{"id":130,"date":"2019-02-08T08:20:26","date_gmt":"2019-02-08T08:20:26","guid":{"rendered":"https:\/\/sarahgildea.com\/blog\/?page_id=130"},"modified":"2020-06-08T14:08:20","modified_gmt":"2020-06-08T14:08:20","slug":"freemasonic-symbols-in-the-churches-of-rome","status":"publish","type":"post","link":"https:\/\/sarahgildea.com\/blog\/freemasonic-symbols-in-the-churches-of-rome\/","title":{"rendered":"Freemasonic Symbols Hidden in the Churches of Rome"},"content":{"rendered":"\r\n
\r\n
\"Transept<\/a>\r\n
Transept Altar, Church of the Ges\u00f9<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

Baroque was the dominant style in and much of Europe in the 1600’s. Wild and colourful, creative, surprising \u2013 theatrical \u2013 all these terms explain the style well. It was also a response to the Protestant Reformation, and part of the Catholic Renewal. A creative explosion took place, and the 1600\u2019s artists competed to find the most vivid expressions of Catholic spirituality and tradition.<\/p>\r\n\r\n\r\n\r\n

The 1700\u2019s brought the emergence of the Enlightenment, and with it the famous anti-Christian movement known as Freemasonry. A pseudo religion with secret, complicated and varying rituals, Freemasonry is famous for its use of symbols: The \u2018all-seeing eye\u2019, architectural tools, the pyramid (often mistaken for a symbol of the Trinity), “Chaos” and other symbols that might not appear significant, but for the Freemasons, those symbols represented their identity.<\/p>\r\n\r\n\r\n\r\n

Portoghese Freemasons<\/h2>\r\n\r\n\r\n\r\n
\r\n
\"Saint<\/a>\r\n
Saint Anastasia, Rome<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

In 1712, Marquis de Fontes was appointed Portuguese Ambassador to Pope Clement XI. Carlo Gimach, a Portuguese architect, became his constant companion and adviser. This same year, Don Nuno di Cunha was created Cardinal and Protector of the Roman church of Sant\u2019Anastasia in Rome. Naturally, he selected Gimach to restore the church.<\/p>\r\n\r\n\r\n\r\n

Gimach rendered a beautiful late baroque design \u2026 with hidden masonic symbols throughout \u2013 because the whole party were freemasons. After the work was done, the happy group slapped each other on the back \u2013 and went home \u2013 back to Portugal. The monsignor of the church then had all the masonic symbols removed and painted the whole thing white.<\/p>\r\n\r\n\r\n\r\n

One trinket that remains from the masonic makeover is a commemorative marble tablet which goes to great length to explain that Gimach was born in Malta of a Palestinian family, \u201cdescendant of the ancient and orthodox dynasty of Rama\u201d. In other words, a Freemason\u2019s Freemason. At this time, some Knights of Malta were also Freemasons.<\/p>\r\n\r\n\r\n\r\n

\r\n
\"Detail,<\/a>\r\n
Detail, Saint Anastasia, Rome<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

Another curious trinket of the time is this inscription, obviously re-written.<\/p>\r\n\r\n\r\n\r\n

In 1738 Pope Clement XII issued his famous Bull \u2018In Eminenti Apostolatus Specula’, which condemned and excommunicated members of the freemasonic cult. Most European countries made membership and its existence illegal \u2013 no one wants their king, Prime Minister or president to be in a secret cult.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

Piranesi, Freemason<\/h2>\r\n\r\n\r\n\r\n

Later, the area around \u200b\u200bthe Spanish Steps was transformed into a “free zone” \u2013 economically, to develop the area \u2013 but also for the circulation of ideas inspired by the presence of freemasons or their sympathisers: Piranesi lived in via Felice, today\u2019s Via Sistina, and his home became a meeting place for artists, intellectuals and writers. To be fair, it was Napoleon who initially unleashed \u2018Egyptomania\u2019 on Europe in the early 1800\u2019s, so every time one sees an Egyptian motif, it doesn\u2019t necessary = freemason \u2026 but \u2013<\/p>\r\n\r\n\r\n\r\n

