Decoding Epstein Island
Ritual architecture in the twilight kingdom...
“12 Then said he unto me, Son of man, hast thou seen what the ancients of the house of Israel do in the dark, every man in the chambers of his imagery? for they say, the Lord seeth us not; the Lord hath forsaken the earth.
13 He said also unto me, Turn thee yet again, and thou shalt see greater abominations that they do.”
― The Book of Ezekiel 8:12-13 KJV
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In previous series, such as The Coincidence Zone, we examined how monumental events — whether it be September Eleventh or Hiroshima — are orchestrated not only as political or military stratagems, but as mass rituals. These events are coded with what parapolitical historian Michael Hoffman calls “twilight language”: a veiled lexicon of symbols, gestures, dates, numbers, architecture, and mythic references designed not just to communicate, but to initiate. They operate in the open and yet remain veiled — presented to the public in a form that appears secular, rational, or merely eccentric, while in fact functioning as acts of metaphysical warfare.
Hoffman defines this phenomenon with precision:
The alchemical principle of the Revelation of the Method has as its chief component, a clown-like, grinning mockery of the victim(s) as a show of power and macabre arrogance. When this is performed in a veiled manner accompanied by certain occult signs and symbolical words and elicits no meaningful response of opposition or resistance from the target(s), it is one of the most efficacious techniques of psychological warfare and mind-rape.
— Secret Societies and Psychological Warfare (1992), Pg. 89
Whether we speak of the World Trade Center plaza with its twin pillars and trident motifs, or the symbolic footprint of the Pentagon, ritual architecture is not incidental to this process — it is its grammar.
Little Saint James Island was not just the isolated estate of a sexual predator and Mossad asset; it was a ritual complex.
— (L) The sundial located on Epstein Island. (R) The Masonic Man.
As one leaves the main house, a curious and symbolically dense object prominently looms a short walk up the hill: a large, meticulously designed sundial. Upon closer inspection, the structure displays clear indicators of esoteric intent. It is a deliberate display of symbolic power, one that resonates deeply with Hermetic and Rosicrucian traditions.
First, observe the sundial itself: a large Rosicrucian-style sun dominates the design, an image that unmistakably echoes Hermetic symbolism. This sun is a symbolic representation of the alchemical Sol Invictus, the "unconquered sun," a profound symbol of occult illumination and transformation. In the Hermetic traditions, the Sun is emblematic of higher consciousness and apotheosis.
Significantly, the sundial features thirteen pastel-colored benches arranged around it, as well as thirteen time markers accompanied with thirteen stones placed around the dial. The number thirteen is of course famously significant in occult circles, signaling rebellion, transformation, and transcendence of the material realm. Moreover, the time markers are placed inaccurately and deliberately out of alignment. Note the duplicated presence of the number six where three and nine o’clock should appear. Six, traditionally tied to the creation of man and the cosmos, being doubled, reinforces the theme of occult dominion over human nature and temporal existence.
The sundial, therefore, serves as more than a simple symbolic decoration. Its blatant disregard for accuracy transforms it into an active demonstration of occult mockery and manipulation. Epstein’s deliberate choice of this image reveals a desire to instantiate occult dominance over the cosmic order, even time itself, an impulse no better demonstrated than by his attempts to genetically enhance and spread his lineage.
— (L) Exterior of Epstein’s temple prior to 2017. (M) Aerial view of Epstein’s temple after 2017. (R) Islamic architecture in ablaq style.
At the apex of Little Saint James Island stands Epstein’s garish temple — although in truth it is not just a temple, but a theater: its construction is intentional simulacrum.
Begin with the blue and white stripes. In classical Islamic and Mamluk architecture, alternating stripes of stone are known as ablaq. They appear throughout the Levant, especially in Jerusalem and Damascus. In sacred architecture, they connote duality — heaven and earth, light and shadow — brought into rhythmic harmony. The distinctive arches, as well as one of the temple’s doors, is a trompe l’oeil: the illusion of depth painted onto a flat surface. The entire face of the building suggests dimensionality, yet it is flat — again, a performance. What we are seeing is ritual architecture as misdirection.
Surrounding the temple are sigils of a strange and simplistic design. They do not derive from any formal magickal system I am aware of, nor do they appear to mimic any known languages. As the symbolism of this temple is unveiled, that is almost certainly the point. Their obscurity is itself part of the ritual: their illegibility proclaims the insiders’ gnosis and the masses’ impotence. The golden dome, before it was torn from the roof by Hurricane Irma, only completes this parody. Traditionally, a golden dome signifies the celestial throne — Solomon’s temple, the capstone of a sanctified whole.
Like a stage backdrop painted for a shadow play, these thematic elements serve as theatrical illusion to the grand psychodrama unfolding through the island’s architecture.
