Fiery Serpents and Solar Deities

Throughout human history, the image of the serpent entwined with the sun has been a potent symbol of divine power. In biblical theology, there is a provocative hypothesis that the “fiery serpent” (Hebrew seraph), one of the fallen heavenly beings, is the same entity behind various manifestations of sun-worship – from the dragon in the Book of Revelation to the solar serpent iconography in pagan religions, epitomized by the Egyptian sun-god Amun-Ra. This speculative yet theologically grounded theory suggests that the adversary (Satan, often identified with Lucifer) effectively “stole fire from heaven” and used this stolen light to deceive mankind with promises of godhood in exchange for worship. In this post, we will see how solar symbolism recurs in world empires (Babylon, Egypt, Rome) and even persists today (for example, in certain imagery of the Roman Catholic Church), potentially indicating a continuous thread of influence by the same fallen power. Relevant passages such as Isaiah 14:12–14, Revelation 6:12, Revelation 16:8–9, and Luke 4:5–7 will be discussed to support these connections. While the connections drawn are speculative, they are informed by biblical theology, ancient myth, and the consistency of symbols across time.

Seraphim – “Fiery Serpents” – and the Fallen Ones

In Scripture, seraphim are heavenly creatures associated with fire: the Hebrew word seraph literally means “burning one.” Intriguingly, the term is also used for venomous serpents. For example, when God sent fiery serpents to punish Israel in the wilderness, the Hebrew text uses seraphim (Numbers 21:6). Genesis describes a talking serpent who tempts Eve with forbidden knowledge (Genesis 3). Only after the Fall does God curse this serpent to crawl on its belly (Genesis 3:14), implying it may originally have stood upright or been of a higher, even angelic, form. In other words, the tempter in Eden may have been a fiery serpent in both form and nature – a shining, serpentine angel who rebelled against God.

If so, this aligns with a broader biblical identification: the Book of Revelation later calls Satan “that old serpent”, explicitly linking the serpent of Eden to the Dragon of the end times. It is feasible that a member of the highest angelic order around God’s throne – perhaps a seraphim – could have fallen. In fact, Jude 1:6 speaks of angels “which kept not their first estate, but left their own habitation,” and early Christian tradition (elaborated in texts like 1 Enoch) speaks of certain angels (often called Watchers) who descended to earth and corrupted mankind. The Watchers could masquerade as the gods of the nations, taking forms like beast-headed idols or composite creatures. It is noteworthy that ancient Mesopotamian and Egyptian iconography is replete with winged sphinxes, bull-men, eagle-headed deities, and serpent beings – forms strikingly reminiscent of cherubim and seraphim. This raises the possibility that the “fiery serpent” class of angels (seraphim) might include some who joined Lucifer’s rebellion, coming to earth as luminous beings who were later remembered as gods.

Lucifer’s Fall and the Stolen Divine Light

The Bible gives us a poetic glimpse into the fall of one exalted angel in Isaiah 14:12–14. In the King James Version, the prophecy addresses one called Lucifer, son of the morning — a name meaning “Light-Bearer” or morning star — who is “fallen from heaven” after aspiring to godlike status: “For thou hast said in thine heart, I will ascend into heaven, I will exalt my throne above the stars of God… I will be like the most High” (Isaiah 14:13–14). This vivid passage portrays a magnificent being grasping at divine authority, echoing the pride and ambition that Christian tradition associates with Satan’s (meaning adversary) primordial rebellion.

Lucifer’s desire to “ascend above the heights of the clouds” and rival God suggests an attempt to seize the very fire of heaven — the glory and power that belong to the Creator alone.

Notably, the biblical text does not assign gender to this being. While later traditions often refer to Lucifer with masculine pronouns, the original Hebrew context is concerned with identity, ambition, and fall — not with human categories of gender. The figure in Isaiah 14 is symbolic, representing not only a specific angelic rebellion but the archetypal fall of pride — a spiritual being, radiant in light, yet corrupted by the desire to be as God.

