The official Papal Coat of Arms of Jorge Mario Bergoglio, aka Pope Francis I, was announced a few days ago. Because ritual sodomy is the key to the power of that cult of Mystery Babylon and a fundamental in their worship of the sun god, the Pope's all have imagery that signals the sodomite gateway. Bergoglio's personalized additions extend that and add some other imagery that is very intriguing! If you've been following what Tom Horn and Cris Putnam have been writing about the Vatican's peculiar interest in astronomy, you're going to find a related witness here. Read the celestial imagery where the sun appears, and the star next to the bunch of grapes represents a star cluster. You're going to see how the Papal heraldry is a cryptic Masonic tracing board, which makes a rather dramatic statement beyond the obvious suggestion that this Jesuit Pope is secretly a Freemason. I don't pretend to know all the layers of any of the symbols, but I've become pretty familiar with some of them. There's more to this than I can reasonably cover in one post. 
Yesterday was the Vernal Equinox, a big day on the Pagan calendar. I was wondering if the Pope was going to have a major event marking the day, but nothing seems to have been made public about such. His election came on the 13th, with some folks observing the Occult numberings of the timing of events on that day. On the Lord's calendar, the election came on the first day of the first month. He was inaugurated on the 19th, the last full day of the first quarter of the solar year. “Inaugurate” means “to take omens.” See here for some background on the word, “inauguration.” Because of what's known as the Prophecy of the Popes, some suspect Pope Francis 1 will soon fill the role of the false prophet, as Petrus Romanus. While the time is near for the false prophet to arise and fulfill his prophetic appointment, it's not so near that I will make any claim about his identity, having no revelation insight into the matter.
Pope Francis I brings to his new heraldry his former motto, the blue escutcheon or shield bearing the standard Jesuit emblem with the star and cluster of grapes, which have been changed from white to yellow. Bergoglio replaced the traditional tiara with a mitre, like Pope Benedict XVI (Joseph Ratzinger, 2005–2013) before him. His versions of the crossed Keys of Peter are modeled on those of Pope John Paul II (Karol Wojtyla, 1978-2005). Francis retains the fringed lappets of the headpiece in the same style of those two preceding Popes. (See Wikipedia's collection of the Papal Coats of Arms)As to what these things mean, there's official versions, and you can accept those if you like, but all the official versions and the reports of them are going to be filled with misinformation. miserando atque eligendo = “Lowly But Chosen”? Well, not really. Liars lie. Esoteric symbols have several layers of meaning. They are carefully designed to conceal and reveal the truth. They require decoding. You can get a foundation for interpreting the Papal symbolism from my decoding of Pope Benedict XVI's Coat of Arms here, Part 13 - The Sodomite Gateway - The Sodomite High Priest of the Romish Sun Cult, and about similar heraldry here, Part 17 - The Sodomite Gateway - Royal Pains - Order of the Garter.
The sun on the shield with IHS and a cross inside is the Jesuit Christogram. I explained it's symbolism in Part 79 - The Sodomite Gateway - Holy tIHS!, and Part 80 - The Sodomite Gateway - Jesuit Values. The sun symbol is the sun god's anus, filled with tIHS (mirror that), as one might expect. The three nails that are claimed to represent the hardware used to affix my Lord to a cross speak on a very important level of a triple helix DNA resurrection. That is intended to be a figurative crucifixion of that entire body, of which Y'shua is now the head, through the agency of the Beasts and the mark of the beast. The simple form of the shield itself is that of the Royal Arch, the squared circle and sodomite portal. Placing it upside down and calling it a shield does nothing to change the meaning of the symbol but only obfuscates it slightly. Placing the Jesuit sun-anus on the Royal Arse makes for a powerful sign that declares very emphatically who Pope Francis I is and what he does, and from whence his authority derives.
Considering the whole, the Coat of Arms of Francis I begs comparison with a familiar scene, the Royal Arch of the Freemason's lodge. In this comparison, I've simply turned it upside down.
The grapes compare to the cornucopia. Also known as the horn of plenty, it pictures the GI tract, and the bunch of grapes pictures what emits from it as a reference to the illuminating act of ritual sodomy, but I'll explain the individual symbols soon enough.
