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Thursday, February 08, 2007

Cathedral of Ste Gudule, Brussels







The Verbruggen sculptor family came from Antwerp.

The great man of the family was Hendrick Frans Verbruggen (Henricus-Franciscus Verbrugghen),(b. 1654, Antwerpen, d. 1724, Antwerpen), Flemish sculptor, architect and book illustrator, son of Peeter Verbrugghen (1615-1686). who created the Ste Gudule pulpit in Brussels.

Verbruggen represents the most characteristic and the most convincing product of the inventive imagination of northern Baroque: there is nothing else like it outside Belgium.

In the highly original oak pulpit he made for the Jesuits of Leuven (1696-99; Brussels Cathedral), a narrative scene is included under the body of the pulpit, which is united in a curvilinear movement with the supporting beams and the sound-board. The pulpit is of Gilded oak, height: 700 cm, width:350 cm

Ambo in Aachen Cathedral






Aachen, (Dutch Aken, French Aix-la-Chapelle, Latin Aquisgranum) is a spa city in North Rhine-Westphalia, Germany, on the border with Belgium and the Netherlands, 65 km to the west of Cologne.

The Aachen Cathedral, frequently referred to as the "Imperial Cathedral" (in German: Kaiserdom) is the oldest cathedral in northern Europe. Charlemagne began the construction of the Palatine Chapel in 786. When he died in 814, he was buried in his own cathedral, and his bones are still preserved in a special shrine

The ambo is of gilded copper with precious stones and dates from the 12th century. It was erected by the Emperor Henry II.

Pulpit: Santa Croce, Florence







Benedetto da Maiano (1442-1497) was commissioned by the wealthy banker Pietro Mellini to create a funeral monument in the form of a pulpit.

The pulpit was constructed from marble in the period 1472-1476.

The reliefs of the pulpit represent scenes from the life of the Franciscans.

Pulpit at the Basilica of Sant'Apollinare Nuovo, Ravenna







The Basilica of Sant' Apollinare Nuovo in Ravenna, Emilia-Romagna (Italy)was erected by the Arian King, Theodoric, as his palace chapel, during the first quarter of the 6th century (as attested in the Liber Pontificalis). This Arian church was originally dedicated to Christ the Redeemer.

It was reconsecrated in 561, under the rule of the Byzantine emperor Justinian I, under the new name "Sanctus Martinus in Coelo Aureo" (Saint Martin in Golden Heaven). Suppressing the Arian cult, the church was dedicated to Saint Martin of Tours, the implacable foe of heretics. According to legend, Pope Gregory the Great ordered that the mosaics in the church to be blackened, as their golden glory distracted worshippers from the prayers.

The basilica was renamed again in 856, when relics of Saint Apollinare were transferred from the Basilica of Sant'Apollinare in Classe because of the threat posed by frequent raids of Adriatic pirates.

Its apse and atrium underwent modernisation at various times, beginning in the 6th century with the destruction of mosaics whose themes were too overtly Arian or which expressed the king's glory. The mosaics of the lateral walls, twenty-four columns with simplified Corinthian capitals, and an ambo are preserved.

For more on the Basilica and its mosaics, click here.

Pulpits

A Pulpit (Lat. pulpitum, a stage or scaffold) is an elevated stand to preach on.

In many Christian churches, there are two speaker’s stands in the front of the church. Typically, the one on the left (as viewed by the congregation) is called the pulpit.

The other speaker's stand, usually on the right (as viewed by the congregation), is known as the lectern.

In churches where there is only one speaker's stand in the center of the front of the church, it serves the functions of both lectern and pulpit and is properly called the ambo.

The word ambo comes from a Greek word meaning an elevation.

For the history of the pulpit and the ambo, see the Catholic Encyclopedia at
http://www.newadvent.org/cathen/12563b.htm
http://www.newadvent.org/cathen/01382a.htm

Wednesday, February 07, 2007

The Widow in the Dolomites

La Famiglia Cristiana often has a number of good and interesting stories. A glossy magazine. It`s a kind of Italian Catholic weekly without the sex and violence.

One story caught my eye.

Forty years ago, Signora Maria Heiss then aged 41 years, gave birth to her first son in the Town of Bolzano, Italy. The birth was difficult. She nearly died.

She decided she wanted to do something as a thanksgiving.

She found a magazine of a group of missionary nuns and decided that she wanted to do something for them.

Once out of hospital, she went to a jeweller`s shop, bought a chalice and sent it to Cameroon.

After a few months, she received a letter from Sister Assunta, one of the missionaries. The letter thanked her and sent over a photograph showing the priest celebrating Mass with the new chalice.

Another few months passed. Sister Assunta wrote to Signora Heiss again. The letter spoke of George. He was a poor young boy. He had just lost his father. He was very intelligent and wanted to study. However there was no money. In the letter there was a photo of George.

Maria Heiss decided to help. Eventually she persuaded her husband. Both sent over to Cameroon enough money for George to study for a year.

And so it went on. Each year they would send over more money to help George.

George became a priest. They continued to send money. This time George used it to help others.

Last year Pope Benedict XVI nominated George Nkuo bishop of the diocese of Kumbo.

Bishop Nkuo came over to Bolzano and met with Signora Heiss, now a widow.

Full story and photos here.

Father Matteo Ricci, S.J.


Message of His Holiness Pope John Paul II (24th October 2001)
for the Fourth Centenary of the arrival in Beijing of the great missionary and scientist Matteo Ricci, S.J.

