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Wednesday, October 14, 2009

St Thérèse of Lisieux at Westminster Cathedral


Nuns at Westminster Cathedral before the relics of St Thérèse of Lisieux

This evening I was at Westminster Cathedral in London to see the relics of St Thérèse of Lisieux

The Cathedral was full at 6pm. The queue to see the relics was about an hour.

The weather was pleasant. Everyone was calm and quiet.

The atmosphere outside the Cathedral was like everyone was waiting for a special occasion - even in the rush hour when half of Whitehall seemed to be rushing past to get home via Victoria Station.

There is a large screen in the piazza which alternates between showing services in the Cathedral and other talks about The Little Flower.

There were some queue jumpers but thankfully they seem to be very few.

I was struck by (and very pleased to see) the large number of young people including young people who were coming by themselves and in groups (without adult supervision) to see the relics

If you have not managed to go, please try and you`ll be impressed by the experience

Tuesday, October 13, 2009

Thebaid












Attributed to Gherardo di Jacopo Starnina 1354 -1409/13
Thebaid
c. 1410
Tempera on wood, 80 x 216 cm
Galleria degli Uffizi, Florence


The Thebaid or Thebais is the region of ancient Egypt containing the thirteen southernmost nomes of Upper Egypt, from Abydos to Aswan.

It acquired its name from its proximity to the ancient Egyptian capital of Thebes.

Around the 5th century, since it was a desert, the Thebaid became a place of retreat of a number of Christian hermits, and was the birthplace of Pachomius.

In Christian art, the Thebaid was represented as a place with numerous monks

The eremetical life was introduced into the Lower Thebaid by St. Anthony.

The Thebaid was a popular subject in 15th-century painting. It developed in Tuscan painting about the middle of the fourteenth century.

The Thebaid saints include St Jerome, St Anthony Abbot, and St John the Recluse amongst many others

They widen their view to encompass many stories and many individuals

There is no foreground, no centre-stage. Everything is pictorially equal.

The scene is full of stories: scenes from the lives of the desert fathers. Episodes are separated by small groupings separated by trees and piles of rock.

Monday, October 12, 2009

No worst, there is none



Sir David Young Cameron 1865 - 1945
The Hill of the Winds
about 1913
Oil on canvas
116.80 x 132.70 cm
The National Gallery of Scotland, Edinburgh




Sir David Young Cameron 1865 - 1945
Ben Ledi
1911
Etching and drypoint on paper
37.70 x 30.20 cm
The National Gallery of Scotland, Edinburgh




James Craig Annan (1864 - 1946)
The Dark Mountains
1890
Photogravure on paper
15.00 x 21.00 cm
The National Gallery of Scotland, Edinburgh




Ian Cheyne (1895 - 1955)
Hell's Glen
1928
Colour woodcut on paper (16/20)
25.20 x 29.80 cm (paper 28.00 x 32.10 cm)
The National Gallery of Scotland, Edinburgh




`No worst, there is none. Pitched past pitch of grief’


NO worst, there is none. Pitched past pitch of grief,
More pangs will, schooled at forepangs, wilder wring.
Comforter, where, where is your comforting?
Mary, mother of us, where is your relief?
My cries heave, herds-long; huddle in a main, a chief
Woe, world-sorrow; on an age-old anvil wince and sing—
Then lull, then leave off. Fury had shrieked ‘No ling-
ering! Let me be fell: force I must be brief’.

O the mind, mind has mountains; cliffs of fall
Frightful, sheer, no-man-fathomed. Hold them cheap
May who ne’er hung there. Nor does long our small
Durance deal with that steep or deep. Here! creep,
Wretch, under a comfort serves in a whirlwind: all
Life death does end and each day dies with sleep.

Gerard Manley Hopkins (1844–89).

