St. George, a sub-chapter the Constantinian Group.   Perez also held shares in the PLO’s public phone company, Paltel, along with the Bin Laden Royal Family of Saudi Arabia and the late Yassir Arafat.  There is an obvious Bush/Bin Laden business connection through the CFR’s Carlyle Group headed by Edward Cardinal Egan’s personal friend and Knight of Malta, Mr. Frank C. Carlucci, a member of the orders of  both St. Michael and St. George, which are sub-chapters of the Constantinian Order, the latter of which the King of Jordan also belongs to; both are Eastern Chapters of the Knights of Malta.  All of these orders are sworn to serve the Papacy and , by the way, the Bush’s are also Knights of Malta.  Cozy eh?

Honorary Appointments to the Knights of St George:

Lee Kuan Yew, Honorary GCMG, CH (1972)
Abdelaziz bin Khalifa Al Thani, Honorary GCMG (1985)
Chandrika Prasad Srivastava, Honorary KCMG (1990)
Fidel V. Ramos, Honorary GCMG (1995)
Ong Teng Cheong, Honorary GCMG (1998)[5]
Anson Chan, GBM, Honorary GCMG, CBE, JP (2002)[6]
Hamid Karzai, Honorary GCMG (2003)
Ryszard Kaczorowski, Honorary GCMG (2004)[7]
Richard Armitage, Honorary GCMG (2005)
Kofi Annan, Honorary GCMG (2007)[8]
Maumoon Abdul Gayyoom, Honorary GCMG (2008)
Shimon Peres, Honorary GCMG (2008)[9][10]
Jaap de Hoop Scheffer, Honorary KCMG (2010) [11]

As for the Jesuits who mange these chess pieces:

“Nothing that stands in their way [Jesuits] can become so sacred as to escape their vengeance.”

Judge Richard W. Thompson, 1894 Ex-Secretary, American Navy, 1877-1881 The Footprints of the Jesuits

In case you doubt the gravity of the Jesuit threat, which I and barry Chamish agree on, I present you with a

Page from Japanese History (1637)

This army of thirty thousand Roman Catholic Japanese declared a religious war and openly revolted against the Emperor. It seized an abandoned castle on the coast of Shimabara and waited for the Spanish fleet of King Philip IV (1621-1665) intending to reinforce the Jesuits and their army. But the shogun’s forces, along with the Protestant Dutch fleet, foiled the aim of the Order by destroying the fortress along with the rebels. With the crushing of this rebellion fell the hopes of the Jesuits of establishing themselves in Japan. Their religion, says Lafcadio Hearn, had brought to Japan nothing but evil: disorders, persecutions, revolts, political troubles, and war. Even those virtues of the people which had been evolved at unutterable cost for the protection and conservation of society—their self-denial, their faith, their loyalty, their constancy and courage—were by this black creed diverted, distorted, and transformed into forces for the destruction of that society. Could that destruction have been accomplished, and a new Roman Catholic empire have been founded upon the ruins, the forces of that empire would have been used for the further extension of priestly tyranny, the spread of the Inquisition, the perpetual Jesuit warfare against freedom of conscience and human progress. . . . Viewed from any other standpoint than that of religious bias, and simply judged by its results, the Jesuit effort to Christianize Japan must be regarded as a crimeagainst humanity, a labor of devastation, a calamity comparable only—by reason of the misery and destruction which it wrought—to an earthquake, a tidal-wave, a volcanic eruption.

A Short History of the Inquisition, Multiple contributors,
(New York: The Truth Seeker Co., 1907) pp 321-322

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Mythras-Sabazios slew the Sacred Bull and wore Cybele’s Phrygian Cap – made famous again by the Jacobins in France (British Museum). The Sabazion Hand is typical of Catholic Portraits of their Saints and Ecclesiarchs, all of these and more attribute divine imputations to justify un-lawful lusts behind closed doors.  This bull-fight slaying was later translated to St. George’s slaying of the Dragon (i.e., Michael, as there was/is no St. George).  It is preserved in the sensual Spanish rite that pits man against animal in elemental cock combat. All of which has nothing whatsoever to do with Prophet Isa or genuine Monotheism but everything to do with prurient fertility cult social engineering.

The Pope’s image weraing the babylonian Tiara of King Nimrud and giving the Sabazian hand gesture from ancient Arcadia, attended by a young and extremely naive Jesuit priest.

