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The Qliphoth: powers of darkness

The Qliphoth: powers of darkness 92

Even if the dark and infinite ocean of non-physical reality escapes any attempt at mapping, the Qliphoth offer esoteric landmarks to those who venture beyond the far side of the Moon. This system of progressive self-initiation of the senestral way helps to structure an unknown territory by introducing a form of rationality understandable by ordinary consciousness in an occult domain. Each Qliphoth represents a state of consciousness involving the development of certain faculties through trial, study and contemplation of symbols. Mastering the energies present in each sphere opens access to the next qliphah.

The Qliphoth: powers of darkness 93

If we refer to Kabbalah to position the Qliphoth on the nocturnal face of the tree of life, domain of the Sephiroth, the tree of death is accessible by Daath, the hidden Sephira making the link between the two aspects of the same reality. Although the night / day, good / bad, life / death duality is not ultimately relevant, it is advisable to start by exploring the tree of life before venturing into the shadow of this knowledge.

Indeed, choosing this perilous and lonely path is not a decision to be taken lightly. Motivated by the desire for dazzling advances and the acquisition of supranormal powers, the follower cannot ignore the dangers that await him. He consciously enters the centers of power, taking the risk of losing what he has, what he is, what he knows. It is a sacrifice where madness, depression, hopelessness and perdition are potentially present.

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Silence and darkness reign inviting to the sobriety of emotions and thoughts. Only the one whose inner strength has become unshakable by a preliminary asceticism is able to face the monsters lurking in the shadows who will try to devour him. The terror of annihilation is its guardian, the test that warns and discourages those who are not ready.

Being ready to lose everything is the sine qua non for overcoming obstacles as a master, capable of transforming them into powerful levers towards forbidden knowledge. Equanimity, discrimination, unshakable self-confidence and fortitude are the weapons that will allow the initiate to continue, to go ever further without being destroyed but recreated for the birth of the living demonic god.

The Qliphoth: powers of darkness 94

The promises of the Qliphoth attract those who desire full realization by integrating light and shadow beyond the primary dualities. Wisdom advises to follow a prudent progression without skipping the stages under the excess effect of an immature pride. The keen senses and intuition detect and analyze anomalies, hallucinatory aberrations of a twilight consciousness in order to realize a potential beyond imagination.

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The Qliphoth: powers of darkness 95

The 11 levels of the Qliphoth way:

By way of information and in order to give a more “concrete” idea of ​​what the initiation of the Qliphoth may involve, you will find below the translation of a text describing the different spheres. These descriptions are not absolute but rather fall under the subjectivity of the author (Asenath Mason) and in no way constitute a dogmatic truth. What everyone finds on their journey is personal and can take different cultural and symbolic forms. Maybe these descriptions of Qliphoth will speak to you, maybe not. Make your own way, find out for yourself what is hidden in each sphere of power. Only the interior transformation process is universal, but remains in the elusive, eluding definitions and classifications.

LILITH (Queen of the Night): The door to the Unknown. Here, the initiate comes into contact with his first guides and allies on the way, and consciousness opens up to the realm of Night. Lucifer’s ascending flame is lit and Lilith approaches to guide the initiate through the paths of the dark path. The divinity of the first Qliphah is Naamah, dominating the material world. She can grant the magician the desired material goods but she is endowed with a despotic character which is difficult to manage. Naamah is Lilith’s demonic sister, both of whom often introduce themselves as the first guide to entering the dark worlds.

GAMALIEL (The obscene): The astral sphere of dreams. Here the initiate explores the mysteries of witchcraft and sexual alchemy. The goddess of the Moon reigns there, she introduces the follower to the secrets of moon magic. In the sphere of Gamaliel, all forbidden fantasies, suppressed lust and shameful dreams are brought to light. The Goddess of Gamaliel is Lilith, appearing as a sensual woman with a snake body. It seduces the magician and guides him in the dark aspects of our instincts. She is the Queen of Demons, and reigns with Lucifer over the entire Qliphothic Tree.