What I find most compelling about this comparison is how the star cluster is identified as the Pleiades and the mitre as the funerary urn of Osiris. Given reports of the finding of the tomb of Gilgamesh (aka Osiris) and the military's haste in acquiring the artifacts, and the signaling of intent by some to raise him by combinations of bioengineering, particle physics and alchemical workings of magick, and given the role the false prophet will have in relation to that Beast and his image, and given the Vatican's interest in astronomy and the intersecting historical accounts of the Pleiades, its primary star, Alcyone, and star related through Orion's belt, Sirius, well, let's just say this is all quite intriguing and worth watching very closely!
Tom Horn writes the following in a promotion of his latest book. Exo-Vaticana Special “THE CHURCH OVERSHADOWED (IN FRENCH & ENGLISH)! Cris Putnam has done it again and found another rare book in which Father Malachi Martin testifies that Popes John XXIII and Paul VI were secret freemasons and that detailed documents and photographs proving this were in the possession of one of the top candidates for Petrus Romanus--Cardinal Angelo Sodano!”
What Tom Horn and Cris Putnam presented recently (Part 20 - Exo-Vaticana) about what the recent Popes believe introduces some very timely insight. The use of the language of the controversial Jesuit priest Pierre Teilhard de Chardin by recent Popes affirms what this comparison of the images suggests, that the complex Luciferian plot I've been writing about on this blog is manifesting, and this, in the agency of Pope Francis, where a merging of primary Illuminist structures has now occurred. Power is centralized.
As we consider what the Papal branding means, on a most fundamental level, what is accomplished by hiding everything behind the shield is protection. This observation informs us that protection is paramount. The truth is being shielded from us, and the agent represented by the heraldry is shielded. The key in Occult symbolism represents how their secret treasure is locked away and that they have the keys, controlling access.
But woe to you, scribes and Pharisees, hypocrites, because you shut off the kingdom of heaven from people; for you do not enter in yourselves, nor do you allow those who are entering to go in. ~ Matthew 23:13
The religious heads, most particularly at the Vatican, are the scribes and Pharisees of today. While the worldly media minions that are themselves or are following the tares fawn over the “humble man of the people” who just took office, it should be kept in mind that he represents that entity about which is written:
“for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. 24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth.” ~ Revelation 18:23b-24
The truth of the two keys crossed is concealed in the official explanation, but what is being omitted is essential to interpret it more properly.
“The two keys have been given the interpretation of representing the power to bind and to loose on earth (silver) and in heaven (gold), in reference to Matthew 16:18-19: "You are Peter, and upon this rock I will build my church, and the gates of hell shall not prevail against it. I will give you the keys of the kingdom of heaven, and whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven." The gold key signifies that the power reaches to heaven and the silver key that it extends to all the faithful on earth, the interlacing indicating the linking between the two aspects of the power, and the arrangement with the handles of the keys at the base symbolizes that the power is in the hands of the pope.” (Wikipedia)
The Popes lay claim to having the authority given Peter. The false church does have a grant of authority in this age, and, ultimately, yes, it is what has been ordained of the Sovereign God, but it is more directly the authority that has been granted the agents of the Enemy, the tares, to fulfill what has been appointed for Mystery Babylon the Great. That's what they're not going to tell you, ever.
