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Witness For The Prosecution

By Jim Kirwan

The Dream of Reason produces Monsters

Reply to Charges of False & Deceptive Statements

Supposedly made Against the Catholic Church

October 7, 2014

Lavone Smith:

Mr. Jim Kirwan:

Your article “Identity Protection is Criminal,” dated 10-7-14, has a very serious historical error and a libel against the true Catholic Church.”

Identity Protection is Criminal:

The Francisco De Goya’s paintings depict “THE DISASTERS OF WAR” after Napoleon’s invasion of Spain in 1808 where terrible crimes were committed against the civilian population (NOT THE SUPPOSED CRIMES OF THE CATHOLIC INQUISITION).”

k) “The Disaster’s of War” is an 80 part series of etchings, Goya’s paintings were not part of that series. The connection between Goya’s other series “The Capriccios” which also consisted of 80 etchings, was undertaken in 1792 and published in 1799: The Disasters of War’ was a direct outgrowth of the moral shambles of the society in Spain as described in the earlier Capriccios. That’s why I chose to use two illustrations from the Disaster’s of War (1810-1820) to illustrate the article. That second series was not published until after Goya’s death.

The crimes of the Catholic Church were and still are at the core of the origin and the perpetuation of the Spanish Inquisition which technically ran from 1480 to 1834. During that 354 years the horror of the Inquisition was the policy that was guided the Church in Spain. The film “Goya’s Ghosts” clearly spells out the fact that the inquisition was a political pogrom that merely used ‘religion’ as its shield. It failed in the end of course because it was evil, in and of itself. The entire charade is summed up for those who care to watch the film. The first few minutes of which contain a number of the Capriccios that were being sold throughout the world in 1792 when the film begins…

Goya’s Ghosts in English

LS: “Here are some quotes from the New York’s Metropolitan Museum of Art web page”

k) The New York Metropolitan Museum is a totally co-opted organ of the Zionist State bankers and has been since the 1950’s. It’s never been about “art” it’s always been just about money.

LS:Goya, Napoleon, and Nineteenth-Century Spain

The enlightened monarchy of Charles IV came to an end when Napoleon's armies invaded Spain in 1808. The brutal incursion—which included mass executions of Spanish citizens who rose up in opposition to Napoleon's invasion—culminated in French occupation and the installation of Napoleon's brother, Joseph Bonaparte, on the Spanish throne. Although repulsed by French atrocities, Goya pledged allegiance to Bonaparte, and painted members of the French regime. In 1811, he was awarded the Royal Order of Spain.””

k) - See the film mentioned above for more about the intersanctum of the Royal Blood lines and the politics of the day, if that interests you: Goya was however the Court Painter to the King of Spain before Napoleon arrived. But the true story beneath above and beyond the “history” was and is still all about the travesty of torture and murder, in the name of a falsely claimed religious affiliation.

The Holy Roman-Catholic Church that has ruled much of history since its formal beginnings from its center in the Vatican is the villain in history that cannot excuse Catholicism from its major role in both the creation and the execution of the policies that became obscene to the rest of the world at that time…

The Vatican” is the 108 acre plot of land in Rome, West of the Tiber River.

The Papacy” is the office traced back to St. Peter who traditionally is considered to have been buried at “The Vatican,” so could we say he was the first Pope to “live” there?

LS: “…Goya continued his account of the atrocities of war in a series of eighty-five [80] prints called The Disasters of War. Executed from 1810 to 1820, the series depicts the travesties witnessed during Spain's struggle for independence from France. Unlike the Capriccios, this series was never published during Goya's lifetime, probably because of its pronounced indictment of war. One Can't Look (, an etching from the series, is a powerful and emotionally charged scene of French occupation and Spanish retaliation that recalls the painting The Third of May 1808. The innovative composition—critical elements are placed outside the picture plane and the immediate action is forced to the foreground—amplifies the overall impact. Although Goya's graphic work is grounded in the dramatic Baroque tradition of contrasting lights and darks, recalling Tiepolo's war scenes and Rembrandt's etchings, The Disasters of War etchings employ the tradition within a unique compositional framework.”

k) The writer confuses the point behind the work as well as the medium. The 80 Capriccio’s were all etchings, not paintings. Goya also did some paintings from during that time frame but they were not part of that series.