SAMAËL (The poison of God): The Alchemical poison is ingested by the magician who succumbs to its toxic effects. His conscience must overcome trials in which madness, doubt and disbelief assail him. It is about contact with the personal, deadly Shadow, it teaches the initiate the mysteries of Death and the flight of the soul. Here in the Adramelech Desert, the faith and devotion of the follower are tested. Adramelech is the sovereign entity of this Qliphah under the appearance of a half-peacock, half-human creature. It gives the magician pride and magnificence, which, however, are only illusory and contribute to the initiatory test.

A’ARAB ZARAG (The Crow of Dispersion): The Mysteries of Venus and Luciferian Magic. The initiate takes the path of mystical eroticism and war trials. Aab Zaraq breeds destruction, often through war, conflict and death. The God reigning over this Qliphah is Baal, the god of war. He has the appearance of a warrior with a horned mask and armed with a spear. He instructs the magician in the art of invisibility and teaches him about Luciferian freedom. His wife and reigning Goddess of this sphere is the Dark Venus, initiator of new mysteries of sexual magic.

THAGIRION (The Opponent): The illumination of the dark side by the light of the Black Sun. The initiate experiences the union of god and the beast in him, and realizes the idea of ​​embodied divinity. Thagirion is the sphere of the Daemon, the image of the personal god, and of the beast 666, continually striving to dominate human instincts. The reigning God of this Qliphah is Belphégor, The God of Death. Belphégor was originally a Moabite deity named Baal-Peor, half male-solar and female-lunar. During magic works, it manifests itself in its bestial form but also in the appearance of a young woman. It gives the magician imagination and wealth.

GOLACHAB (The Burning One): The Apocalypse. The initiate becomes the Fire of Destruction. Through SM sexual practices, the initiate is tested in suffering and lust. It is the Qliphah of fire – comprising both the creative flame and the destructive breath. The Qliphah is the domain of Asmodeus, who appears as a winged and flaming god. It represents both the power of fire and the power of sexuality. The incubi and succubi of this sphere are the strongest and most violent of the whole Qliphotic Tree.

GHA’AGSHEBLAH (The executioner): The other side of mystical eroticism. The initiate goes through trials of war and love and becomes the executioner. The energies of this Qliphah bring life or destruction. They destroy the substance of Creation at the base of the foundation of the Universe. The reigning deity of this sphere is Astaroth, the foul-smelling spirit, riding the Dragon and holding a snake in his hand. He sees beyond the past, the present and the future. He is also the patron of the Liberal Arts.

DAATH: The Vision of the Abyss and the encounter with Chorozon, the gatekeeper.

SATARIEL (The illusionist): The opening of the Eye of Lucifer. The initiate faces trials where surrealism and absurdity dominate, and learns to detect the Truth in what is hidden. Appearances are deceptive. Lucifuge presides over this Qliphah, the one who avoids the light. Its description appears in many medieval and Renaissance grimoires on hierarchies of demons. It reveals hidden treasures but can also make the magician lose his mind.

GHAGIEL (The destroyer): The lightning of the Luciferian star. The initiate breaks Divine Law and prepares to enter Lucifer’s Throne Room. It is the Qliphah of rebellion and the shaking of the foundations of the world. The dominant entity in this sphere is Belzebuth, the Lord of the Flies.

THAUMIEL (The Twins of God): Fulfillment of the Serpent’s Promise. The initiate becomes God incarnate. This Qliphah is double with two reigning entities: Satan and Moloch. Thaumiel is the antithesis of Kether. The original meaning of Satan is the Opponent. In the Old Testament he was the accuser and he tried and tested the faith of humans by misleading them. Moloch was a cannaanite deity whose worship involved the sacrifice of children by fire.

