Syncretism and Naturalism in Vatican’s Nativity Exhibition
VaticanNews portal reports the planned inauguration of the “100 Nativity Scenes in the Vatican” exhibition on 8 December 2025. The event, part of the “Jubilee is Culture” series, features 132 nativity scenes from 23 countries, including Croatia, Romania, Peru, Eritrea, and Taiwan. Materials range from Japanese paper and silk to coconut fibers and a repurposed ATAC bus. Archbishop Rino Fisichella, pro-prefect of the Dicastery for Evangelization, will inaugurate the exhibition alongside a Mexican folkloric performance. Gianluca de Marchi, CEO of corporate sponsor Urban Vision Group, framed the display as a celebration of “stories, traditions, and peoples from all over the world” enabled by “technological innovation.” The exhibition runs until 8 January 2026. This spectacle epitomizes the conciliar sect’s abandonment of supernatural faith in favor of anthropological relativism.
Syncretism Masquerading as Devotion
The exhibition’s emphasis on global diversity—“creative versions of Nativity scenes” using materials like “resin, wool, coconut and banana fibers”—exposes its true aim: to reduce the Incarnation to a multicultural artifact. By placing a Mexican folk dance alongside a nativity displayed on a secular bus, the organizers equate divine revelation with human craftsmanship, violating the Church’s condemnation of religious indifferentism. Pius IX’s Syllabus of Errors explicitly rejects the idea that “every man is free to embrace and profess that religion which he shall consider true” (Error 15). Here, the Gospel is reduced to a mere cultural expression, negating its universality.
The use of a tannery drum and mechanical nativity scenes further desacralizes the mystery, treating the Birth of Christ as a theme for industrial or technological experimentation. Such innovations align with Modernist tendencies condemned in St. Pius X’s Lamentabili, which warns against adapting dogma to “the progress of sciences” (Proposition 64). The exhibition’s aesthetic pluralism implicitly denies the unum necessarium: Christ’s singular role as “the way, the truth, and the life” (John 14:6).
Naturalism Replaces Supernatural Faith
De Marchi’s statement—“we offer our expertise to serve the community of believers”—reveals the event’s core error: subordinating the sacred to human enterprise. Technology and corporate sponsorship (Urban Vision Group) are presented as vehicles for evangelization, echoing the Modernist heresy that faith arises from “man’s self-awareness of his relationship to God” (Lamentabili, Proposition 20). Pius XI’s Quas Primas clarifies that Christ’s Kingdom is “primarily spiritual,” opposed to the “kingdom of Satan,” yet this exhibition reduces Christianity to a “spiritual and cultural journey” divorced from repentance and grace.
The omission of doctrinal catechesis in favor of artistic spectacle mirrors the conciliar sect’s broader apostasy. Not once does the article mention the Mass, the sacraments, or the necessity of conversion—the very essence of Christ’s Nativity. Instead, the exhibition’s duration (8 December to 8 January) frames the Epiphany as a tourist attraction, stripping it of its theological meaning: the revelation of Christ’s divinity to the Gentiles.
Erasure of the Church’s Mission
Fisichella’s role as inaugurator underscores the betrayal. As a chief architect of the Vatican’s “new evangelization,” he embodies the post-conciliar shift from extra Ecclesiam nulla salus to universalist dialogue. The exhibition’s globalized nativities tacitly endorse religious relativism, contradicting Pius XI’s warning that “the entire human race is subject to the authority of Jesus Christ” (Quas Primas). By celebrating divergent “traditions,” the conciliar sect denies its duty to “make disciples of all nations” (Matthew 28:19), instead promoting a false ecumenism anathematized by Pius IX (Syllabus, Error 18).
Conclusion: A Denial of the Incarnation
This exhibition is not an act of piety but a Masonic-inspired syncretism. Its focus on material diversity and technological “innovation” negates the supernatural reality of the Incarnation—that God became flesh to redeem mankind from sin. As the true Church teaches, “the Word was made flesh, and dwelt among us” (John 1:14)—not to be displayed as folk art, but to be worshipped as King. The silence on these truths confirms the conciliar sect’s apostasy, making the event not a jubilee but a jubilation of heresy.
Source:
“100 Nativity Scenes in the Vatican” exhibition to open 8 December (vaticannews.va)
Date: 04.12.2025