1. It gives me great joy to address you, distinguished Ladies and Gentlemen, on the occasion of the International Conference commemorating the four hundredth anniversary of the arrival in Beijing of the great Italian missionary, humanist and man of science, Father Matteo Ricci, a celebrated son of the Society of Jesus. My greeting goes in a special way to the Rector of the Pontifical Gregorian University and the Directors of the Italian-Chinese Institute, the two institutions which have sponsored and organized the Conference. In welcoming you, I also extend a cordial greeting to the scholars who have come from China, Father Ricci’s beloved adopted country.

I am aware that this Conference in Rome is taking place in a certain continuity with the important International Symposium recently held in Beijing (October 14-17) on the theme Encounters and Dialogue, with special reference to the cultural exchanges between China and the West at the end of the Ming Dynasty and the beginning of the Qing Dynasty. There too, scholarly attention was directed to the singular work of Father Matteo Ricci in China.

2. Today’s meeting takes us in mind and heart to Beijing, the great capital of modern China and the capital of the "Middle Kingdom" in Father Ricci’s time. After twenty-one long years of avid and intense study of the language, history and culture of China, Father Ricci entered Beijing, the city of the Emperor, on 24 January 1601. Received with every honour, held in high regard and frequently visited by men of letters, mandarins and those desiring to learn the new sciences of which he was an acknowledged master, he lived the rest of his days in the imperial capital, where he died a holy death on 11 May 1610, at the age of 57 years, almost twenty-eight of which had been spent in China. I am pleased here to recall that when Father Ricci arrived in Beijing, he wrote a Memorial to the Emperor Wan-li, in which he introduced himself as a celibate religious who sought no privilege at court, asking only to be able to place at the service of His Majesty his own person and the expertise in the sciences which he had acquired in the "great West" from which he had come (cf. Opere Storiche del P. Matteo Ricci S.I., ed. P. Tacchi Venturi S.J., vol. II, Macerata, 1913, 496ff). The reaction of the Emperor was positive, and this gave greater significance and importance to the Catholic presence in modern China.

For four centuries China has highly esteemed Li Madou, "the Sage of the West", the name by which Father Matteo Ricci was known and continues to be known today. Historically and culturally he was a pioneer, a precious connecting link between West and East, between European Renaissance culture and Chinese culture, and between the ancient and magnificent Chinese civilization and the world of Europe.

As I had occasion to mention on the occasion of the International Congress of Ricci Studies held to commemorate the fourth centenary of Matteo Ricci’s arrival in China (1582-1982), his merit lay above all in the realm of inculturation. Father Ricci forged a Chinese terminology for Catholic theology and liturgy, and thus created the conditions for making Christ known and for incarnating the Gospel message and the Church within Chinese culture (cf. Insegnamenti di Giovanni Paolo II, vol. V/3, 1982, Libreria Editrice Vaticana, 1982, 923-925). Father Matteo Ricci made himself so "Chinese with the Chinese" that he became an expert Sinologist, in the deepest cultural and spiritual sense of the term, for he achieved in himself an extraordinary inner harmony between priest and scholar, between Catholic and orientalist, between Italian and Chinese.

3. Four hundred years after the arrival of Matteo Ricci in Beijing, we cannot fail to ask what is the message he can offer to the great Chinese nation and to the Catholic Church, to both of which he felt ever deeply bound and by both of which he was and is sincerely valued and loved.

One of the aspects that make Father Ricci’s work in China original and enduringly relevant is the deep empathy which he cultivated from the first towards the whole history, culture and tradition of the Chinese people. His short Treatise on Friendship (De Amicitia – Jiaoyoulun), which had great success from the first edition produced in Nanking in 1595, and the wide and intense network of friendships which he constantly built up during his twenty-eight years in the country, remain an irrefutable testimony to his loyalty, sincerity and fellowship with the people who had welcomed him. These sentiments and attitudes of the highest respect sprang from the esteem in which he held the culture of China, to the point of leading him to study, interpret and explain the ancient Confucian tradition and thus offer a re-evaluation of the Chinese classics.

From his first contacts with the Chinese, Father Ricci based his entire scientific and apostolic methodology upon two pillars, to which he remained faithful until his death, despite many difficulties and misunderstandings, both internal and external: first, Chinese neophytes, in embracing Christianity, did not in any way have to renounce loyalty to their country; second, the Christian revelation of the mystery of God in no way destroyed but in fact enriched and complemented everything beautiful and good, just and holy, in what had been produced and handed down by the ancient Chinese tradition. And just as the Fathers of the Church had done centuries before in the encounter between the Gospel of Jesus Christ and Greco-Roman culture, Father Ricci made this insight the basis of his patient and far-sighted work of inculturation of the faith in China, in the constant search for a common ground of understanding with the intellectuals of that great land.

4. The Chinese people, especially in more recent times, have set themselves important objectives in the field of social progress. The Catholic Church for her part regards with respect this impressive thrust and far-sighted planning, and with discretion offers her own contribution in the promotion and defence of the human person, and of the person’s values, spirituality and transcendent vocation. The Church has very much at heart the values and objectives which are of primary importance also to modern China: solidarity, peace, social justice, the wise management of the phenomenon of globalization, and the civil progress of all peoples.

As Father Ricci wrote precisely in Beijing, when in the last two years of his life he was editing that pioneering work which is fundamental for an understanding of China by the rest of the world and which is entitled, On the Entry of the Society of Jesus and Christianity into China (cf. Fonti Ricciane, a cura di Pasquale M. D'Elia S.I., vol. 2, Roma 1949, No. 617, p. 152), so too today the Catholic Church seeks no privilege from China and its leaders, but solely the resumption of dialogue in order to build a relationship based upon mutual respect and deeper understanding.

