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Infernal Art and Compages in the Vatican

The Vatican's Hell Hall:
The Weird Mysteries of the Paul VI Audition Hall

Darkness Visible: Eerie, shrieking skull-similar faces seem to peer out menacingly from the base 0f La Resurrezione, an 8 ton sculpture, as "Pope" Francis speaks during an audience on November 21, 2015 at the Paul Vi Audition Hall at the Vatican. It is only one of the many bizarre things associated with this auditorium. (image: Getty Images/AFP / rights-managed)

by Francis Del Sarto

One thousand.1000. Chesterton in one case referred to architecture as "the well-nigh practical and the most dangerous of the arts." When it comes to the dangerous function of the equation, church building-related edifices congenital with Vatican 2 mandates in mind should all come with the spiritual equivalent of boarded-upwardly doors and windows, and prominently-displayed "CONDEMNED — Go along OUT!" signs.

One of the foremost offenders in this regard, and perhaps the creepiest looking of of all, has to exist the 6300-seat snake-caput-like Hall of the Pontifical Audiences. As structure on information technology was completed in 1971 during the ill-begotten reign of Giovanni Battista Montini ("Pope" Paul 6), the edifice is more popularly known as the Paul Six Audience Hall (or the Aula Paolo VI in Italian).

Inside, on the stage behind the seated "pope" is a massive artwork allegedly depicting the Resurrection of Christ. We say "allegedly" considering, dissimilar in conventional renderings, there is no joy to be plant in it, no angelic Alleluias! singing the praises of Our Lord's victory over the grave. Rather, it could more probable be taken for a glimpse into the horrors of hell or perhaps some tragic pagan epic, than it could laissez passer for a scene of Easter glories. Both the hall and the sculpture will exist treated in depth momentarily, just beginning information technology will exist assisting to examine the Novus Ordo justification for such grotesqueries.

"Vatican II changes everything."

A number of architectural styles have been wildly popular over the past one-half-century or so: modernist, hyper-modernist, and post-modernist, main amid them. As forCatholic, not so much. One could even say in that location has been a concerted search-and-destroy effort to attack true Catholic churches whenever possible, either selling them to secular buyers or Protestant sects, levelling them to the basis in a scorched globe policy to conductor in the Historic period of Strange, or gutting their interiors of all that made them worthy places for priests to offer the true Mass through a process that has been aptly described as "wreckovation".

It would non be a stretch to say that postal service-Vatican 2 ecclesiastical compages in many cases represents a deliberately anti-Cosmic form of church design. The title of Michael S. Rose's 2001 book on the field of study pretty well describes those Modernist edifices: Ugly as Sin. Oftentimes it seems that the men designing those temples are deliberately seeking to make them as hideous and un-Catholic equally they possibly tin can.

The championship of this section is a quote by Begetter (or "Father") Richard S. Vosko, a noted "liturgical blueprint consultant" and wreckovator extraordinaire. He is a promoter of worship spaces for "happy people on the movement", and he "speaks reverently and respectfully of infidel cultic practices, but can barely say anything pertaining to the Catholic Church except by laughing uncontrollably", every bit noted past the late Paul Likoudis in an article for The Wanderer in 2001. (Notation that when a progressive speaks of "people on the move" or the pop Novus Ordo catchphrase, "a pilgrim people", the moving does non announce a pilgrimage to, say, Rome or the Holy Country or to some indulgenced church or shrine — that would be a centuries-old traditional Catholic devotional exercise. Rather, what is meant is the Modernist sense of Catholics moving from an orthodox conventionalities system to an e'er-evolving one, from the stability of immemorial objective truths to continually-mutating subjective experiences.)

Then, when Vosko says that Vatican II represents "the end of stable organized religion", it is nearly assuredly said in triumph. The Likoudis article already referred to showcases Vosko's contributions to "Catholic" churches subsequently the council and would be worth quoting in total. For copyright reasons, yet, we must restrict ourselves to repeating simply some salient portions (readers are encouraged to read the full text here):

In a revealing advent April 3 [2001] at the University of Toledo'southward Corpus Christi Chapel [see inside here], which he designed, Vosko bedazzled some 300 Toledo-area Catholics with his talk about building worship spaces for "happy people on the move," showing himself as a human in movement.

…For 56 minutes, Vosko articulated his rejection of Christian teachings, his rejection of Catholic fine art, architecture, and ritual, his contempt for Catholics stuck in "sometime habits" of prayer and worship, as he attempted to explain what his new religion is all about.

In Vosko's anthropological organized religion, the story of Jesus is a "myth" and Catholic rituals are not objectively different from Sioux sun dances or the Shamanic practices of Nepalese monks.

…He said "there'south a lot of debate in the Church," because "some challenge the Church to a new direction" while "others cling to relics of a bygone era."

…Fine art and architecture — said the art consultant for Roger Key Mahony'southward new cathedral and Bishop Matthew Clark's cathedral renovation, amongst others — are but important insofar as they help people on their "inner search."

How Corpus Christi helps people on their inner search is not clear. The building, described past ane person in the audience as "very cognitive," is appallingly stark. Except for the labyrinth in colored tiles on the flooring, and the woods and upholstered chairs (no kneelers), the church'south sharp surfaces are entirely white, except for a two-story window, which frames the "sacred" pine tree only exterior. A pyramid-shaped skylight at the height of the church intensifies the whiteness. The chapel's stations of the cross are set in the flooring. A big granite immersion pool bubbles water in the gathering infinite. The overwhelming consequence of Vosko'south building is that it would be more serviceable as a showroom for upscale sports cars.

