President Kimball taught that despite our belief that we are ever so more advanced and enlightened than our ancestors in reality most of us are just as idolatrous as they were:
In spite of our delight in defining ourselves as modern, and our tendency to think we possess a sophistication that no people in the past ever had—in spite of these things, we are, on the whole, an idolatrous people—a condition most repugnant to the Lord.
We are a warlike people, easily distracted from our assignment of preparing for the coming of the Lord. When enemies rise up, we commit vast resources to the fabrication of gods of stone and steel—ships, planes, missiles, fortifications—and depend on them for protection and deliverance. When threatened, we become antienemy instead of pro-kingdom of God; we train a man in the art of war and call him a patriot, thus, in the manner of Satan’s counterfeit of true patriotism, perverting the Savior’s teaching:
“Love your enemies, bless them that curse you, do good to them that hate you, and pray for them which despitefully use you, and persecute you;
“That ye may be the children of your Father which is in heaven.” (Matt. 5:44–45.)
Notice the examples the Prophet used -ships, planes, fortifications, etc. Our dependency upon the military for our safety, and ultimately the organization which runs the military -the government, is a modern form of idolatry. The cultivation of idolatrous beliefs and feelings among the population towards the State is no accident. In previous parts of this series I have touched upon the religious symbolism of the Cult of the State –its idols, its temples, its mass rituals – and the way the cult uses these symbols to inspire mass human sacrifice from the public. The government wants us to treat it as a god and sacrifice all we have to it, its preservation, and its power- including ourselves and our children- whether that be through war or through its legal system.
In this part of the Modern-day Moloch series, I look at symbolism itself and the way that the government purposefully uses religious iconography to manipulate the religious sensibilities of the public and to get the masses to react to and think of the government in a similar manner to how they think of their religion and their gods, especially in the deification of political leaders and the omnipotence of the State- that it not only can provide for all their wants and needs but that it can also protect the public from all harms and threats to their lives, both domestic and international. They’re successful to a large degree in developing this belief as most people really believe the government and its cronies can do these things. Here we’re going to evaluate some specific examples of how the State manipulates the religious ideas and feelings of the public through public displays designed to generate feelings of religious worship, awe, and subservience among the people toward the government.
In evaluating the way the state uses religious iconography to manipulate the masses I will give preference to Christian iconography for my examples. This is not to say that these principles only apply in Christian nations. It is simply to acknowledge that the topic is so large that to try and cover all examples would be to produce a work impossibly long to read in an online form. Besides, taking after the example of noted historian Dr. Carlton Hayes, it can be noted that the modern Western form of the Cult of the State, “appeared among peoples that were traditionally Christian, and it is not extraordinary, therefore, that it should have borrowed and adapted to its own purposes many customs and usages of historic Christianity.”
God In Heaven Above
One of the classic depictions of God or the gods is to show them in the heavens surrounded by their celestial consorts, courtiers, and dependents. Christianity is full of depictions of God, Jesus, and the Holy Spirit in Heaven, surrounded by angels. A traditional example from the 1500s comes from Bernardo Bitti’s Coronation of the Virgin as seen below. The Coronation is a depiction of the Assumption of Mary, showing the Catholic belief that Mary the Mother of Christ was taken body and soul into Heaven at the end of her life.
The painting hangs in the Church of San Pedro in Lima, Peru and dominates its sacristy, a room “in the church or attached thereto, where the vestments, church furnishings and the like, sacred vessels, and other treasures are kept, and where the clergy meet and vest for the various ecclesiastical functions.” As such it fulfills a sacred function as the scared image to which the clergy bows to upon exiting the room and entering the sanctuary of the church. In the Coronation you can see the risen Mary in Heaven, surrounded by a multitude of saints and angels. The central figure of the painting is Mary, but notice that equally dominating in presence are the members of the Trinity- the Father, the Son, and the Holy Spirit, here depicted in the form of the dove. The Father and Son are seated upon literal angelic thrones (perhaps referring back to the Mercy Seat in the ancient Jewish temple), hold in their hands the scepters that symbolize their authority to rule and to punish, and are above Mary, befitting their exalted status as God, and hold in their hands the crown of glory that they are about to bestow upon Mary. The message is clear, though Mary, bore up on the backs of angels as she is, may enjoy an exalted status over us Earth bound mortals she is still below and beneath the majesty, power, glory, and authority of God Himself.
