Another deplorable curiosity, a Francis’ tombstone with just his name and his pectoral cross.
The Bergoglio cross is pagan in design and meaning. Traditional Byzantine iconography featured only the hallowed and the haloed: images of God or “iconic” saints known to be in His presence and mirror His light. Blessed icons often took the form of rings and jeweled crosses which bore the corpus of Christ or Scripture excerpts; many contained tiny relics of a saint or of the True Cross. Sacred art was never signed (God was the real artist), and forbidden to be bought or sold.
The Bergoglian pectoral is none of those things. There is nothing mystical or inspired about a flimsily clad youth with goofy smirk, arms crossed and head yoked by a dead sheep, and standing his ground, legs spread in a resolutely dominant, immovable posture, oblivious to the grazing gaggle of rams and ewes behind. The mass-produced silver papal cross frequently bears the artist’s signature (Vedele), and is for sale online and gift shops everywhere.
Art historians will recognize pre-Christian stereotypes, for example the pose of the Pharaohs in Egyptian statuary. In life and mummified in death, they were idealized as god-like with power symbols in hand, arms crossed over their chest. Greek sculptors in the 6th century BC developed the Kouros model, “the common man,” a poorly- covered shepherd or goatherd or cowherd with “archaic smile” and holding in his arms, or cross-bodied, one of his animals. These symbolized Greek glorification of the natural world.
Freemasons especially celebrated the “reign” of their brother Francis. Note how the young man on the Bergoglian cross mimics the Masonic ‘chain of union’ posture, i.e. arms crossed over the chest and feet turned out at right angles. These gestures in Illuminati ceremonies honor the pantheism of the ancient pharaohs and Osirus, Egyptian god of life, death, and resurrection. The “dove” above copies the logo of the “Ordo Templi Orientis,” the wings mimicking the horns of Hathor, daughter of the sun god Ra, whose rays and magic spells stream down on the shepherd
Another deplorable curiosity, a Francis’ tombstone with just his name and his pectoral cross.
The Bergoglio cross is pagan in design and meaning. Traditional Byzantine iconography featured only the hallowed and the haloed: images of God or “iconic” saints known to be in His presence and mirror His light. Blessed icons often took the form of rings and jeweled crosses which bore the corpus of Christ or Scripture excerpts; many contained tiny relics of a saint or of the True Cross. Sacred art was never signed (God was the real artist), and forbidden to be bought or sold.
The Bergoglian pectoral is none of those things. There is nothing mystical or inspired about a flimsily clad youth with goofy smirk, arms crossed and head yoked by a dead sheep, and standing his ground, legs spread in a resolutely dominant, immovable posture, oblivious to the grazing gaggle of rams and ewes behind. The mass-produced silver papal cross frequently bears the artist’s signature (Vedele), and is for sale online and gift shops everywhere.
Art historians will recognize pre-Christian stereotypes, for example the pose of the Pharaohs in Egyptian statuary. In life and mummified in death, they were idealized as god-like with power symbols in hand, arms crossed over their chest. Greek sculptors in the 6th century BC developed the Kouros model, “the common man,” a poorly- covered shepherd or goatherd or cowherd with “archaic smile” and holding in his arms, or cross-bodied, one of his animals. These symbolized Greek glorification of the natural world.
Freemasons especially celebrated the “reign” of their brother Francis. Note how the young man on the Bergoglian cross mimics the Masonic ‘chain of union’ posture, i.e. arms crossed over the chest and feet turned out at right angles. These gestures in Illuminati ceremonies honor the pantheism of the ancient pharaohs and Osirus, Egyptian god of life, death, and resurrection. The “dove” above copies the logo of the “Ordo Templi Orientis,” the wings mimicking the horns of Hathor, daughter of the sun god Ra, whose rays and magic spells stream down on the shepherd