5. Following the example of this great son of the Catholic Church, I wish to say once more that the Holy See regards the Chinese people with deep affection and close attention. It is familiar with the significant advances made in recent times in the social, economic and educational spheres, as also with the difficulties that remain. Let it be known to China: the Catholic Church has a keen desire to offer, once more, her humble and selfless service for the good of Chinese Catholics and of all the people of the country. In this regard, may I recall at this point the outstanding evangelizing commitment shown by a long line of generous missionaries — men and women — as well as the works of human development which they accomplished down the centuries. They undertook many important social initiatives, particularly in the areas of health care and education, which were widely and gratefully welcomed by the Chinese people.

History, however, reminds us of the unfortunate fact that the work of members of the Church in China was not always without error, the bitter fruit of their personal limitations and of the limits of their action. Moreover, their action was often conditioned by difficult situations connected with complex historical events and conflicting political interests. Nor were theological disputes lacking, which caused bad feelings and created serious difficulties in preaching the Gospel. In certain periods of modern history, a kind of "protection" on the part of European political powers not infrequently resulted in limitations on the Church’s very freedom of action and had negative repercussions for the Church in China. This combination of various situations and events placed obstacles in the Church’s path and prevented her from fully carrying out — for the benefit of the Chinese people — the mission entrusted to her by her Founder, Jesus Christ.

I feel deep sadness for these errors and limits of the past, and I regret that in many people these failings may have given the impression of a lack of respect and esteem for the Chinese people on the part of the Catholic Church, making them feel that the Church was motivated by feelings of hostility towards China. For all of this I ask the forgiveness and understanding of those who may have felt hurt in some way by such actions on the part of Christians.

The Church must not be afraid of historical truth and she is ready — with deeply-felt pain — to admit the responsibility of her children. This is true also with regard to her relationship, past and present, with the Chinese people. Historical truth must be sought serenely, with impartiality and in its entirety. This is an important task to be undertaken by scholars and is one to which you, who are particularly well-versed in Chinese realities, can also contribute. I can assure you that the Holy See is always ready to offer willing cooperation in this research.

6. At the present moment, the words written by Father Ricci at the beginning of his Treatise on Friendship (Nos. 1 and 3) take on a new timeliness and significance. Bringing into the heart of late sixteenth-century Chinese culture and civilization the heritage of classical Greco-Roman and Christian reflection on friendship, he defined a friend as "the other half of myself, indeed another ‘I’"; and therefore "the raison d’être of friendship is mutual need and mutual help".

And it is with this renewed and deeply-felt friendship towards all the Chinese people that I express the hope that concrete forms of communication and cooperation between the Holy See and the People’s Republic of China may soon be established. Friendship is nourished by contacts, by a sharing in the joy and sadness of different situations, by solidarity and mutual assistance. The Apostolic See sincerely seeks to be a friend to all peoples and to collaborate with persons of good will everywhere in the world.

Historically, in ways that are certainly different but not in opposition to one another, China and the Catholic Church are two of the most ancient "institutions" in existence and operating on the world scene: both, though in different domains – one in the political and social, the other in the religious and spiritual – encompass more than a thousand million sons and daughters. It is no secret that the Holy See, in the name of the whole Catholic Church and, I believe, for the benefit of the whole human family, hopes for the opening of some form of dialogue with the Authorities of the People’s Republic of China. Once the misunderstandings of the past have been overcome, such a dialogue would make it possible for us to work together for the good of the Chinese people and for peace in the world. The present moment of profound disquiet in the international community calls for a fervent commitment on the part of everyone to creating and developing ties of understanding, friendship and solidarity among peoples. In this context, the normalization of relations between the People’s Republic of China and the Holy See would undoubtedly have positive repercussions for humanity’s progress.

7. Expressing once more my happiness at the timely celebration of such a significant historical event, I hope and pray that the path opened by Father Matteo Ricci between East and West, between Christianity and Chinese culture, will give rise to new instances of dialogue and reciprocal human and spiritual enrichment. With these good wishes, I gladly impart to all of you my Apostolic Blessing, imploring God to grant you every gift of happiness and well-being.

From the Vatican, 24 October 2001

IOANNES PAULUS II

Tuesday, February 06, 2007

Tabernacle in the Chapel of the Blessed Sacrament, St Peter`s Basilica, The Vatican







The best commentary is in The St Peter`s Basilica website

Tabernacle of the Church of St Egidio, Florence

The Church of St Egidio is part of the medieval Hospital Santa Maria Nuova in the heart of historic Florence.

It was founded in 1289, but it was later reconstructed. In 1419, the Church was reconsecrated by Pope Martin V.

The tabernacle below is the work of Bernardo Rossellino and Lorenzo Ghiberti. It was constructed in 1450. It is made of marble with an Annunciation by Bernardo Rossellino. The bronze door with Christ is by Lorenzo Ghiberti.

Unfortunately, for reasons of security, the door on site is a copy.


Monday, February 05, 2007

Oxford University Press Book Sale 2007

It is that time of year again. The Oxford University Book Sale 2007 is on again until 18 February 2007. Orders can be made by internet. Books can be viewed on the excellent website.

As regards Books on Religion, these cover Bibles, Theology, History of Religion and World Religions.

As for the other fields of study, the discounts are very generous: from 50 to 75% and sometimes more.

They deliver all over the United Kingdom, Europe and the Middle East.