…"Some people apply tradition as a mode of staying in a habit. Nosotros cannot stand still," Vosko said as he continued walking around the labyrinth he designed into the floor of the chapel, "considering life is as well short."

…During his lecture, Fr. Vosko expressed his preference for the church-in-the-round model, saying circles — citing Stonehenge, Indian tepees, and mandalas as examples — are powerful symbols, as is the labyrinth. He as well defended Corpus Christi Chapel'southward movable bare wooden cantankerous, which he described equally a "powerful totem that puts the states in bear on with that which can be."

He told his audition that when he is retained as a consultant for a parish renovation, that "sometimes you have to strip away things … that get in the mode, things that are just habits."…

(Paul Likoudis, "Liturgical Design Consultant Reveals His New Age Religion", The Wanderer, Apr. 26, 2001)

What Vosko says in explaining his approach is more or less echoed by the vast majority of his young man architectural anarchists, including the Modernist heed behind Paul Half-dozen Audience Hall, whom we will encounter in a few moments.

Lex orandi, lex credendi — how we pray reflects what we believe, and vice versa. Merely as the Modernist infiltrators realized that the about effective fashion to "re-educate" the true-blue into accepting a false religion cast as "upward-to-engagement Catholicism" was past radically altering the manner they worshipped, in the grade of a "New Mass", those changes had to carry over to celebrants discarding traditional vestments in favor of cheap, undignified ones (aka "horse blankets"), changing the furnishings of the church building (replacing the altar with a tabular array, moving or even hiding the tabernacle, removing altar rails and kneelers, etc.), and ultimately replacing pre-Vatican II churches with late-20th century specimens of spectacular bizarreness, the unwritten rule apparently being: The designer is to be given complete freedom in choosing whatever style virtually greatly pleases him, provided it fits in with the faith community, and is approved by the local authorities. However, nether no circumstances may the finished edifice appear to exist, much less exist able to function as, a Roman Catholic church building.

This has been fabricated abundantly articulate over and over over again throughout the world, then much then that whatever number of pictorial essays have been published to decry the outrages. Thus, for example, we see on the semi-traditionalistTradition in Action the appropriately-titled "Churches of Hell", where one can meet a "church" that looks similar a dunce cap, another with weird angles out of some German expressionist motion picture, notwithstanding others resembling a Shinto shrine or some blazon of occult building, etc.

Do you like origami? The Japanese art of making decorative shapes from folded paper can produce some lovely works; unfortunately, information technology'due south not something that really lends itself well to church design — quite the opposite, to be honest. All the same, that fact did not dissuade some adamant German language Novus Ordos from erecting an origami-style "rest stop for the soul" along the autobahn, every bit reported here at Novus Ordo Watch dorsum in 2017.

That same yr, we also reported on the disgraceful new "basilica" at Fatima, which constituted 1 of many Vatican 2 church attacks on the 1917 apparitions. We wrote: "The ugliness of it all speaks volumes: Information technology is the architectural expression of the Novus Ordo religion. For this reason lone it cannot exist anything other than ugly" ("Blasphemy at Fatima: The 'Basilica of the Holy Trinity'", May 22, 2017).

Even secular web sites don't fail to run across the obvious, such asThrillist, which published a feature entitled "The Nine Ugliest Cathedrals in the World" (eight out of nine are Novus Ordo, with the last one being an oddball Anglican "Cardboard Cathedral" in New Zealand). Cheque them out at your own adventure.

Circling back around to the chief subject of this commodity — the Paul VI Audience Hall — nosotros tin can't exit this section without noting that the designer of the hall, Pier Luigi Nervi (1891-1979), although a adequately prolific architect, was to our knowledge involved in but 1 other collaboration on a religious structure, the Cathedral of St. Mary of the Assumption, in San Francisco, California, which is quite hideous in its own right:

St. Mary's Cathedral in San Francisco, aka "Our Lady of Perpetual Agitation"
(paradigm: Wikimedia Commons / public domain)

According to the cathedral's entry onWikipedia: "The pattern process was controversial. A preliminary design reminded one critic of 'the effort of a camel and donkey to mate.'"

Not all have given it a negative rating, however. Two years ago, the eclectic Architectural Digest ranked it among the nation's prettiest, but even in reporting that fact, a San Francisco-based website saw fit to open the article with this gibe:

Know[n] to few as Church building of Mary of the Supposition or Cathedral of Saint Mary of the Assumption, the church at 1111 Gough [Street] has been rechristened past San Franciscans as Our Lady of Maytag. (Information technology also goes past the sobriquets "Our Lady of Perpetual Agitation" and "McGucken's Maytag.") One await at its washing machine agitator-like roof and yous will run across why.

(Brock Keeling, "Church of Mary of the Assumption named 1 of nation's prettiest churches", Curbed San Francisco, Feb. 7, 2017)

The McGucken of "McGucken's Maytag" is Bishop Joseph Thomas McGucken (1902-83), who ordered the erection of a cathedral to replace the previous St. Mary's, which had been destroyed past arson in 1962. The new one was designed while McGucken was in Rome attending the Second Vatican Council, and information technology has been chosen the "first cathedral truly of our time and in harmony with the liturgical reforms of the Quango" — by architecht Nervi himself.