God's wheat



Vincent van Gogh (1853–1890)
Wheat Field with Cypresses 1889
Oil on canvas 28 3/4 x 36 3/4 in. (73 x 93.4 cm)
The Metropolitan Museum of Art, New York



Vincent van Gogh (1853–1890)
Wheatfield with a Reaper, 1889
Oil on canvas 73 X 92 cm
The Van Gogh Museum, Amsterdam

Saint Ignatius of Antioch, martyr (also known as Theophorus ("God Bearer")) (ca. 35 or 50-between 98 and 117) was among the Apostolic Fathers, was the third Bishop and Patriarch of Antioch, and was possibly a student of John the Apostle.

Saint Ignatius's most famous quotation, however, comes from his Letter to the Romans:

“I am writing to all the Churches and I enjoin all that I am dying willingly for God's sake, if only you do not prevent it. I beg you; do not do me an untimely kindness. Allow me to be eaten by the beasts, which are my way of reaching to God. I am God's wheat, and I am to be ground by the teeth of wild beasts, so that I may become the pure bread of Christ.”— Letter to the Romans"

This image stuck in the mind of Saint Thérèse of the Child Jesus and of the Holy Face who in her Autobiography wrote:

“Like the Prophets and Doctors, I would be a light unto souls, I would travel to every land to preach Thy name, O my Beloved, and raise on heathen soil the glorious standard of Thy Cross. One mission alone would not satisfy my longings. I would spread the Gospel to the ends of the earth, even to the most distant isles. I would be a Missionary, not for a few years only, but, were it possible, from the beginning of the world till the consummation of time.

Above all, I thirst for the Martyr’s crown. It was the desire of my earliest days, and the desire has deepened with the years passed in the Carmel’s narrow cell. But this too is folly, since I do not sigh for one torment; I need them all to slake my thirst.

Like Thee, O Adorable Spouse, I would be scourged, I would be crucified! I would be flayed like St Bartholomew, plunged into boiling oil like St. John, or, like St. Ignatius of Antioch, ground by the teeth of wild beasts into a bread worthy of God.”


Wheat and wheatfields are a recurrent theme in the works of Van Gogh especially in the later years. In a letter to his sister, Wilhelmina van Gogh, on 2 July 1889 Vincent Van Gogh wrote:

“. . . What else can one do, when we think of all the things we do not know the reason for, than go look at a field of wheat? The history of those plants is like our own; for aren't we, who live on bread, to a considerable extent like wheat, at least aren't we forced to submit to growing like a plant without the power to move, by which I mean in what way our imagination impels us, and to being reaped when we are ripe, like the same wheat?”


Sunday, October 11, 2009

Callistus I


Odilon Redon (1840 - 1916)
Head of a Martyr 1877.
Pencil crayon on paper. 37 x 36 cm.
Rijksmuseum Kröller-Müller. Otterlo



Pope Callixtus I or Callistus I, was pope from about 217 to about 222, during the reigns of the Roman Emperors Heliogabalus and Alexander Severus. He was martyred for his Christian faith and is a canonized saint of the Roman Catholic Church

But who was Pope Callixtus I ? Why is he important to merit inclusion in the Calendar ?

The Vatican website has an interesting article from 1997

It is by Enrico Dal Covolo entitled The Catacombs: The Destination of the Great Jubilee

"The notes we propose here intend to recall the circumstances and protagonists of the Christian community in Rome at the beginning of the third century. Bishop Callistus (217-222), who gave his name to the famous catacombs on the Appian Way, had a privileged role in this community.

The history of Callistus

According to the Liber pontificalis (the section we are concerned with here was compiled in the sixth century), Callistus was Natione Romanus, ex patre Domilio, de regione Urberavennantium: so he was born in Trastevere, the dock area of Rome, where the sailors from the Ravenna fleet were quartered. The "first act" of his story is narrated by an anything but impartial source. This is a second pseudo-Origen series of books Against all heresies, published for the first time in Oxford in 1851. Very soon these books were attributed to a certain Hippolytus, whom we will speak of later.

According to the ninth book of this series, at the time of the Emperor Commodus (180-192), Callistus was in Rome, a slave of Carpophorus, who in his turn had been freed from the emperor's household. He was tried twice, once for the failure of Carpophorus' bank, the other for offences during the Jews' religious functions. Condemned ad metalla [to the quarries] in Sardinia, he was freed through the intercession of Marcia, the emperor's concubine.