What would a fallen “Light-Bearer” do with such divine light? Scripture suggests they use it to deceive. In Eden, the serpent promised "Eve" a form of godhood: “ye shall be as gods, knowing good and evil” (Genesis 3:5). This promise of enlightenment was the bait by which the serpent sought human allegiance. We see the same dynamic in the temptation of Jesus: Luke 4:5–7 recounts how the devil showed Christ all the kingdoms of the world and said, “All this power will I give thee, and the glory of them… if thou therefore wilt worship me, all shall be thine.” Here the adversary openly offers earthly authority in exchange for worship. This implies that the kingdoms of the world had (to some extent) already fallen under Satan’s sway – likely because humans had been induced to worship false gods, behind which Satan stood. From Babel onward, people worshipped various deities in hope of godlike knowledge or power; in truth, they were worshiping the fallen ones in exchange for illusions.

The Dragon of Revelation as the Solar Serpent

In the Book of Revelation, the apostle John describes a vision of a great red dragon:  (Revelation 12:3). A few verses later, this dragon is unequivocally identified: “And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world” (Revelation 12:9). The dragon’s appearance is fiery (red) and it is a colossal, powerful being – symbolic of Satan’s influence over earthly kingdoms.

It’s worth noting once more that the “screech owl” mentioned in Isaiah 34:14 has, in later Jewish and mystical traditions, been associated with Lilith — a figure believed by some to have preceded Eve. According to extra-biblical lore, Lilith was said to have refused to submit to divine order, choosing instead to flee the Garden of Eden, setting the stage for a legacy of rebellion and spiritual defiance. These traditions describe her as having united with fallen angels, becoming a mother of monstrous offspring and the embodiment of rebellion. In this symbolic framework, could Lilith represent the archetypal mother of abominations, the Queen of Heaven, and the mother of hybrids — the “hateful birds” or hybrid creatures seen in apocalyptic visions? (Pay close attention to those in positions of power who bear avian characteristics).

Now think about how ancient civilizations portrayed their highest deities — not just as mighty rulers, but often as serpent-like or dragonic beings intertwined with solar power. This concept of a "solar serpent" or winged dragon was widespread across cultures. In the Bible, the seraphim described in Isaiah are themselves winged serpents — fiery beings whose very name (from the Hebrew saraph) suggests both flame and serpent. These creatures blur the line between bird and snake, reflecting a divine hybrid form.

Take Egypt, for example: the sun god Ra, also known as Amun-Ra, is frequently depicted as a man with the head of a hawk — a bird of the skies — crowned with a blazing sun disc. But wrapped around that solar crown is the uraeus, the coiled serpent — a cobra symbolizing divine authority, protection, and kingship. This fusion of hawk and serpent, light and fire, air and earth, embodies the idea of a celestial serpent king — one who rides the heavens on wings of light, wielding the sun like a weapon or crown.

(Egyptian Sun God Ra | Story, Symbols & Powers - Lesson - Study.com). In some syncretic depictions, Amun-Ra himself could be shown with a leonine (lion) body and a sun disk encircled by a snake atop his head – a vivid image of a solar serpent deity. The winged sun-disk with cobras, a symbol found in Egypt and Mesopotamia, similarly merges serpent imagery with the solar disc. In Babylon, the equivalent was Shamash, the sun god who was often represented with rays emanating from him and sometimes with serpent-dragon motifs. The Greek god Apollo (later identified with the sun) was associated with the Python serpent (Apollo’s oracle at Delphi was said to be guarded by a serpent he defeated), earning him titles like Pythian Apollo – in effect, Apollo inherited the mantle of a solar serpent-god (Chapter III. Serpent-Worship in Europe - Sacred Texts). Such examples abound, and they point to a common archetype: a powerful serpent/dragon linked to the sun.