The Horrors of Hell Hall (Caution: Frightening images alee)

Embed from Getty Images

Freak Shows & Buffoonery: In between the usual progressivist platitudes heard in theModernist echo chamber known equally Paul Half dozen Hall, inane spectacles serve equally diversions, only the frivolitymasks a darkness: The hall was built with the express intention of replacing the Church's "relics of a bygone era" with Vatican II'due south "new direction", and quite successfully so.

Non far south of St. Peter'south Basilica, just a stone'southward throw abroad, ane can discover the Hall of the Pontifical Audiences, which was solemnly inaugurated on June 30, 1971. It resides partly in Vatican City only mostly in Rome, and the Italian part of the edifice is treated as an extraterritorial area of state of the vatican city.

The following video clip provided by the Associated Printing shows "Pope Saint" Paul 6 and Pier Luigi Nervi during the opening of the hall (the kickoff minute of the video has no sound):

Commissioned in 1963, the auditorium was built on country donated by the Knights of Columbus. Structure began in 1966. Paul VI and his successors have used it as an alternative to St. Peter'due south Foursquare every bit a venue for Midweek audiences or when the weather is inclement. It stands equally an ongoing mocking reminder to Catholics by their enemies that "Sorry, folks, but we're running things now!"

Controlling adversaries in such close physical proximity to the Vatican is in line with something ominously declared some fourth dimension ago, namely, how "inside the eight metropolis blocks that make up the Vatican Country no fewer than four Scottish Rite lodges are performance… Many of the highest Vatican officials are Masons." Before scoffers dismiss this as the wild rantings of a traditional Catholic "conspiracy theorist", let it be known that the man making the argument, far from being ane of the true-blue, was Carlos Vazquez Rangel, Grand Commander of the Supreme Quango of the Masons of United mexican states, who proudly fabricated the avowal during an interview with the political journalProcesso (see John K. Weiskittel, "Freemasons and the Conciliar Church", in The Athanasian XIV, no. four [June 1, 1993]).

Nosotros've already seen the thoughts of Fr. Richard Vosko, the "liturgical design consultant" responsible for guiding wreckovation in American churches. What he had to say most the thinking behind Novus Ordo church architecture is every bit apropos the Paul VI Masonic Audience Hall: "Vatican 2 says nosotros take to have a totally new understanding of what religion is."

Architect Nervi was in complete harmony with this "new understanding", which, when it came to sacred spaces, was to stand traditional thinking square on its head and to serve every bit "a challenge to conventional religious thought". (Information technology is noteworthy that i of his other chief projects assisted the aims of globe government, when he was one of three architects who designed the UNESCO Headquarters aka the World Heritage Centre, which was completed in Paris in 1958.)

From an analysis of the Paul Six Audition Hall, we read:

Nervi's Audience Hall is, at its core, an intersection of ii profound ideas in his life's work—the relentless search for the "truthful style" and the creation of an architecture of optimism. In a broader sense, the building serves to challenge (and ultimately redefine) ideas of what sacred compages can and should be.

A prime instance of this challenging or rethinking can be institute in the material choices for the Audience Hall—

"Every element in the structure is in fact fabricated of white cement, composite with special inert matter containing fragments of Apuan marble. All the surfaces are left exposed and no finishing textile is used, ensuring that cement, traditionally considered a poor, sad textile, is here given the same worth as the precious stones employed in the nearby basilica."

…

Nervi'south decision to leave the ferrocemento unfinished has roots in modernist theory. Huxtable sees construction equally "the basis of modern architecture." If this is in fact the case, so Nervi's work represents a clear articulation of modernist principles and perhaps even the "true style" he sought throughout his career. The materiality of the Paul Vi Audition Hall is too a claiming to conventional religious thought, peculiarly pertaining to the design of sacred spaces. Nervi's use of concrete, a "poor, sad cloth," is no accident. It is a commentary on the futility of relying on precious materials to create a sense of the divine—in his Audience Hall, Nervi demonstrates that infinite achieves sanctity through structure and thoughtfully designed spaces, non expensive skins or claddings.

(Baton Griffits and John David Scott, "1971 Paul 6 Audience Hall"; posted at Florida International University, due north.d.)

Nervi's way choices anticipate "Pope" Francis' championing of what'southward been referred to equally the "church of the poor", or the "miserablist church", based on a Modernist postulate that the Church must be unadorned, equally displays of pomp and grandeur are an affront to the needy. Merely not only, information technology is argued, should she eschew solemnity and nobility, she should consciously nowadays a plain, fifty-fifty shabby, appearance, as accomplished by Nervi as a statement against the Church's architectural tradition. All the same, far from being an affront to the poor, the beauty of the churches were meant to give them a respite from the misery of their everyday lives, to give them a foretaste of Heaven, their true goal.

All of this reminds i of the complaining of Fundamental Eugenio Pacelli, the future Pope Pius XII, which goes in part: "I hear all effectually me innovators who wish to dismantle the Sacred Chapel, destroy the universal flame of the Church, decline her ornaments, and make her experience remorse for her historical past" (Mgr. Georges Roche, Pie XII devant l'Histoire [Montréal: Éditions du Jour, 1972], p. 52; trans. by Christopher Ferrara).

