The EWTN News portal, the principal propaganda organ of the conciliar sect, reports that a certain Dimitri Conejo has launched Christicons.com, a free library of scalable vector graphics (SVG) depicting Christian symbols, intended for use by parishes, devotional apps, and religious publishers. The collection includes crosses, Bibles, chalices, hosts, rosaries, the Sacred Heart, and liturgical vestments such as stoles and mitres. The venture is framed as filling a “gap” for “high-quality, consistent, and free-to-use” icons that “speak the visual language of the Christian world.” It is part of an expanding “ecosystem of digital ventures” by Dimconex Media, which includes the image library Cathopic, the learning platform Holydemia, the Fatima-centric consecration tool Mater Coeli, and the culture magazine Tolkian. This enterprise is not a service to the Faith; it is the manufacturing of liturgical kitsch for a counterfeit church, a pixelated opiate for the faithful abandoned by the usurpers in the Vatican.
Reduction of the Supernatural to Digital Commodities
The very premise of the article exposes the naturalistic rot at the core of the conciliar project. The Faith is not a “visual language” to be standardized into SVG files for “personal and commercial projects.” The sacred images of the Church are not icons in the secular sense of user-interface glyphs; they are windows into eternity, aids to prayer consecrated by tradition and often by the blessing of the Church. To treat the Cross, the Chalice, the Host, the Sacred Heart as mere “graphics” that can be “colored, resized, or modified with a single line of code” is the definition of sacrilege. It reduces the mysterium tremendum to a design asset. As Pius XI taught in Quas Primas, “Christ reigns in the minds of men… because He Himself is Truth, and men must draw truth from Him and accept it obediently.” One does not draw truth from a vector file; one draws it from the unchanging Magisterium and the Holy Sacrifice of the Mass, both of which are conspicuously absent from this digital marketplace.
The EWTN-Dimconex Axis: Propagandists for the Abomination of Desolation
The source of this puff piece—EWTN News, the English adaptation of ACI Prensa—is the semi-official voice of the neo-church. It functions as the Pravda of the paramasonic structure occupying the Vatican. Its promotion of Conejo’s “ecosystem” reveals the strategy of the conciliar sect: since they have destroyed the liturgy, emptied the seminaries, and corrupted doctrine, they now seek to build a parallel digital universe—a “Church of the New Advent”—where engagement metrics replace grace, and “content” replaces the Catechism. The article notes the icons are free for “commercial projects.” Simony has been digitized. The restriction against using the icons to “train artificial intelligence models” is a telling admission: even the architects of this synthetic piety fear the demonic potential of the technology they embrace, yet they feed the beast regardless.
Fatima, False Mysticism, and the Mater Coeli Trap
The Dimconex “ecosystem” includes Mater Coeli, described as a “digital tool supporting consecration to the Virgin Mary.” This is a direct reference to the Fatima apparitions, which are a Masonic psychological operation against the Church, as thoroughly documented. The “consecration of Russia” narrative undermines the Social Kingship of Christ—Regnum Christi—by substituting a private revelation of dubious origin for the public, dogmatic duty of nations to recognize Christ the King. Pius XI instituted the Feast of Christ the King precisely to combat the “plague… of secularism… so-called laicism” (Quas Primas). The Fatima cult diverts the faithful from this royal duty toward a privatized, sentimental devotion that serves the ecumenical agenda of the neo-church. To digitize this false spirituality is to automate the distribution of poison.
Liturgical Vestments as Costume Props
The library includes icons for a “stole,” a “confessional,” a “clerical collar,” and a “mitre.” In the conciliar sect, these items have become costumes for invalidly ordained men performing a simulated liturgy. The Novus Ordo Missae is not the Unbloody Sacrifice of Calvary; it is a Protestantized memorial meal. The “stole” in the SVG library represents a jurisdiction that does not exist; the “mitre” sits atop heads that have defected from the Faith. Canon 188.4 of the 1917 Code states that an office becomes vacant ipso facto by “public defection from the Catholic faith.” The “clergy” depicted by these icons are, in the vast majority, manifest heretics who have lost all jurisdiction. To create clean, professional graphics for their vestments is to put lipstick on the corpse of the neo-church.
The Tolkian Magazine: Culture Without Cult
The mention of Tolkian, a “digital Catholic magazine dedicated to culture, thought, and spirituality,” completes the picture. This is the nouvelle théologie digitized: culture severed from the cultus, thought severed from dogma, spirituality severed from the Sacraments. The Syllabus of Pius IX condemns the proposition that “the civil liberty of every form of worship… conduce more easily to corrupt the morals and minds of the people” (Error 79). The conciliar sect’s “culture” is precisely this liberty—an endless dialogue with the world, a “broad and liberal Protestantism” (Lamentabili, Prop. 65). Tolkian offers the aesthetic of Catholicism without the obligation of the Creed. It is the “dogmaless Christianity” condemned by St. Pius X.
No Attribution Required: The Erasure of Tradition
The press release boasts: “No attribution is required.” This is the perfect metaphor for the conciliar revolution. The neo-church claims the patrimony of the Saints, the Fathers, the Councils, and the immemorial liturgy, while refusing to attribute them to their true Author—the Holy Ghost acting through the true Church. They strip the sacred images of their lineage, their blessing, their sacramentalitas, and release them into the public domain as “open source” assets. Traditio means handing down; this is handing over. It is the final stage of the Modernist synthesis: the democratization of the sacred, the leveling of the hierarchy, the transformation of the Bride of Christ into a content provider for the “digital resources that the secular world takes for granted.”
Conclusion: A Pixelated Whited Sepulchre
Dimitri Conejo’s Christicons.com is not a work of mercy; it is a work of the enemy. It provides a sleek, modern interface for a religion that has ceased to be Catholic. It equips the “paramasonic structure” with the visual vocabulary of piety while the substance—the True Mass, the unchanging Doctrine, the Social Kingship of Christ, the necessity of the Church for salvation—has been jettisoned. The faithful are not fed by SVGs; they are fed by the Body of Christ. “You were redeemed not with corruptible gold or silver… but with the precious blood of Christ” (1 Pet 1:18-19, cited in Quas Primas). No vector graphic can convey that Blood. This digital iconostasis is a barrier, not a gateway; it screens the faithful from the reality of the apostasy by offering them a comfortable, customizable, attribution-free simulation of the Faith. Let the true faithful reject this digital idol and cleave to the Tradition that no code can compile and no antipope can suppress.
Source:
Catholic entrepreneur launches free library of hand-designed Christian internet icons (ewtnnews.com)
Date: 08.07.2026