Pope Leo’s Pachamama Mass

On July 9th, Pope Leo offered his first Mass “for the Care of Creation”. The Mass contained many clues that show his agenda is no different from the human-centred goal of his predecessor, Pope Francis. Significantly, the press conference announcing the Mass featured Cardinal Michael Czerny, the man who promotes the Integral Ecology of Liberation Theologian, Leonardo Boff and Archbishop Francesco Viola, the man who wears Annibale Bugnini’s ring.

Firstly, I’d like to present an alternative view to mine, that is, a traditional Catholic’s interpretation of this Mass as being entirely orthodox and in line with the correct Catholic approach to creation. It seems solid, ending with the comment: “The keystone of the entire homily lies in the final sentence: ‘Only a contemplative gaze can change our relationship with created things’,” then providing a thoughtful explanation of what this means for faithful Catholics.

The only problem is, Pope Leo’s ‘contemplative gaze’ quote is taken from Laudato Si – that is, straight from the mouth of Papa Bergoglio. When one reads the entire sermon, it becomes obvious that Pope Leo is not, in fact, as the author suggests, referencing the traditional teaching on creation. Rather, he is continuing Francis’ mission which is none other than that of the subversive forces who gave us the Pact of the Catacombs. Clues such as ‘cry of the earth and cry of the poor’ abound, as do multiple references to Pope Francis and his pantheistic encyclical, Laudato Si. (For a complete analysis, see this article at Novus Ordo Watch.)

Apart from the obvious display of devotion to Pope Francis, there may be even more to this Mass than first appears. For this, it must be viewed through the lens of occult symbolism and so some speculation is in order.

Pachamama Mass

Borgo Laudato Si Gardens

The Mass for Creation took place at the Borgo Laudato Si (The “Praised be” Village) – the immense gardens of the Pope’s holiday residence, Castel Gandolfo. Pope Francis had this turned into a tourist attraction, meant to provide some income for the cash-strapped Vatican whilst educating the public about ‘integral ecology’ (worshipping the environment). Remember, this is the vision that would have us believe that “justice and peace will only dwell on the Earth” when everyone has access to clean water.

The gardens made the perfect setting for a pagan ritual: that is, outdoors, in a grove. Groves were condemned by God throughout the Old Testament for their relationship to paganism and the prophets were often instructed to destroy these places where adulterous Israelites would gather to worship false gods.

The Dicastery for Integral Human development posted this to social media with the following caption: ‘Only a contemplative gaze can change our relationship with #Creation and bring us out of the ecological crisis’.
But, it must be asked, where is Christ in this scenario?

Groves and the Divine Feminine

Is the statue behind the altar Our Lady? It’s certainly possible and at least she is dressed more modestly than Papa Bergoglio’s false Mary, undoer of knots. But in the current context, I’d like to explore another possibility: that this female figure represents a pagan goddess: Pachamama or perhaps Isis.

The Hebrew word for ‘grove’ is ‘Asherah’ which can also mean a sacred tree or wooden pole or totem which was worshipped as an idol. The name ‘Asherah’ (or ‘Ašratu’ in Akkadian), can also denote the pagan goddess of groves who was worshipped by the Phoenicians, the Akkaddians, the Hittites, and the Canaanites. Ashrerah was considered to be the ‘Queen of Heaven’ and is sometimes identified with the ‘Divine Feminine’.

The Queen of Heaven archetype appears often in pagan belief systems. For example, in Egyptian mythology the Queen of Heaven was Isis, the sister-wife of Osiris, sometimes known as the ‘World Virgin’. Isis is the personification of Nature and like other types of this goddess is associated with fertility.

As a mother-goddess who was and is blasphemously believed by some to be the consort of God, Asherah can be equated with the Pachamama of South America. Pachamama, as we know, is identified with Mother Earth and with the Divine Feminine. A common offering to Pachamama is the gift of flowers, especially yellow ones, and these can be seen on the altar at the Pope’s Mass of Creation – in violation of the GIRM (General Instruction on the Roman Missal).

Yellow flowers, a common offering for Pachamama, were placed on the altar, in violation of the GIRM.