The "second act" of his story takes us to Rome. Zephyrinus, the successor of Pope Victor (189-199) put Callistus in charge of the catacomb complex on the Appian Way: a prestigious appointment, and one of mediation between the Christian community in Rome - which were the legal owners and administrators of the property by rights of association - and the civil authorities. On the death of Zephyrinus in 217, Callistus was elected bishop. He did his utmost to enter into dialogue - certainly not an easy one - with the two opposing theological movements in the Roman community: on the one side, those who supported the Logos and its personal subsistence, on the other those who upheld Monarchianism, i.e., the rigid unity of God. The greatest danger of the former was "ditheism" (professing two gods: the Father and the Son), while the danger of the latter was "modalism" (the Father and the Son would be merely two different "modes of self-manifestation" of the one God). Among the supporters of the Logos the author of the Confutation includes himself, whereas he accuses the Pope of being in league with the latter.

«After the death of Zephyrinus», our source attests, «believing he had attained what he desired [i.e., the episcopate], Callistus excommunicated Sabellius», the pioneer of the Monarchian heresy, «thus thinking he would be able to avert the Church's accusation of heterodoxy: in fact he was an unscrupulous cheat, and for some time had won everyone over to his side. His heart was full of poison and his mind void of ideas. He was even ashamed of telling the truth, because he had publicly insulted us as ditheists, and on the other hand he was continually accused by Sabellius of betraying his first belief».

The testimony - severely invalidated by the author's passion - is however useful for reconstructing the extremely difficult position of Bishop Callistus, who was certainly not an observer, but he felt the responsibility of his office very much. In fact, his behaviour shows he was a pastor much more than a theologian.

As long as it seemed possible, the Pontiff tried to find a middle way which would allow theological pluralism and safeguard ecclesial communion. But when he realized that compromise was dangerous for orthodoxy, he excommunicated the two extreme wings (first Sabellius, and then the author of the Confutation), and so he strengthened communion in the Church community. In this way Callistus - very different to how it appears in our book of the Confutation - shows he is a prudent and diligent pastor, capable of governing energetically the community entrusted to him.

The "last act" in the story of Callistus reveals the shepherd, who gives his life for his sheep. Here we abandon the Confutation of all heresies and consider the Pope's Acta martyrii.

According to the somewhat hagiographic-legendary indications of a later elaboration, these acts are probably the only ones, among the many that date from the Empire of Alexander Severus (222-235), which contain a historically acceptable "core" and a correct reference to the emperors in question (Alexander and his predecessor Antonino Heliogabalus). Now, according to our sources, it seems that in the year 222 - so in the same chronological context as the uprisings that accompanied the tragic end of Heliogabalus and his mother Soemia - the Pope was dragged from the house where he lived in Trastevere, thrown into a well, and stoned (... per fenestram domus precipitari, ligatoque ad collum eius saxo, in puteum demergi, et in eo rudera cumulari). The account in the Acts is substantially confirmed by the excavations and reports of A. Nestori (1968-1985) regarding the catacombs of Calepodius on the Aurelian Way.

In fact it is known that Callistus was not buried in "his own" catacombs, evidently because the Christians of Trastevere found it more convenient to hide the remains (together with those of the priests Calepodius and Aesculapius, who were murdered with him) on the Aurelian Way, rather than on the Appian Way. Now, the discovery of Callistus' original tomb - transformed in the fourth century by Pope Julius into a cemeterial basilica - confirms the decisive affirmation of the Depostio Martyrum (14 October), according to which Callistus was buried at the third mile on the Aurelian Way. Finally, Nestori's excavations brought to light some paintings from the cemeterial basilica dating at the latest from the seventh or eighth centuries, which in their turn confirm the cruel dynamics of the martyrdom transmitted by the Acts (scene of the stoning at the well and the martyr's burial).

