Vatican’s Idolatrous Mosaic Honors Antipope in Desecrated Basilica
Catholic News Agency (January 15, 2026) reports the installation of a mosaic portrait of antipope Leo XIV in the Basilica of St. Paul Outside the Walls, commissioned by modernist “cardinal” James Michael Harvey and executed by the Vatican Mosaic Studio. The 54-inch circular artwork contains over 15,000 tesserae, including 19th-century fragments, based on a painting by Rodolfo Papa. It will occupy space near the image of apostate “pope” Bergoglio at 43 feet elevation, following a presentation attended by “cardinal” Mauro Gambetti and apostate Benedictine abbot Donato Ogliari. The article omits the sacrilegious nature of placing antipapal images in consecrated spaces, instead glorifying technical execution while ignoring doctrinal bankruptcy.
Illegitimate Cult of Personality Violates Sacred Tradition
The sacrilegious placement of antipope Leo XIV’s image constitutes cultus personae (personality cult) condemned by Pius XI’s Mortalium Animos: “The Church of Christ is the kingdom of truth… not of personalities who usurp authority.” This ostentatious display violates the Lex Orandi, Lex Credendi principle by elevating a manifest heretic to visual veneration. The mosaic’s positioning beside Bergoglio’s portrait reinforces continuity between antipopes, directly contradicting Canon 188.4 of the 1917 Code which declares that public defectors from faith lose office automatically. Bellarmine’s De Romano Pontifice (II.30) confirms: “A manifest heretic cannot be Pope.”
Architectural Desecration Mirrors Doctrinal Collapse
St. Paul Outside the Walls – once a bastion of Catholic identity – now serves as exhibition space for antipapal iconography. The article boasts of “ancient technical methods” while ignoring Pius IX’s condemnation in the Syllabus of Errors (Proposition 40): “The teaching of the Catholic Church is hostile to the well-being… of society.” True sacred art elevates souls to God, not to usurpers. The mosaic’s 43-foot elevation blasphemously parallels Psalm 138:6 – “For though the Lord is high, he regards the lowly” – applying divine prerogatives to antipopes. The use of 19th-century tesserae constitutes archaeological syncretism, blending valid Catholic artifacts with modernist corruption.
Continuation of Conciliar Apostasy Through Aesthetic Deception
Rodolfo Papa’s involvement exposes the neo-modernist strategy of using traditional aesthetics to mask doctrinal corruption. St. Pius X’s Lamentabili Sane condemned such tactics: “The Church is incapable of effectively defending evangelical ethics because it steadfastly adheres to its views” (Proposition 63). The claim of “ancient tradition” for antipapal portraits is historically fraudulent – no legitimate pope permitted self-glorifying imagery at such scale. Compare this to Pius XI’s directive in Quas Primas: “Let rulers of states… fulfill their duty of public veneration to the reigning Christ.” The mosaic substitutes the reign of Christ with that of usurpers.
Sacrilegious Ritualization of Apostasy
The concluding “moment of prayer” led by antipope Leo XIV constitutes simulated worship condemned by the Council of Trent (Session XXII, Chapter IX): “Sacred things must be treated with reverence… not applied to profane use.” Harvey and Gambetti’s participation demonstrates the conciliar sect’s complete absorption into the ecclesia diaboli (church of the devil). Their presence defiles the Benedictine monastery’s original purpose of ora et labora (pray and work), now reduced to staging antipapal spectacles. This follows Bergoglio’s sacrilegious installation of a St. Charbel mosaic in Vatican grottoes – systematic replacement of true saints with ecumenical symbols.
Omission of Supernatural Reality Exposes Naturalist Agenda
The article’s exclusive focus on artistic technique while ignoring doctrinal implications confirms the conciliar sect’s materialism. Pius XII’s Mediator Dei warned: “When liturgical rites are considered merely as ceremonies… the religious sense is extinguished.” Nowhere does the article mention the basilica’s true purpose as domus Dei (house of God) or warn faithful against idolizing antipopes. The Fabric of St. Peter – established for basilica maintenance – now produces sacramental simulacra for commercial sale, fulfilling Pius IX’s condemnation of Church property seizure (Syllabus, Proposition 53).
Source:
Mosaic bearing Pope Leo XIV’s portrait readied for St. Paul Outside the Walls (catholicnewsagency.com)
Date: 15.01.2026