The theory we’re exploring suggests that this archetype is not a coincidence or mere imaginative pattern, but rather a reflection of one real spiritual entity manifesting across cultures. In biblical terms, that entity is Satan, the fallen seraph, the ancient serpent. He was worshipped in the gentile world under names like Ra, Apollo, Mithras, Shamash, Sol Invictus and so on – different masks for the same being or the cohort of fallen “shining ones.” 

All were considered supreme gods in their respective pantheons (Ra and Shamash as judges and kings of gods, Sol Invictus as the official highest god of late Rome). All bore the solar disc or rays as their emblem of power. And significantly, all had serpent symbolism either directly attached or in their mythology. In Egyptian theology, the sun itself was personified as the Eye of Ra, often depicted as a cobra (the goddess Wadjet) encircling the sun disk (Egyptian Sun God Ra | Story, Symbols & Powers - Lesson - Study.com).

The “fiery flying serpent” is mentioned in Isaiah 14:29 as a coming enemy of Philistia – “out of the serpent’s root shall come forth a cockatrice, and his fruit shall be a fiery flying serpent”. Many scholars see this as a metaphor for a destroying power or king. Spiritually, it calls to mind the image of a seraph—a fiery, winged serpent—emerging from the root of the ancient serpent, that primordial figure of deception. This may serve as a poetic allusion to a dark lineage, perhaps even to the union of Satan with Lilith, the figure in extra-biblical tradition often described as the first woman who defied God’s order. Could this be the origin of the Queen of Heaven archetype—the one worshipped as Venus, the bright morning star, and consort to Shamash, the solar deity?

In some esoteric traditions, Shamash is also tied to Shamsiel, one of the Watchers—a fallen angel whose name means "sun of God", said to have taught mankind forbidden knowledge, including astral magic and the movement of celestial bodies. The sun, as a symbol of this corrupted illumination, becomes central: its full numerical expression encoded in the solar sigil—the Sun Square—totals 666, the number of the Beast.

Through this lens, the solar serpent, the Queen of Heaven, and the false light of 666 converge in a powerful deception—one rooted in ancient rebellion, yet still echoing through modern forms of worship.

Isn’t it symbolic that in the Roman Catholic Church, the monstrance—a vessel crafted in the shape of the sun—is lifted high and venerated, just as devotion is also offered to the so-called Queen of Heaven? The imagery is striking, and perhaps not coincidental. Interestingly, in a previous blog exploring the Bohemian Grove rituals, where a towering owl statue (Lilith, the screech owl?) is central to the ceremony, a figure dressed in clerical robes and a mitre was seen among the crowd—blurring the line between ancient rites, elite gatherings, and ecclesiastical symbolism.

Solar Worship in Babylon, Egypt, and Rome

The worship of the sun is one of the oldest and most pervasive forms of pagan religion.

In Ezekiel 8:16, the prophet in a vision sees abominations in the Jerusalem Temple – “about five and twenty men… with their backs toward the temple of the LORD, and their faces toward the east; and they worshipped the sun toward the east.” Such passages indicate that sun worship, in biblical thought, is tantamount to the worst idolatry, often linked with serving demonic powers (cf. Deut 4:19–20, where God “allotted” the sun and stars to the heathen, implying those who worship them have been handed over to false gods). From our hypothesis’ perspective, the reason is clear: sun-worship is effectively the worship of the fallen light-bearer, Satan, in one guise or another.