Asherah/Isis was goddess of motherhood, and wisdom and as such may also be identified with ‘Sophia’ – the personification of wisdom. In Gnosticism, Sophia plays a fundament role, as she is an aspect of god and an agent of chaos and confusion which can only be countered by the ‘gnosis’ of ‘Jesus Christ’ which humans require to escape the physical world and return to the spiritual one.

To see a statue of a woman placed prominently behind the altar during the outdoor Mass of Creation, hands crossed over her chest in the gesture of Osiris and surmounted by a triangle (an important occult/Masonic symbol ) makes one wonder if this is not meant to represent Our Lady, but rather the anti-Mary World Virgin who is known as Ashrerah, Isis, Sophia or Pachamama.

Wisdom Between Two Pillars

The placement of the figure of Isis/Pachamama between two pillars provides further material for discussion as this is a specific arrangement in the occult with its own meaning:

The World Virgin is sometimes shown standing between two great pillars–the Jachin and Boaz of Freemasonry–symbolizing the fact that Nature attains productivity by means of polarity. As wisdom personified, Isis stands between the pillars of opposites, demonstrating that understanding is always found at the point of equilibrium and that truth is often crucified between the two thieves of apparent contradiction.

Manly P. Hall, The Secret Teachings of all Ages

Another interpretation of the setting of a female icon of Wisdom between two pillars comes from the Tarot. In this system, the woman is associated with the mythical ‘Pope Joan’ – a false female Pope! Surely, that’s not the message being conveyed here!?!

Opposing Forces

As has been repeated often among these pages, the Great Work of the occultist is to access gnosis in order to reconcile opposing forces. The placement of the female goddess figure between the two pillars echoes that principle. It is repeated in the elegant reflective pool which appears in front of the altar, a perfect embodiment of the principle of ‘as above, so below‘.

The reflective pool expresses the principle of ‘as above, so below’

The occult pectoral cross

For the occasion of the Mass of Creation, Pope Leo wore a pectoral cross decorated with an image of the Good Shepherd. While this appears at first to be the same cross was worn by the infamous Cardinal Bernadin (see article here) on closer inspection, this doesn’t seem to be the case. A separate article studies these crosses and may be found here.

Despite any differences in the crosses, it’s worth noting for our purposes that in the original version of this cross – the one worn by Cardinal Bernadin and Pope Francis – the ‘Good Shepherd’ was modelled on the Egyptian god, Osiris and that as mentioned above, the wife of Osiris was the goddess, Isis.

Conclusion

Rather than merely hijacking the Holy Sacrifice of the Mass to promote the prevailing, disordered, emphasis on the environment, there were enough red flags here to indicate an occult ritual took place under the guise of, or in conjunction with, the liturgy.

Although we may never know the truth, it is educational to decode the hierarchy’s clues which were hiding in plain site in what at first appears to be a tranquil and thoroughly Catholic scene.

To see Mass offered outdoors in a lush grove, near twin pillars that are surmounted by a triangle, close to a reflective pool with all being overseen by the divine feminine should fill us with horror, rather than delight. It is yet another sign of the new papacy’s agenda: to present Modernism with a smile and to lure Catholics into nature worship using the tantalising bait of aesthetics.

An associate of Father Isaac Mary Relyea, made an interesting point on their Youtube channel : he said the name, Mass for the “Care of Creation” immediately reminded him of the “Cremation of Care” ritual performed at Bohemian Grove. Hmmm. Another ritual in an infamous grove. That certainly is food for thought.

This article has been updated.

SOURCES: This site (non-Catholic); Sophia (Wikimedia); The Secret Teachings of All Ages by Manly P. Hall. (affiliate link.)

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Pope Leo & Bergoglio’s occult-inspired pectoral cross

In my recent article about Cardinal Bernadin, I referenced a pectoral cross he often wore which showed his allegiance to the occult and to other nefarious characters in the hierarchy. That article cited information from Rosicrucians which explained that their esoteric version of the ‘Good Shepherd’ was indicated by arms crossed over the chest.

Cardinal Fernandez and Pope Francis have also worn this same cross: in Bergoglio’s case, he wore it first as Archbishop and Cardinal of Argentina. 

Crossed arms are also found in Masonry and in its offshoot, the OTO (Ordo Templi Orientis), and were inspired by the Egyptian god, Osiris.