\r\n
\"Altar<\/a>\r\n
Altar in the Chapel of the Knights of Malta Palace<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

Earlier, in 1765, Piranesi had been chosen as chief architect for the Knights of Malta residence on the Aventine hill (famous for its keyhole view of St. Peters).<\/p>\r\n\r\n\r\n\r\n

This chaotic main altar here is typical of freemasons \u2013 not one cohesive theme, but a combination of everything, all at once. The main altar of a Catholic church should not be a distracting mess. But, freemasons want you to be busy, occupied \u2013 they don\u2019t want you to think.<\/p>\r\n\r\n\r\n\r\n

.<\/span><\/p>\r\n\r\n\r\n\r\n

.<\/span>.<\/span><\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/span><\/p>\r\n\r\n\r\n\r\n

The Main Altar at the Church of the Ges\u00f9<\/h2>\r\n\r\n\r\n\r\n
\r\n
\"Original<\/a>\r\n
It is interesting that they will destroy some things, yet save some things.<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

Tabernacle by Giacomo della Porta. Inlaid marble.<\/p>\r\n\r\n\r\n\r\n

The first high altar for the Ges\u00f9 was designed by Giacomo della Porta. This was the tabernacle, preserved and purchased for another part of the world.<\/p>\r\n\r\n\r\n\r\n

It was removed during 1841-1843, when Antonio Sarti created a new altar by the will of Alessandro Torlonia. Torlonia was a freemason, as evidenced by the symbol for \u2018chaos\u2019 (the \u2018x\u2019 and \u2018+\u2019 sign combined) surrounding his villa on via Nomentana \u2013 the same symbol that is found on the Italian National Monument, the courthouse and other monuments still visible in Rome, all created by the Freemasons while they were in political power.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/span><\/p>\r\n\r\n\r\n\r\n

\r\n
\"National<\/a>\r\n
National Monument, Rome<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n
\r\n
\"Villa<\/a>\r\n
Villa Torlonia<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n
\r\n
\"Courthouse,<\/a>\r\n
Courthouse, Rome<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

..<\/p>\r\n\r\n\r\n\r\n

 <\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

\r\n
\"Muziano<\/a>\r\n
Muziano Main Altar Ges\u00f9 painting<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

The original altar painting by Girolamo Muziano (baby Jesus does not look good.) was also preserved, and is kept in a back corner of the sacristy. So, the original tabernacle was preserved and sold; the original altar painting was preserved and kept (probably because it couldn’t<\/em> be sold) … but they destroyed the funerary monument to Cardinal Bellermine.<\/p>\r\n\r\n\r\n\r\n

 <\/p>\r\n\r\n\r\n\r\n

\r\n
\"Funerary<\/a>\r\n
Funerary Monument, Robert Bellarmine.<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

While redesigning the altar, Sarti took the occasion to destroy the funery monument to a certain Cardinal Robert Bellarmine, which had been designed by Girolamo Rainaldi and sculpted by Pietro Bernini (father of the more famous Gian Lorenzo Bernini) and Giuliano Finelli (the detail master of the statue group Apollo and Daphne, located in the Galleria Borghese). Now, the Bellarmine monument wasn\u2019t an earth-shatteringly new artistic piece, but destroying previous works at this time is a little unusual, especially with names as big as these.<\/p>\r\n\r\n\r\n\r\n

 <\/p>\r\n\r\n\r\n\r\n

\r\n
\"Ges\u00f9<\/a>\r\n
Ges\u00f9 main altar. Freemasons copied the Baroque ‘hidden statue’ idea.<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

Notice any similarities with the first picture in this article? As an aside, Ferdinando Fuga was the first to not destroy previous artwork \u2013 when he created the facade for St. Mary Majors (completed 1741), he preserved the original mosaic work from the 1200\u2019s.<\/p>\r\n\r\n\r\n\r\n

\r\n
\"detail<\/a>\r\n
Ges\u00f9 main altar. Detail of the Tympanium.<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

 <\/p>\r\n\r\n\r\n\r\n

The triangle was rarely used as a symbol for the Trinity.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