The cult of Mithras was very popular throughout the Roman Empire at about the time of the spread of Christianity. The place in society of this mystery religion with its secret rites and ceremonies might be compared to Freemasonry in modern times. It was particularly widespread in the second and third centuries AD among Roman soldiers and state employees. However, there was no place in it for women, unlike Christianity, and this may have been among the reasons that it ultimately failed as a religion. Transference of Sabazios to the Roman world appears to have been mediated in large part through Pergamum. [The NT Biblical Seat of Statan]… The Greek Encyclopedia, the historian Sudas (10th century), flatly states:

• “Sabazios… is the same as Dionysos.  He acquired this form of address from the rite pertaining to him; for the barbarians call the bacchic cry ‘sabazein’. Hence some of the Greeks too follow suit and call the cry ‘sabasmos’; thereby Dionysos [becomes] Sabazios.  They also used to call ‘saboi’ those places that had been dedicated to him and his Bacchantes… Demosthenes [in the speech] ‘On Behalf of Ktesiphon’ [mentions them]. Some say that Saboi is the term for those who are dedicated to Sabazios, that is, to Dionysos, just as those [dedicated] to Bakkhos [are] Bakkhoi.  They say that Sabazios and Dionysos are the same. Thus some also say that the Greeks call the Bakkhoi Saboi.”

Elworthy, Frederick Thomas, 1830-1907 Horns (in religion, folk-lore, etc.); Devil; Hand (in religion, folk-lore, etc.); Publisher: London : J. Murray;  Maenadism in the Bacchae, by E. R. Dodds © 1940, Cambridge Univ. Press and Harvard Divinity School.

Sabazios is the nomadic horseman sky and father god of the Phrygians. In Indo-European languages, such as Phrygian, the ‘-zios’ element in his name goes back to Dyeus, the common precursor of ‘deus’ (god) and Zeus. Though the Greeks associated Phrygian Sabazios with Zeus, representations of him, even into Roman times, show him always on horseback, as a nomadic horseman god, wielding his characteristic staff of power One of the Mother Goddess’s creatures was the Lunar Bull. Sabazios’ relations with the goddess may be surmised in the way that his horse places a hoof on the head of the bull, in a Roman marble relief at the Boston Museum of Fine Arts. Though Roman in date, the iconic image appears to be much earlier.

The iconic image of the god or hero on horseback battling the chthonic serpent, on which his horse tramples, appears on Celtic votive columns, and with the coming of Christianity it was easily transformed into the image of Saint George and the dragon. The reference to the Lunar Bull brings us back to Mithras and to Taurobic altars which are widely found all over Europe, especially in France.

In the Hautes Alpes, near the village of St Genièz, the Chapelle Notre Dame de Dromon was built on the antique site of Théopolis. The trilobed crypt was partly hewn out of the rock. It contains a sculpture of a bust wearing a Phrygian cap. A Roman inscription of 18 lines was found near by. It is tempting to think that this crypt, too, may have started as a temple of Mithras.Note Sol Invictus on the top left and Luna top right, and the dog, snake and scorpion who are helping to attack the bull. The crow to the left of Mithras is a standard feature of the traditional schema, as are the two torch bearers. Their names are Cautes and Cautopates and they are much the same as Castor & Pollux, the Gemini. The scene is shown as taking place below ground, in a cave, with Sun and Moon looking down from above it.

The Thracian/Phrygian Sabazios

http://www.worldlingo.com/ma/enwiki/en/Sabazios  (retrieved 21 Feb.2011)

It seems likely that the migrating Phrygians brought Sabazios with them when they settled in Anatolia in the early first millennium BCE, and that the god’s origins are to be looked for in Macedonia and western Thrace. The Macedonians remained noted horsemen, horse-breeders and horse-worshippers up to the time of Philip II, whose name signifies “lover of horses”.

Possible early conflict between Sabazios and his followers and the indigenous mother goddess of Phrygia (Cybele) may be reflected in Homer‘s brief reference to the youthful feats of Priam, who aided the Phrygians in their battles with Amazons. An aspect of the compromise religious settlement, similar to the other such mythic adjustments throughout Aegean culture, can be read in the later Phrygian King Gordias‘ adoption “with Cybele”[3] of Midas.