Osiris
Aleister Crowley as Osiris
First sign in the Super-Excellent Master Mason Degree (Richardson’s Monitor of Freemasonry)

As an aside, celebrities seem to be as fond of being photographed making this gesture as they are of making the Illuminati ‘one-eye’ sign and devils’ horns.

Rapper Eminem
Author Steven King
Artist Marina Abramovic
Cardinal Fernandez pictured wearing the same cross at this year’s conclave.
Pope Francis wearing the occult-inspired cross.
The shepherd with arms crossed, slightly elongated body and background of lines or ridges – from the maker’s website.
Another shot of the cross showing the shepherd’s face looking straight ahead.

Pope Leo, as Robert Prevost, was apparently apparently photographed wearing the occult-version. I say ‘apparently’, because the photograph on the left is so outrageous that I had waited to see solid proof that it was not photoshopped. That is, proof was wanting until the photograph on the right was sent to me. It came from a Spanish website called Religion the Free Voice and shows Prevost againt wearing the occult-inspired pectoral cross.

Here is a picture of Pope Leo XIV, taken on the day of his ‘Mass for Creation’. As can be seen, he is wearing a pectoral cross bearing an image of the Good shepherd.

However, there is something very significant about his cross. As the closeups show, this doesn’t appear to be identical with similar crosses worn by Pope Francis, or Cardinals Bernadin and Fernandez: it has been changed slightly.

Zoomed-in image of the cross from the picture above.
Enhanced with Canva software
Here is Leo’s cross again, at even closer range.

What say you, friends? Is this the same cross? In all truth, it appears not to be. The shepherd appears to have only one arm crossed over his breast – his left arm – and his body is a little shorter than in the Bergoglio/Bernadin version. The robe is raised slightly on the right-hand-side (the shepherd’s left) as if he is walking. The Holy Ghost dove is in the same position but the vertical lines/ridges in the background have been removed, or are at least not so prominent. In contrast to the other cross, the shepherd’s head seems to be oriented downwards and slightly towards his right.

What does is all mean? Is Leo playing the players? Has he tapped in to the graces of his new state as Pontiff of the Holy Catholic Church? While I’d like to think this is the case, here is a different theory (as presented to me by my son.) If this ‘Good Shepherd’ is inspired by a god of Ancient Egypt, we must cast our minds back to that period.

We know that at times, ancient Egypt was governed by Pharaohs who demanded that they be worshipped as gods, but this wasn’t always the case. There was a time known as the First Intermediate Period during which the Pharaohs ruled in a more ‘synodal’ style. They shared power with the nomes, who were the rulers of a series of city-states called nomarchs. Most notably, this time came after the more authoritarian period of the Old Kingdom – and was later followed by another time of absolute rule by the Pharaohs.

Is it possible that the updated version of the pectoral cross indicates that the authoritarian rule of Bergoglio has given way to Leo’s ‘synodal’ path of cheerfully allowing bishops to implement whatever degree of orthodoxy or error they desire in their own dioceses? (For that is precisely what synodality entails.) Is this cross the symbol of the next phase of the revolution?

No matter what is the meaning of this strange development, please, PLEASE, dear Catholics, choose a simple daily penance to offer to Our Lady that this Pope will consecrate Russia to Her Immaculate Heart and end the confusion which reigns around us. As I’m fond of saying: he doesn’t have to believe, he just has to do it!

Virgo potens, ora pro nobis!

Bendigo Cathedral’s pagan idol vanishes!

A recent article on this website reported on a scandalous ‘artwork’ being exhibited at Sacred Heart Cathedral, Bendigo. Despite the statue’s creator publicly and explicitly explaining that the inspiration for his work was witchcraft, tarot cards and occult philosophy, the Bishop responsible for the Cathedral refused to have the image removed.

Massive pushback from the laity and other clergymen in the form of letters, phone-calls, emails and petitions did not have the desired effect as Bishop Shane Mackinlay and his Diocesan bureaucrats confirmed that the idol would remain in the Cathedral for the duration of the exhibition: an entire three months.

Blatant Occultism in Bendigo Cathedral
The occult-inspired art work in Bendigo Cathedral

However, at some point during the past week, three unknown individuals decided to take matters into their own hands and quietly removed the disgusting image from Sacred Heart. A picture circulating on social media shows the spot where the idol had formerly been placed; its clay foundation, its sheer covering and the information stand remain.