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Occult

The remains of “witches” burned at the stake for killing children in the 17th century were found by archaeologists

The remains of "witches" burned at the stake for killing children in the 17th century were found by archaeologists 100

In the Polish city of Bochnia, archaeologists unearthed the charred remains of two women. The discovery was made during restoration work in the local market.

They are believed to have lived approximately 300 years ago. According to scientists, it is known that in 1679 three women were burnt in this place. So far, two skeletons have been found, but experts have no doubt that they will soon find a third one, according to Express.

Researchers believe that the victims were accused of witchcraft and murder of children. After that, they were probably burned in the city market. Such punishment was common in the Middle Ages, from the 5th to the 15th centuries. Historians believe that the public burning allegedly showed “witches” going to hell.

Archaeologists will continue to investigate the remains, but they have already stated that the women were buried right at the place of execution. According to experts, in that era it was customary: people convicted of such a crime could not be buried near the church.

According to historical sources, at least 13 women accused of witchcraft were executed in Bochnia. Before the execution of the sentence, they were kept in the neighboring town hall and, most likely, tortured in order to get a confession of their deeds. In addition, the archives contain the names and crimes of the “witches”.

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Which castle in Europe is considered the most mystical: you will be surprised

Which castle in Europe is considered the most mystical: you will be surprised 101

Many castles have survived in Europe, which to modern people seem incredibly beautiful and majestic. Their main purpose was to deter enemies if necessary.

That is why such factors as a good location, a moat, a rampart and other opportunities to repel potential enemies played a strategic role.

However, there is one architectural object that does not fit into the traditional framework.

Which castle in Europe is considered the most mystical: you will be surprised
Photo: Pixabay

The majestic is one of the most famous landmarks in the Italian region of Apulia. Moreover, it will not be an exaggeration to say that this is the most mystical castle in the world.

Unlike other mystical places, this amazing castle is not hidden from prying eyes behind the mountains and forests. On the contrary, it is visible from afar. You drive along the freeway and see it, towering on top of the hill.  It doesn’t matter that the name of the building is translated as “castle on the mountain”, only those who have never seen real mountains in their life can literally take the name Castel del Monte. 

It was built on a castle on the very spot where the Maria del Monte monastery was located until the thirteenth century, hence the first name of the building, which few people remember today – castrum Sancta Maria de Monte.

Today, crowds of people frequently visit Castel del Monte. For this, many thanks to the magical world of cinema and the Italian director Matteo Garrone in particular, because it was in the unusual halls of this monumental structure that he settled the characters of his “Scary Tales” – the king who raised a flea, and the princess whom the eccentric father married to a cannibal. Curiously, until the twentieth century, the castle was in an abandoned state, and shepherds spent the night there. 

Today, the architectural structure is in the care of UNESCO, as a result, it was cleaned and put in order, but the interior decoration of the halls was not preserved – for that reason, Matteo Garrone had to hastily fill the space of the premises with the props brought to the castle.

Garrone chose Castel del Monte for the film adaptation of the tales of the Neapolitan Giambattista Basile for a reason, because this place is incredibly mysterious. Although located 16 kilometers from the city of Andria, Castel del Monte bears the honorary title of one of the most famous medieval castles in the world, in essence it is not a castle.

The fact is that in the understanding of a normal person of the Middle Ages, a castle could only be built for one of two purposes. The first goal, it is also the main one – defense and terrain control. In this case, one or another lord erected a small fortress, as a rule, on the top of a mountain, which helped to repel enemy attacks, and at the same time to influence the situation in the region as a whole. The second task is a fortified place to live. Sometimes castles grew to the size of cities, take, for example, the same Carcassonne, but their powerful walls, again, made it possible to hold back hordes of enemies.

But Castel del Monte is not intended for defense at all. Where are the walls and the moat with water? Where are there any decent defenses? 