Amongst the books on religion noted were:

Catholicism: The Story of Catholic Christianity
By Gerald O'Collins SJ and Mario Farrugia SJ
Normal Retail Price: £72.00
Discounted Price: £36.00
Gerald O'Collins SJ, is Professor of Fundamental and Systematic Theology at Gregorian University, Rome and Mario Farrugia SJ, is Professor of Systematic Theology at Gregorian University, Rome

Marius Victorinus' Commentary on Galatians
By Stephen Andrew Cooper, Associate Professor, Department of Religious Studies, Franklin and Marshall College
Normal Retail Price: £93.00
Discounted Price: £23.25
"This is the first English translation of Marius Victorinus' commentary on Galatians. Analytical notes, full bibliography, and a lengthy introduction make this book a valuable resource for the study of the first Latin commentator on Paul. No such comparable work exists in English; and this volume engages fully with German, French, and Italian scholarship on Victorinus' commentaries. A number of themes receive special treatment in a lengthy introduction: the relation of Victorinus' exegetical efforts to the trinitarian debates; the iconography of the apostle Paul in mid-fourth-century Rome; Victorinus' exegetical methodology; his intentions as a commentator; and the question of his influence on later Latin commentators (Ambrosiaster and Augustine)."

A Dictionary of Christian Art
By Linda Murray and Peter Murray
Normal Retail Price: £9.99
Discounted Price: £2.50
Linda Murray taught art history in the University of London, Extra-Mural Department, 1949-1979. and Peter Murray (now deceased) was Professor of History of Art, Birkbeck College, University of London.

The sale and generous discounts cover the whole range of OUP books:

Archaeology
Art
Biography
Biology
Biosciences
Business
Chemistry
Classics and Ancient History
Dictionaries and Reference
Economics
Engineering
Geography
History
Law
Linguistics
Literature
Mathematics and Computer Science
Media and Film
Medicine
Music Books
Ornithology
Philosophy
Physics
Politics
Popular Health
Popular Science
Psychology and Neuroscience
Religion
Sociology
World's Classics

Very worth at least five minutes: although you`ll probably spend a lot longer looking at all the books.

The Pope's Right Hand Man




Time Magazine sat down last week with Cardinal Bertone for a rare interview in the sunny 15th century Vatican tower that serves as his temporary office while the Secretary of State's quarters are being remodeled.

Promoted in 2002 to Archbishop of Genoa, Bertone attained the rank of Cardinal the next year and was thought to be among the core group in the conclave that pushed for Ratzinger's election. Still, since he didn't have the usual résumé from the Vatican diplomatic corps, many were surprised when his old boss, now Pope Benedict XVI, tapped him to take over in September as Vatican Secretary of State, the No. 2 slot in the entire Catholic Church hierarchy, behind only the Pope himself.

Full story: http://www.time.com/time/magazine/article/0,9171,1584774,00.html#

Euthanasia in Switzerland

H/T to The Cafeteria is Closed.


`It would appear that Switzerland has now extended the reach of "the Right to a Kindly Death" to those suffering from a mental illness.

A ruling by Switzerland's highest court released Friday 2nd February 2007 has opened up the possibility that people with serious mental illnesses could be helped by doctors to take their own lives.

Switzerland already allows physician-assisted suicide for terminally ill patients under certain circumstances. The Federal Tribunal's decision puts mental illnesses on the same level as physical ones.

"It must be recognized that an incurable, permanent, serious mental disorder can cause similar suffering as a physical (disorder), making life appear unbearable to the patient in the long term," the ruling said.

"If the death wish is based on an autonomous decision which takes all circumstances into account, then a mentally ill person can be prescribed sodium-pentobarbital and thereby assisted in suicide," it added.

Various organizations exist in Switzerland to help people who want to commit suicide, and assisting someone to die is not punishable under Swiss law as long as there is no "selfish motivation" for doing so.

The judges made clear in their ruling that certain conditions would have to be met before a mentally ill person's request for suicide assistance could be considered justified.

"A distinction has to be made between a death wish which is an expression of a curable, psychiatric disorder and which requires treatment, and (a death wish) which is based on a person of sound judgment's own well-considered and permanent decision, which must be respected," they said.

The case was brought by a 53-year old man with serious bipolar affective disorder who asked the tribunal to allow him to acquire a lethal dose of pentobarbital without a doctor's prescription.

The tribunal ruled against his request, confirming the need for a thorough medical assessment of the patient's condition.

Whether any Swiss physician would be prepared to prescribe a lethal dose of pentobarbital to a mentally ill person remains unclear. The country's national ethics commission could not be reached for comment late on Friday.

Switzerland is one of a number of countries in Europe that allow assistance to terminally ill people who wish to die.

Netherlands legalized euthanasia in 2001 and Belgium in 2002, while Britain and France allow terminally ill people to refuse treatment in favor of death.
`

The extension of the principle of allowing "assisted suicide" to those who are terminally ill to those suffering from a mental illness is a major extension to euthanasia.

It used to be since at least medieval times that people suffering from any form of mental illness had a right of refuge and protection in an asylum. That is what the word "asylum" originally meant.

It arose out of charity: the assumption of responsibility for the care and protection of those unable for reasons outwith their control to look after themselves. It arose out of respect of their right to life, the protection of which may have been impaired by their condition.

No doubt the decision will be praised by some on the grounds of respect for the autonomy of those who are afflicted by mental illness. However one does wonder what protections in practice will be available for those whose autonomy is impaired.

Tabernacle in The Chapel of the Blessed Sacrament (Sistine Chapel), Santa Maria Maggiore, Rome




To the right of the high altar in Santa Maria Maggiore, Rome is the domed Blessed Sacrament Chapel.

The tabernacle dates from 1599. It is now opened only on Holy Thursday.