The former site of the hideous idol inside the Cathedral.

The artist, Ben Wrigley, confirmed the theft on his Instagram page (while also showing his ignorance of the Commandments – the directive not to steal is Commandment number 7.)

Transcendence Wand #4 was reported to me this afternoon as having been stolen from inside the Sacred Heart Cathedral, Bendigo, today by three men.

This work depicts the transcendence of being bound by the dense material world. Of the lightness of being. The veil symbolises the gossamer thing significance of moving from the gross self to illuminated being and becoming closer to god.
One of five interconnected works representing five stations of life. L
The significance of the transgression of these three men is palpable. The eighth commandment – thou shall not steal and from a place of worship.
I look forward to having it returned.

To date, there has been no official statement from either Bishop Mackinlay or the Diocese of Sandhurst regarding the idol’s removal.

It is gratifying to know that there are still men within our ranks of the calibre of Saint Boniface who will refuse to allow holy places to be defiled by pagan images. Our prayers this week should include some for the vigilantes’ protection and well as for the conversion of Bishop Mackinlay to the Catholic faith.

Blatant Occultism in Bendigo Cathedral

UPDATE: a petition to have this idol removed from Bendigo Cathedral can be found here. Please sign it and share!

An art installation based on tarot cards and witch’s wands is currently on display in a Catholic Cathedral in country Victoria. It comprises a hideous figure reminiscent of a Buddhist idol, covered with a sheer cloth and sprouting five ‘flames’ which seemingly mock the Five Wounds of Christ.

The bizarre idol inside the Cathedral

A Pagan Pilgrimage

Artist, Ben Wrigley, designed the artwork as part of his pagan ‘pilgrimage’ around the town of Bendigo. Participants are encouraged to visit five stations where his art is installed and there to meditate on five points in human life: conception at LaTrobe University (‘amoeba’); birth at St. John of God hospital (‘matter becoming’); adulthood/consumerism at the Old Church on the Hill (‘bowl of plenty’); death at a cemetery (‘river of tears’); and the next life at Sacred Heart Cathedral. This final station is designated ‘transcendence’ and will, as the artist states ” ….resonate within the sacred space, embodying the tension between the earthly materiality and the spiritual.”

Each of the pilgrimage sites hosts an artwork which is meant to embody a milestone of human existence and all of the pieces are made from the same 100-year-old pine tree. Trees are of great significance in the esoteric world, with the pine among those particularly valued since the occult version of Our Lord – the ‘Saviour-God’ or ‘World Martyr’ – is worshipped under the appearance of the pine.

Linked to Tarot Cards

The name of the pilgrimage is ‘The Wands,’ which is a reference to tarot cards: wands correspond to the suit of clubs, cups to the suit of hearts, swords to spades and coins to diamonds. 

The pilgrimage is a said to be a metaphor for one particular card, the Five of Wands. According to tarot practitioners, the Five of Wands represents conflict among different groups who disagree; each person represents a different tribe or group. Some tarot traditions interpret the conflict as being good-natured and even merely ‘for show.’

A traditional Five Wands tarot card.
A more modern representation of the Five Wands card.

The Cathedral Installation

Inside the Cathedral, there is an information panel to explain the artist’s rationale for creating the idol. In his words, it represents an ‘enlightened one’ who appeared to him in a dream and who is so resplendent that it needs to be covered.

We are born into matter. dense and needy, hungry. While there is much to be enjoyed, and loved and cherished, there is much pain and suffering; and to practise being ‘held in the hand of God’, to have faith, we can find incremental enlightening along the way. To transcend, to ascent, we can experience being lighter.

This work, Transcendence, is representative of achieving, of becoming fully enlightened beings. Very few achieve this state and to look upon them is too much for one’s mind, our dense selves, hence they are veiled, ethereal. This veil also represents the gossamer thin line between ignorance and understanding. One hand up and one hand down, as above and so below, or ‘as it is in heaven so it is on earth.’ The mound they float above is the matter of which we are born. “We are made of clay”, says John O’Donoghue1, and the lotus has its roots in the mud and our ascension is up, towards enlightened.

