Looking at photos of the Pope’s audience chamber, Pope Benedict used it too. . . in all its satanic horror. The sculpture backing the papal seat is called “La Ressurectione”. . . The Ressurection. You coulda fooled me. It looks like Satan burning in hell.
Looking at photos of the Pope’s audience chamber, Pope Benedict used it too. . . in all its satanic horror. The sculpture backing the papal seat is called “La Ressurectione”. . . The Ressurection. You coulda fooled me. It looks like Satan burning in hell.
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Just did a brief Vatican Papal Audience Chamber Bunny Hole dive.
* Juncker misbehaves at papal audiencehttp://
//www.catholicherald.co.uk/news/2017/03/31/jean-claude-juncker-criticised-for-drunken-behaviour-during-audience-with-pope-francis/
Bad behavior not described - somehow related to alcoholic behaviors. Am wondering if he is the one whose hand the pope kissed rather than GS as I’ve been thinking, in that picture from Q drop #547 from 1/18/18 Q flurry.
* https://en.wikipedia.org/wiki/Paul_VI_Audience_Hall
The Paul VI Audience Hall (Italian: Aula Paolo VI) also known as the Hall of the Pontifical Audiences is a building in Rome named for Pope Paul VI with a seating capacity of 6,300, designed in reinforced concrete by the Italian architect Pier Luigi Nervi and completed in 1971.
Roof is a big solar panel
* https://en.wikipedia.org/wiki/Pier_Luigi_Nervi
Pier Luigi Nervi was born in Sondrio and attended the Civil Engineering School of Bologna from which he graduated in 1913; his formal education was quite similar to that experienced today by Italian civil engineering students. After graduating he joined the Society for Concrete Construction and, during World War I from 1915 to 1918, he served in the Corps of Engineering of the Italian Army. From 1961 to 1962 he was the Norton professor at Harvard University.
* https://www.theguardian.com/artanddesign/2013/dec/15/roland-paoletti
When Spence [Paoletti’s boss for earlier job] landed the job of building a new British Chancery in Rome, Paoletti was deputed to run a small office there to make the working drawings. In parallel, Spence asked the great engineer Pier Luigi Nervi to help look after the project. Paoletti grew close to Nervi and his family, and in due course joined the engineer’s small design office, working on such architectural tasks as the new papal audience chamber in the Vatican. But there were also disappointments. Spence’s Rome embassy was postponed, as was Nervi’s Italian embassy in Brasília, to which Paoletti contributed much. Both these prestigious projects were built after he had left, and not as Paoletti would have wished.
*http://www.arcvision.org/paolo-vi-audience-hall-in-vatican-city/?lang=en
More on the Papal audience hall
Commissioned by Pope Paul VI in 1963, the Papal Audience Hall in Vatican City was inaugurated in 1971. Shortly thereafter both the hall and the architect achieved such a worldwide fame that the auditorium came to be called familiarly Aula Nervi. It is one of the last great works of Pier Luigi Nervi, an engineer by training as well as a skilled entrepreneur and unsurpassed interpreter of cement as form and structure for architectural and infrastructural works where it is impossible to distinguish the design project from structural computation.
The complex is located near St. Peter’s Basilica in an area between Italy and Vatican City. The large auditorium, which can accommodate up to twelve thousands people is covered by a double curving parabolic vault that, thanks to its slender bearing structures, makes the big vault as suspended in air and powered by invisible antigravity forces.
In order to facilitate the view of the papal throne, even the floor has a double convex curvature. A refined and innovative system for air circulation was installed, consisting of nine channels and placed under the floor, to dissipate the intense heat output of the communication equipment like the lighting systems of TV cameras. The auditorium was built with extensive use of reinforced concrete and a special concrete mix with white marble dust and grit provided by Italcementi. It is characterized by special brightness, both for the ellipsoidal glass wall (built by John Hajnal) and for the vault consisting of variable length corrugated structures and large openings creating an extraordinary luminescent plot.
The realization of the auditorium has seen the involvement of architect Vittorio Nervi who was responsible for the work site on behalf of his father Pier Luigi with the mandate to check step-by-step the whole construction process of a work among the most important of the twentieth century for structural complexity and high symbolic value. The Aula Nervi, which is perfectly preserved, underwent a change in 2008 when the fiber reinforced cement roof, still in excellent conditions, was substituted by photovoltaic panels intended to create a space for ventilation.
[There is a photo gallery at the web site link]
The fruits of Modernism are grotesque and hideous. Since God is the ultimate in Goodness, Truth, and Beauty, it only stands to reason that ugliness, disharmony, and creepiness would be the result of satan’s influence. That chamber is a prime example, as is the crozier that Bergolio carries. John Paul II had carried it, but Benedict XVI replaced it with a traditional one that was beautiful. I’m sure it was much easier to replace a crozier than to re-decorate a huge auditorium. Don’t forget, too, there are evil Vaticanistas (like Deep State), who have worked tirelessly to undermine the Church in all things. I’m sure they would have made it near impossible for him to re-decorate.