But the story of Callistus does not end with his death, if it is true that the Christians, on bad terms with the Trastevere innkeepers (the dock area was famous for the quantity of its cellae vinariae [wine cellars] and popinae [eating-houses]) were willing to institute legal proceedings in order to use the place sanctified by his martyrdom for their religious observances. On his part, the Emperor Alexander Severus, who succeeded Heliogabalus in 222, took a stand officially so that the contest would be solved in the Christians' favour: "He declared (rescripsit) it more opportune" the Storia Augusta declaims literally, "that that place be dedicated in any case to divine worship, rather than be given to the popinarii".

In short - from what we have been given to understand - this is what must have happened. We know that the house where the Pope was born was in Trastevere. With all probability Callistus himself changed it into the domus ecclesiae and set it aside for liturgical celebrations. As we have already said, he was dragged from this house and taken to the area below it, where he was martyred. In memory of their bishop, the Christians wanted to rescue that place from the profanations of the popinarii, at the cost of involving the Emperor himself in their cause (on the other hand, Alexander Severus' tolerance, if not also his liking for Christians, was well known).

So Matthiae, in his famous book on The Churches of Rome from the fourth to the tenth Century goes so far as to say that among the first centres of Christian worship in Rome "the oldest, whose historical origins we can know today with absolute certainty and whose site can be specified with good approximation, is the titulus Callisti... Near the present-day Church of St Mary in Trastevere the small church of St Callistus could mark the exact spot where the ancient titulus rose". Much later, in the ninth century, the bodies of the martyrs Callistus and Calepodius were transferred to the church of St Mary in Trastevere. Since then Callistus has rested beside his home.

The "question" of Hippolytus

According to the reconstruction confirmed for more than a century by historical critical essays, Hippolytus - a prestigious representative of the Christian community in Rome, a learned theologian of the Logos and champion of a rigid moral discipline - was at loggerheads with Zephyrinus, and above all with his successor Callistus.

In fact this was due not only to doctrinal differences, attested by the Confutation of all heresies, but also to personal reasons of ill-conceived envy, because Callistus had been chosen instead of him as Bishop of Rome. The conflict came to a head and there was a total breakdown between them. Hippolytus had himself nominated bishop and founded his own Church, dragging with him into the schism part of the clergy and faithful of Rome. In this way Hippolytus became the first «antipope» in history. The schism continued during the papacy of Pontian (230-235). But he - as we will see - managed to bring Hippolytus and his group back into the Church communion.

Both Pontian and Hippolytus were involved in the persecution which - according to Eusebius - Maximinus the Thracian unleashed against the Christians "because of his hatred towards Alexander Severus, appointed mainly by Christians". Consequently, on the death of Alexander in 235, Pontian and Hippolytus were exiled to Sardinia and condemned to the metella.

Then Pontian, the first in history, resigned as bishop of Rome. It seems that he did this above all so that the Church would not be left in difficulties with his unavoidable absence, but also in order to make it easier for Hippolytus to return to the community. So Pontian had the joy of welcoming the reconciled Hippolytus, and together they both shared the palm of martyrdom. Finally, in the list of the depositions of the bishops of Rome which precedes the Liber Pontificalis, we read that Hippolytus was buried in Tiburtina, whereas Bishop Pontian was buried in the catacomb of Callistus.

In actual fact this reconstruction is based on a skilful combination of sources. It represents the final result of a confusion of personages, probably homonymous, which must have occurred very early. Already the first Church historians, Eusebius and Jerome, were its victims in the fourth century. Eusebius, in particular, speaks of Hippolytus as the "head of a Church", and he attributes a certain number of literary works to him, including a Computo Pasquale; Jerome explains that Hippolytus was a bishop, but he confesses that he has not managed to clarify his See.

This confusion of personages is intensified by a couple of facts which bear two symmetrical dates: 1551 and 1851. In 1551 a badly mutilated statue of a person on a throne came to light. On both sides of the throne and on the right rear upright post there were some carved inscriptions. There one could read a list of works and a Computo Pasquale, which was immediately identified with the one attributed by Eusebius to Hippolytus. Therefore, in restoring the statue between 1564 and 1565, Pirro Ligorio named it «Hippolytus, bishop of Porto, who lived during the reign of the Emperor Alexander». So this is why the list of works engraved on the throne, together with the Computo Pasquale was attributed to Hippolytus.