We are of the earth, we are made of earth, the earth is us.

This image of ‘Transcendence’ came to me as a vision in a nocturnal dream, replete with flames and colour. Concave feminine and convex masculine. Unlike the other four wands, Transcendence is figurative and detailed. I have been faithful to the image I received, for this is the work, to be present to the gifts and trust, the Great Mystery, to God.

The information panel inside Sacred Heart cathedral.

The idol has similarities with Baphomet, as it exhibits both male and female characteristics (“Concave feminine and convex masculine”), and its hands are positioned in the familiar ‘as above, so below’ gestures.

In his explanation, Wrigley also references “The Great Work” (” … for this is the work…”) which is perhaps the key to his entire exhibition. In the esoteric world, the ‘Great Work’ is to discover one’s destiny and to achieve unity with the infinite. The tools employed in doing this work include meditation, Western ceremonial magic, Hermetic Qabalah, yoga and tarot. Collectively, these tools are known as ‘magick.’ Aleister Crowley described the Great Work as “the uniting of opposites …. the uniting of the soul with God, of the microcosm with the macrocosm, of the female with the male, of the ego with the non-ego.”

The idol in Bendigo’s Cathedral clearly illustrates the principles of the Great Work. Its hand gestures and androgyny exemplify the uniting of opposites – not to mention the attempt to unite Catholicism with diabolical mysticism – while, as an ‘enlightened one’, the statue represents unity with the divine. The ‘Third Eye’ symbol on the idol’s brow is a further indication of achieving union with the infinite, thus providing an initiate access to hidden knowledge.

A close-up of the idol’s face taken from the Wands’ website. The sexual overtones in the ‘Third Eye’ symbol are quite clear.

All of this should have been enough to alert the Diocese of Sandhurst, in which the Cathedral is situated, to the diabolical nature of the art installation. Yet, Shane McKinley, Bishop of Sandhurst, claims to have been unaware of the artwork’s occult themes until parishioners pointed out a reference to witchcraft on the official website of the Five Wands pilgrimage.

When describing Ben Wrigley’s use of the fallen pine-tree, the website originally included this statement: His work began with a fallen 100-year-old pine tree, which he saw as a living, breathing entity much like the divination tools used by witches and warlocks who traditionally craft their wands from live trees with the tree’s permission.

The words in bold have now been removed from the Wands website. Bishop McKinley acknowledges the witchcraft reference in the standard response his Diocese is emailing to concerned Catholics. He writes:

” ….the wording that promoted these concerns was not included in the information provided to the Diocese prior to the artwork’s installation and is not part of the signage accompanying the artwork itself. The wording was only present on the website of the overall project. In order to avoid any further confusion or concern about the artwork’s inspiration, the artist has now removed this wording from the website….”

If the good Bishop thinks that by removing a few words he can change the nature of the sacrilegious display in his Cathedral, then he is severely deluded. The very look of the idol itself is enough to alert the most casual Catholic observer as to its unsuitability for a Catholic church.

  1. The late John O’Donoghue was an ex-Catholic priest and New Age writer. ↩︎

CIA Occultists & the Ark of the Covenant

It was big news last week that the CIA has admitted to its operatives using occult powers to detect what they believed to be the resting place of the Ark of the Covenant.

The Ark is, of course, the unique receptacle mentioned in the Bible in which the Ten Commandments were once housed. The Ark’s design was dictated to Moses by God Himself, as recorded in the Book of Exodus.

This project was known as Sun Streak and was part of the CIA’s wider Stargate Project. The report explains how specially-trained operatives used what they call ‘remote viewing’, otherwise known as clairvoyance or ESP (Extra Sensory Perception) to find the Ark. The operatives said the Ark was in the Middle East and ‘protected by entities’ who possessed a ‘unknown’ power.

According to the CIA, the location revealed by the remote viewer was not examined to ascertain the truth of the claim, and the official story is that the remote viewing project no longer exists – although that should be taken with a grain of salt.

Recreation of the Ark of the Covenant

Christians have long believed that the Ark does still exist, with some suggesting it is hidden in Ethiopia. It seems likely that the Ark will remain hidden until such time as God wants it revealed, and it seems equally unlikely that it will be an immoral government agency, using what is probably demonic power, which will find the precious Ark.