In recent years, the Vatican's audience hall has become the subject of much scrutiny on the internet. Many critics, Catholics and non-Catholics akin, have raised questions about the weird, snakelike features of the building, both inside and out. Information technology'due south one of those things that, once seen, tin't exist unseen.

The exterior shape of the edifice has been likened to the head of a pit viper, a resemblance enhanced in 2008 when its roof was retrofitted with photovoltaic panels. Yet it's only after one goes inside that the full outcome can be appreciated. If one stands at the far end of the hall and looks all the fashion downwardly to the stage at the other end, where Francis and his iv immediate predecessors have given their Modernist pep talks, there's what looks similar a gigantic viper staring back at one with the windows as the elliptical eyes so feature of the Viperidae family of reptiles. The stage is the rima oris with pillars to either side of the eye shaped like fangs, the heart aisle for a tongue, and the design of the ceiling and walls reminiscent of snake peel.

Indeed, visitors who wander into the hall initially unaware of its part could exist excused for mistaking it for a museum of herpetology. If an builder had tried to give it that viperous visual effect, it's not clear what he would have washed differently. Have a expect:

Any resemblance to the face up of a viper is entirely accidental… 😉

Tradition in Action devoted one of its "Church Revolution in Pictures" features to the subject, in a postal service aptly entitled "Teaching from the Serpent's Oral cavity". Later describing how different areas in the hall's interior are suggestive of the reptile, the following cogent betoken is fabricated:

If these analogies are objective, the Pope [sic] stands precisely in the middle of the serpent's oral fissure. Information technology is from there that he delivers his speeches during his full general audiences and special meetings. Quite different from speaking from the chair of Peter, the cathedra of truth. The conciliar Popes at present evangelize their new doctrine from the serpent's mouth.

For those who may be unaware of the significance of speaking through the oral cavity of a snake, the last such incident was recorded in Genesis 3:one-5. Spoiler alarm: It didn't work out besides well.

In whatever case, there has naturally been no shortage of would-be debunkers. Some have written off the effect as just created by the distortion of a photograph taken using a fisheye lens. The trouble with that is that past doing an image search of the hall, it becomes abundantly clear that while such a lens would certainly increase the event, in that location are simply too many photos showing the same effect that it would be a conspiracy in its ain correct to suppose that they were all taken with a fisheye lens or otherwise distorted, independently of ane another and for no apparent reason. No, even Vatican Media itself publishes photos showing this viperous await, as can exist seen in this picture of Francis' Jan. two, 2019 audience.

Nosotros can even meet this outcome in a shot taken from inside the building as construction was in progress. No optical effects, just a standard lens:

(image: arcvision.org / fair utilize)

For some perspective, here's a shot from the back corner:

Embed from Getty Images

Next is some other straightforward wait down the middle aisle:

(image: Manuel Chacón-Palomares at historia-arte.com / CC BY 4.0)

Interestingly enough, just on the very solar day of the release of the present article, the following photo was shared on Twitter by Vatican journalist Arthur Herlin. It depicts the auditorium having been transformed into a behemothic playground for the children of State of the vatican city employees. Over again, the reptilian vibe is nowadays:

(image: twitter.com/arthurherlin / fair use)

The difficult-t0-miss "there's a viper staring at you" effect is no uncertainty attributable in large part to the trapezoid shape of the building. Yes, you read that right: The edifice was not built in the shape of a rectangle but of a trapezoid (trapezium). This is highly meaning considering the trapezoid is considered the most Satanic of shapes in occultism, perhaps because its visual discordance — and frequent asymmetry — lends itself to disorientation and disharmony. For obvious reasons, nosotros're non going to link to Satanic web sites or to sites where Satanic rituals are explained, but suffice it to say that at that place is a Law of the Trapezoid and an Order of the Trapezoid connected with Satanism and occultism. People who must know about these things can do their own research.

The point is not that a trapezoid shape is bad in itself — it apparently isn't — but that Satanists accept a preference for its employ and consider it highly suitable for their practices. They believe that it facilitates the demonic, that it gives certain energies to those who are sensitive to it, etc. But as in that location is Catholic compages, which uses shapes and designs that are particularly suited to the sacred worship of the Holy Trinity, so there is also anti-Catholic architecture, Satanic building pattern, which those sad souls use for their nefarious ends.

Every bit far every bit the Paul Half dozen Hall goes, its trapezoidal shape is hard to miss when viewed from above:

image: Maxar Technologies (fair utilize) via Google Maps street view (screenshot)

Occultists' dearest of the trapezoid would explain why some Novus Ordo altars are made in that shape and why — go this — "Pope" John Paul Ii's body was placed in a coffin that was trapezoidal in shape, not merely when viewed from the pinnacle only as well when viewed from the side. This is hardly an accident, and it speaks volumes. Of course the interreligious "meditation room" of the Un headquarters is also trapezoidal in shape.

Thus, it isn't all that surprising that, once the Modernists had usurped the See of St. Peter, the first take chances they got to build an auditorium meant to be a venue for papal events in the heart of Catholicism, they fabricated it trapezoidal, odd, and sinister.

Still, some will write off the serpent-head-like appearance of the building as some observers but having overactive imaginations, seeing what's not in that location — an example of the psychological miracle known as pareidolia (perceiving meaningful connections in unrelated objects, such as animals in clouds, a smile face in a motorcar's grill and headlights, etc.). Like a Rorschach test, "conspiracy theorists" are just projecting their delusions. Nervi would never have intended to manner something that looks similar the head of a serpent, and, conspicuously, non everyone sees it. Right?