Compare the Coronation to the Apotheosis of George Washington in the dome of the US Capitol building. Below are three pictures so you can see the extent of the work.
First off, the name of the painting truly says it all as apotheosis means “the elevation or exaltation of a person to the rank of a god.” In other words, this painting records how George Washington, the human general and American President, has now become a god. This automatically should set off warning bells. The scene in the fresco shows Washington, having ascended into Heaven, sitting enthroned as God. Notice the complete absence of the Father, the Son, or the Holy Spirit. For his crown, Washington is not dependent upon God as Mary was, rather Washington is God. You can take it farther. Evidence in the painting suggests not just that the American Cult has ignored the Christian God, but that he has been replaced altogether.
Notice the color of Washington’s clothes. His uniform and the robe that drapes his legs are both purple, symbolizing his right to rule. Since he is in Heaven this must symbolize his right to rule in Heaven, normally a place only God has the right to rule. Next notice the presence and attitude of the heavenly courtiers- the saints and angels of the American cult- all who surrounded and serve Washington. Compare this to the Coronation where it is evident that all present, including the risen Mary, are glorifying the Trinity. In the Apotheosis it is clear that Washington himself is the center of the universe. Not only is this revealed in the way that all the heavenly courtiers surround and adore Washington but in the identities of those courtiers. To Washington’s left is Victory and to his right is Liberty. Surrounding him are (in clockwise order) War (directly below), Science (along with St. Benjamin Franklin), Marine/Ocean power, Commerce (accompanied by St. Robert Morris), and Agriculture- all of whom revolve around the might, majesty, and light of George Washington, as if dependent upon his rule for their prosperity or their ruin and as if they are his give to or take from the Earth. Notice also that around the outside borders of the fresco is a circle of stars- as if all the stars of the Universe revolve around Washington and are held in place by his power. In the Apotheosis, Washington has replaced the Father and the Son as the center of all things.
Then there are the matters of the book, the sword, and the rainbow. To Washington’s right sits Liberty with an open book. In Western tradition open books typically symbolize wisdom, knowledge, and education, especially as it pertains to god’s Holy Law and submission to it. The open book also connects to the Book of Life which, once opened, we are told all of us will be judged from with those whose name is not being found in the Book facing damnation. Notice here though that instead of being connected to a Christian saint or angel the book is held by Washington’s angel Liberty. It is his judgement that must be met, his wisdom that we must be taught, his commandments which we must follow, and it is in his book that our names must be found lest we be damned. This is further emphasized by the fact that Washington holds a sword which also symbolizes power to rule and judge, as in the Sword of Justice. In the hands of a man it represents earthly authority, but in the hands of one ascended to godhood it must necessarily represent divine authority. Therefore, in Washington’s hands it represents his divine authority to execute judgment and authority upon the Earth. In Coronation the Father and the Son both hold scepters or rods, which are signs of their divine authority to rule and judge the Earth. In the Apotheosis it is Washington’s sword that rules and judges the Earth. Washington’s replacement of the Father and Son is finalized by Washington sitting upon the rainbow, which can be seen stretching from below him down towards Science and St. Franklin. In Christian art it is the purview of the Son to sit upon the Rainbow Throne and execute His judgment and His rule upon all the world, as can be seen in the example below.
