On December 11, the Vatican unveiled its 2020 nativity scene in St. Peter’s Square. And as soon as the red drapery covering the stage was removed, the crowd found a towering, brutal and totem-like angel Gabriel watching them, along with an astronaut and a masked executioner (yes, those guys who kill people on death row).
Let’s say the applause after the opening was “polite”. Here are some images of the nativity scene.
An ominous angel looks down at the crowd while Jesus remains in the red cloth for a while (not sure why). Behind the figures is a neon light that should probably look like mountains on the horizon. However, at first glance, it looks like a lightning strike in a nativity scene.
In a press release, the Vatican Governorate announced that the nursery “is intended to be a sign of hope and faith for the entire world, especially during this difficult time due to the health emergency related to COVID-19.”
But this did not bring “hope and faith” at all. In fact, almost all observers hated it.
It is as if the Vatican purposely created something so ugly that devout Christians hate the play depicting the birth of Jesus. Satanists couldn’t have done better.
Ugliness with weapons
This nativity scene, titled “Monumental Christmas”, was originally created between 1965 and 1975 by students and teachers of the F.A. Grue art school in Castelli, Italy. The original work contained over 50 pieces, but only a few were selected for the Nativity scene at the Vatican, and they chose the horned-masked executioner.
The “Monumental Nativity Scene” is considered a tribute to the world-renowned pottery works of the Abruzzo region and gives a postmodern twist to the classic nativity scene.
In a conversation with a local newspaper, Italian art historian Andrea Chionchi asked if it was “a nightmare or a masterpiece.”
“Forget the sweet face of the Madonna, the tender radiant incarnation of the Child Jesus, the paternal sweetness of Saint Joseph and the pious miracle of the shepherds. For the first time in the middle of the colonnade, Bernini, the Vatican erected a work of the sixties in a brutal postmodern style.
The figures resemble the masks of the ancient and ferocious Samnites, the ancestors of the Abruzians, who professed a pantheistic, animistic, fetishistic and magical religion, somewhat reminiscent of the Andean goddess of fertility, Pachamama.
Castelli’s “Nativity Scene” is an outdated work, the product of a strongly ideological art school. The work offers a depiction of Castelli ceramics that is definitely not true, given that this remarkable art is renowned for its formal elegance and refined, subtle decorative inspiration, which are completely absent here.
References to Greek, Egyptian, and Sumerian character sculptures suggest a liberal historical-critical method of interpreting Scripture. Liberal Bible scholars have hypothesized about various aspects of the Bible as an adaptation of pagan cultures, and not as a result of divine revelation.
Although “ugliness” is subjective, this nativity scene almost tries its best to be as unpleasant to the eye as possible, which in turn is unpleasant to the soul. At least one could say that this scene is anti-Christian. I mean, who’s actually going to pray to this thing? You just can’t. And that’s kind of a target for the twisted minds behind this thing.
Moreover, in addition to its general ugliness, the nativity scene also contains many symbols and historical references that convey a rather egregious message: it is actually an anti-Christmas scene.
Usually in the center of the nativity scene is the baby Jesus. However, in this case, Baby Jesus is essentially a random toddler who just stands there and looks like a giant cork.
The focus of this play is not Jesus, but rather the angel Gabriel. It is surrounded by a massive halo, while Jesus still stands there like a giant cork. In addition, the angel rises above everything on a ribbed pillar. The overall shape of this column closely resembles an important symbol of Ancient Egypt: the Jed Column.
Jed is a common symbol in Ancient Egypt believed to represent the god Osiris, or rather his spine. While this symbol probably has an esoteric meaning in relation to the chakras (which are said to be based on the spine), the Jed also has a phallic character and is associated with fertility rites. In fact, the “erection of the Jed” was an important ceremony in ancient Egypt.
The erection of the Jedi ceremony is to symbolize Osiris’ triumph over Set. During the ceremony, the pharaoh uses ropes to lift the pole with the help of the priests. This coincided with the time of year when the agricultural year began and the fields were planted. This was only part of a 17-day celebration dedicated to Osiris. In general, the ceremony of the erection of the Jed personified both the resurrection of Osiris and the strength and stability of the monarch.
– Ancient origins, sacred symbol of the Jed Pillar
Did the Vatican trick its believers into witnessing the Jed Ascension ceremony? One thing is for sure: the Egyptian influence of this den sit well with what is immediately behind it.
The general plan of the Vatican is Egyptian magic in plain sight. The phallic obelisk (representing Osiris and the masculine) faces the womb-like dome of St. Peter’s Basilica (representing Isis and the feminine). The same exact layout can be found in various power centers of the world, including Washington, DC.
In Washington DC, an obelisk (Washington Monument) faces the dome of the US Capitol.
In Egyptian magic, the union of masculine and feminine principles (Osiris and Isis) gives birth to a “star child” (Horus). From an esoteric point of view, this star child is a powerful magical energy.
The hieroglyph representing Sirius, the most important star of occult symbolism (read my article on this here), consists of three elements of the Egyptian trinity: an obelisk, a dome and a star.
So, the Vatican has an obelisk and a dome. Where is the star completing this trinity? It is there, but you have to look from above.
The Obelisk of St. Peter is located right in the center of the eight-pointed star, also known as the Ishtar Star.
The eight-pointed star also adorns the Christmas tree that stands next to the nativity scene this year.
Speaking of cosmic things, the Vatican nativity scene also depicts an astronaut. Why? God knows.
It seems that the astronaut is holding / giving birth to something. There is also an eight-pointed star on the helmet.
Given the fact that this figure was created between 1965 and 1975, this may be a reference to the 1969 moon landing. But why in 2020 did the Vatican choose this thing to stand next to Jesus?
It is even more incomprehensible why an executioner in a horned mask is standing next to Jesus?
In ancient times, executioners carried out death sentences for lawful convicts by chopping off their heads. In some cases, they wore grotesque masks with dark and menacing features to further intimidate prisoners, depersonalizing them as a person. In short, it is an odd figure to be placed next to the newborn baby Jesus, especially considering the fact that Jesus himself was ultimately sentenced to death.
Apparently this guy is here to represent the “Vatican’s opposition to the death penalty.” This is a rather weak argument that makes little sense. I mean, I’m pretty sure the Vatican is also against methamphetamine. Should they also add a methamphetamine dealer to the nativity scene?
In the scene literally called “Christmas,” this horned figure represents death. This is the complete opposite of “Christmas”. I don’t think Satanists would have done better by desecrating the scene depicting the birth of Jesus.
In a sense, this year’s nativity scene is a sad reflection of 2020. This is a collection of expressionless and socially detached figures who do not interact with each other, standing under the neon lights of phones and computers.
It also reflects how the occult elite has raised their ugly head this year, poisoning every aspect of our lives with their toxic program. Through their outspoken anti-Christian demonstration, the elite sought to prove that its toxic ideology was also ingrained in the Vatican.
Although the Monumental Nativity scene was created several decades ago, it was chosen for the Christmas scene in 2020 for a special reason: it contains certain symbols, conveying a certain energy. Like everything else that has happened this year, this scene demonstrates the control of the elite and the demoralization of the masses.