— (L) Statues of the sea centaurs Aphros and Bythos located on Epstein Island (Source: James O’Keefe Media Group). (R) Artistic rendering of Aphros and Bythos.
If the temple’s exterior is that of a synthetic sanctuary, its guardians and gatekeepers serve as avatars of the power it seeks to channel. As we will uncover, each plays an important role in the cosmological dramaturgy of the complex. While the island was once an exclusive retreat for the world elite (one where unspeakable crimes occurred), that is not all that it was. It is a ritualized kingdom, an axis mundi of occult initiation. The statues adorning the temple and flanking its grounds are, like the temple itself, a syncretic fusion of Jewish, Kabbalistic, Babylonian, Egyptian, Greek, and Hermetic motifs — a visual grammar of high sorcery.
Two statues once stood atop the roof but are gone in more recent footage of the island: one resembles the Lamassu of Assyro-Babylonian iconography, the other a winged figure with the head of a bird and a prominent central pinion, possibly evoking Thoth-Hermes. These two form an upper axis, symbolic sentinels perched upon the temple like watchers. The Lamassu, an ancient guardian of thresholds and sacred spaces, was traditionally placed at city gates and palace entrances; in Akkadian culture, it symbolized divine protection.
The second figure is more ambiguous. Its wings and avian head suggest Thoth, the Egyptian god of magick, writing, and time. Thoth, identified by the Greeks as Hermes, is the psychopomp, the scribe of the underworld. As Hermes Trismegistus, Thoth is considered to be the father of Hermeticism, the alchemical tradition which seeks to transform man into god. What better emblem for the capstone of a ritual complex dedicated to apotheosis through inversion?
Below, guarding the path to the temple, stand two centaurine figures identified in Greek mythology as Aphros and Bythos: the sea-goat centaurs who symbolize primordial mystery. Their hybrid form — a human torso, a horse’s forelegs, and a fish’s tail — represents the convergence of earth, sea, and intellect: the synthesis of earthly creation. According to later Greek myths, they often accompanied Aphrodite, the goddess of initiation and eroticism. The pairing of these mythological figures, as well as their ties to the goddess of lust, make design features such as this quite curious (emphasis mine):
Certain features of the "temple" raise even more questions. When [Business] INSIDER consulted James Both, a contractor and engineer based in Chicago, he first pointed to the wooden door. "It's styled like what you might see on a castle, with what appears to be a reinforcing lock bar across the face," he said. "What makes it peculiar is that if you wanted to keep people out, the bar would be placed inside the building, [but the] locking bar appears to be placed on the outside ... as if it were intended to lock people in."
— Why did Jeffrey Epstein build a temple on his private island?
If the now infamous reputation of the “late” Epstein is anything to go by, the answers to those questions are most assuredly not positive ones.
Thus, the juxtaposition of these various thematic motifs — heaven and earth, light and dark, earth and sea — establish the temple as the central focus of the ritual energy of the island complex.
— (L) The interior of Jeffrey Epstein’s temple (Source: James O’Keefe Media Group). (R) A Masonic representation of the Pillars of Joachim and Boaz.
Immediately upon entering the temple structure, the presence of twin pillars arrests the observer — intentionally placed to invoke one of the most potent architectural motifs in occult history: Jachin and Boaz. These are monuments to the boundary between realms which Freemasonry, Kabbalah, and the ancient mystery cults have long sought to control. In the Biblical account, these pillars were placed at the entrance of Solomon’s Temple (I Kings 7:21), as symbolic sentinels. Jachin (He shall establish) and Boaz (in Him is strength) framed the threshold into the inner court: the intersection of Heaven and Earth. Yet in occult traditions, these pillars are reinterpreted as gateways into initiation: a passage through which the initiate must pass to obtain secret knowledge.
One recoils at the thought of the ghastly initiatory rites conducted here.
— Close ups of the Zodiacal mural in Epstein’s Temple (Source: James O’Keefe Media Group).
Suspended above the inner sanctum of Epstein’s temple lies a ceiling mural that would be unremarkable were it not for the specificity of its mythological references, the precision of its astrological detail, and the hermetic depth of its composition. The central motif is unmistakable: the Argo Navis, the mythic ship of Jason and the Argonauts, depicted in mid-voyage across the night sky. The ceiling is a map, of sorts: a symbolic schema encoding the cosmological vision of its builder and the initiatory path of the elite. It’s a dramatized reenactment of the initiate’s passage through the mysteries — an astral katabasis, a descent through the stars toward symbolic rebirth. Such celestial imagery is not uncommon in esoteric orders. The ceiling of the Grand Lodge of Pennsylvania, for instance, contains similar symbolic motifs. To the esotericist, the Zodiac is never merely decorative — it is initiatory.
