Archive for the ‘Change in Era Time’ Category

Paul VI Portrait

April 18, 2007

One overt signal of occult infiltration in the Catholic Church came through a painting. In 1970 a German Lutheran received permission from Pope Paul VI to observe him during papal audiences in order to paint his portrait. Ernst Günter Hansing presented the Pope with the finished portrait in 1972. It was published in full color in the April 1972 edition of the Smithsonian, together with Paul VI’s cryptic commentary: the Pope stated that the portrait is “a mirror of the situation in the Church today,” and furthermore that “one almost needs a new philosophy to grasp the meaning of it’s context.”

The last comment is certainly no understatement, for the painting is pure Revelation-of-the-Method and portrays the pontiff as not only ugly, but even repellent and evil–clutching a dagger and destroying St. Peter’s Basilica …

The Pope’s ambiguity concerning the diabolical images [and] themes in the painting and his public acceptance of the portrait and it’s artist appear to be signals for those who could discern their meaning … (Craig Heimbichner, Blood on the Altar, pg. 106-107)

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Paul VI Portrait

April 18, 2007

One overt signal of occult infiltration in the Catholic Church came through a painting. In 1970 a German Lutheran received permission from Pope Paul VI to observe him during papal audiences in order to paint his portrait. Ernst Günter Hansing presented the Pope with the finished portrait in 1972. It was published in full color in the April 1972 edition of the Smithsonian, together with Paul VI’s cryptic commentary: the Pope stated that the portrait is “a mirror of the situation in the Church today,” and furthermore that “one almost needs a new philosophy to grasp the meaning of it’s context.”

The last comment is certainly no understatement, for the painting is pure Revelation-of-the-Method and portrays the pontiff as not only ugly, but even repellent and evil–clutching a dagger and destroying St. Peter’s Basilica …

The Pope’s ambiguity concerning the diabolical images [and] themes in the painting and his public acceptance of the portrait and it’s artist appear to be signals for those who could discern their meaning … (Craig Heimbichner, Blood on the Altar, pg. 106-107)

Paul VI Portrait

April 18, 2007

One overt signal of occult infiltration in the Catholic Church came through a painting. In 1970 a German Lutheran received permission from Pope Paul VI to observe him during papal audiences in order to paint his portrait. Ernst Günter Hansing presented the Pope with the finished portrait in 1972. It was published in full color in the April 1972 edition of the Smithsonian, together with Paul VI’s cryptic commentary: the Pope stated that the portrait is “a mirror of the situation in the Church today,” and furthermore that “one almost needs a new philosophy to grasp the meaning of it’s context.”

The last comment is certainly no understatement, for the painting is pure Revelation-of-the-Method and portrays the pontiff as not only ugly, but even repellent and evil–clutching a dagger and destroying St. Peter’s Basilica …

The Pope’s ambiguity concerning the diabolical images [and] themes in the painting and his public acceptance of the portrait and it’s artist appear to be signals for those who could discern their meaning … (Craig Heimbichner, Blood on the Altar, pg. 106-107)