In 1851, instead, E. Miller published for the first time, under the name of Origen, the Confutation against all heresies. The first book had been known since from 1701; the second and third are still missing; the books from the fourth to the tenth, recovered in a Greek manuscript from Mount Athos, are now in Paris. Very soon the block of ten books was attributed to that same Hippolytus portrayed in the statue discovered three hundred earlier.

The brilliant reconstruction, confirmed by the authority of A. von Harnack and generally included in text books, thus ended up by identifying Hippolytus as a very prolific writer - comparable to Origen for the vast amount of his interests, if not for his speculative depth -, an exegete and homilist, a anti-heretical writer, chronicler and polemicist.

But the difficulty in attributing to the same author works that were culturally, theologically and linguistically different, turned out to be the wedge capable of demolishing the whole building. The first attack on the "tradition" was launched in 1947 by P. Nautin, and there were two others in 1976 and 1988 by a group of Italian scholars, among whom were V. Loi, who died prematurely, M. Simonetti and - with regard to the famous statue - M. Guarducci. At present, whatever hypothesis one may wish to adopt, the "question of Hippolytus" is far from having a satisfactory solution for all its aspects: in any case Loi's and Simonetti's solutions to divide the works of Hippolytus between two homonymous writers seems to interpret the facts we have better than any other.

According to this hypothesis - which seems very probable - we should distinguish at least two people with the name Hippolytus: an Asian Hippolytus, to whom should be attributed above all the block of exegetic works, and a Roman Hippolytus, who could coincide with the martyr mentioned in the list of the Depositions. There is no reason to doubt the historical existence, martyrdom and deposition of this Hippolytus, even though the details in his biography need to be subjected to a careful critical examination.

Conclusions

The historic remembrance of the catacombs of St Callistus have allowed us to recall an eventful and interesting "section" of the Christian community of Rome at the beginning of the third century. From this we can take at least two points for reflection, which may be of some use to cultural and pastoral workers who will take pilgrims to the catacombs.

First of all a general methodological reflection. The first centuries in the Church's history, and especially the memories of the catacombs, are often dealt with in a « pre-Christian» manner. Too much space is still given to uplifting little stories which do not stand up to critical analysis. So superficial emotion, which enters into a state of crisis in confrontation with science, runs the risk of becoming a "stumbling-block" instead of an occasion for growing in the faith. From this point of view it will also be opportune to examine again very carefully the publications for pilgrims.

In actual fact this is an undertaking that has already been started admirably: as an example we could mention the successful book by A. Baruffa, Le catacombe di San Callisto. Storia - Archeologia - Fede [The catacombs of St Callistus. History - Archaeology - Faith], published in its third edition by Libreria Editrice Vaticana, and now translated into several languages.

The other reflection concerns the subject-matter we have discussed. What teaching can be drawn from it? More in general, what kind of teaching can we obtain from the history of the early Church? The question is very complex and it demands a detailed answer. In fact, if we are to reap the heritage and teaching of the early Church, we must overcome two extreme contrasting dangers.

On the one hand there is the danger of those who expect to find in the Christian origins idealized formula or remedies that can be used immediately in the Church's today. Vice versa, the paradigmatic "stories" of Callistus and Hippolytus show that the pilgrim Church in the world is the manifestation of the divine and the human: the good seed grows in her path, but the enemy has sown darnel there. Thus recourse to the experience of the early Church can never exonerate the believer from serious discernment.

It is true, for example, that before the society of the second and third century Christians were the subject of a "new culture" in close confrontation between the classical heritage and the Gospel message: but the patristic solutions to the faith-culture dialogue (as the personalities of Callistus and, as far as we can know, that of Hippolytus demonstrate) were not in any way unambiguous. In any case they must be considered as « historic accomplishments, and they do not possess, as such, any other teaching than that of history, which in itself is already very lofty» (R. Cantalamessa). The other danger is that of those who are unwilling to accept the "original charisma".

