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.
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.
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.”
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.
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Castelli’s “Nativity scene” is an outdated work and the product of a strongly ideological art school.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.