The tabernacle or ciborium is held aloft by four bronze angels made by Sebastiano Torrigiani (active 1573-1596 and d. 1596). In the late sixteenth century he was one of the leading artists of bronze sculptures in Rome; his large bronze of St Peter, surmounting the Trajan column in Rome is renowned. Torrigiani was also responsible for the metal screen in the Sistine chapel and he made several life-size portraits of popes.

The tabernacle itself was made by L. Scalzo to a design from 1590 by Giovanni Battista Ricci (Italian, 1537-1627).

Pope Sixtus V (1585-1590) is buried on the right-hand side of the chapel. The tomb is by Domenico Fontana.

Opposite this tomb is the funarary monument of Pope St Pius V, also by Fontana.

Sacrament House, St. Lorenz, Nuremberg







Adam Kraft (b. 1455/60, Nürnberg, d. 1508/09, Nürnberg) sculpted this Sacrament House (1493-96) in St. Lorenz Cathedral, Nuremberg. It is a gigantic sandstone imitation (c.18 m high) of a subtle piece of goldsmith's work. The richly decorated structure houses a multitude of human figures, animals, amphibia, etc. One of the supporting figures at the base is supposed to be a self portrait of Kraft (above).

Tabernacle Door with the Crucifixion 1635-1640

Francesco Mochi (b. 1580 Montevarchi, Italy, d. 1654 Rome)
Tabernacle Door
Italian, Montevarchi, 1635 - 1640
Gilt bronze 21 1/4 x 10 1/4 in
The Getty Centre, Los Angeles


Detail


Detail


Reverse


Francesco Mochi (b. 1580 Montevarchi, Italy, d. 1654 Rome) , whose early dramatic works are now considered the first truly Baroque sculptures of the 1600s, had a roller-coaster career. Despite great successes between 1610 and1630, he was eventually eclipsed by Gian Lorenzo Bernini's popularity.

After 1630, he rejected the prevailing taste of the Baroque even more adamantly, and his figures become more linear, ascetic, and spiritualized. More and more frequently, he lost commissions to Bernini and Alessandro Algardi, had them rescinded, or had his finished pieces rejected by patrons.

The tabernacle door below which is now located in The Getty Centre, Los Angeles, was completed 1635-40 for a church in Montevarchi.

Tabernacles

In 30DAYS, No.6 Year XXIII - June 2005, Mauro Piacenza, the President of the Pontifical Commission for Cultural Property, wrote an article called The casing of the Eucharist. In the article, he discussed the tabernacle, its history and the present legislation governing it.

Further information can be found in The Catholic Encyclopedia and Wikipedia.

The Tabernacle and its repositioning since the introduction of the Mass of Pope Paul VI has sometimes.caused difficulty. See, for example, "They have taken away my Lord, and I know not where they have laid Him" and Tabernacle Placement.

The type of tabernacle and its location is best left to the experts. However, one can still admire the great beauty of tabernacles in the past which were meant to glorify and honour the Real and Actual Presence.

Sunday, February 04, 2007

Pope's letter to Chinese Catholics expected by Easter

Pope Benedict’s letter to Chinese Catholics will be completed around Easter, the AsiaNews service reports.

Citing the words of Cardinal Joseph Zen of Hong Kong, AsiaNews reports that the Pope’s message will be carefully worded, designed to promote the possibility of diplomatic progress, but insistent on the need for religious freedom.

Cardinal Zen suggests that the Pope might put forward the “Vietnam model” as a compromise that could represent a step forward in relations between Beijing and Rome. In Vietnam the government has accepted the Pope’s right to name bishops, provided that the Vatican consults first with Hanoi. In China the Holy See is determined to preserve the Pope’s right to designate bishops-- a right that is now contested by the Catholic Patriotic Association.

For full story see CW News here.

Nymphenburg

Series of posts with the beautiful architecture at Nymphenburg. A treat for the eyes. See Triumphant Baroque.

The Milkmaid


Johannes Vermeer, (Delft 1632 - Delft 1675)
THE MILKMAID
(De Melkmeid
)
c. 1658-1661
Oil on canvas
17 7/8 x 16 1/8 in. (45.5 x 41 cm.)
The Rijksmuseum, Amsterdam


The Milkmaid is concentrating hard as she pours the milk or cream from the jug into the container. She is a servant in the household. Her dress is simple. The blue skirt is tucked up to save it from getting dirty. She wears green over-sleeves which partly protect her yellow bodice. On her head she wears a starched cap. She is completely focused on her work and does not seem to realise that she is being painted.

The viewer comes upon her in the midst of her household tasks. The object of her attention - the act of pouring the flowing milk- is the sole object of her attention. The woman`s right wrist just above the jug and the flowing milk is the intersection of the two main diagonals within the painting. Our attention, like that of the Milkmaid, is directed to the act of pouring the milk. The impression is one of quiet harmonious activity in the daily round.

Yet she stands out.

Her clothes are colourful: yellow, blue and red. The sun highlights the white of her cap and collar. The wall in the background is relatively neutral. There are no maps or paintings on the wall to distract attention.

Her features and limbs fall within both light and shade which are adjacent. The right hand side of her face is covered with sunshine; the left hand side is in the shade. The tops of her hands and arms are bathed in light; the bottom sides are in shadow. Light and shade in the painting form interesting and striking effects.

The contour of the woman's back and dress is emphasised with a thin white line. This device separates her from the background.

The artist has painted her from a low viewpoint. This lends a certain weight and dignity to the subject of the painting.

This is no anorexic beauty who simpers into the camera. This woman is sturdy, with big hips, arms and shoulders. She may not conform to some present ideas of what constitutes feminine beauty, but one cannot deny that she has beauty and grace.