Granted, the human mind does tend to arrange unrelated objects to signify something else. But the arranging can come up not only from the observer, it can also come up from the designer. No one knows if Nervi had such an uncanny conception; but whether or not information technology was intended, the design easily lends itself to such an interpretation; and it is not unreasonable, given everything that has transpired in the Vatican since the death of Pope Pius XII in 1958, to point out that maybe there is more than than just inexplicable "oddity" here — perhaps at that place is deliberate Satanic intent.

But whatever the case may exist, what definitelyno one sees within that barren hall is anything that in the least identifies information technology as being Cosmic: There are no crucifixes or crosses, no religious paintings, no statues, or annihilation else to heighten the heart and mind to God. Nowthat is not upwards to interpretation — the hitting absence was a deliberate effort by those tasked with furnishing the hall to reject Catholic ornaments (with ane exception, to be mentioned shortly).

"Look", some Novus Ordo stalwarts may chide us, "how can you lot maybe overlook the striking artwork that'south situated directly backside the pope, and that rises loftier to a higher place him"?

Yes, how indeed does one miss a ii-story-loftier elephant in the room?

A Frightful Centerpiece of Blasphemy and Sacrilege

Embed from Getty Images

Christ or Antichrist? Looming menacingly to a higher place Benedict XVI, and looking more similar a creature from a horror film than the Savior of flesh, is what the artist described as Jesus Christ emerging from amid toxic smoke ("smoke of Satan"?) and human being skulls after a nuclear Armageddon.

In 1977, on the occasion of Paul VI's eightieth birthday and less than a year before his death, the Vatican was gifted with an enormous bronze sculpture that would prove to be the hall's finishing affect. La Resurrezione ("The Resurrection") is a Modernist nightmare image that shrieks the message of cursing rebellion stated somewhat less shrilly by its environment. Every bit Atlas Obscura, a website dedicated to unusual places around the world, puts it: "If you want to talk to the Pope you will have to stare downwardly this surreal vision of Jesus rising from a nuclear hell"; while another site, Lazer Horse, describes it as "intriguingly sinister".

Elsewhere, comments randomly constitute around the internet employ terms like "bizarre", "frightening", "ugly", "ghoulish", a "monstrosity", "evilly horrific", "demonic", "gruesome", "terrifying", "depressing", "strikingly weird", "dark", "oddly nightmarish", and "Satanic looking". So, suffice information technology to say, no 1'southward going to confuse it with the spiritually uplifting works of great Catholic artists from the past. But why must it be then diametrically contrary to the spirit of truthful sacred art? The coercion to debase that which is holy, inherent in theological Modernism, necessarily carries over to its counterparts in other fields — it cannot do otherwise.

La Resurrezione replaced the original (and traditional) artwork that served as the backdrop for the audiences the kickoff few years (information technology can be seen in the video from the Associated Printing embedded above). In 2011, information technology received restoration work, lest this priceless treasure be lost to posterity. Different Pier Luigi Nervi, who seemingly left no specific clue as to whether in that location was whatsoever actress-architectural significance to the hall's design, La Resurrezione'southward creator Pericle Fazzini (1913-1987) was quite specific when speaking about the bulletin he intended to send with it. An obituary in The New York Times reports:

The Vatican commissioned Mr. Fazzini to provide a work for its modern auditorium. The issue was "The Resurrection," a statue depicting Jesus ascension from a nuclear bomb crater.

"Of a sudden there came to me the idea of Christ preaching peace for 2,000 years, and the place where He prayed for the final fourth dimension: the olive grove of Gethsemane," said Mr. Fazzini in a book about the work. "I had the idea of depicting Christ as if He were rising once again from the explosion of this big olive grove, peaceful site of His last prayers. Christ rises from this crater torn open up past a nuclear flop; an atrocious explosion, a vortex of violence and energy."

"The Resurrection" is molded in red bronze and yellow brass and measures 66 feet by 23 feet by 10 feet.

("Pericle Fazzini, 74, a Sculptor for Vatican", The New York Times, Dec. 5, 1987)

According to theWikipedia entry for the abominable piece, "The original piece of work was done in polystyrene and the fumes of the burning plastic gave Fazzini a blood clot during its production." Talk about the smoke of Satan!

Setting Christ's Resurrection in an ahistorical, fictionalized late 20th century is quintessentially Modernist, because it is art that, supposedly, speaks to modern man. This was touched upon at Vatican 2, when Gaudium et Spes, the council'southward then-chosen Pastoral Constitution on the Church in the Modern Globe, alleged:

The Church building acknowledges too new forms of art which are adapted to our historic period and are in keeping with the characteristics of various nations and regions. They may be brought into the sanctuary since they raise the mind to God, once the manner of expression is adapted and they are conformed to liturgical requirements.

Thus the knowledge of God is better manifested and the preaching of the Gospel becomes clearer to human intelligence and shows itself to be relevant to man'due south actual conditions of life.

(Second Vatican Quango, Pastoral Constitution Gaudium et Spes, north. 62)

Fazzini'southward concluding work, defended in 1987, was a hideous monument to Padre Pio at San Giovanni Rotondo. You lot can view information technology here. It'due south not quite as overtly sinister as his unorthodox accept on the Resurrection, but as as peculiar (we can't believe that the holy stigmatized spiritual son of St. Francis would exist thrilled at this rendering of him, though he would take solace in knowing that he had undergone a similar indignity in bronze as his Divine Master).

