All these posts about the miracles from the intercession of Saint Philomena are great, but they don't answer the problem that the Modernist Vatican has completely eliminated her from it's archives.  As far as your pope is concerned, she never existed.

It's pointless dude. There's like a degree of blindness that seems to be getting more pronounced as time passes. My pseudo ex's folks had it, she got it from them, my Protestant family has it, and it seems like this dude has it.

I never really understood the saying "There are none so blind..." before running into this kind of thing.

It's like if it were a baby's severed head held right in front of their face, they'd just carry on like they're Julie Andrews in "The Sound of Music".

It is bizarre.

I just pointed out how his "pope" said that it is the communists who think like Christians IF anyone does, and he just strolled on like nothing was said, and it impacted what was being discussed, which he also acted as if it was something else, not at all.

Really, really eerie weird.
 
It's like "denial" to the degree of a perpetual psychotic episode, or some kind of Pollyanna variety of Solipsism.

There is a statue of St Philomena in our SSPX church.

A little over 20 years ago I got a serious bout of depression. the doctor said it was Adrenalin exhaustion that caused it (35 years working with only two weeks holidays to get married). I became aware of dreadful tinnitus, noise in the inner ears that never goes away. I read in a newspaper that ѕυιcιdє is greatest in tinnitus sufferers. I remember telling some that ѕυιcιdє was not an option for me, as I was a Catholic. That got a laugh or two.

For five years I lived in my ears. My mind was in there listening while the rest of me was in he world. I heard of St Philomena, that she helped hopeless cases. I knelt before her statue and asked if she could help me.

I cannot remember how soon after my request I began to cope with my tinnitus. My problem I came to realise was an awareness problem. I was listening to the noise, looking for it and allowing it to dominate my mind. After all those years I could not believe how it went into the background, so much so that it disappeared for most of the time. I will forever be grateful to St Philomena for my 'cure.' The tinnitus is still there, but I no longer listen to it, look for it, or am aware of it. At times it changes tone now and frightens me somewhat, but soon disappears. Oh you have no idea what St Philomena did for me.

Here in Texas the SSPX also has a statue of St. Philomena in both the Queen of Angels parish and in their St. Michael's parish.

My Dad also has devotion to St. Philomena, and all I can say is NEVER underestimate her! She is known as a Saint of the Impossible for a reason.

All these posts about the miracles from the intercession of Saint Philomena are great, but they don't answer the problem that the Modernist Vatican has completely eliminated her from it's archives.  As far as your pope is concerned, she never existed.

Without access to the archives ourselves there is little can be done. Plus, she may have not been eliminated from it, only her history hidden away and eventually it will all be revealed in the future. 
Reminds me of the story of Our Lady of Good Success Statue in Quito Ecuador..years ago when the Convent was under persecution during war, one of the nuns hid away the Infant Jesus Statue (the original one that was in Mary’s arms) somewhere whithin the walls of the Convent. He still has not been found, so they had replaced the original Statue with a temporary one for the meantime.
Someday the real Statue will resurface and he’ll take his place in the arms of his mother again 

• Miracles corroborated by official acts and authoritative recognitions from Popes, Bishops, and important people.

a – Healing of the lawyer Alexander Serio. His gift of the Altar and the prodigy of the marble table miraculously repaired.
This miracle is also described by Ippolito; “Another great devotee of Saint Philomena was a certain Neapolitan lawyer, D. Alessandro Serio, who in the year 1814 was in Mugnano with his wife, Lady Giovanna Fusco, for their holidays. He had been suffering for many years from a serious internal illness, and through the intercession of the Saint he was hoping for a full recovery. For this reason he prayed with fervor at the Saint’s altar. This continued for eight days, when he was suddenly struck by severe abdominal pains, and he was instantly taken home and placed in bed. The illness grew so much worse, that in a few hours he had little time left to live, without the possibility of confession. Concerned by so much pain, his spouse took a frame with a picture of the Saint, and placed it on her husband’s body, begging for the grace of seeing him pass away at least with the Holy Sacraments, and promising to have an altar in the chapel of Saint Philomena made of marble. In that instant, Serio’s responsiveness returned, and he was completely out of danger. During his sacrament of confession, the deadly pain disappeared completely, and with it the old disease.
It the meantime the work for the marble altar started (fig. 10) in favor of the grateful mercy received by the Serio family, and the Saint marked this work with particular prodigy. The required materials were obtained, all made of the finest marble and rare stones. The work began and had already reached of the stage of positioning the top, made of one single marble slab, when the marble worker D. Giovanni Cimafonte, grooving for the positioning of the sacred stone, cracked the marble slab in the middle with the first blow of the chisel for three quarters of the slab length.
At this unexpected misfortune the craftsman was worried not much for his reputation, but more for his job, since he believed that it was impossible to continue the work, expecting with the successive blows that the remaining intact part of the slab would break too. With the use of an iron bar, he even tried to reinforce the side where the crack was, which was wider than a finger, and he tried to tighten it as much as he could; he continued with his work with the help of drills, and the sacred stone was slotted in the appropriate groove. It still had the crack, more than a finger wide, but then another prodigy. While the hand of the worker filled the crack, the invisible hand of the Saint restored the marble, joining both parts and leaving only a very thin line to evidence the miracle, so that it looked like a natural marble vein. This prodigy took place in a public church in front of many citizens. The news travelled throughout the whole village and one of the witnesses took the slab from the table that was first cracked and then restored, showed it to the crowd, and hitting it with a sledge hammer let the crowd hear the sound that was that of a whole marble. In memory of this portentous event, a marble inscription can be read by the visitor who enters that Sanctuary. It is situated on the left wall at the entrance. It reads; Altare quod hoc in Templo visitur ante Corpus Sanctae Christi M. et V. Philumenae valde est venerandum; in eius enim erectione manu arteficis sacra mensa in medio fracta est; virtute omnipotentis refecta ac integra restituta multitidine civium astante atque etiam digitus Dei opus suum signavit linea suboscura ut cernitur. Hoc factum est anno divinae Reparatonis MDCCCXIV.”
-The altar that can be seen in this church, in front of Saint Philomena’s body Martyr of Christ and venerable Virgin, during its erection the sacred table was broken by the hand of the artist and by the hand of the Almighty restored in one piece in front a crowd of citizens, and the work of God’s finger left, as it can be noted, a dark line. This happened in the year of the Redemption 1814-.

