If it were already not enough of a scandal that Timothy Dolan participated in the abomination, sacrilege and blasphemy which took place in New York City now the New York Times reveals the backstory.
Gänswein (who has previously welcomed "gay" couples to the Vatican and ushered them in to see the Bishop of Rome) and Marini, Papa Ratzinger's Secretary and Master of Ceremonies were both involved and responsible.
They are traitors, puffed up in finery. They are filthy frauds.
This is how bad it is friends; that even those whom we thought were the good guys turn out to be just as rotten and filthy effing scum as the rest.
They betrayed Papa Ratzinger and they betrayed us.
I find it impossible to pray for their conversion. I leave their judgement to God.
By Jason Horowitz
May 3, 2018
VATICAN CITY — Archbishop Georg Gänswein said
yes to the dress.
The dashing former right-hand man to Benedict
XVI, the fashion-plate pope, he is now prefect of the papal household under the
more austere Pope Francis. In May 2017, Archbishop Gänswein sat in his stately
Apostolic Palace office as Andrew Bolton, curator in charge of the Costume
Institute at the Metropolitan Museum of Art, showed him a look book of couture
masterpieces that Mr. Bolton felt matched with certain Vatican treasures.
Archbishop Gänswein, in a soutane with purple
sash, indifferently flipped pages of designer frocks until he lingered on a
luxurious Madame Grès dress inspired by a Franciscan habit.
“They all love that,” Mr. Bolton said of the
dress.
The archbishop gradually became enthusiastic as
he and Mr. Bolton discussed the role of beauty in the church and Mr. Bolton
explained his vision for the project that would explore the way the Catholic
church had served as an inspiration to designers through the centuries. Then
things really started rolling.
Mr. Bolton received authorization from senior
Vatican officials to borrow the vestments. He was also granted full access to
the Sistine Chapel Sacristy and became so close with its custodian priests in
his 10 trips to Rome that they entrusted him with the hidden chamber’s keys and
opened secret doors, behind which elderly nuns ironed the pope’s white
vestments.
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| Gänswein, Papa Ratzinger's Prison Warden |
The show that would ultimately become “Heavenly
Bodies: Fashion and the Catholic Imagination,” the biggest exhibit the Costume
Institute of the Metropolitan Museum has ever held, opening May 10, was on the
verge of becoming a reality.
It was the culmination of years of
negotiations, two stalled visits to Rome, and walking the tightrope between
Anna Wintour, the powerful editor of Vogue and a Met trustee, and the many
powers in the Vatican.
While the Vatican may be enthusiastic about
“Heavenly Bodies” now, it took years for it to warm to an exhibit that Mr.
Bolton first envisioned as including many religious traditions. Dealing with
one church proved to be enough.
In June 2016, a colleague of Mr. Bolton’s in
the Met’s European paintings department put him in touch with Arnold
Nesselrath, a Vatican museum curator. Mr. Nesselrath arranged for Mr. Bolton to
visit the Sistine Chapel Sacristy, a chamber of rooms within rooms containing a
hive of numbered wooden doors and drawers bearing embossed strips and
containing shawls and stoles, papal tiaras, papal rings and pectoral
crosses.
Mr. Bolton tried to explain the concept of the
exhibition to the keeper of the sacristy, a quiet Slovakian priest named Pavel
Benedik.
“He wasn’t quite sure what the request was,”
Mr. Bolton said of Father Benedik. “He was confused.”
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| Monsignor Marini the Fraud, with Bergoglio |
To expedite the process, Mr. Nesselrath
suggested that on his next visit, Mr. Bolton meet with Barbara Jatta, now the
director of the Vatican museum. For that trip, Mr. Bolton brought along Ms.
Wintour. Ms. Jatta arranged several tours for them, including another trip to
the Sacristy, where this time Father Benedik’s assistant, Antonio, showed them
around.
Ms. Jatta asked how many items the Met intended
to borrow, and Mr. Bolton responded: about eight. Ms. Wintour said he needed to
ask for at least twice that, prompting a skeptical laugh from Ms. Jatta. (The
Met eventually got more than 40.) Ms. Jatta then informed the curator that the
lending of the pieces was, anyway, out of her hands.
“These vestments don’t belong to the Vatican
Museum,” she said, according to Mr. Bolton. “They belong to the Sistine Chapel
Sacristy.”
Ms. Wintour was less than pleased.
“She turned around to me and said, ‘This isn’t
your finest moment, Andrew,’” Mr. Bolton recalled.
