Satan sits on the throne of Saint Peter.
This is the opening paragraph of the statement published on December 18, 2021 by Archbishop Carlo Maria Vigano, Papal Nuncio to the United States of America:
DEAR AMERICAN PEOPLE, DEAR FRIENDS, for two years now, a global coup has been carried out all over the world, planned for some time by an elite group of conspirators enslaved to the interests of international high finance. This coup was made possible by an emergency pandemic that is based on the premise of a virus that has a mortality rate almost analogous to that of any other seasonal flu virus, on the delegitimization and prohibition of effective treatments, and on the distribution of an experimental gene serum which is obviously ineffective, and which also clearly carries with it the danger of serious and even lethal side effects. We all know how much the mainstream media has contributed to supporting the insane pandemic narrative, the interests that are at stake, and the goals of these groups of power: reducing the world population, making those who survive chronically ill, and imposing forms of control that violate the fundamental rights and natural liberties of citizens. And yet, two years after this grotesque farce started, which has claimed more victims than a war and destroyed the social fabric, national economies, and the very foundations of the rule of law, nothing has changed in the policies of Nations and their response to the so-called pandemic…
Archbishop Vigano has set his lance against the prevailing theology of the Holy See and he’s received death threats because of it. Strident challenges like the one he issued just days ago are in conflict with the politics of the world of today but also in conflict with the entire population of Vatican City. Vigano is a traditionalist and the Vatican today is casting all tradition aside.
I don’t know if he has ever commented on it, but dare say he would not approve of the Pope Paul VI Audience Hall. The audience hall for the Pope of Rome is a gargantuan snake’s head.
Vigano understands religious symbolism. He knows where it comes from, how it motivates people on a deep level. He’s seen the symbolism that the Vatican is using. It’s used in the Bible, comes from the Bible. But it does not come from Christ or the Virgin Mary. It comes from the Serpent in the Garden of Paradise who tempted Adam and Eve to fall from grace. This symbolism is quite deliberately built into the Pope Paul VI Audience Hall completed in 1971 and situated partly in Vatican City and partly outside it in the City of Rome which encloses the Vatican.
Who chooses the image of a poisonous serpent as the architectural model for the Audience Hall of the Pope of Rome? Who decides to make the hall suggest that the audience members are swallowed or about to be swallowed by a gargantuan snake and to pass between its huge fangs and be swallowed into a boiling hell seething with the mangled corpses of people who have been blasted by a nuclear bomb. That’s not my imagination, that is the description the artist gave of his work. That is the description to which the Vatican set its seal of approval.
The Pope Paul VI Audience Hall was designed and built by the architect Pier Luigi Nervi and completed in 1971. Nervi had already been a very prominent architect before he submitted his design for approval by the Vatican. Every element of the design and placement of this building was purposeful. Everything about this building is symbolic. The symbols were intended to communicate something to the feelings of the audience, to affect them mentally even if they don’t understand the visual symbolism. Maybe the confusing and ambivalent tone of modern art and architecture was itself useful. Maybe the intention is to confuse and baffle the spectator’s conscious mind so that the symbolism would slip past consciousness and penetrate the unconscious mind.
The building is obviously fashioned to look like the head of a colossal viper sinking its fangs into the right hand side of the Vatican. Looking down from overhead, the building is wide at the front entrance, the part that is in the City of Rome, and it narrows toward the back, the part of it that is within the border of the Vatican, the place where the Pope sits. The building is covered with what looks like scales. There are only two windows and they are huge ovals placed to resemble the serpent’s eyes and glazed with stained glass which resembles a viper’s eyes with their vertical pupils. Inside the hall as you approach the Pope’s throne you see that it is flanked by two colossal pillars in the shape of fangs. All this obvious snake imagery is downplayed by the Vatican. Just as it is with all modern art, we spectators are told that there is no symbolic significance here, it’s all aesthetics so ignore your feelings of uneasiness.
A snake biting the Vatican? Where did that image come from? What say you, Wikipedia?
The word Vatican literally means "Divining Serpent," and is derived from Vatis = Diviner and Can = Serpent. Vatican City and St. Peter's Basilica were built on the ancient pagan site called in Latin vaticanus mons or vaticanus collis, which means hill or mountain of prophecy.
My my! Vatican City, the smallest sovereign country in the world, is built on the hill where the future was predicted by divination since the founding of Rome over 700 years before Christ’s birth. Divination using snakes, a sort of snake worship? This is pagan! How could it be Christian? Where do we find a serpent in Biblical symbology? The Serpent tempted Eve to eat the fruit of the Tree of Knowledge that God had forbidden. The Serpent said Eve should eat the forbidden fruit because she would thereby become like God, knowing Good and Evil. The Serpent is Satan, Lucifer, the rebel angel God cast out of Heaven. Now the Serpent whispers into the ear of the Vatican.
And what future is this Devining Serpent predicting?
The huge imposing bronze tableau chosen by the Vatican to be the background behind the Pope’s throne-like chair is La Resurrezione, The Resurrection, by Pericle Fazzini a sculptor already prominent in the world of modern art by 1977 when this work was installed. It is 66 feet wide and 23 feet tall and weighs 80 tonnes. It not only provides the background behind the Pope on the stage, it looms over the Pope as if to enfold him and swallow him. Fazzini said the work was meant to picture Christ rising up from the annihilation of the Garden of Gethsemane by a nuclear bomb.
This is the prophesy we find between the fangs of the Devining Serpent? The mess depicting the explosion of the annihilation of the world is a hideous tangle carrying suggestions of human skulls and mangled body parts. The head of Christ looks from a distance like its hair is blowing in the wind but when you get closer you see that this impression is deliberately undermined by more of the ropy ooze that characterizes the whole piece and in fact it even seems to be transforming into a snake’s head oozing out of Christ’s mind. Symbolically speaking, Christ has almost become Lucifer. In fact, and this is typical of modern art, the only way anybody can tell that this is Christ is to read what Fazzini said it's supposed to be. There isn’t one single traditional Christian symbol in the whole building. Not one cross or depiction of a saint or the Virgin Mary.
It’s not easy to get a closeup picture of Fazzini’s head of Christ and it’s easy to see why the Vatican is embarrassed about the sculpture and the building. But the fact remains that this Devining, Luciferian Serpent has been a more and more prophetic symbol of the modern Vatican ever since the building was completed in 1971. That was the year when the World Synod of Catholic Bishops chose as its theme the central premise of Liberation Theology, "Justice in the World”. Liberation Theology as a Christian theological approach came out of South American Marxist “social concern for the poor and political liberation for oppressed people,” says Wikipedia, and “In other contexts, it addresses other forms of inequality, such as race or caste.” This theology came out of Brazil just like Critical Pedagogy which it so resembles. Critical Pedagogy is the heart of Critical Race theory and Wokeism in general and now it has acquired the blessing of the Vatican. This is the serpent which has injected its venom into the Catholic Church.
Ever since Pope John XXVIII convened the Second Vatican Council (1962-1965) and thereby promoted his avowedly Marxist social revolutionary ideas this philosophy has only grown in power in the Vatican. Pope Francis was the Wokest Pope in 2000 years. Every kind of liberation is now standard theology in the Vatican, sexual liberation included. And the political interference, if not crusade, that Liberation Theology implies is also the doctrine that Saint Peter’s successors now embrace. It’s a Secularized Church now. Only about 60 years, that’s all it took to completely transform and largely secularize and politicize the Church. That’s a revolution. And what’s the goal of this revolution? Just enter the Pope John VI Audience Hall, open your eyes and look. It’s all there.