The full story can be found in “GOYA His complete etchings, aquatints and lithographs” published by Harry N. Abrams Inc. N.Y. Library of Congress Catalog Card Number: 62-11623

LS: “Having no royal commissions during the tumultuous monarchy of Ferdinand VII, Goya became isolated from political and intellectual life in Madrid.”

LS: “Between 1820 and 1823, he completed a series of very private works in fresco at his small country retreat, Quinta del Sordo (the Deaf Man's House). Today referred to as the Black Paintings, they are compelling in their sinister and often horrifying scenes with dark, emotional undertones.”

k) -Goya went deaf and that’s when he began to cover his house in murals, he was deemed to have begun on the path to madness.

LS: “Personally, as a Catholic, I am requesting a formal and public apology and a public written retraction of such libelous, false and deceptive statement to be published in the Rense blog. In default of these, I ask the editor to publish a note correcting this libel and, Mr. Rense, please feel free to attach this letter if needed.

Kirwan: This is my answer to your ill-informed note. The Vatican is and has always been a political institution that merely uses religion to attempt to cover its vast crimes against humanity down through the ages. It is an obscenity against the world which is still pending an appearance, at the moment, before an international tribunal for their crimes around the world ­ it would be extremely difficult for me to slander the Catholic church in its present situation, or to commit a libel by having named them as the criminals the whole world knows them to be.

As for your suggested sources, most of them have already been exposed for who they are as well. Below you cite the BBC: That particular “institution” has recently been caught falsifying its reporting on everything from the downing of the MH-17 in Ukraine to the constant misreporting of all the wars in multiple countries around the world. Goya on the other hand has grown immeasurably because of what he did when he “observed” the world when it was being run by The Most Holy Offices of the Roman Catholic Church.

How the Disaster’s of War made Goya a modern artist

LS: “Also, I suggest you, Mr. Kirwan, become a real researcher of facts regarding the Catholic Inquisition by watching the BBC production entitled “The Spanish Inquisition” where history scholars reveal the true purpose and scope of the Inquisition based on historical documents found at the Salamanca Library.

Furthermore, as the Rense blog has published in various occasions, the Vatican Masonic Lodge is not the Catholic Church. You should be cognizant of such basic truths. Please stop disseminating lies.

Light of Truth”

Kirwan: You are wrong. I do not disseminate lies. I do make the occasional mistake, but this was not one of those.

The Catholic Church has been behind some of the most egregious crimes against humanity, millions of times over. And they did create and foster the five Crusades against the Muslim world ­ way back when. They collaborated with Hitler throughout the Second World War. What they have done to millions of children the world over is still unspeakable, and yet you seem to think that their history is sacrosanct and must remain above public comment?

One of the things I’m waiting to see is the end of the Catholic Church in an International Tribunal that will explore the millions of their crimes and exact a real and permanent end to this criminal enterprise ASAP?

The Vatican stripped the New World of its gold, plundered its people and supervised the enslavement of millions through their sponsorship of the Spanish nightmare and the expeditions that brought back all that gold; much of which ended up in the Vatican’s secret vaults.

The Vatican and the Queen of England are still vying for the title of who owns the greatest amount of all the real-estate in the world ­ and you think that they are above reproach? Opus De has a filthy reputation and has had for decades now; along with the Jesuits and all the other “orders” whose functions have dual purposes ­ worldwide. The Vatican is criminal conglomerate that has stolen and lied their way to the top using religion as their crutch to insure a religious following which dwindles further each and every month.

Still my comments were not aimed at what I consider to be the oppressive Catholic religion, because everyone is entitled to believe in whatever they choose to believe in: Even Catholics. What I will never tolerate is the idea that any religion is protected from the reevaluations of history, or from commentators across the spectrum that are simply trying to separate the facts from the lies, especially when it comes to any “religion”.

The next time you want to criticize an article of mine I suggest you do just that. Goya was not the subject of the article that you chose to comment on. Your ad hoc comments were off point, out of context, and they brought no relevance to the very real crimes behind Identity Protection. Therefore I offer you no apology.


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