The above doom painting, that is a painting of the Last Judgement, surrounds the apse of the church (the area where the sacrament, Eucharist, and/or communion is blessed). Here Christ is the center of the Kingdom of Heaven, the buildings around him, which He is bringing to Earth along with His Apostles, to execute the Final Judgment of the righteous and wicked (which can be seen in the lower corners of the painting). Notice that in the painting Christ both sits upon the Rainbow Throne and has the rainbow as his footrest as well. The rainbow then is the symbol of the love, mercy, and throne of God. So, why is Washington seated upon it in the Apotheosis? The symbolism seems clear. By taking the Rainbow Throne, the Throne of God, Washington is depicted as God Himself, having replaced Christ as the Ruler and Judge of the Earth. The combination of the book, sword, and rainbow then tell us that what we are seeing is not only a deification or exaltation, but a Final Judgment, with Washington Himself as the ruler and God of All.
This is hardly all the religious symbolism used in the US Capitol to suggest Washington as the New God of America. For example, Washington has an empty tomb in the Capitol building as well. That, combined with the bronze of the human Washington below the Apotheosis suggests a risen Washington who has transitioned from honored man to exalted God on high sitting in Judgment upon America, if not the world. Remember the Apotheosis depicts all the forces of the natural world and the stars of the Universe centered upon Washington.
Then there is Horatio Greenough’s Enthroned Washington which is modeled after the ancient Zeus Olympios that sat in the Temple of Zeus in Olympia, Greece. Modelling Washington after Zeus, King of the Gods suggests that Washington himself has become King of the Gods and rules from his throne on high as the god of the American Cult of the State. This is only emphasized when side angles of the statue are seen, as in the image below. From this side view you can see the statue of Zeus in the back. Hera, Greek Queen of the Gods, is on the other side. This positioning, with them diminished and behind Washington, himself a giant among the gods, suggests that Washington has replaced both the ancient gods and the modern Christian God as the Divine Ruler. It is revealing to note that this statue has long been controversial, not because of its depiction of Washington as a god, but because it shows him barechested. His nudity, not his divinity, is the problem for those followers of the American Cult.
Gods In Temples Below
Washington isn’t the only American leader accorded divine status though, nor is he the only one deified using Greek and Roman religious iconography. Both the Thomas Jefferson Memorial and The Abraham Lincoln Memorial use ancient Greek and Roman religious symbolism and architecture to deify their subjects as Americans gods. First I will explore the Jefferson Memorial and its religious connections and influences and then I will do the same for the Lincoln Memorial.
The Jefferson Memorial, like all of America’s most holy shrines, is in Washington, D.C. It isn’t just meant to evoke images of ancient Roman temples, it is directly based off one- the Pantheon. The Pantheon is an ancient Roman temple built in the heart of the city of Rome itself. It was completed in 125 AD by the Emperor Hadrian and was dedicated not only as a place of worship of the gods of Rome but as a place where the living god, the Emperor, could take his place among the gods and his deified peers to remind observers of the divine authority of the Emperor and his position above that of other mortal men. In other words, as much as the Pantheon may have been dedicated to all the gods, its primary function was as a temple dedicated to the cult of the emperor and ensuring that the Roman people (both commoner and the patricians) both saw and treated him as divine.
When you compare the two this way the parallels becomes obvious. The massive columns capped by the pediment (that triangular roof part on the front) with the massive dome rising as a crown behind it. In the interior they even kept the same design for the inside of the dome. There is of course one massive difference, the gigantic graven image of Thomas Jefferson, standing as a giant that dwarfs all other mortal men. He is also surrounded by quotes from the American sacred texts that he authored, also displayed at a massive scale as if to overwhelm the visitor to this temple. The total effect is to impress upon visitors of the majesty of Jefferson, to inspire within them veneration for him and his words, and to remind them of his divine authority in the American pantheon. In turn, this also imbues the government he is seen as helping to have formed with his majesty, his power, and his authority.