The first file below is the report on the alleged finding of the Ark of the Covenant, which was declassified in 2000.

The second file below is the CIA’s official analysis of the entire Stargate programme, which includes descriptions of how the experiments were conducted and evaluated.

Abortion Advocates & Occult Artwork at Vatican

It was bad enough that Papa Bergoglio would agree to meet with the Board of Directors of a pro-abortion NGO at the Vatican. The setting for the official photograph, however, takes this meeting to another level.

The Conrad N. Hilton Foundation is the largest funder of Catholic religious sisters around, has sent millions of dollars towards the formation and good works of Catholic sisters over the years. It also assists refugees, the poor and provides access to safe water – ostensibly one of its seven main goals. The Foundation also has an association with National Catholic Reporter which, due to its heterodox content, even US Bishops have claimed is ‘not really Catholic’.

That’s all well and good but the Hilton Foundation is also very pro-abortion. Among the many organisations the Foundation has helped financially are those dedicated to ‘reproductive health’ aka abortion and contraception, including the ‘California Latinas for Reproductive Justice.’ [see more here.]

California Latinas for Reproductive Justice

Pope Francis met with the Board of the Hilton Foundation on January 22 of this year. He of course told them how wonderful their work was, giving them some gems like “Compassion is not throwing money into the hands of another without looking them in the eyes. Right. Be like McCarrick who looked the Popes right in the eyes as he threw them bucketloads of money.

What really caught my eye was the strange artwork hanging in the background of the official photograph of the occasion, which was circulated by the Vatican’s press office. Although not as aesthetically offensive as other artwork favoured by the Curia (thinking here of Rupnik and Jago) this one certainly is strange when you take a close look at it. And the fact that it was chosen as the backdrop to the photograph of Francis taken with abortion advocates and feminist nuns like Nathalie Berquart makes it even more stunning.

“Abbraccio Cosmico” by Camilian Demetrescu

“Abbraccio Cosmico” (Cosmic Embrace) is a tapestry created by by Camilian Demetrescu. Demetrescu was a Freemason-turned-Moslem who associated with Modernists, nihilists and Theosophists. His tapestry was installed in 2008, during the pontificate of Benedict XVI.

Describing his work, Demetrescu claims that:

This tapestry has been made in Italy (Gallese) after the september 11th 2001 : the cosmic love (abbraccio cosmico) is the only response to such a tragedy. Two angels are moving the universe around the planets’ hug.

What he doesn’t explain is that this design is all about astrology, including cosmic portals and ‘as above, so below’ imagery as well as the fake New Age ‘angels’.

Below is one interpretation of the image that came from an occultist – not from the artist himself. [NOTE: This information came from a website called ‘Keys to Ascension’. I really don’t like linking directly to occult websites.]

The translation means “Cosmic Embrace.” The center of this painting is a man and woman1 in a tender embrace. This represents the Sacred Union of the Divine Feminine and Divine Masculine. Uniting the Heart and the Mind through Divine Cosmic Love – Christ Love!

Facing the picture, the Blue Angel on the left represents the Feminine/Universe/ Spirit. The Brown Angel on the right represents Masculine/Earth/Physicality. The Angels wings are pointing up and down. They are each holding a handle. One up – one down. As Above – So Below. The handles are connected to a shaft of Light that runs through the heart center of the Divine Cosmic Embrace. The EnLightened Ones are guiding the transition.

Notice also that the handle held by the Earth Angel is attached to a spiral – a Cosmic Portal. The handle held by the Cosmic Angel is attached to a symbol of the Cardinal Grand Cross2. Earth/Humanity goes through the Cosmic Portal to connect to the heart of Divine Source/Divine Unconditional Love – the Cosmic Embrace. The Cosmic Alignment funnels Light through Divine Source/Divine Unconditional Love to elevate Earth.

The Cosmic Portal envelopes the planets and humanity in a Divine embrace of Christ Consciousness. This is the birth of the New Age of EnLightenment!

  1. Another interpreation explains that the two people embracing are ‘asexual.’ ↩︎
  2. An astronomical formation which is highly significant in the practise of astrology. When a Cardinal Grand Cross occurs in the heavens, it is a ‘sacred day’ to many occultists. ↩︎