The Argonauts’ voyage is deeply allegorical: the journey through trials, the descent into darkness, the retrieval of gnosis (symbolized by the Golden Fleece). In astrological lore, Argo Navis was later divided into three: Carina (the keel), Vela (the sails), and Puppis (the stern) — each representing a phase of the journey. This tripartite division mirrors the structure of initiation in many of the mystery schools: purification, illumination, and ritual union.
Festooned on the prow of the Argo are various coats of arms, some more significant than others. Foremost is a shield that bears a striking resemblance to the family crest of Donald Trump, although there are distinct differences. Prominently featured is the six-pointed star (i.e. the so-called Star of David) in the colors of the Israeli flag, the Kabbalistic Seal of Saturn (a symbol which I have explored much more in depth in The Power of Symbols.) Following behind it is the Templar Cross, widely reported in Masonic mythology to be the progenitors of their fraternity. Another shield is quartered, with chevrons and stars on red fields — heraldic symbols often associated with noble families, but also with the esoteric language of alchemy (chevrons representing fire and ascension; stars as stellar gates). Taken together, their placement on the Argo suggests that this voyage is not of ordinary men, but of “illuminated” bloodlines.
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— Decoding Epstein Island, digital art, 2025.
For years, the architectural grotesquery of Epstein’s island — its gaudy temple, its misplaced sundial, its guardians and glyphs — was visible to the world, but its meaning remained cloaked. It was dismissed as eccentricity, decorative nonsense, the whimsy of a perverse billionaire. But with the recent unveiling of the temple’s ceiling mural through James O’Keefe’s outfit, the final pieces of the puzzle now come into focus. Much of the architecture that had once been veiled behind crime scene tape has been exposed, and the distinctly occult flair throughout is now impossible to ignore.
As someone who has researched and reported on the Epstein network, it is this angle — the occult angle — that remains its most underexplored topics. And yet, as I have expressed throughout my essays, it is this spiritual component that is the singularly most important element for understanding the Novus Ordo. Indeed, without this critical analytic lens, much of the architecture and design behind the island appears obtuse. But this is the strength of Luciferianism and the Mystery religion: the initiate bows at every altar knowing the true god they revere. It can hide in plain sight, adapting its message to the cultural iconography of its host. It is precisely this understanding that brings these disparate religious icons together into a cohesive whole.
We are dealing with a constructed ritual landscape, a microcosmic temple system built to project power and invert sacred archetypes. Every feature — the faux Solomonic dome, the twin pillars, the lamassu and centaur figures, the astral voyage of the Argonauts — functions within a syncretistic liturgical order. The mural, hidden for years, is the hermetic capstone. It confirms what the rest of the architecture implied: this island was a ceremonial ground for those who believe themselves heirs to an ancient priesthood — a cabal not merely of elites, but of sorcerer-kings.
Ultimately, the Epstein ritual complex is an initiatory landscape, a locus of power over perception.
It is a theater of the synthetic sacred, a throne room for a parody god, a high place by any other name.
Epstein’s island is not just a crime scene: it is an altar.
“For nothing is secret, that shall not be made manifest; neither any thing hid, that shall not be known and come abroad.”
― The Gospel of Luke 8:17 KJV
The Wolves Within is a must-read for every believer who refuses to be deceived.
Hit the Tip Jar and help spread the message!
This post contains affiliate links, which means I may receive a commission or affiliate fee for purchases made through these links.
Unlock the mysteries of Biblical cosmology and enrich your faith with some of the top rated Christian reads at BooksOnline.club.
Click the image below and be sure to use promo code SCIPIO for 10% off your order at HeavensHarvest.com: your one stop shop for emergency food, heirloom seeds and survival supplies.
Further Research
Secret Societies and Psychological Warfare by Michael A. Hoffman II
Given the latitude of the island, the hour markers on the sundial are accurately positioned. The gnomon (interesting ancient Greek word there) is angled parallel to the axis about which the sun moves in the sky. This angle from the horizontal is the geographical latitude of the sundial. The shadow cast on the dial moves at varying speeds depending on the position of the sun. This is why the spacing is larger in the morning and evening, compared to noon. Sun comes up around 6am and goes down around 6pm, hence the double 6.
The rising and setting of the sun coinciding with the sixes is an interesting connection. The sundial itself is a symbol. Lots of magic geometry and knowledge of the sky to make it work. They say the ancient Egyptians came up with the 24 hour day. 12 hours of day and 12 hours of night which they tracked using 12 stars. And, of course, Babylonians came up with base 60 timekeeping which we use. Also, the inventor of worldwide standard time, Sir Sanford Fleming, was a Freemason.
The amount of effort performed by these Satanists to glorify their god puts Christian Zionists to shame as the latter don’t even really know what they believe.