To me there are appears to be some Grecian influences here as well, especially in terms of the massive freestanding Jefferson idol at the center of the Temple. I am reminded of the gigantic idol of Athena Parthenos (built by the same artists who designed Zeus Olympios) that once stood in the Parthenon, the ancient Greek temple that still stands in Athens and which was dedicated to the goddess Athena. Looking at the still standing ruins of the Parthenon, the east entrance that would have led directly to the Athena idol was columned with a massive pediment, giving it an exterior very similar to the Jefferson Memorial’s exterior. Additionally, looking at the floor plans, it appears that you could probably have seen the massive idol from the entrance of the temple, just as you can at the Jefferson Memorial.
The Jefferson Temple isn’t the only American temple inspired by the Parthenon. The Lincoln Memorial, designed by Henry Bacon, was modeled after the Parthenon. And in case you miss the point that this is meant to be a temple, the inscription above the Lincoln idol reads, “In this temple…” The Lincoln Memorial is another enthronement scene, with the colossal Lincoln idol sitting upon a throne, looking out over the lands and people around him as the orderer and ruler of all he sees. This concept is driven home by the frequent and repeated use of the fasces symbol all over the memorial, including on Lincoln’s divine throne. According to the National Park Service (NPS), the fasces are “a Roman symbol of power and authority, a bundle of wooden rods and an axe bound together by leather thongs. Fasces represented that a man held imperium, or executive authority. Exercising imperium, a Roman leader could expect his orders to be obeyed, could dole out punishment, and could even execute those who disobeyed. The fasces he carried symbolized this power in two ways: the rods suggest punishment by beating, the axe suggests beheading. On its surface, the fasces imply power, strength, authority, and justice. Depicted throughout the Lincoln Memorial, the fasces mean all this and more.” What do you call a being sitting on a throne in a temple with the power and authority to rule, to demand he be obeyed, and to reward or destroy you base don your obedience to his commandments? God. The fasces, in effect, operate here in the same manner that the rods in the Coronation and the sword in the Apotheosis do- as signs of the power and authority of the Divinities to order and be obeyed. So massive is the temple and so powerful are its symbols that, in the words of the NPS, it “projects an aura of power, strength, and authority and compels respect and humility.” Respect, humility, reverence for the being the idol represents- in other words, veneration and worship.
Looking at the massive Lincoln idol from the Lincoln Memorial/Temple, I am reminded not only of the Apotheosis and the Enthroned Washington but of another, starker representation of an enthroned idol god. I am reminded of representations of Moloch. The word Moloch is most likely derived from the Hebrew word mlk which means both “king” and “the king who rules” and likely represents the pagan god Baal, the king of the Canaanite pantheon. So Moloch is Baal, the king of the gods. That Baal was worshiped by sacrificing children to him is not only attested to by the Old Testament, but by Greek and Roman sources which record child sacrifice as part of Carthaginian worship of Baal in North Africa. It is in fact a Greek source that gives us the clearest description of how this sacrifice occurred. The Greek historian Diodorus describes how the idol sat, “extending its hands, palms up and sloping toward the ground, so that each of the children when placed thereon rolled down and fell into a sort of gaping pit filled with fire” (Pgs. 97-99). The Roman historian Plutarch recorded that “the whole area before the statue was filled with a loud noise of flutes and drums so that the cries of wailing should not reach the ears of the people.” Both a classic and more modern interpretation of this idol are below:
Statist Idolatry
Do I think that Moloch is directly related to all of this in some secret, conspiratorial manner à la the Bohemian Grove? In a word, no. Rather, what I find striking is the use and purpose of the symbolism itself. The construction of temples and the presentation of enthroned gods either as idols or as paintings is an ancient part of human history, possibly stretching as far back as Göbekli Tepe. The symbolism of gods sitting in their temples or in the heavens ruling from on high, deserving our veneration and obedience is ingrained in the masses through all of human history and in every human society. When we see representations of gods in their temples we know from millennia of socialization how we are to act towards them. If I showed you that modern picture of Moloch it wouldn’t take you very long to figure out exactly what it was shows -a god on his throne- even if you had never heard of Moloch before. These signs and symbols of worship and divinity are part of our cultural education at that deep of a level, which is why the Lincoln Memorial doesn’t need someone there to tell you how to act. Most people simply know that they stand in the presence of the representation of an enthroned god and, in the words of the NPS, feel compelled to give it their “respect and humility.” No one ever believed the statues of Moloch/Baal or Athena or Zeus or any other idol they paid obeisance to was the actual god him/her/itself. But those ancient people did recognize the majesty, pageantry, and power the idol in its temple commanded on behalf of what it embodied, the very real earthly powers it represented, and that the responsibility of the common people was veneration and obedience. In the presence of such overwhelming majesty, pageantry, beauty, and holiness, they knew their roles- to give glory and respectful, humble, submissive reverence.