This place also seems to be of little use for life. Of course, even Walter Scott in his “Ivanhoe” wrote that the concept of “comfort” did not exist in the Middle Ages, but this castle, even by medieval standards, is far from the home of a self-respecting lord. It’s okay that all the rooms inside are connected to each other, but, most importantly, there is no place for a stable and there is no kitchen. 

So, most of all, the castle looks like a kind of an old art object, built for the sake of ideas, such houses are sometimes designed by modern architects who have received absolute carte blanche for the implementation of their creative ideas coupled with an unlimited budget.

This association is quite appropriate if you know who built Castel del Monte. The castle was built on the mountain by the Emperor Frederick II Staufen – a legendary person in all respects. He not only managed to win the title of Emperor of the Holy Roman Empire from competitors and lead the sixth crusade, but was also considered one of the most educated people of his time. 

He knew Greek, Latin and Arabic, founded a university in Naples, where not only Christians, but also Jews and Arabs taught, and this, by the way, is the height of tolerance by medieval standards. Frederick II as a whole was very far from Christian prejudices, here are illustrative examples: the emperor insisted that doctors study anatomy on corpses, and Frederick also had a warm attitude towards Fibonacci and even organized mathematical tournaments.

The emperor also had a penchant for writing: he is credited with writing an essay on falconry, and at his court he created a Sicilian school of poetry. At the same time, like all progressive people of his time, Frederick II was an admirer of a wide variety of mystical teachings, studied astronomy and astrology. 

With the personal life of the emperor, everything was also interesting, he earned the reputation of Bluebeard, because he was married four times, however, the church did not recognize his last marriage with his permanent mistress Bianca Lancia. Frederick II spawned a great many children – 20 legitimate, but for obvious reasons, no one scrupulously counted the bastards.

Historians still cannot solve the riddle of the Italian Castel del Monte, to which scientists have many questions

Castel del Monte was built by Frederick II from 1240 to 1250, that is, in the last decade of his life. The name of the architect is unknown, but many historians, not without reason, believe that he was the emperor himself – a painfully intricate design was the result. 

The fact is that, like many medieval mystics, Frederick was obsessed with the number eight, which symbolizes infinity, and it is constantly traced in the structure of the castle.

To begin with, the castle, when viewed from above, is a regular octagon, and an octagonal tower is erected at each corner of the structure. The shape of the inner courtyard of the castle also repeats the octagon. The castle has only two floors, the roof is flat, and the main entrance to Castel del Monte looks strictly to the east, because, as it was believed in the Middle Ages, the good news came from the east.

There are 8 rooms on each floor of the castle, all of them are connected to each other, so that Castel del Monte can be easily walked around the perimeter. The rooms are made in the form of trapezoids, and windows are cut through the walls. Toilets, wardrobes and spiral staircases are located in the corner turrets. 

By the way, the castle has a separate story with the stairs – usually in all castles they are “twisted” to the right, since this is optimal for the defense of the object, but in Castel del Monte, on the contrary, they are “turned” to the left, that is, the way it does nature, because it is to the left that the shells of mollusks or snail shells are twisted.

All rooms of the castle are exactly the same, the rooms differ from each other only in the location of the doors and the number of windows. In the decorative elements, the number eight again dominates: on the capitals of the columns there are eight leaves each, on the bas-reliefs in the rooms there are eight leaves or clover flowers.

Another interesting thing is that direct rays of sunlight fall into the windows of the second floor twice a day (with the first floor, this rule works only in the summer), so many assume that the mysterious castle is nothing more than a huge sundial, and at the same time astronomical device. 

In addition, twice a year, during the summer and winter solstice, sunlight is evenly distributed among all rooms on the ground floor. This, of course, is also no coincidence, so many historians suggest that the first floor of Castel del Monte is a kind of analogue of the solar calendar.

Here’s another curious reason for thinking – twice a year, on April 8 and October 8, the sun’s rays pass through the windows of the castle into the courtyard in such a way that they fall strictly on the part of the wall where in the time of Frederick II a certain bas-relief was carved, now lost. 

