Abp. Viganò: Vatican Nativity is ‘expression of apostasy, immorality and vice’ By Archbishop Carlo Maria Viganò for Life Site News
GNN Note – We’re including a very short video – many more are available click here – to give you an idea of this blasphemy committed by the pope-on-dope. The pope is nothing more than a puppet of his owners, the satanic globalist, who’s sole agenda is to push the globalist agenda.
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This irreverent monstrosity is the mark of the universal religion of transhumanism hoped for by the New World Order; it is the expression of apostasy, immorality and vice – of ugliness erected as a model. And just like everything that is constructed by man’s hands without God’s blessing, indeed against Him, it is destined to perish, to disappear, and to crumble.
Archbishop Carlo Maria Viganò has written the following reflection on this year’s Nativity scene in St. Peter’s Square.
EN GREGE RELICTO[1]
Considerations on the Nativity scene in Saint Peter’s Square
At the center of Saint Peter’s Square, a metallic tensile structure dominates the scene, hastily decorated with a tubular light, underneath which stand, disturbing as totems, a few horrible statues that no one endowed with common sense would dare to identify with the characters of the Nativity. The solemn background of the Vatican Basilica only serves to augment the abyss between the harmonious Renaissance architecture and the indecorous parade of anthropomorphic bowling pins.
It matters little that these atrocious artifacts are the fruit of students of an obscure Abruzzo art institute: whoever dared to put together this affront to the Nativity did so in an era that, besides creating countless monstrosities of pseudo-art, did not know how to make anything beautiful or that merits to be preserved for posterity. Our museums and modern art galleries are overflowing with creations, installations, and provocations born from sick minds that straddle the Sixties and Seventies: paintings that are impossible to look at, sculptures that cause disgust, works of which it is impossible to determine either their subject or their significance. Nor were the churches spared: even they are overflowing with such works, always stemming from those unpropitious years, impudent contaminations produced by “artists” appreciated more for their ideological and political affiliation than for their talent.
For decades, architects and craftsmen have been making horrifying structures, furnishings, and sacred ornaments of such ugliness that they leave the simple disgusted and scandalize the faithful. From this same evil root there has also stemmed, in a Bergoglian migrationist key, the bronze barge that is the “monument to the unknown migrant” which now disturbs the harmony of the right side of Bernini’s colonnade and whose oppressive weight is making the very cobblestones sink, to the consternation of the Roman people.
It should be recalled that this year’s blasphemous Nativity scene was preceded by the equally sacrilegious one of 2017, offered to the Vatican by the shrine of Montevergine, a pilgrimage destination for the Italian homosexual and transgender community. This anti-nativity scene, “carefully planned and premeditated according to the dictates and doctrine of Pope Francis,” was supposed to depict alleged works of mercy: a naked man lying on the ground, a corpse with a dangling arm, the head of a prisoner, an archangel with a rainbow flower garland, and the cupola of Saint Peter’s shown in ruins.
