The Vatican’s 2020 Nativity scene is a bizarre collection of ugly pieces that include an astronaut and an executioner wearing a horned mask. Furthermore, the entire thing is replete with occult symbolism. Here’s a look at this puzzling display.
https://99bab343fb5a892c2edb9fdb1f24826b.safeframe.googlesyndication.com/safeframe/1-0-37/html/container.htmlOn December 11th, the Vatican unveiled its 2020 Nativity scene in St-Peter’s Square. And, once the red drape covering the scene was removed, the crowd discovered a towering, brutalist, and totem-like Angel Gabriel staring back at them, along with an astronaut and a masked executioner (yes, those guys who kill people who are sentenced to death).
Let’s say that the applause following the unveiling was “polite”. Here are some pictures of the Nativity scene.
An ominous-looking angel looks down at the crowd while Jesus remains covered in red cloth for a while (not sure why). Behind the figures is a neon light that is probably meant to look like mountains on the horizon. However, at first glance, it looks like lightning striking the Nativity scene.
An astronaut and a masked executioner are also included in the Nativity scene.
In a press release, a Vatican City Governorate announced that the manger “aims to be a sign of hope and faith for the whole world especially in this difficult time due to the COVID-19 health emergency.”
But this thing did not bring “hope and faith” at all. In fact, nearly all observers absolutely hated it.
It is almost as if the Vatican created – on purpose – something that is so ugly that it causes devout Christians to hate piece depicting the birth of Jesus. Satanists wouldn’t have done better.
Weaponized Ugliness
Titled “Monumental Nativity”, this Nativity scene was originally created between 1965 and 1975 by students and teachers from the FA Grue Art School in Castelli, Italy. The original work contained over 50 pieces, but only a few were selected for the Vatican’s Nativity scene and they chose an executioner wearing a horned mask.
“Monumental Nativity” is said to be a tribute to the world-renowned ceramic works of the Abruzzo region while giving a post-modern twist to the classic Nativity scene.
Speaking with a local newspaper, Italian art historian Andrea Cionci asked if it was a “nightmare or a masterpiece”.
“Forget the sweet face of the Madonna, the tender, luminous incarnation of the Child Jesus, the paternal sweetness of St. Joseph and the devout wonder of the shepherds. For the first time in the middle of Bernini’s colonnade, the Vatican has erected a brutally postmodern work dating back to the sixties.
In the choice of this crib, all the themes of Francis’ pontificate are recognized: Above all, heavy modernism and a drastic break with Tradition.
The figures resemble the masks of the ancient and ferocious Samnites, ancestors of the Abruzzese, who had a pantheistic, animist, fetishist, magical religion, a bit like the Andean fertility goddess Pachamama.
Castelli’s “Nativity scene” is an outdated work and the product of a strongly ideological art school. The work offers an image of Castelli’s ceramics that most certainly does not correspond to reality, given that this admirable art is famous for its formal elegance and exquisite, delicate decorative inspiration that are completely absent here.
The references to the Greek, Egyptian and Sumerian sculptures of the characters suggest the liberal historical-critical method of interpreting Scripture. Liberal biblical scholars have hypothesized various aspects of the Bible as adaptations of pagan cultures rather than the result of divine revelation.”
Although “ugliness” is subjective, this Nativity scene nearly goes out of its way to be as unpleasant to the eye as possible which, in turn, is unpleasant to the soul. The least one can say is that this scene is anti-devotional. I mean, who would actually pray to this thing? You just can’t. And that’s kind of the goal of the twisted minds behind this thing.
Furthermore, beyond its overall ugliness, the Nativity scene also contains many symbols and historical references that convey a rather blatant message: This is actually an anti-Nativity scene.
Anti-Nativity
Usually, the center focus of Nativity scenes is baby Jesus. However, in this thing, Baby Jesus is basically a random toddler, just standing there, looking like a giant cork.
The center focus of this piece is not Jesus but rather the angel Gabriel. He is surrounded by a massive aureola while Jesus is still standing there looking like a giant cork. Furthermore, the angel towers over everything atop a rib ribbed pillar. The overall shape of this pillar is highly reminiscent of an important symbol in Ancient Egypt: The Djed pillar.
Did the Vatican deceptively make its believers witness a “raising of the djed” ceremony? One thing is for sure, the Egyptian influence of this Nativity scene blends well with what’s immediately behind it.
The general layout of the Vatican is Egyptian magic in plain sight. The phallic obelisk (representing Osiris and the male principle) faces the womb-like dome of the St. Peter’s Basilica (representing Isis and the female principle). The same exact layout can be found in various power centers of the world, including Washington DC.
In Egyptian magic, the union of male and female principles (Osiris and Isis) produces a “star child” (Horus). In esoteric terms, that star child is potent magical energy.
So the Vatican has an obelisk and a dome. Where’s the star that completes this trinity? It’s there, but we have to look from above.