http://philomenafamily.org/?page_id=147

 – Miracle in the Church of the Cesarea in Naples of the statue of Saint Philomena’s facial transformation.
In June 1925 the Charitable Miss Maria Cementano, accompanied by her friend Maria Compare, went to the studio of the famous artist Louis De Luca and, with sincere and courageous words, she exposed her fervent wish of a statue of Saint Philomena for the Church of the Cesarea. It was to be made of paper mâché and the artist had to create only the hands, head and feet, since the young devotee wanted to dress the Saint personally with a white dress and a purple cloak.
At first he refused saying that, as he was a famous artist, he was used to making his artistic shapes in bronze and marble, not paper mâché. He wanted to give full expression and life to his figures. He did not just make mutilated heads and stumps of Saints. Later on, convinced by the insistence of the young woman, he accepted.
He fell in love with his subject; he lived that period of virginity and martyrdom in the intimacy of his heart and he completed the statue, which was presented on August 13, 1925. Some days later, De Luca was no longer happy with his work. While everybody praised it, he felt the need to correct it. For a full month he relived his Saint Philomena and only on September 30 was the statue was returned in the Sanctuary of the Cesarea.
The first of October was the important vigil. In the morning there was a very animated discussion between Louis De Luca and Msgr. Fabozzi, Superior of the Sanctuary. The latter believed that the statue was a masterpiece; perfect features, beautiful expression, but the people would not recognize in this statue their Saint, because De Luca had decided to represent an agonizing young girl, giving the image a cadaverous look. The eyelids down, the lips a purplish colour. This statue represented a dying person, perhaps a heroine, but certainly not a martyr. On that lovely face there was no rosy glow, or trace of mystic passion.
The reason for which the statue had “no life” was simple; the artist did not have spiritual sensibility. Msgr. Fabozzi tried to explain to De Luca that Saint Philomena was a martyr and that martyrs, in the supreme moment, they are luminous, they are inflamed with love of God; they are never as alive as in the instant in which they die.
De Luca did not want to listen to any of this. The barrier between them was not about a different concept of art, but a different concept of faith.
The work was temporarily placed in the sacristy. During that day it was seen by many priests, nuns, ladies of charity and they all shared the same opinion; she was nice, she was beautiful but she looked like a cadaver. The same young ladies who had ordered the statue were unhappy and tried to persuade the artist to colour her up a little, but when they heard that this would have requested more time, they decided to leave it as it was. Disappointed, they asked De Luca to personally place the purple cloak artistically on the statue.
The next day was the 2nd of October, feast of the Angels, and Msgr. Fabozzi was celebrating the Mass in their honour, where there was an altar dedicated to them. When Fr. Di Millo, who was to celebrate the next Mass, arrived he did not think it was convenient to put his clothes in the sacristy during the celebration of a religious service and, contrary to his usual behaviour, went in the last room.
Driven by curiosity he lifted the newspapers that covered the statue and he too was struck by that deathly colouring. A short while later De Luca went in and he suddenly came out very agitated, trembling, emotionally moved. Turning to Msgr. Fabozzi he asked who had modified the statue.
The priest told him that nobody had retouched it, but seeing that he was not convinced, they both went into the last room. He too was astonished. The image was no longer the same. The features had remained the same, but on them an unknown hand had spread an extremely delicate rose shade. It was subtle pink, virginal. The colour was not uniform, only the cheeks, the nostrils, the chin, even under the nails had this astounding shading.
These were not patches, but admirably artistic. Particularly surprising were the lips; the purplish color had disappeared, and there was now a pinkish color not uniform but full of different shades and tones. The statue was fully dry, as if it had been painted over fifteen days before. As a matter of fact, the hair that De Luca had placed the week earlier was still “sticky”, while the face, painted now by a mysterious brush, was completely dry. They tried to give little publicity to the event because they wanted to study the surprising phenomenon.
In the daily newspaper ,Roma, there was an article that suggested a check to verify this. If De Luca still had left-overs of the colors used for the statue, why not paint a head, place it in the same environmental conditions and then verify after a few days what happened?
The experiment was immediately accepted and was carried out with scientific standards. The head of a statue was painted with the left-over of the colors used by De Luca, using the maximum precaution. A few days later, the seals were removed, the result was verified; the head had remained yellow, pale, cadaverous.
At this point somebody talked about chemical reaction. De Luca was questioned and they asked him what materials he had used for the painting. He declared that he had used yellow clay and silver grout, adding some amber and some green clay. Mixing the yellow clay with the bleak silver grout, he had achieved a pale colour, nearly cadaverish. He gave three coatings of this paint to the work, leaving some days between each one of them to allow for each coating of color to dry properly. With such technical and chemical elements it was impossible to have a reaction so anomalous to generate a pinkish colour. What had happened was supernatural!
As a matter of fact, the members of the Artistic Club of Naples sent a report to the Ecclesiastical Authorities, signed by the Court of Enquiry, in which it was declared that, in those environmental conditions, a chemical reaction could not have produced the known phenomenon.
These, we have to admit, were very brave people, since to state the truth in a century pervaded by sceptics is a real act of courage. We report exactly the Sentence of the Canonical Process;