Interestingly, the name Shamash in Akkadian corresponds to Hebrew Shemesh (sun). Some scholars have noted that the Watcher angel Shamsiel (or Shemeshiel), whose name means “Sun of God,” could be mythologically linked to Shamash (Shamsiel - Wikipedia). According to the Book of Enoch, Shamsiel was one of the leaders of the fallen angels who “taught men the signs of the sun” – essentially the knowledge of the sun’s course and the zodiac (The Book of Enoch, Section I). Thus in Babylon we have a convergence of themes: a fallen angel associated with the sun, a sun-god ruling as judge, and astrology (which relies on the zodiac signs, or “signs of the sun” in each month). It is feasible that the Babylonians’ Shamash was inspired by the real influence of Shamsiel (or a similar sar of the sun), a fallen spirit claiming to be the light of the world. The Bible hints that behind Babylon’s idols were real entities – Isaiah 13:21 speaks of Babylon’s ruins being inhabited by “satyrs” (goat-demons), and Daniel 10 depicts a demonic “prince of Persia” and an angelic “prince of Greece.” If such territorial spirits exist, one over Babylon could well have been this solar “Watcher.”

Moving to Egypt, we encounter an even more explicit cult of the sun. The Egyptian theology evolved over time, but by the New Kingdom, Amun-Ra was worshiped as king of the gods – a fusion of Amun (a creator deity of Thebes) with Ra (the old sun god of Heliopolis). Ra’s iconography leaves no doubt that sun-worship was at its core. Egyptians called the sun Re or Aten when personified; Pharaoh Akhenaten famously declared Aten (the sun disk) as the sole god during his 14th-century BC religious revolution.

Revelation 17:4 And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication.

In his Hymn to Aten, the sun is praised as the creator and sustainer of life, with language that astonishingly resembles biblical praises of God (e.g. “Thou sole God… Thou givest life to millions”). This underscores how the sun usurped the Creator’s role in Egyptian devotion. The symbol of Aten was a radiant solar disc often depicted extending life-giving rays (ending in hands) toward the Pharaoh. Meanwhile, traditional Egyptian depictions of Ra show him traveling in a boat through the sky by day (and underworld by night), attended by other deities. Critically, the uraeus cobra is always present on Ra’s forehead – the protective serpent goddess who spits fire at Ra’s enemies. Pharaohs, considered “sons of Ra", likewise wore the uraeus on their crowns. In effect, Egypt tied the serpent to the sun so closely that the two together signified royal divinity. We might say that in Egypt, the fiery serpent (seraph) openly received worship in the form of the sun-cobra imagery. The prophet Ezekiel may allude to this when he says: “Thus saith the Lord God; Behold, I am against thee, Pharaoh king of Egypt, the great dragon that lieth in the midst of his rivers, which hath said, My river is mine own, and I have made it for myself” (Ezek. 29:3). Pharaoh is called tanniyn, “dragon/serpent,” and described with hubris similar to Lucifer’s. Indeed, Egyptian religion taught that Pharaoh was an incarnation of the divine sun. From the perspective of our hypothesis, Egypt was a primary domain of the fallen Seraph – a place where he managed to get direct worship under the image of Ra (the sun) and Wadjet (the serpent on the crown). It is no accident that one of Moses’s first confrontations with Pharaoh involved serpents (Exodus 7:10–12, the staffs turned to snakes) and one of the plagues was three days of deep darkness (Exodus 10:21–23) – a judgment aimed squarely at the sun-god.