Returning to La Resurrezione, as disturbing equally it is when viewed from afar, it is no less and so seen upward close, peculiarly when we zoom in on the caput that's allegedly that of Christ:

epitome: youtube.com (screenshot / fair use)

Rather than Our Blessed Lord displaying the expression of ane who has conquered sin and decease and risen triumphantly from the grave, Fazzini's version gives this "Jesus" a world-weary wait of uncertainty and perplexity. It isn't an expression that exactly strengthens the belief, devotion, and resolve of the faithful. Instead, the addled await they see upon that countenance manifests the doctrinal flux and defoliation that overcame Catholics post-Vatican Ii, when they found themselves faced with a new religion emanating from what appeared to be the Catholic magisterium.

Beyond that, there is something else that brings this farther into the creepy zone. It has been pointed out that the rather scraggly hair billowing out on the right of the photo when taken as a whole, bears a resemblance to a ophidian'due south caput, and then we're back to the reptile connection again.

And then there is the odd coincidence someone found that when mirroring the left side of the statue, there appears something that looks eerily similar to the head of the Satanic Baphomet:

images: lazerhorse.org (cropped) and etsy.com (off-white utilize)

Some may say that's straying likewise far downwardly the rabbit hole, but at what point practise the number of seemingly meaningful correlations connecting the hall and sculpture to diabolical symbolism reasonably terminate to exist coincidences and propose deliberate planning?

And to throw in a distinctly sedevacantist what if?, there's a certain conspiracy theory centered effectually the twelvemonth 1958. This is just meant as a bit of fun speculation, merely according to the so-called Siri Thesis, in that year Genoa'south Cardinal Giuseppe Siri was elected pope but was pressured to resign before he could appear on the balcony of St. Peter's. According to i version, he was forced out by being told that if he didn't, a nuclear strike would be launched on Rome, wiping out the Vatican and the entire higher of cardinals, which was gathered there in conclave. As a effect of his resignation, the suspected Rosicrucian Freemason Angelo Roncalli became Antipope John XXIII — and the rest, as they say, is history.

Following this hypothetical narrative, La Resurrezione would represent a celebration of the triumph of the 1958 insurrection, with the nuclear blast representing the threat through which occult forces were able to seize the reins of the Church, and the "risen Christ" (Antichrist?) representing the emergence of the Novus Ordo Sect — with a "New Resurrection" leading the fashion to a "New Pentecost".

The occult connection to this? The excommunicated apostate Paul Roca (1830-1893), who had once been ordained a Catholic priest, had boldly predicted the takeover of the Vatican by nighttime forces, as though he had preternaturally obtained foreknowledge of Satan's plan to destroy the Church building. Roca, iii of whose works can be found on the Index of Forbidden Books, wrote infamously:

I feel that divine worship, equally regulated by the liturgy, ceremonies, rites, and rulings of the Roman Church, will suffer a transformation soon, at an ecumenical quango. Information technology volition return the Church to the venerable simplicity of the apostolic golden historic period, and harmonize it with the new stage of modern conscience and civilisation.

(Paul Roca, Abbé Gabriel; quoted in Rev. Joaquín Sáenz y Arriaga, The New Mail-Conciliar or Montinian Church [La Habra, CA: Edgar A. Lucidi, Yard.D., 1985], p. 194; italics given. Fr. Sáenz y Arriaga's book was first published in the original Castilian in 1971.)

What Roca describes in this quote is, of course, precisely what was achieved by the destructive Second Vatican Council in the 1960s.  (Of particular interest in this passage is how Fr. Annibale Bugnini, the chief architect of Paul VI's "New Mass", seems to have used it as part of his playbook in developing his liturgical revolution, as he likewise said the Church must restore the aboriginal norms, while contradictorily claiming to also seek to harmonize it with modern human being, equally though the aims were somehow compatible.

In his book Glorious Centennial, Roca wrote in the way of the Modernists, à la Teilhard de Chardin, about an "evolving" Jesus. His choice of language in the passage is highly suggestive of the sculpture's figure emerging from the radioactive gusts swirling effectually him: "Nobody will be able to stop Christ'southward whirlwind," he wrote (quoted in Sáenz y Arriaga, The New Montinian Church, p. 187; see scan here). Obviously, the Christ he had in mind is an occult counterfeit.

And that is obviously also the "Christ" of La Resurrezione:

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The Vatican likes to use its audience hall too for concerts and similar events. The embedded photograph carousel above shows images ofLa Resurrezione lit up for the occasions.

"And he laid concord on the dragon the onetime serpent, which is the devil and Satan…."

This section heading is a quotation from the twentieth chapter of the book of the Apocalypse (verse 2), in which St. John speaks of an angel binding the devil, casting him into the bottomless pit for a thousand years and sealing him there so he tin can no longer seduce the nations. In one case the m years are past, Satan is set loose to work evil again, but the good news — such as it is — is that information technology volition be but for "a little time" (5. 3). Nonetheless he will make up for his lack of fourth dimension by amassing a vast army — "the number of whom is equally the sand of the sea" (v. 7) — to wage war against the faithful. This ties in with what St. Paul writes in i of his letters to the Thessalonians: "And now y'all know what withholdeth, that he may be revealed in his time. For the mystery of iniquity already worketh; only that he who now holdeth, do hold, until he be taken out of the way" (2 Thess 2:half-dozen-7).

