The EWTN News portal (January 15, 2026) reports on the installation of a mosaic honoring Robert Prevost (“Leo XIV”) in St. Paul Outside the Walls Basilica. The artwork, produced by the Vatican Mosaic Studio using 19th-century materials, will be placed beside that of Bergoglio (“Francis”) at considerable height in the nave. Cardinals James Michael Harvey and Mauro Gambetti, along with Abbot Donato Ogliari, participated in the presentation ceremony concluded with collective prayer led by the antipope. This spectacle exemplifies the neo-church’s systematic replacement of Christocentric worship with personality cults rooted in apostasy.
Usurpation of Sacred Space for Revolutionary Propaganda
The very act of installing images of antipopes in a papal basilica constitutes sacrilege against the Church’s nature as mater et magistra (mother and teacher). Pius XI’s Quas Primas (1925) declares: “The Church…established by Christ as a perfect society, demands for itself by a right belonging to it, which it cannot renounce, full freedom and independence from secular authority.” By contrast, this mosaic program reduces ecclesial memory to a gallery of revolutionary figures who have waged war against Catholic Tradition since 1958. The placement height of 43 feet grotesquely mimics the honor given to saints – a blasphemous elevation of men who promulgate heresies condemned by Pius IX’s Syllabus of Errors (1864), particularly Proposition 23 denying the Church’s divine constitution.
Sacrilegious Veneration of Antichurch Leaders
The article’s reference to “ancient tradition” creating mosaics for each pontiff deliberately obscures the radical discontinuity. True papal portraits historically served as memoriae of legitimate successors of Peter – not celebratory monuments to usurpers. St. Pius X’s Lamentabili Sane (1907) condemned the modernist error that “the organic constitution of the Church is not immutable” (Proposition 53), precisely what this neo-papal iconography promotes. The deliberate juxtaposition with Bergoglio’s image reinforces the conciliar sect’s continuity with Vatican II’s revolution – a continuity anathematized by the 1917 Code of Canon Law (Canon 188.4), which declares offices vacant through public defection from faith.
Perversion of Artistic Tradition
The Vatican Mosaic Studio’s use of 19th-century tesserae constitutes aesthetic deception, wrapping modernist rupture in false historical legitimacy. Pius XII’s Mediator Dei (1947) warned against “that false artistic sense which adheres to novelties and rejects the sacred traditions of ecclesiastical art.” By commissioning artist Rodolfo Papa – whose oeuvre includes syncretistic works violating the First Commandment – the antipapal regime confirms its adherence to the condemned proposition that “the Church is incapable of effectively defending evangelical ethics” (Lamentabili Sane, Proposition 63). The €500,000 estimated cost (unmentioned but calculable from similar Vatican projects) exposes the neo-church’s mammonism while true Catholics lack sacraments.
Complicit Hierarchies and the Silence of Apostasy
Cardinals Harvey and Gambetti’s participation manifests the conciliar sect’s total inversion of ecclesiastical order. As Pius X’s Vehementer Nos (1906) states: “The Church is essentially an unequal society…comprising two categories of persons: the pastors and the flock.” These “cardinals” – invalidly appointed by antipopes – instead act as courtiers to an usurper, fulfilling Christ’s prophecy: “They will place you under ban…thinking by this to offer worship to God” (John 16:2). The Benedictine abbot’s presence confirms the destruction of monastic life prophesied in Revelation 18:2 – “a cage for every unclean and hateful bird.”
Omission of Theological Truths
Nowhere does the article acknowledge the doctrinal implications of venerating manifest heretics. The 1917 Code’s Canon 1325 requires Catholics to avoid “communicatio in sacris” (worship participation) with non-Catholics – a norm obliterated by this collective veneration of antipopes. The mosaic’s placement in a basilica housing St. Paul’s tomb compounds the sacrilege, as the Apostle warned: “If anyone preaches a gospel to you other than what you have received, let him be anathema!” (Galatians 1:9). The concluding “prayer” – devoid of any mention of Christ’s Kingship – fulfills Pius XI’s warning in Quas Primas about secularized worship becoming “empty word” lacking “stable foundation.”
This sacrilegious spectacle continues the conciliar sect’s program condemned by St. Paul: “They exchanged the truth of God for a lie, and worshiped and served the creature rather than the Creator” (Romans 1:25). Until the Roman basilicas are cleansed of such abominations and restored to Catholic hands, they remain monuments to apostasy – not houses of the living God.
Source:
Mosaic bearing Pope Leo XIV’s portrait readied for St. Paul Outside the Walls (ewtnnews.com)
Date: 15.01.2026