By the time we reach Rome, the pattern continues, albeit with new names. The Romans inherited Greco-Etruscan deities (Jupiter, Apollo, etc.) but also adopted Eastern sun cults. In the 1st–3rd centuries AD, Mithraism (worship of Mithras, a Persian saviour figure identified with the Sun) became popular among Roman soldiers. More officially, in AD 274 Emperor Aurelian proclaimed Sol Invictus (“the Unconquered Sun”) as the premier cult of the empire (sundaylaw — One God One Lord). Sol Invictus was essentially a form of Baal/Shamash/Mithras worship, syncretized as a single solar deity. Emperors from Aurelian onward (including Constantine in his early years) often presented themselves as devotees of Sol. In fact, Constantine, even after converting to "Christianity", retained the title Pontifex Maximus – the chief priest of the state pagan religion – and he honoured the “venerable day of the Sun” (Sunday) as a day of rest by law. Coins of Constantine’s era depict the Emperor with the radiate halo of Sol Invictus, effectively identifying the ruler with the sun. Historians note that “Constantine’s devotion was peculiarly directed to the genius of the Sun, the Apollo of Greek and Roman mythology”. Rome thus encapsulated the solar serpent motif in its own way: the Emperor (a semi-divine figure) was often linked with the sun (Sol) and portrayed with radiate crowns (serpent-like rays) on coinage. The imperial cult, which required subjects to burn incense to the genius of Caesar, was a direct challenge to Christian monotheism in the early centuries. Christians saw it as demonic – and rightly so if one believes that behind Sol Invictus was none other than the age-old dragon. Revelation, written during the Roman Empire, speaks of a “beast” empowered by the dragon and demanding worship (Rev. 13:4). Many interpreters have seen in this the Roman imperial cult (and by extension, future regimes inspired by Satan). It is compelling that the symbols of that cult were largely solar. The very term Pontifex Maximus, as mentioned, was passed down from the pagan emperors to the popes of Rome after the empire became officially "Christian" (Roman religion - Imperial Epoch, Final Forms, Paganism - Britannica). This indicates a continuity of authority – and some would argue, an infiltration of pagan ideas – into the post-Roman religious structure.

Sun Imagery and the “Solar Deception” in the Church

One of the more controversial aspects of this theory is the claim that solar symbolism persisted into ostensibly Christian contexts, particularly within Roman Catholic art and ritual. The argument is not that Catholics knowingly worship the sun, but that the fallen seraph has covertly infused his symbols into the church, seeking continued veneration.

For example, the halo or nimbus around the heads of Christ, Mary, and the saints in iconography was virtually non-existent in Christian art pre-4th century; it became common after Christianity triumphed in Rome. Yet halos were long used in pagan art to depict solar deities like Helios and Apollo (with rays emanating from the head) (SUN WORSHIP The halo, or nimbus, that sits behind the heads of ...). The Christian halo is usually a simple gold disk, but the concept is analogous – a disk of light denoting sanctity. Could this be a carry-over of the sun-disk veneration? Another example is the Eucharistic monstrance used in Catholic liturgy: it is often a gilded object with a large central sunburst design, into which the consecrated Host, much like a solar disk, is placed for adoration. The monstrance literally resembles a sun – with rays emanating outward – and in many cases it is set on a stand shaped like a crescent moon, forming a sun-moon motif. This design is unmistakably similar to images of the sun god being carried in a crescent. Some Protestant critiques (and even some Catholics) have acknowledged that “the shape of the monstrance, resembling the radiant sun, holds deep symbolism” connecting to earlier sun symbolism.

Perhaps most fascinating is the presence of astrological and zodiacal imagery in churches, especially from the Renaissance and medieval periods. The Vatican itself houses curious examples. The Borgia Apartments (a suite of rooms in the Apostolic Palace) were decorated under pope Alexander VI with rich astrological ceiling paintings: the panels feature the planets, zodiac signs, and constellations, purportedly to glorify the Borgia pope’s destiny under the stars.

Similarly, many Gothic cathedrals in Europe include zodiac signs in stained glass or carvings (often as part of a cosmological clock or calendar on the church). At first glance, one might think these are simply representations of “creation” or the passage of time, but their prominence is striking. In other words, these zodiac symbols do not obviously serve to honour Christ or convey a biblical lesson – they seem to be there as an esoteric element, perhaps acknowledging the influence of astral “powers.” The inclusion of the Zodiac in a holy context could be seen as the Watchers’ fingerprint, since according to Enoch it was the fallen angels who taught humanity the “constellations” and astrology (The Book of Enoch, Section I). In fact, Shamsiel (the “sun of God” angel) teaching the “signs of the sun” correlates to the zodiac signs (the band of 12 constellations through which the sun passes) (The Book of Enoch, Section I).