So he came back. Again and again.
“He was quite the dandy,” Mr. Bolton said.
And Father Benedik warmed to him. Nevertheless,
the priest lacked the power to authorize a loan and suggested that Mr. Bolton
talk to Archbishop Gänswein.
“He’s like a movie star, it’s like meeting
George Clooney,” Mr. Bolton said of the archbishop, often called “Gorgeous
George.” Archbishop Gänswein, apparently on board, told Mr. Bolton to send an
official request to Msgr. Guido Marini, the papal master of liturgical
celebrations and the keeper of the sacristy.
The Met’s head of exhibitions, Quincy Houghton,
did just that, and Monsignor Marini’s office asked for approval — a “nihil obstat”
in Vatican parlance — from the first section of the Secretariat of State, which
is responsible for general church affairs.
“This is not a procedure where the pope gets
involved, or has to give his O.K.,” said the Vatican spokesman Greg Burke.
When permission was granted, Mr. Bolton
returned for many more trips and, with Father Benedik, refined the list of
objects to borrow, including a papal tiara with 19,000 precious stones,
including 18,000 diamonds. (It will fly to New York with its own bodyguard.) During
one 10-day stretch of 12-hour days inside the Sacristy with Katarina Jebb, who
scanned the objects for the catalog, the custodians entrusted Mr. Bolton with
the keys to the Sacristy.
With the loans secured, Mr. Bolton asked David
Tracy, a highly regarded Catholic writer — Mr. Bolton called him “the J.D.
Salinger of the theological world” — to contribute an essay to the catalog to
lend it intellectual heft.
It took a year before he agreed. Then Mr.
Bolton tackled the New York side of the equation, trying to ensure he wasn’t
accidentally touching any third rails.
He asked Emily Rafferty, a former president of
the Met with connections to New York’s Catholic community, for a hand. She
suggested Mr. Bolton work with James Martin, a Jesuit priest and editor at
large for America Magazine, who was appointed last year by Pope Francis as a
consultor to the Vatican’s Secretariat for Communications.
Father Martin said that one day, after
embarrassingly spilling hummus on his pants earlier, he went to a Met conference
room to review the storyboards the curators had pinned to the walls with
thumbtacks. He was impressed by what he described as the “real attention to
Catholic sensibilities” behind the pairings.
Asked by Mr. Bolton and colleagues if he
thought the presentation would prompt any blowback, Father Martin said there
may be some complaints about “celebrity culture being grafted onto the church,”
but that he thought it would be minor. “They will see something beautiful, and
that’s part of the Catholic imagination,” he said.
It was also Father Martin who, reviewing the
gift catalog, noticed that one necklace was described as adorned with a “winged
man,” and told the Met: “It’s O.K. to say ‘angel.’”
He also suggested asking Cardinal Gianfranco
Ravasi, the de facto minister of culture for the Vatican and an erudite former
prefect of the Biblioteca-Pinacoteca Ambrosiana in Milan, to contribute to the
exhibit catalog. Cardinal Ravasi had gotten to know many of the great designers
during his time in the fashion capital, including Miuccia Prada, Domenico Dolce
and Stefano Gabbana, and Giorgio Armani.
In February, the Met delegation, including Mr.
Bolton and Ms. Wintour, traveled to Rome to officially announce the exhibit
alongside Cardinal Ravasi, who not only participated in the news conference,
but also rubbed shoulders with Donatella Versace. She told him she thought his
crimson vestments were beautiful.
He said he replied: “The purple is even
better.”
Still, in a church where Pope Francis’s
dressing down has made dressing up out of style, questions remain about how a lush exhibit and
its related gala, organized by Ms. Wintour, squares with the pope’s desire for
a less ostentatious, poorer church.
“Francis with his simple clothes expresses
another concept. It’s not combative with the others,” said Cardinal Ravasi, who
said he considered fashion a critical cultural language and the lent vestments
expressions of the church’s power, beauty and splendor through the centuries.
The cardinal said fashion had biblical origins
(“It was God who dressed us. God was the tailor in Genesis”) and that he saw a
common thread between the dress code for a gala and the otherworldliness of
ecclesiastical vestments. Both of them signified, he said, a distinction from
the mundane and quotidian.
As for those who consider the accessorizing of
papal vestments with modern fashion a blasphemous exploitation, Cardinal Ravasi
said it at least shows those Christian symbols still touch a nerve.
“They aren’t using the symbols of the Roman
Empire,” he said with a chuckle.