Their's is not the authority given Peter. The Vatican is as a den of vipers in a whitewashed sepulchre. Their claim to possessing the keys to the kingdom has substance but only when you correctly identify which kingdom it is. Their operation of the keys is on the basis of the Hermetic Maxim, which is expressed most simply in the statement, “As Above, So Below.” Their operation is according to the magickal practices of such as alchemical, Kabbalistic or Hermetic mysticism. The Keys of Solomon, the Greater and Lesser, are prized works to magicians. Because of the celestial imagery present in the Pope's heraldry, the Keys of Solomon are an important level of the symbolism because it is by means of that kind of magick that the archon and other demonic authorities are bound, constrained to do the sorcerer's bidding in this physical realm. This is what is meant by their reference to Matthew 16, as one of the primary meanings! Unknown to the sorcerer, however, is that what he thinks is his own will is the result of delusion. He is a slave of sin; his master is Satan. His lusts are for the power perceived in communing with the gods through secret rites of ritual sacrifice, cannibalism, blood drinking and the sodomy to which the Pope's heraldry attests in convincing fashion. Indeed, it's through the act of sodomy that the binding together of heaven and earth is accomplished by the tares, and through which their authority is acquired. The crossed keys attest to this perversity by representing the union of two men, at the most basic level, joined together as one. Think, Vitruvian Man. Ritual sodomy is known by Illuminists as the Key of David. As an allegory, one acquires the secret treasure of gnosis and enlightenment through the mechanism of the sodomizer's phallic key in his anal lock. Of the two keys in the Papal heraldry, the golden key is the heavenly partner, and the silver, the earthly. In the Coat of Arms, the red cord that links them together represents the blood, merged literally through the rough act of ritual sodomy. The red cord enters and exits the holes in the keys to symbolize the blood and the butts of the sodomite partners. This testifies of the supernaturalism of the bonding of the two involved and represents the blood oath not to tell about the sodomy or anything else their oaths require of them. It's a matter of protecting their treasure, as keys protect the treasure locked away.
Those responsible for the branding of the Jesuit school, St. Xavier, probably understand about the Pope's crossed keys. Their logo's featured X suggests the “gold” key as the superior member intersecting the lesser “silver” one. The negative space conceals two phallic arrows, as between another's legs and in the anal triangle. Their slogan, “Men for Others” lends itself to be interpreted as meaning, men for other men, to have and to be had by, sexually. See the central A, for Apollo Anus. The X is as two opposing triangle forms that repeat in the following letters A and closely fit V. 
Sons of god union daughters of men. The X is a cross, signaling cross breeding sex magick, of the sodomite kind. The form of the butt end of the keys chosen by or for Pope Francis is that of a square. To square the anus is to square a circle, a symbol of ritual sodomy. Every other Papal key features a mandala or circle so they all feature a signal anus, but this particular squared form hints of others I've noted recently, as you see in this comparison of images.
This Pope is a Jesuit, the first in history, and signaling the Knights Templar seems intentional. These are agencies renowned for sedition and assassination.Another sodomy symbol appears in the plus signs on the fringed lappets. Together with the Jesuit sun-anus, the Royal Arse form of the escutcheon and the crossed keys with joining red cord, the heraldry sends an unambiguous message. In this context, the bunch of grapes is a pile of excrement, or tIHS, if you prefer the official term.
A metaphor very similar to the bunch of grapes was leveraged in the animated feature Puss in Boots (Part 61),
where a pile of gold eggs appeared in the bed of the male lovers, a deposit made by the one called the “gold pooper.”Taking anatomy into account, the mitre in the Papal heraldry appears as a phallus, and the form of the two sides of the lappets may be seen as testicular or as the buttocks of one being sodomized by the phallic mitre. I believe there is more meaning to that form when considering the whole of it, beyond even the image of the Masonic tracing board illustrated earlier. I perceive in it the imagery of a bird of prey, which invites comparison to some familiar images in ways that might shock you. Or not, if you've been paying attention.
To be continued, Lord willing!
"Singin' in the Rain" 1952 ~ Gene Kelly
The obelisk that stands at the Vatican in St Peter's Square is a prized artifact that formerly stood in On. I'm convinced that it's quite at home there, at the present day center of sun god worship. The demon gods of the idol probably inspired and directed the relocation effort. 
Bauval's observations about the reproductive aspects suggest why the scenes at the Palm View Apts and Pharmacy are connected for us by Gene in the striking of the same pose before them both. When we consider the lines Gene sings during the poses and link the Egyptian set with On, the matter is plain. Honor is being given where honor is due. When Gene points up towards the window with the symbol of the Horus sun-anus signifying the dawn of the Aeon of Horus, he's identifying and serving his gods. When he's singing, “Come On with the rain,” he's invoking the gods of On, calling on their help. The phenomenon of Singin' in the Rain doesn't happen without help, from above or below. The show is more than superficial stage magic. The symbols are ritualistic and there is a substance of supernaturalism. 