It is as if the ancient solar-serpent cult left its symbols within the very architecture of worship, even as the church professed a new faith.

To be clear, mainstream Christian theology does not endorse sun-worship or astrology. The Church through the ages mostly condemned divination and pagan worship. Yet, the persistence of these symbols may be evidence of what our theory proposes: a hidden spiritual battle where the fallen seraphim seek to reclaim honour. They could not destroy the Church from outside, so (one might argue) they infiltrated it, subtly reintroducing their “brand” (sun imagery, celestial veneration, hierarchical power structures that echo pagan priesthoods). Even titles like “Pontifex Maximus” for the pope (literally “supreme bridge-builder” or high priest) are vestiges of the Roman imperial cult passed into the Christian era (Roman religion - Imperial Epoch, Final Forms, Paganism - Britannica). The pope’s triple tiara crown historically was said to symbolize dominion over heaven, earth, and underworld – a grand claim that might unwittingly echo the kind of authority the dragon sought (c.f. Luke 4:5-6, “all this power... is delivered unto me”). While Catholic defenders see these as harmless or repurposed symbols, the hypothesis here is that the adversary doesn’t mind if worship is slightly rebranded, so long as the core symbols and structures still direct hearts toward the creature rather than the Creator.

“Fire from Heaven” and Final Judgment

From Genesis to Revelation, the Bible depicts God as ultimately triumphing over this masquerade of light. If the fallen one appropriated fire from heaven, God will demonstrably reclaim it. In the dramatic showdown on Mount Carmel, the prophet Elijah confronted the prophets of Baal — a deity often associated with the sun and worshipped through occult practices. These priests, steeped in sorcery and ritual, called upon their god in vain. But when Elijah prayed, fire descended from heaven, consuming the offering and proving that Yahweh alone is the living God (1 Kings 18:38). This divine fire stood in stark contrast to the powerless rites of Baal’s followers. In the last days, Revelation declares that the sun itself will become an instrument of divine judgment — not as a source of life, but as a searing weapon of God’s wrath. Under the sixth seal, “the sun [becomes] black as sackcloth of hair, and the moon [as] blood” (Revelation 6:12) – a sign of judgment that humiliates those who idolized the lights of heaven. Later, under the fourth vial, “the fourth angel poured out his vial upon the sun; and power was given unto him to scorch men with fire” (Revelation 16:8) Men are “scorched with great heat” and blaspheme God rather than repent (Rev 16:9). This eerie scene can be read symbolically: the very thing mankind (and perhaps the RCC) worshipped – the sun, symbol of enlightenment and life – becomes a source of agony, unless they acknowledge the true Source above it. In a sense, God turns the weapons of the enemy against him. The false light becomes darkness, and the stolen fire becomes punishing flame. We see a foretaste of this in the plagues of Egypt (as noted, the plague of darkness against Ra). Likewise, Babylon in Revelation (a cipher for all pagan-opposed-to-God systems) is punished with plagues in one day (Rev 18:8) and finally destroyed, to be found no more. The “dragon, that old serpent” is cast down and eventually thrown into the lake of fire (Rev 20:2, 10), while Christ the true Morning Star (Rev 22:16) reigns. The prophetic imagery intentionally contrasts Christ’s genuine divine light with Lucifer’s counterfeit.

The Queen of Heaven and the Fall of the False Light: A Theological Theory on Revelation 18

“And the woman which thou sawest is that great city, which reigneth over the kings of the earth.”— Revelation 17:18, KJV

When Revelation speaks of the fall of Babylon in chapter 18, the language is rich with sorrow, urgency, and finality. She is described as a woman, arrayed in purple and scarlet, holding a golden cup full of abominations. She is called “the mother of harlots” and “the abominations of the earth.” She is Mystery Babylon, and her destruction is one of fire and lamentation. The kings of the earth, who once committed fornication with her, weep at her burning. The merchants, who grew rich from her luxuries, mourn from afar. But who is this Babylon? And what is the fire that consumes her?