Her face betrays no hint of make up or design. The lips curve upwards, giving a suggestion of a smile, or at least happiness. The brow is unlined. She has no cares. She looks down at the milk with a beautiful abstraction, perhaps thinking about other matters. Perhaps she is in love ? Perhaps she is just content.

The lighting in the picture is subtle. Light falls from the left through the window. Beneath and beside the window it is somewhat shadowy, but the woman is standing in the light. Tiny points of light are scattered over all of the painting: on the various parts of the flowing milk, on the edges of the jug and the bowl, the fastening of her yellow dress, and on the bread in the basket.

The attention to detail in the painting is immense but does not overwhelm. The details unite in a harmonious unity. There are tiny rough patches into the texture of the white plasterwork. Note the nail set high in the white wall, and the light entering through a cracked windowpane. The structure of various objects is expertly rendered: gleaming brass, the two wicker baskets (one on the wall, the other on the table), the metal object on the wall with refracted light and reflections, crumbly bread, the tiles with the small cupids and the foot stove.

For more about the painting, the website The Essential Vermeer is a must.

Lowell was one of the twentieth century's esteemed American poets. As a manic depressive who experienced alternating bouts of depression and mania, he was also one of its most tormented. By the time Lowell died at age sixty, he had been married and separated three times, had renounced his Protestant roots for what turned out to be a temporary obsession with Catholicism, and had spent much of his adult life in and out of mental hospitals. During his manic spells, he was overtaken by surges of larger-than-life emotion that ended up reflected in his poetry.

Epilogue

Those blessèd structures, plot and rhyme--
why are they no help to me now
I want to make
something imagined, not recalled?
I hear the noise of my own voice:
The painter's vision is not a lens,
it trembles to caress the light.
But sometimes everything I write
with the threadbare art of my eye
seems a snapshot,
lurid, rapid, garish, grouped,
heightened from life,
yet paralyzed by fact.
All's misalliance.
Yet why not say what happened?
Pray for the grace of accuracy
Vermeer gave to the sun's illumination
stealing like the tide across a map
to his girl solid with yearning.
We are poor passing facts,
warned by that to give
each figure in the photograph
his living name.


Robert Lowell
(1917 - 1977 )


The National Gallery, London: Picture of the Month (February)

The National Gallery, London has a picture of the month section.

This month it is The Umbrellas (about 1881-6), Oil on canvas,180.3 x 114.9 cm by RENOIR, Pierre-Auguste (1841 - 1919). [below]

Later this month, The National Gallery is hosting an Exhibition: 'Renoir Landscapes 1865-1883' from 21 February - 20 May 2007
See: http://www.nationalgallery.org.uk/exhibitions/renoirlandscapes/default.htm

Saturday, February 03, 2007

How Many in the USA have my Name ?


HowManyOfMe.com
LogoThere are:
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people with my name
in the U.S.A.

How many have your name?




Hat tip to
Father Joe

Fishing in the Clyde

The Times on 3rd February 2007 reports that fishermen have discovered a marble bust by the Italian sculptor Rinaldo Rinaldi, whilst fishing off the West Coast of Scotland.

The Times reports:

"It was a bitterly cold day on the Firth of Clyde and their catch was looking poor until the surprising moment when three fishermen pulled up a 19th-century Italian sculpture, valued at up to £45,000.

Hector Stewart, skipper of the Eyedent, went out last Tuesday with James Turner and Sean D’Arcy, to scrabble in the seabed for sand gapers, a clam-like shellfish.

At eight o’clock on the chilly morning, the water looked particulary uninviting, but it was Mr Turner’s turn to go, so he dropped overboard in his diving suit and swam for the bottom.

He was carrying a hose connected to a water pump on the boat, which the fishermen use to blow aside the sand and reveal the shells. Almost immediately he came up against what he thought was a large rock.

Mr Turner tried to work around it but, blowing silt from one side, he saw the outline of a necklace.

There was one clue that it ought not to serve as a garden gnome. On the back of the bust was an inscription: “Rinaldo Rinaldi 7 Roma 1869.”"

Full story at http://www.timesonline.co.uk/article/0,,2-2582168,00.html

Rinaldo Rinaldi (Padova 1793-Roma 1873) was a pupil of Canova while in Venice. His style and works closely approximate that of his teacher. He was briefly imprisoned by the Papal Government on charges of sedition.

A picture of one of his sculptures is below.


Rinaldo Rinaldi (Roma 1793- Roma 1873)
“ Portrait of a Gentlewoman”
White Carrara Marble
Total height cm. 65, Without pedestal cm.52.
Firenze

Papal Videos

Italian TV (RAI) have an open access archive of video clips of Italian history going back to pre-1950.

Amongst their public archive are over 310 video clips of various Popes, largely of Pope John Paul II.

Amongst the large video clips (which require Real Player or Windows Media Player) are:

Pope John Paul II: meeting with Mother Teresa; overseas visits; Beatification and Canonisation Ceremonies (including Padre Pio); and the Year 2000 Jubilee ceremonies.

There are also older clips of Pope John Paul I, Pope Paul VI, Pope John XXIII, Pope Pius XII, and Pius IX.

There are quite a number on Pope Pius XII.

The website address is:
http://www.teche.rai.it/index.php

There, simply use the search engine at the top left hand side of the page. Put the word "papa" in and tick "video". Then press "Cerca" (Italian for "Search"). The thirty one pages should then come up one at a time.