Read the testimony of the windows flanking him, the signal grid of alters with plus signs featured, which are for the acts of sodomy with both Horus and Hermes, the two featured by Dr John Dee in his Monas Hieroglyphica. Consider how the steps flanking him form a pyramid (at 3:14), and that the downspout overhead is the source of the milky illuminating water, in keeping with what Bauval presents about the Benben capstone. 
For further validation, this is the point where Gene spins off in a very symbolic loop. Watch the sequence and pay attention to how the big band's musical climax attends the ritual climax. We're being told this is a big deal. This routine is telling us some key things, beyond even what I already described when I showed how this binds together the bookstore and pharmacy programming scenes. Gene extends the open umbrella and twirls around as the rain continues to fall on his hat, expressing ecstasy as he dances over to frame two objects in the set. As I illustrate in this pair of screenshots, he first frames the fire hydrant and then the lamp pole.
From another perspective, the fire hydrant is a Herma, the phallic idol that had been set at the intersections of roads and borders to honor Hermes. The lamp is the sun and the sun god Horus. With this routine, Gene is giving honor to the sodomizing gods Hermes and Horus, who are responsible for his ecstasy. This is worship! 
This fascinating and very fruitful endeavor has opened the way for me into the meaning of a few related symbols and, as during the seasons of persistent investigation into the meaning of such as Rango, The Iron Giant and Threshold, the Lord has steadfastly brought the plans, ways and means of the Adversary out of the shadows and into the light. 
Uh, hey, isn't that a dress above the severed head with a bow like a butterfly? With an open umbrella against her backside, could that be something other than a signal of Monarch programming? 
When we see the redundant symbols that identify the Freemasons and their protective services there is a point at which we have to bring organized crime into the discussion. SRA programming activity is criminal. Murder is illegal, and that's required for ritual sacrifice. Rape is illegal, and kidnapping, and child abuse, and on goes the list. They are in the crime business and they are organized. 
You have likely been following the news and noted that a Jesuit Pope has been elected, the only one in history! St. Ignatius Loyola, the founder of that order, was a Spanish soldier. Jesuits are known as “God's Marines.” See 
When you watch the video clip, what Don is modeling to us at the 2:48 minute mark is the work of a child prostitute. Don makes himself short and looks up, like a child interacting with an adult. His hand is held as a prostitute collects money for services rendered. This child is a male, as demonstrated by the erect umbrella. At 2:49, we see the services being rendered. He is no longer short. As the adult client, Don holds the umbrella to display a triangle form, holding it in both hands in front of him to suggest sodomizing the child prostitute. After prancing back across to the left he does a very effeminate dance like a little girl waving her skirt. There is, of course, a market for little girls too. 
Like, the sex trade, for example. The Richard Carlane Music Studio pictures a front organization for child trafficking, a fence for kidnapped and illegally “borrowed” children.
I've noted a few times in this blog how blinds are featured as graphical elements in some logos, ads, commercials and such to signal that an Occult work is present but concealed. That's the case at the Music Studio, where the louvered shutters conceal and reveal the light filtering through the windows as an allegory. This is one of the three kinds of security elements.
If you choose to research them very deeply, be prepared to engage in spiritual warfare. And, to that I must add alongside them the Knights of Columbus. KC~K=11 C=3 ~ KC=33
What I see in this is continuity with the previous sequence, where I noted how important security was to the success of their activity. Risk mitigation, damage control. Cover. The looping together of the umbrella programming at the millinery and the tightrope charade in front of the bookstore emphasized just how important security is to programming in the SRA scheme. In the policeman scene that closes out Singin' in the Rain, we're shown how the protective seal is ultimately maintained, with the authorities being owned, managed and controlled, complicit. Validating this insight we'll see how the policeman scene is matched to another to bracket the risky activity, enclosing it as for secure containment. It will become apparent that the sets and choreographed routines are designed with symmetry for this reason, at least in part. I'll explain the policeman sequence in detail first, then present its partner in the cover scheme in the next post.
It also provides us little hens with a sense of comfort about our security. We see the occasional expression of concern by the authorities as a sign that our hen house is being diligently patrolled and justice is being done. “Good” foxes, right? 
We see Don shrug and offer his innocent cover story, the pretext. Uh, I was just dancin' and singin' in the rain, Mr. Public Official, sir. Yeah, that's all it was. 