EWTN News reports on a Spanish painter, Raúl Berzosa, commissioned by the Vatican’s postal service to create a commemorative stamp for the first anniversary of the election of the usurper Leo XIV. The article presents Berzosa’s reflections on artificial intelligence in sacred art, framing it as a mere tool lacking “soul” and “personal imprint.” While superficially echoing concerns about authenticity, the article operates within the conciliar paradigm, treating the neo-church’s apparatus as legitimate and its artistic endeavors as spiritually meaningful — a profound omission given the apostate nature of the structures occupying the Vatican.
The Stamp of Apostasy: Honoring a Usurper
The article begins by informing us that “the Vatican issued a commemorative stamp marking the first anniversary of the election of Pope Leo XIV.” Let us be precise: this is not the Vatican of Pius XI or Leo XIII, but the headquarters of the conciliar sect, the abomination of desolation foretold by Our Lord (Mt 24:15). The entity issuing this stamp is the Vatican City State — a paramasonic structure whose “pope” is Robert Prevost, an antipode of Peter, not his successor. To commemorate his “election” is to legitimize a usurpation, to treat as valid what is null and void before God.
The stamp features a portrait of Leo XIV set against an image of Our Lady of the Rosary of Pompeii. Berzosa explains that “the Blessed Virgin looks down toward Pope Leo ‘as a sign of maternal protection.’” Here we encounter a theological absurdity: the Mother of God is depicted as protecting a man whose very claim to the papacy is built upon the ruins of the true Church. This is not Catholic art; it is propaganda for the Antichrist’s kingdom, using sacred imagery to sanctify rebellion against Christ’s Vicar — who, by divine law, does not currently occupy the See of Peter due to the manifest heresy of his predecessors.
Berzosa’s previous works include stamps for “Pope Francis’ 80th birthday” and the “golden jubilee of the pontiff’s priestly ordination.” That is, this artist has spent a decade crafting philatelic tributes to Jorge Mario Bergoglio, the architect of the post-conciliar apostasy. Now he lends his talent to Bergoglio’s successor in heresy. The continuity is not accidental — it is the natural fruit of the conciliar revolution, where every tool, even art, serves the new religion of man.
AI and the Illusion of Sacred Art
The article shifts to Berzosa’s reflections on artificial intelligence, which it frames as a neutral “tool” with limitations. Berzosa states: “I believe that sacred art is not merely the final result we see; it’s the product of reflection. The time and effort invested are what give it the artist’s personal imprint.” He contrasts this with AI, which “does not feel or experience what it depicts” and produces images that “all tend to look alike.”
On the surface, this seems reasonable. But the article’s framing reveals a deeper problem: it assumes that the conciliar structures are capable of producing sacred art at all. Sacred art, in the Catholic sense, is not merely “beautiful” or “striking” — it is an act of worship, ordered toward the glorification of God and the sanctification of souls. As St. Pius X taught in Lamentabili sane exitu, the pursuit of novelty leads to “deplorable consequences” and “grievous errors” when applied to sacred sciences (Propositions 1, 57). The entire post-conciliar aesthetic — from the barren “tables” of the New Mass to the abstract monstrosities adorning neo-churches — is a symptom of the Modernist heresy, which denies the objective truth of dogma and reduces religion to subjective experience.
Berzosa laments that AI creates “overly artificial or hollow” images where “the sacred is transformed almost into fantastical imagery.” Yet what is the conciliar “reform” of sacred art if not precisely this? The destruction of the Roman Rite’s visual language — the replacement of transcendent beauty with anthropocentric minimalism — was the work of human hands guided by the spirit of Modernism. AI did not design the Novus Ordo Missae’s liturgical spaces; Bugnini and his masters did. The hollowness Berzosa detects in AI is already present in the conciliar church itself.
He further notes that “human discernment remains fundamental” and that “technology can help, but human sensibility is needed to know which image is appropriate.” True — but discernment requires a foundation in unchanging truth. The Magisterium before 1958, from the Council of Trent to Pius XII, established clear principles for sacred art: it must be ordered toward the propagation of the faith, the instruction of the faithful, and the avoidance of profane or erroneous imagery (cf. Council of Trent, Session XXV; Mediator Dei, 1947). The conciliar sect has abandoned these principles, replacing them with the whims of “experts” and the spirit of the age. In such a context, “human discernment” becomes merely human opinion — which is to say, error.