If not, then the web site address of the search sheet is:
http://www.teche.rai.it/cgi-bin/multiteca/power?keywords=papa;radio=;video=checked;foto=;tothits=310;skiphits=301

The videos are listed in order of the newest first. The older ones are listed later on.

Hope you find this as much interest as I did. Even if you don`t understand Italian, the pictures are still of more than historical interest.


Friday, February 02, 2007

Baptistry of St John, Siena








DONATELLO (b. ca. 1386, Firenze, d. 1466, Firenze)
Faith 1427-29
Bronze, height: 52 cm
Baptistry, Siena



DONATELLO (b. ca. 1386, Firenze, d. 1466, Firenze)
Herod's Banquet 1427
Bronze, 60 x 60 cm
Baptistry, Siena


The entrance is in the Piazza of St John the Baptist, Siena.

The Baptistry was built between 1316 and 1325.

Its Gothic facade is shared with that of the Duomo in Siena.

It is rectangular in shape. It is divided into 3 naves by two columns. In the centre is a hexagonal font surmounted by a statue of St John the Baptist. The statue and font dates from 1417. The statue is by Jacopo della Quercia.

There are other art works by artists such as Donatello, Giovanni di Turino, Lorenzo Ghiberti, and Goro di Neroccio.

The greatest attraction is the sculptured baptismal font itself, begun in 1417 by Jacopo della Quercia. It is a small hexagonal shrine surmounted by a statue of St John the Baptist. The Madonna with Child is the work of the Sienese Giovanni di Turino.

In the actual font below, six bronze panels narrate the story of St John the Baptist. Two of these were made by the Florentine artists Lorenzo and Donatello Ghiberti and their obvious formal quality makes them stand out. These portray the Baptism of Jesus and the Capture of John the Baptist. Donatello made the panel portraying the Feast of Herod in 1427.
The entrance is in the Piazza of St John the Baptist, Siena.

The Baptistry was built between 1316 and 1325.

Its Gothic facade is shared with that of the Duomo in Siena.

It is rectangular in shape. It is divided into 3 naves by two columns. In the centre is a hexagonal font surmounted by a statue of St John the Baptist. The statue and font dates from 1417. The statue is by Jacopo della Quercia.

There are other art works by artists such as Donatello, Giovanni di Turino, Lorenzo Ghiberti, and Goro di Neroccio.

The greatest attraction is the sculptured baptismal font itself, begun in 1417 by Jacopo della Quercia. It is a small hexagonal shrine surmounted by a statue of St John the Baptist. The Madonna with Child is the work of the Sienese Giovanni di Turino.

In the actual font below, six bronze panels narrate the story of St John the Baptist. Two of these were made by the Florentine artists Lorenzo and Donatello Ghiberti and their obvious formal quality makes them stand out. These portray the Baptism of Jesus and the Capture of John the Baptist. Donatello made the panel portraying the Feast of Herod in 1427.

More information and images are available at the Official website: Opera della Metropolitana
http://www.operaduomo.siena.it//luoghi.htm


The Arian Baptistry, Ravenna










The Arian Baptistry in Ravenna, Italy was erected by Ostrogothic King Theodoric the Great between the end of the 5th century and the beginning of the sixth century

In 565, after the condemnation of the Arian cult, the small octagonal brick structure was converted into a Catholic oratory named Santa Maria. Greek monks added a monastery during the period of the Exarchate of Ravenna and further dedicated the structure to Saint Maria in Cosmedin.

Around the year 1700, the structure passed into private hands, and in 1914 it was acquired by the Italian government.

According to the ICOMOS evaluation of site, "the iconography of the mosaics, whose quality is outstanding, is of importance in that it illustrates the Trinity, a somewhat unexpected element in the art of an Arian building, since the Trinity was not accepted in this doctrine".

The Baptistry is octagonal in shape.

Inside are four niches and a dome with mosaics, depicting the baptism of Jesus by Saint John the Baptist. Jesus is shown beardless and naked, half-submerged in the Jordan. John the Baptist is wearing a leopard skin. On the left stands a pagan god in the guise of a white-haired, old man in a green cloak, holding a leather bag. He is the personalisation of the river Jordan. Above, the Holy Spirit in the form of a dove sprays lustral water from its beak.

Below these figures is a procession of the Apostles, led in separate directions by Saint Peter and Saint Paul who circle the dome, meeting at a throne with a jeweled crucifix resting on a purple cushion.


Further references:

Arian Baptistry
Justification for the inclusion to the World Heritage List
http://www.turismo.ravenna.it/binary/turismo_ravenna/arte_monumenti/ariani.1102599087.pdf

The ICOMOS evaluation of this site
http://whc.unesco.org/archive/advisory_body_evaluation/788.pdf

The Baptistry at Pisa




Exterior:






Interior:













Inside the Dome

The height of the Baptistry at Pisa is 54.85 metres from the foundations to the top of the dome, excluding St. John’s statue. The external diameter amounts to 38.8 metres, the internal to 35.50 metres.

Like the Cathedral at Pisa, the round-shaped Baptistery is surrounded by columned arcades, and is made of white marble inlaid with grey bands. Not octagonal but circular.

There is an an octagonal baptismal font by Guido da Como, flanked by Nicola Pisano’s Pulpit (1260). The pulpit has become a model for its type.

A spiral staircase, which became a recurring element in the Tower, leads up to the women’s gallery which is roofed with a barrel vault and looks into the central area through a series of round- headed arches.

The roof consists of a double dome: the internal dome is a dodecagonal truncated pyramid, whereas the external one is barrel vaulted and surmounted by a cupola.

The space and shape layout are original. They contribute to the harmonious aspect of the monumental complex and reflect the Byzantine and Islamic influences of the Cathedral dome and the Gothic style of the works by Nicola and Giovanni Pisano.