So, if you ask many Americans are they going to respond that they worship George Washington? They will surely say no. (Well, most will and some are really obvious about it.) But that isn’t quite the point. The point isn’t to get Americans to necessarily believe that Washington is God Almighty, rather it is to get Americans to venerate him and his works as if they were sacred, holy, and divine. After all, if his actions were sacred and deserving of veneration then what attitude should one have then towards the United States? If Washington is sacred then what of the work of his sacred hands- the government of the United States? Is it not too then holy, divine, and sacred? Does it not then deserve veneration and obedience? The point is to use the signs, symbols, sacraments/rituals, and ideals that we are taught from infanthood that represent obedience and deference to Divinity and to turn them towards the purposes of the state, to hijack the feelings of reverence, veneration, and awe we have for God and to get us to feel the same about the the government and its “heroes.” The more the feelings and ideals that we associate with God or the Gods are triggered by and associated with the government the more that we will believe in the power and authority of and give deference to the government and those in positions of political authority.
Haven’t you ever wondered why people seem to believe that the government can punish all evil or, for that matter, determine what good and evil are according to its own edicts and orders (laws)? Haven’t you ever wondered why even expressing the idea that peaceful secession might be a good solution to the nation’s political and social problems will get you called the worst names and treated as a horrific traitor to all of society, as if the nation’s political unity were itself eternally absolute and beyond question? Haven’t you ever wondered why people believe the government is so omnipotent that it can solve all the problems of the world -poverty, racism, hatred, cruelty, unkindness, danger, violence, injustice, homelessness, sexism, racism, social inequality, etc.- if it would but flex its muscles and apply its full power to force change upon society? Haven’t you ever wondered why reflexive loyalty and obedience to the government is the norm even when the system in place is oppressive, violent, and authoritarian and why true revolution is so rare? In other words, haven’t you ever wondered why people treat the government as if it were an omnipotent God?
We are saturated from childhood in the religious symbolism of the State and the government uses that symbolism and the feelings and actions that such symbolism inspires within us to get us treat it and think of it, even if subconsciously, as if it were a god that can give us everything we want and which in turn rightfully requires from us our dutiful obedience. It raises us and trains us in its idolatry such that it is our norm, thereby blinding us to what is really being done to us. If we are to truly give our all, even our lives, in service to Christ and the building of the Kingdom as we covenant with Him to do, then we must extract ourselves from the system of obedience and servility to the government. The first step towards that is opening our eyes to see the statist signs and symbols we are raised to venerate and the idolatrous statist sacraments we are taught to perform, and reject them all. In President Kimball’s words, we “must leave off the worship of modern-day idols” and choose to give all our love, worship, veneration, reverence, and service solely to, God the Father, His Son the Christ, and their Kingdom- both as it exists within the Restored Church upon the Earth and as it will come when He rules as the Lord of the Earth. As we do so we will not only become ever more capable of constructing Zion, the Society and City of God on Earth, but we will actually begin to do so.