Well, and to make everything quite difficult, it is worth remembering that October in the thirteenth century was considered the eighth month of the year.

The castle bears the title of the most mysterious at all because there are many ghosts or other manifestations of mysticism

Frederick II died before he could finish the construction of the castle – the building of Castel del Monte was completed, but the interior decoration was not completed to the end. After the death of the emperor, there were legends in Europe that Frederick did not die, but disappeared in an unknown direction in order to reform the church and establish universal brotherhood and peace.

 A certain symbolism is seen in this, because the octagon, repeated in the structure of Castel del Monte, in the Middle Ages symbolized the transition from the world of the living to the kingdom of the dead, and at the same time the union of heaven and earth.

Everything is very simple here – a square was considered a symbol of the earth, a circle was a symbol of the sky, and an octagon was an intermediate figure that signified both unity and transition. However, scientists far from mysticism believe that the repeated use of the octagon is simply a reference to the Dome of the Rock in Jerusalem, because Frederick II saw the dome over the cornerstone during his crusade.

Historians are confused by the dubious architecture of the object – in such a castle there was not a single chance to hide from an armed attack. No protective mechanisms were used during the construction.

In addition, the building itself boasts the ideal shape of a real octagon. The castle has also 8 turrets.

Scientists did not fit the theory that this castle was used by noble people in order to rest there after hunting. Castel del Monte looks too monumental and luxurious for this.

Some historians suggest that the purpose of the mysterious castle was to comprehend the secret sciences

Castel del Monte has encrypted and biblical symbols. The fact is that the castle has exactly five drainage basins and five fireplaces, many associate this with the phrase of the Baptist John from the Gospel of Luke:

“I baptize you in water for repentance, but the One who follows me is stronger than me; I am not worthy to bear His shoes; He will baptize you with the Holy Spirit and fire.”

 So, it is easy to assume that Castel del Monte was for Frederick II an analogue of the temple, built according to his personal project, and this fully meets the ambitions of the emperor.

By the way, this hypothesis is confirmed by another curious detail. If you look closely at the entrance to the castle, you can see a giant letter F encrypted there. If inside the tomb of Frederick II, associations with the pyramids would be inevitable, and so Castel del Monte seems to be a kind of personal portal of the emperor, erected according to his plan and in his honour. 

At least when you stand in the courtyard of the castle and, with your head raised, look at the sky, imprisoned in an octagon of powerful limestone walls, even the most inveterate materialists have a feeling of belonging to the medieval magical tradition. 

The energy of this place is special, in the style of those “Scary Tales” by Matteo Garrone.

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Occult symbolism of the 2020 Vatican nativity scene

Occult symbolism of the 2020 Vatican nativity scene 102

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.

Occult symbolism of the 2020 Vatican nativity scene 103
An astronaut and a masked executioner are also included in the 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.

Occult symbolism of the 2020 Vatican nativity scene 104

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.

Anti Christmas

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.

Occult symbolism of the 2020 Vatican nativity scene 105

WORSHIP ME

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.

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Right: A Jed Column dedicated to the goddess Hathor.

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.

Occult symbolism of the 2020 Vatican nativity scene 107
Immediately behind the nativity scene is the obelisk of St. Peter (originally from Egypt).

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.

Occult symbolism of the 2020 Vatican nativity scene 108

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.

Occult symbolism of the 2020 Vatican nativity scene 109

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.

Occult symbolism of the 2020 Vatican nativity scene 110

The Obelisk of St. Peter is located right in the center of the eight-pointed star, also known as the Ishtar Star.

Occult symbolism of the 2020 Vatican nativity scene 111

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.

Occult symbolism of the 2020 Vatican nativity scene 112

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?

Occult symbolism of the 2020 Vatican nativity scene 113
Even he thinks to himself: “What am I doing here?”

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.

Finally

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.

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