It is my theory that this “great city” is not merely a literal capital, nor just a political empire, but a spiritual throne — a system animated by an ancient force: the Queen of Heaven, the false light-bearer, the counterfeit divine feminine, whose image and influence have echoed through every major empire from Babylon to Rome. She is the shadow behind every gilded idol, the seductress behind every solar cult, and the mother of a spiritual deception that spans millennia.

This figure — the Queen of Heaven — is no invention of Revelation. We see her lamented in the Old Testament, where the women of Judah bake cakes to her and provoke the wrath of the Lord (Jeremiah 7:18). She reappears in different garb throughout history, worshipped under various names: Ishtar, Astarte, Isis, and eventually, in a veiled syncretism, elevated within Catholic Rome as a figure more exalted than even Scripture allows.

But behind her titles and temples lies an even older symbol — the solar disc, the shining circle lifted in ancient rites and Roman Masses alike. This disc, often surrounded by radiating beams and held within elaborate monstrances, is not merely art — it is theology. It is a sign of divine power. And I believe, symbolically, it represents the fire that the adversary — Satan, the great Dragon — stole from heaven when he fell.

In the traditions of planetary magic and Hermetic science, the sun was assigned a sacred square — a six-by-six grid where each row, column, and diagonal equals 111. Multiply this pattern by six, and you arrive at 666 — the total sum of the sun’s power, the full measure of its energy encoded into numbers. This is not mere numerology, but a form of spiritual mathematics, understood by the magicians and sages of old to represent divine authority stolen and reframed. It is this number — 666 — that the Book of Revelation associates with the Beast. Not a random figure, but the signature of a system empowered not by God, but by a false light.

Could it be, then, that the Queen of Heaven — sits enthroned upon this same stolen light? That she is crowned by the solar disc not as a bearer of truth, but as the chief deceiver of nations?

It is not by accident that the Roman Catholic Church holds its highest ceremonies on Sunday, nor that its altars traditionally face east, awaiting the rising sun. These are patterns, not mere traditions — symbols of solar worship woven into the fabric of global religion. The cross, once a symbol of execution, was transformed into a solar cross — a circle with a cross inside, representing the solstices, the seasons, the cycle of death and rebirth. The Vatican itself is designed as a massive sundial, with an obelisk as its gnomon, casting the shadow of time in homage to the heavens. And within its architecture, from basilica floors to painted ceilings, are inscribed the signs of the zodiac — the very mysteries once taught to mankind by Shamsiel, one of the fallen Watchers whose name means “Sun of God.”

This same Shamsiel, according to the Book of Enoch and other ancient sources, taught astrology and the secrets of the stars. He aligned worship with the heavens, not the Creator. And now, centuries later, his influence persists — not on the fringe, but at the heart of what is called sacred. The Queen of Heaven, seated upon this solar throne, presents herself as holy. But the light she offers is counterfeit. It is the light of 666 — not of Christ, but of the Beast.

In Revelation 18, the Queen of sorcery herself will be destroyed by judgment. “She shall be utterly burned with fire: for strong is the Lord God who judgeth her.” The sun that once empowered her now turns against her.

She is Babylon, yes — but she is also more. She is the harlot, the counterfeit church, the spiritual system that seduced the earth. Her priests were kings. Her temples were golden. Her rituals were radiant. But her foundation was rebellion, and her end is fire.

And as she burns, Scripture records that the merchants of the earth — the great men, the elites — weep for her.

“For thy merchants were the great men of the earth; for by thy sorceries were all nations deceived.” (Revelation 18:23). It was sorcery, not salvation. A global enchantment. An illusion that masked the truth.

But the truth cannot be extinguished.

The Queen of Heaven and Satan will fall. The fire will be reclaimed. The true light will reign.

For their throne is crumbling — but His kingdom is everlasting.