Bruno, Freemason Mascot<\/h2>\r\n\r\n\r\n\r\n
\r\n
\"Bruno.<\/a>\r\n
Bruno. Mascot for the Freemasons.<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

Almost fifty years after the Bellarmine monument was destroyed (1841ca.), the Freemasons erected a statue of Giordano Bruno in Campo dei Fiori (1889). Bruno had been burned alive there in the year 1600 for not refuting his heretical (and positively stupid by anyone\u2019s standard) positions.<\/p>\r\n\r\n\r\n\r\n

The cardinal who had been in charge of those proceedings was Robert Bellarmine. Apparently in response to all of this, in 1923 the Church recognised Cardinal Bellarmine as \u2018Blessed\u2019 (38 years after the Bruno statue was put in place). In 1930, the Church recognised Bellarmine\u2019s sainthood, and in 1931 he was named Doctor of the Church.<\/p>\r\n\r\n\r\n\r\n

Almost fifty years after the Bellarmine monument was destroyed (1841ca.), the Freemasons erected a statue of Giordano Bruno in Campo dei Fiori (1889). Bruno had been burned alive there in the year 1600 for not refuting his heretical (and positively stupid by anyone\u2019s standard) positions. The cardinal who had been in charge of those proceedings was Robert Bellarmine. Apparently in response to all of this, in 1923 the Church recognised Cardinal Bellarmine as \u2018Blessed\u2019 (38 years after the Bruno statue was put in place). In 1930, the Church recognised Bellarmine\u2019s sainthood, and in 1931 he was named Doctor of the Church.<\/p>\r\n\r\n\r\n\r\n

\u00a0<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

.<\/p>\r\n\r\n\r\n\r\n

Santa Trinit\u00e0 dei Pellegrini<\/h2>\r\n\r\n\r\n\r\n
\r\n
\"Main<\/a>\r\n
Main altar. Santa Trinit\u00e0 dei Pellegrini.<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

The same freemason architect who worked at the Ges\u00f9, Antonio Sarti, also redecorated Santa Trinit\u00e0 dei Pellegrini, in 1853.<\/p>\r\n\r\n\r\n\r\n

\r\n
\"detail.<\/a>\r\n
detail. Main altar cloth.<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

Here we can see a much heavier masonic footprint, possibly because this is a church that is tucked into a side street. The Ges\u00f9 is very prominent \u2013 on the main street leading from St. Peters to the Cathedral of Rome. One can see the pyramid, again \u2013 this time with the eye of Horus in the centre (Egyptian brand freemasonry), and he apparently also designed the candlestick-holders, tapestries and reliquaries with the same pyramid and Horus eye, to the apparent ignorance of the many priests who have worked there.<\/p>\r\n\r\n\r\n\r\n

\r\n
\"The<\/a>\r\n
The same Freemason symbol as at the Ges\u00f9, here with the Eye of Horus added.<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

Art and architecture can be used to express an idea, or to suppress it; it can be used to create a positive or negative influence on any person, place or thing. Art and architecture mould our attitudes \u2013 it can make you feel welcome or unwelcome.<\/p>\r\n\r\n\r\n\r\n

Art communicates<\/em>.\u00a0 If you know the language, then Rome is dazzling. If you don\u2019t know the language \u2026then stick with us.<\/p>\r\n","protected":false},"excerpt":{"rendered":"

Baroque was the dominant style in and much of Europe in the 1600’s. Wild and colourful, creative, surprising \u2013 theatrical \u2013 all these terms explain the style well. It was also a response to the…<\/p>\n