One of the native religion’s creatures was the Lunar Bull. Sabazios’ relations with the goddess may be surmised in the way that his horse places a hoof on the head of the bull, in a Roman marble relief at the Boston Museum of Fine Arts. Though Roman in date, the iconic image appears to be much earlier.

From ST. George: The god on horseback, for further information:
Thracian horseman

More “rider god” steles are at the Burdur Museum, in Turkey. Under the Roman Emperor Gordian III the god on horseback appears on coins minted at Tlos, in neighboring Lycia, and at Istrus, in the province of Lower Moesia, between Thrace and the Danube. It is generally thought that the young emperor’s grandfather came from an Anatolian family, because of his unusual cognomen, Gordianus.[4]

The iconic image of the god or hero on horseback battling the chthonic serpent, on which his horse tramples, appears on Celtic votive columns, and with the coming of Christianity it was easily transformed into the image of Saint George and the dragon.

From the Encyclopaedia Britannica of 1911: (Entry since removed)

MITHRAS, was originally a Persian god of light whose cult goes back to a period before the separation of the Persians from the Hindus, as is shown by references in the literatures of both stocks, the Avesta and the Vedas. . . he was the god of vegetation and increase; he sent prosperity to the good, and annihilated the bad; he was the god of armies and the champion of heroes; as the enemy of darkness and of all evil spirits, he protected souls, accompanying them on the way to paradise, and was thus a redeemer. Animals and birds were sacrificed and libations poured to him, and prayers were addressed to him by devotees. . . His worship spread with the empire of the Persians throughout Asia Minor, and Babylon was an important centre. . . . the Greeks of Asia Minor identified Mithras with Helios, and contributed to the success of his cult by equipping it for the first time with artistic representations . . . Mithraism was first transmitted to the Roman world during the 1st century B.C. by the Cilician pirates captured by Pompey. It seems at first to have had relations with the cult of Cybele, the Great Mother of the Gods at Rome, whose influence served to protect it and facilitate its growth.

Towards the close of the 2nd century the cult had begun to spread rapidly through the army, the mercantile class, slaves and actual propagandists, all of which classes were largely composed of Asiatics. It throve especially among military posts, and in. the track of trade, where its monuments have been discovered in greatest abundance. The German frontiers afford most evidence of its prosperity. Rome itself was a favorite seat of the religion. From the end of the 2nd century the emperors encouraged Mithraism, because of the support which it afforded to the divine right of monarchs. Mithras, identified with Sol Invictus at Rome, thus became the giver of authority and victory to the imperial house. From the time of Commodus, who participated in its mysteries, its supporters were to be found in all classes. Its importance at Rome may be judged from the abundance of monumental remains. . . in all parts of the city and suburbs.

The beginning of the downfall of Mithraism dates from A.D. 275, when Dacia was lost to the empire. . .The aggression of Christianity also was now more effective. The emperors, however, favoured the cult, which was the army’s favourite until Constantine destroyed its hopes. It still survived in certain cantons of the Alps in the
5th century, and clung to life with more tenacity in its Eastern home. Its legitimate successor was Manichaeism, which afforded a refuge to those mystics who had been shaken in faith, but not converted, by the polemics of the Church against their religion. The Mithraic temples of Roman times were artificial grottoes (spelaea) wholly or partially underground, in imitation of the original secluded mountain caverns of Asia. The main room of the ordinary temple was rectangular, with an elevated apsidal arrangement, like a choir, containing the sacred relief on its wall, at the end opposite the entrance, and with continuous benches (podia) of masonry, about 5 ft. wide and inclining slightly towards the floor, built against the wall on its long sides. The ceiling was made to symbolize the firmament. There were arrangements for the brilliant illumination of the choir and its relief, which was sometimes sculptured on both sides and reversible, while the podia were intentionally more obscure. The choir and the long space between the podia were for ministrants, the podia themselves for kneeling worshippers. Two altars, to the Sun and the Moon, stood before the former, and cult statues along the latter. . . The average grotto held from fifty to a hundred persons. The typical bas relief, which is found in great abundance in the museums of Europe, invariably represents Mithras, under the form of a youth with conical cap and flying drapery, slaying the sacred bull, the scorpion attacking the genitals of the animal, the serpent drinking its blood, the dog springing towards the wound in its side, and frequently, in addition, the Sun-god, his messenger the raven, a fig-tree, a lion, a ewer, and torch-bearers. The relief is in some instances enclosed in a frame of figures and scenes in relief.