http://philomenafamily.org/?page_id=147

On January 30, 1926 with written order to us, we the judges delegated by his Eminence the Cardinal Archbishop of Naples, Msgr. Alessio Ascalesi, to institute the regular canonical process on the extraordinary event of the coloration, deemed as prodigious, of an artistic statue of the Famous Virgin and Martyr Saint Philomena made for venerating in the Sanctuary of the Cesarea in Naples. Having the Canonical Process been instructed of the miracle of the coloration of the face of the Statue of the Virgin and Martyr Saint Philomena, having always been present in all the sessions one or both of the faith Promoters the Most Ill and Most Rev. Canonics Don Gennaro and Don Carmine, in Curia legitimately constituted; and after having held the same Process, according to the canonical rules, we hereby declare, after having heard the same faith promoters, our opinion contained in the following verdict;
Considering that the mentioned coloration in all its artistic detail happened before the eyes of the artist, reluctant to admit a supernatural event, actually rather irritated, at first, about the undeniability of the coloration that had happened in a few moments;
Apart from this first witness providentially present at the phenomenon, a further eight witnesses have been cited and minutely questioned which had, among others, seen the first obstinately cadaveric colouring, and then the above-mentioned artistic coloration;
The evidence produced to show the non-existence of a natural process for that coloration, is varied and significant, as shown by the full debate; the instantaneity, for example, the preservation of the simulacrum in the primitive state with no human hand that could have touched it, the artistic inspection carried out on behalf of the artist by competent people with the hope to reproduce, if possible, with the same details the same phenomenon here verbally states that human resources could not have produced these changes;
Invited by our Most Reverend Curia Archiepiscopal, two skilled and sworn professors whom as judge delegates have carried out a survey in the Sanctuary of the Cesarea, in order to give their artistic-critical opinion on the phenomenon, these people without having any prejudices or exchanged their views between themselves, have reported in different papers and stated their personal judgement which -considering all circuмstances- confirms that it would be impossible to naturally reproduce such a phenomenon;
Finally,the course of this prodigious event in all its individual particulars reveals a special intention, the Illustrious Virgin and Martyr at first wanted only the artist as the witness of that instantaneous action, in which she donated the really incomparable grace of reconciliation to God, the artist and then she called many more witnesses to follow the event, as if giving to everyone the pledge for future graces.
We believe, declare and affirm in our orderly delegated Authority to be truly witnessing a supernatural event and therefore a proper miracle operated by her”.
Naples, 27 August 1926

In faith, we undersign
Card. A. Ascalesi, Archbishop

http://philomenafamily.org/?page_id=147

So, with all these miracles attributed to Saint Philomena, poche, why do you suppose that your church has completely suppressed her veneration?

I don't know if I can answer for other people. I only want to praise God by posting the miracles of His saints.

What part of "suppressed" don't you understand P?

When God chooses to do a miracle then you cannot suppress it.