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Most writers want you to believe their fairy tail \u2018pagan\u2019 Renaissance, but this is merely a\u00a0creation\u00a0of 18th century historians. Why should we care?\u00a0If we want to understand what\u2026","rel":"","context":"In "Art History"","img":{"alt_text":"","src":"https:\/\/i2.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/Michelelangeloblog.jpg?fit=300%2C300&ssl=1&resize=350%2C200","width":350,"height":200},"classes":[]},{"id":287,"url":"https:\/\/sarahgildea.com\/blog\/incorrupt-saint-in-rome\/","url_meta":{"origin":130,"position":1},"title":"Incorrupt Saint! Rafaela de Porras in Rome","date":"February 9, 2019","format":false,"excerpt":"Before we get to this incorrupt saint in Rome, I must say that I had decided, no more articles on churches for a while. A good blog has variety. Then, I stumbled upon this body that has been laying around for about 90 years not decomposing \u2026 So, I investigated\u2026","rel":"","context":"In "Catholic Things"","img":{"alt_text":"The Face of Incorrupt St. Rafaela de Porras","src":"https:\/\/i0.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/RafaelaFace.jpg?fit=400%2C334&ssl=1&resize=350%2C200","width":350,"height":200},"classes":[]},{"id":34,"url":"https:\/\/sarahgildea.com\/blog\/bernini-st-teresa-davila-and-bl-ludovica\/","url_meta":{"origin":130,"position":2},"title":"Bernini, St. Teresa d\u2019Avila and Bl. Ludovica","date":"February 5, 2019","format":false,"excerpt":"People often confuse the statue of St. Teresa of Avila with that of Bl. Ludovica Albertone, especially when they see the statue of Ludovica first. After all \u2013 who do you see in this picture? Blessed Ludovica Albertone If you see St. Teresa \u2013 that\u2019s fantastic . . . keep\u2026","rel":"","context":"Similar post","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":258,"url":"https:\/\/sarahgildea.com\/blog\/roman-architectural-column-for-temples\/","url_meta":{"origin":130,"position":3},"title":"Roman Architectural Columns","date":"February 9, 2019","format":false,"excerpt":"In the West, the design of temples and their impressive, decorative columns goes back to the ancient Egyptians. The technique will be codified by the Ancient Greeks. Vitruvius however, will get credit later on, as his book is the only surviving major work on the subject. The Egyptians used sandstone,\u2026","rel":"","context":"In "Ancient Rome"","img":{"alt_text":"Classical Columns, Temple to Hadrian","src":"https:\/\/i2.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/hadtemp1.jpg?fit=800%2C598&ssl=1&resize=350%2C200","width":350,"height":200},"classes":[]},{"id":25,"url":"https:\/\/sarahgildea.com\/blog\/the-pantheon-an-uncommon-temple-2\/","url_meta":{"origin":130,"position":4},"title":"The Pantheon in Rome, An Uncommon Temple \"To the Gods\"","date":"February 5, 2019","format":false,"excerpt":"The Pantheon is believed to be built between the years 118 and 125, and has architectural features that wouldn't be attempted today. Learn what the architect accomplished 1900 years ago. Many architects have written their masters thesis on it, giving their account of how they believe it was built. Unfortunately,\u2026","rel":"","context":"In "Ancient Rome"","img":{"alt_text":"","src":"https:\/\/i2.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/PantheonFeatured-Blog.jpg?fit=255%2C300&ssl=1&resize=350%2C200","width":350,"height":200},"classes":[]},{"id":543,"url":"https:\/\/sarahgildea.com\/blog\/st-peters-presepe-2020\/","url_meta":{"origin":130,"position":5},"title":"St. Peters' Presepe 2020","date":"December 12, 2020","format":false,"excerpt":"This years' Vatican presepe isn't new - it's been around since 1970. A lot of people are complaining about it, but I can explain. Ceramic Presepe of Castelli (TE). The monumental nativity scene of the \"Francescantonio Grue\" Institute of Art for Ceramics, was built at school from 1965 to 1975\u2026","rel":"","context":"In "Catholic Things"","img":{"alt_text":"Presepe9-min","src":"https:\/\/i1.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2020\/12\/Presepe9-min.jpg?fit=1000%2C561&ssl=1&resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/posts\/130"}],"collection":[{"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/comments?post=130"}],"version-history":[{"count":5,"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/posts\/130\/revisions"}],"predecessor-version":[{"id":448,"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/posts\/130\/revisions\/448"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/media\/178"}],"wp:attachment":[{"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/media?parent=130"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/categories?post=130"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sarahgildea.com\/blog\/wp-json\/wp\/v2\/tags?post=130"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}