The Omission of the Supernatural
The gravest silence in this article is the absence of any reference to the supernatural end of art, the state of grace, or the authority of the true Church. Berzosa speaks of art as a “tool for evangelization,” but evangelization toward what? The conciliar sect preaches a false gospel of “dialogue,” “mercy without repentance,” and “integral ecology” — not the Gospel of Christ, who said, “I am the way, the truth, and the life” (Jn 14:6). To evangelize through art within the conciliar framework is to lead souls toward the synagogue of Satan, not the Kingdom of God.
Pius XI, in Quas Primas (1925), taught that “the Kingdom of our Redeemer encompasses all men” and that “the state must leave the same freedom to the members of Orders and Congregations,” for the Church’s mission is “to teach, govern, and lead all to eternal happiness.” The conciliar structures do none of this. They do not teach — they dialogue. They do not govern — they “synodize.” They do not lead to eternal happiness — they celebrate earthly life. In such a context, even a well-intentioned artist like Berzosa is complicit in a system that has severed itself from the supernatural.
The article also fails to mention that the “Vatican Philatelic Office” is a commercial enterprise of a state that has no spiritual jurisdiction. As the sedevacantist position holds — supported by Bellarmine, Wernz-Vidal, John of St. Thomas, and Canon 188.4 of the 1917 Code — a manifest heretic loses his office ipso facto. Leo XIV, having professed the errors of Vatican II (religious liberty, ecumenism, collegiality), is not the Roman Pontiff. His “election” is null. His “pontificate” is a masquerade. And every stamp bearing his image is a counterfeit — just as the conciar “Mass” is a counterfeit sacrifice.
The Flood of Images and the Drowning of Souls
Berzosa observes that we are witnessing “a flood of AI-generated images and videos,” some created using the works of human artists. He shares a “bittersweet feeling” seeing his own paintings “come to life and move.” This is a poignant image — but it is also a metaphor for the conciliar church itself. The structures occupying the Vatican have taken the living tradition of two millennia and animated it with a false spirit, creating a grotesque simulacrum of Catholicism. The “flood” of AI is merely a technological echo of the flood of Modernism that has overwhelmed the Church since 1958.
St. Pius X, in Pascendi Dominici Gregis (1907), warned that Modernism is “the synthesis of all heresies,” for it denies the objective truth of revelation and reduces religion to subjective experience. The conciliar sect has fulfilled this prophecy. Its “sacred art” is not art at all — it is idolatry, the worship of man in place of God. And its “pope” is not a shepherd — he is a hireling, a thief who climbs into the sheepfold by another way (Jn 10:1).
The solution is not better AI or more “discernment” within the conciliar framework. The solution is a return to immutable Tradition — to the true Mass, the true sacraments, the true hierarchy. As Pius IX declared in the Syllabus of Errors (1864), “the Roman Pontiff can, and ought to, reconcile himself, and come to terms with progress, liberalism and modern civilization” is an error (Proposition 80). The Church does not adapt to the world — the world must adapt to the Church.
Conclusion: The Stamp of the Beast
This article, while seemingly innocuous, is a window into the spiritual bankruptcy of the conciliar sect. It treats the usurper Leo XIV as legitimate, his structures as sacred, and his “art” as meaningful. It laments the limitations of AI while ignoring the far greater limitation of a church that has lost the faith. It speaks of “evangelization” while promoting a false gospel. It invokes “Our Lady” while desecrating her image by associating it with apostasy.
The faithful must reject this counterfeit. They must return to the true Church — the Church of the ages, the Church of the martyrs, the Church that cannot err and cannot fail. They must reject the stamps of the beast and seek the seal of the living God. For as Our Lord warned, “If they shall say unto you, Behold, he is in the desert; go not forth: behold, he is in the secret chambers; believe it not” (Mt 24:26). The true Church is not in the conciliar structures — it is in the catacombs, in the hidden chapels, in the hearts of those who remain faithful to Tradition.
Let us pray for the conversion of Raúl Berzosa and all who labor in the shadow of the abomination. Let us pray for the restoration of the true papacy and the triumph of Mary’s Immaculate Heart — not the false “Fatima” of the conciliar sect, but the promise of Genesis 3:15: “She shall crush thy head.” And let us reject every stamp, every image, every “art” that serves the kingdom of the Antichrist. Viva Cristo Rey!
Source:
Illustrator of new stamp of Pope Leo XIV reflects on limits of AI in sacred art (ewtnnews.com)
Date: 12.05.2026