God and His Church, however, will prevail. Satan and his minions shall lose decisively, and he, along with the beast and the false prophet, will suffer forever in a pool of fire and brimstone, after which comes the General Judgment (run into Apoc xx:ix-15; 2 Thess 2:8).

Where are we on this timeline? No one can say with certainty which milestones have been passed and which are still alee, only given the country of the Church and the world, it's probably safe to say we're quite far along. In 1957, when interviewed by the Mexican Fr. Augustine Fuentes at her convent in Coimbra, Portugal, Sister Lucy of Fatima spoke with great gravity almost the futurity. Afterward stating that the Blessed Virgin Mary was lamentable because her message at Fatima wasn't being heeded, Lucy declared:

Merely believe me, Father, God will chastise the globe and this will be in a terrible manner. The penalization from Sky is imminent.

…

Begetter, the devil is in the mood for engaging in a decisive boxing against the Blessed Virgin. And the devil knows what it is that most offends God and which in a short space of time will gain for him the greatest number of souls. Thus the devil does everything to overcome souls consecrated to God considering in this way, the devil will succeed in leaving the souls of the faithful abandoned past their leaders, thereby the more easily will he seize them.

(Sister Lucia of Fatima, Interview with Fr. Augustine Fuentes, Dec. 26, 1957; quoted in Frère Michel de la Sainte Trinité, The Whole Truth Nearly Fatima, vol. III: The Third Secret [Buffalo, NY: Immaculate Eye Publications, 1990], pp. 504-505; underlining added.)

Now, while in that location is ever going to be some debate as to whether a spiritual or a material chastisement is meant, it is the stance of the present writer that at that place is no reason to necessarily conclude it must be but one of the ii. Sister Lucy says God is to punish the earth in "a terrible manner", and how terrible would information technology be for in that location to exist multiple fronts with which to deal, rather than just a single one? She very well could accept had in heed a Pandora's box out of which many evils would spring, so richly deserved past a world that has largely abandoned God and refused to heed Our Lady of Fatima'south call to repentance.

Regardless, there certainly cannot exist much debate as to the significant of the punishment being imminent. Whatever the nature of the penalty or its precise timeframe may be, "imminent" certainly doesn't mean "many decades from now". No, a reasonable inference is that when Lucy said "imminent", she meant "right around the corner." Just ten months after she made this statement, the fateful papal conclave was assembled to elect a successor to Pope Pius XII. Incidentally, in the same interview, she told Fr. Fuentes that Russia would be used by God as "the musical instrument of chastisement chosen by Heaven to punish the whole globe".

The punishment from Heaven was indeed imminent, and it involved God allowing permission for a coup d'état in which a false pope would be installed. (Returning to the Siri thesis for a moment: It is Russia that is speculated to take made the nuclear threat.) This silenced the phonation of St. Peter at the Basilica that bears his proper name and ready in motility a tidal wave of Modernism that changed virtually every facet of Catholicism past means of a false quango, fake sacraments, simulated canon constabulary, fake annulments, etc. Most of these things took place during the 1963-78 reign of the very man for which the Paul Vi Audience Hall was named, and this was possible only because he was a false pope and thus the divine protections guaranteed for the Papacy were not verified in him.

Besides set in motion at the robber conclave of 1958 was the phenomenon Sis Lucy noted when she talked nearly how "the devil does everything to overcome souls consecrated to God". Within a decade there broke out the spiritual pandemic that is yet afflicting the Church and the world today, and which is and then handsomely documented on this spider web site.

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Behind Francis: Ghoulish detail ofLa Resurrezione up shut

The 2002 article "An Index of Catholicism's Decline" by Patrick J. Buchanan uses the cold, hard statistical facts to spotlight the fruits of the Vatican Ii revolution: a rapid pass up of priests, nuns, brothers, and seminarians, along with dwindling Mass omnipresence; a steep increase in marriages being declared null; "Cosmic" school closings; and stance polls showing a majority of "Catholics" who don't believe in the Real Presence of Christ in the Eucharist or in the necessity of confession. At the same fourth dimension, acceptance of the then-chosen "divorced-and-remarried" as legitimate spouses grew, and of course the sinful practice of bogus nativity command was non only declared adequate but also used by most, and and then the two-kid family became the norm. Fifty-fifty the horrendous crime of abortion, the logical consequence of the credence of contraception, began to lose its stigma, to such an extent that today at that place are countless "Catholics" who either accept information technology as morally legitimate or at least defend it as a civil "right", with no punitive consequences by the people who claim to be the lawful Roman Cosmic authorities.

All of this came on the heels of Vatican Ii, which airtight in 1965. Truly, in the Fatima seer'due south words, "the souls of the faithful [had been] abandoned past their leaders". Worse yet, the people who one time had been their legitimate leaders remained in their positions and did the revolution's bidding, and those who refused were replaced. Either way, and so, the de facto "Catholic" hierarchs were the "faux apostles [who] are deceitful workmen, transforming themselves into the apostles of Christ" (ii Cor 11:thirteen), as St. Paul warned. They were "the hireling [who] hath no care for the sheep" (Jn x:thirteen), in the words of our Blessed Lord, and the situation persists to this day.