The Baptistry was constructed in three phases.

The First Phase: Diotisalvi’s work (1152-1180)

The current Baptistery structure was mainly conceived by Diotisalvi, who was in charge of its construction from 1152 to about 1180 ca., until the completion of the top of the arches in the first order and of the inside columns and piers, excluding the capitals.

Diotisalvi’s project was influenced by the political and civil events marking the Cathedral foundation: events related to the Holy Wars were reflected in the Baptistery shape, which was conceived to resemble the Holy Sepulchre.

Consistent with Diotisalvi’s style, instead, is the great portal decoration with strong Byzantine influence, which presumably dates back to the 13th century, according to comparison with accurately dated works by the same workshop.

The Second Phase: 1246-1270

The construction of the baptismal font and of the presbytery balustrade built in 1246 by the Lombard architect Guido Bigarelli followed resumption of the work and the arrival of Nicola Pisano who, with his son, extensively modified Diotisalvi’s structure. Indeed not only did Nicola Pisano build the pulpit (1260), which became a model for this kind of fixture, but also crowned the external arcades with a solemn series of busts placed within a complex structure of niches, enriched with decorations later completed by Giovanni Pisano.

The Third Phase: Cellino di Nese’s Workshop (1362-1386)

Finally, the construction of the women’s galleries and the daring double-dome roof reached completion under Cellino di Nese, Master builder of the Baptistery since 1362. In 1384-86 the Baptistery had already gained its current aspect: in Scenes from Saint Ranieri’s Life placed in the Camposanto, Antonio Veneziano depicted it complete with the dome and the cupola. Like the Cathedral, the construction of the lead-plated roof came to a halt probably due to economic difficulties and was later completed with ad hoc large roofing tiles to fit the unusual dome border.

Galileo Galilei was baptised there on 19 February 1564.

The accoustics are also noteworthy. Every 30 minutes or so, the attendants will perform to illustrate the echoing qualities of the structure.

It is still in use as a Baptistry despite being a national monument.


References

Pisa: Pulpit in the Baptistry
http://www.bluffton.edu/~sullivanm/italy/pisa/baptistrypulpit/pulpit.html

Also the following websites for more information and images:

http://www.kfki.hu/~/arthp/html/p/pisano/nicola/1pisa.html
http://www2.art.utah.edu/cathedral/pisa_bapi.html
http://www.fullscreenqtvr.com/pisa

A daguerreotype of the cathedral Baptistry at Pisa, Italy, by Alexander John Ellis in 1841
http://www.scienceandsociety.co.uk/results.asp?image=10435381

The Baptistry at Parma






Part of Dome at Parma Baptistry


Wall fresco at Parma Baptistry

One of the most beautiful and most important baptistries in Europe is that at Parma.

It was begun in 1196 by Benedetto Antelami (c. 1150 – c. 1230). Here, he made the lunettes of the three portals: on the outside portraying the Adoration of the Magi, the Last Judgement and an Allegory of Life, on the inside the Flight into Egypt, the Presentation at the Temple and David playing the Harp. Also on the inside can be seen personifications of the months and the seasons.

It is one of the most significantg Romanesque Gothic buildings in Europe. It is octagonal in shape and built from rose coloured marble from Verona. It has four stories surmounted by a series of arches and eight small steeples.

The last storey was added at the end of the thirteenth century and the beginning of the fourteenth century.

The inside of the cupola of the Baptistry was frescoed in the second half of the thirteenth century, influenced by Byzantine concepts.

It is divided into six concentric scenes.

The first shows the life of Abraham with pictures of the four elements, the four seasons, the four rivers of Eden and the four elements of the body.

There is also a representation of the life of St John the Baptist which one might expect in a Baptistry.

Also represented is Christ in Glory with the Virgin and St John the Baptist; then the Apostles and the four evangelists; Heavenly Jerusalem within its walls; then the red sky of eternal Love.

In the fourteenth and fifteenth centuries the lower walls were covered with frescoes by Emilian artists such as il Maestro di Gerardo Bianchi, il Maestro del Trionfo della Morte, Niccolò da Reggio, and Bertolino da Piacenza.

For more information and images, see:

45 second video clip: "Antelami on The Baptistry of Parma"
http://www.rolandcollection.com/home.aspx#D746

VML Inside View of Parma Baptistry:
http://vrm.vrway.com/projects/parma/parma.html

360 degree interior view of the Baptistry
http://www.mediaview.it/mvt/fabbriceria/tour2.html

Official web site
http://www.cattedrale.parma.it/page.asp?IDCategoria=501&IDSezione=2275

The Lateran Baptistery, Rome




The domed octagonal Lateran Baptistery stands somewhat apart from the Basilica di San Giovanni in Laterano, Rome. This baptistery was founded by Pope Sixtus III in 440, perhaps on an earlier structure.

It served as a model for other baptistries in Western Europe.

More information and pictures can be found at Roman Art Lover

Baptistries

In the early Christian Church, the catechumens were instructed and the sacrament of baptism was administered in the baptistry.

The sacramental importance and sometimes architectural splendour of the baptistry reflect the importance of baptism to Christians.

Separate baptistries belong to a period of the Church when great numbers of adult catechumens were baptised, and when immersion was the rule.

Some of the older baptistries were very large that councils and synods were held in them.

It was necessary to make them large, because in the early Church it was customary for the bishop to baptise all the catechumens in his diocese (and so baptistries are commonly found attached to the Cathedral and not to the parish churches), and also because the rite was performed only two or three times in the year.