On top of that, we have the famous incident of Pope Leo Xiii'southward vision of a conversation between Christ and Satan, in which the devil was granted more power to destroy the Church building. It was part of a vision the Pope is said to have had that led to the limerick of the Prayer to St. Michael the Archangel that Catholics are accustomed to recite after Low Mass. This vision is described, amidst other sources, in a 1935 booklet published by a Benedictine priest:

A rather peculiar circumstance induced Pope Leo Xiii to compose this powerful prayer. After celebrating Mass one mean solar day he was in conference with the Cardinals. Suddenly he sank to the floor. A doctor was summoned and several came at once. In that location was no sign of any pulse-beating, the very life seemed to have ebbed away from the already weakened and anile body. Suddenly he recovered and said: "What a horrible picture I was permitted to see!" He saw what was going to happen in the future, the misleading powers and the ravings of the devils confronting the Church building in all countries. But St. Michael had appeared in the nick of fourth dimension and cast Satan and his cohorts back into the abyss of hell. Such was the occasion that caused Pope Leo XIII to have this prayer recited over the entire world at the end of the Mass.

(Rev. Celestine Kapsner, O.S.B., Begone Satan! [Collegeville, MN: Celestine Kapser, 1935], p. 24)

More detail regarding the actual content of the vision is related by Fr. Domenico Pechenino (1873-1950) in the Mar. 30, 1947 edition ofLa Settimana del Clero (p. 2):

…This is what happened. God had shown Satan to the Vicar of His divine Son on earth, just similar He did with Job. Satan was bragging that he had already devastated the Church building on a large scale. In fact, these were tumultuous times for Italy, for many nations in Europe, and a bit around the earth. The freemasons ruled, and authorities hadn't become docile instruments. With the audacity of a showoff, Satan put a challenge to God. — "And if you requite me a little more than liberty, you could see what I would do for your church!" — "What would you lot practise?" — "I would destroy it." — "Oh, that would exist something to meet. How long would it take?" — "Fifty or sixty years." [–] "Accept more liberty, and the fourth dimension that you need. Then we'll encounter what happens."

(Translation taken from Kevin J. Symonds,Pope Leo 13 and the Prayer to St. Michael [Boonville, NY: Preserving Christian Publications, 2015], p. 44.)

In 1946, the Archbishop of Bologna, Primal Giovanni Battista Nasalli Rocca di Corneliano (1872-1952), related the "historical explanation" for the line in the St. Michael's prayer that mentions that the demons "prowl most the world for the ruin of souls." He had received information technology from Mgr. Rinaldo Angeli, Pope Leo's long-time personal secretarial assistant: "Pope Leo XIII truly had a vision of demonic spirits, who were gathering on the Eternal City (Rome). From that feel — which he shared with the Prelate and certainly with others in confidentiality — comes the prayer which he wanted the whole Church to recite" (Nasalli Rocca di Corneliano, Dio — 50'Uomo — Il Diavolo, 2nd ed. [Rome: Figlie della Chiesa, 1951], p. 20; trans. by Bryan Gonzalez).

Some sources claim that the timeframe the devil was given to attempt to destroy the Church is 75-100 years, but since information technology is not known what year should mark the starting betoken anyhow — it is reasonable, but by no ways necessary, to presume that it was the twelvemonth of the vision — the discrepancy is not that of import.

What adds to the difficulty is that the exact date of Pope Leo's vision is disputed. However, if it happened on October. thirteen, 1884, as some assert, information technology would hateful it took identify exactly 33 years before the phenomenon of the sun at Fatima. Novus Ordo author and researcher Kevin Symonds concludes that, based on his findings, nosotros may "surmise that the vision may accept taken place onetime between January 6, 1884 and Baronial, 1886…" (Pope Leo 13 and the Prayer to St. Michael, p. 29).

Regardless of the precise kickoff and cease dates, we take certainly all been able to see the effects of this diabolical ability surge, however long it lasted. In fact, it is possible that Pope Leo'south quick reaction to the matter — his institution of the St. Michael'southward prayer to exist recited throughout the Universal Church building — really delayed the start date for a pregnant amount of time.

Some may object that even if nosotros assume as much equally 100 years' elapsing and start from the year of the vision, it would mean that after 1984, or maybe 1986, the devil's ability was taken away again, which hardly jibes with our experience. Nonetheless, this leaves out of business relationship the fact that according to the alleged vision the devil received an increase of ability for nevertheless many years, so it would simply be the additional power that would be taken abroad from him after the allotted time has elapsed.

Some other indicate to be fabricated is that while Satan still retains plenty of power after — only non as much as over that time span — information technology cannot exist forgotten that he was able to build a tremendous amount of momentum for evil during those years. Thus he now has a huge ground forces of homo sycophants happily conveying out his agenda — some of them consciously and maliciously, others as useful idiots, some indifferently, and still others under the diabolical delusion that they are doing the piece of work of God (cf. Jn xvi:2).

Merely whatever the example may be about this or that alleged vision or other private revelation, the objectively verifiable facts demonstrate across doubt that a new religion has been established in the Vatican since 1958, a religion that is Masonic and Naturalist in essence, a religion that despises Catholicism. It is, quite manifestly, a organized religion that expresses itself in art and compages such equally can exist seen in the dreadful "hell hall" that is the Paul Vi Audition Hall in the Vatican.

Vatican II really did change everything, didn't information technology?