On our part we are convinced that the study of the ancient Christian witnesses is important, and even essential, for the Church of all times. In fact the first period in the Church's history - of which Nicaea is in many aspects an objective goal - preserves its charisma: it is the period in which the deposit of the apostolic faith is consolidated in the Church's tradition.

To remain with the example we have just cited, it must be recognized that the style of encounter between faith and culture in the first three centuries bore decisive fruits - fruits which will never be forgotten - on the level of language, preservation of different cultures and the whole of history, the individuation of a common "Christian soul" in the world and the formulation of new proposals for human society. So it is very useful to go back to the "Church of the catacombs" and study it carefully in order to understand and interpret our own ecclesial season, now on the threshold of the third millennium."



Canonisation of Saint Damien of Molokai, SS.CC. (January 3, 1840 – April 15, 1889)


Saturday, October 10, 2009

A Heavenly Vision


The Blessed Fra Angelico 1400-1455
Coronation of the Virgin
1440-41
Fresco, 184 x 167 cm
Convento di San Marco, Florence


This is the fresco on the wall of Cell 9 of the Convento di San Marco in Florence

Each scene in each cell is meant to be an individual meditation.

The saints represented on the lower part are (from the left) St Thomas, St Benedict, St Dominic, St Francis, St Peter the Martyr and St Mark.

At the feet of the Madonna, Dominic and Francis are present. It is a common scene in Dominican and Franciscan art. The image makes sense only when we know of the often bitter rivalry between the religious orders founded by the two saints.



On 18th February 2004, Monsignor Mauro Piacenza at the Basilica in Florence said:

"Nell’Incoronazione della Vergine contempliamo invece la visione ultraterrena ed escatologica. Cristo “il più bello tra i figli dell’uomo”(Salmo 44), pieno di grazia e di soavità, depone un diadema finissimo sul capo della Madre: leggermente e delicatamente inchinata, in atteggiamento di umiltà, purezza, ubbidienza, come nel momento dell’Annunciazione. Tutta candida e tutta bella.

Con Gesù e Maria e con gli eletti che li attorniano, il pittore degli angeli apre la visione del paradiso. Beata pacis visio!"

"In the Coronation of the Virgin we meditate on a worldly and eschatological vision. Christ as "the fairest of the sons of men" (Psalm 44), full of grace and sweetness, puts a tiara on the most elegant head of his Mother: her head, gently and slightly bowed and in an attitude of humility, purity, obedience, as at the time of the Annunciation. All gleaming white and all beautiful.

With Jesus and Mary and the elect who surround them, the painter of Angels dsiplays a vision of paradise. Beata pacis visio!"


Dominican monastic communities regarded visual images as crucial for prayer, meditation, and study, and therefore they mandated the use of images in the dormitories of the monastery.

For them art was not a commodity, a deluxe product of consummate artistic technique, an investment or an object of exchange to be bought, sold, and transferred at will from one owner and one location to another, nor was it basically a source of pleasure. They believed that art should be part of a particular community’s daily life and an expression of its highest values, inseparably linked to the public building or the private purpose (such as prayer or remembrance) for which it had been commissioned

The motto of Fra Angelico was: "To paint Christ, one must live Christ."

In her 1856 essay “A Natural History of German Life,” George Eliot wrote:

"The greatest benefit we owe to the artist, whether painter, poet, or novelist, is the extension of our sympathies. Appeals founded on generalizations and statistics require a sympathy ready made, a moral sentiment already in activity; but a picture of human life such as a great artist can give, surprises even the trivial and the selfish into that attention to what is apart from themselves, which may be called the raw material of moral sentiment.”
[Marian Evans], “A Natural History of German Life,” Westminster Review 66 (July 1856), 51-79. Reprinted in Nathan Sheppard (ed. and introd.), The Essays of “George Eliot.” Complete (New York: Funk & Wagnalls, 1883), 141-77. 145
.

Fragments of Heaven






Alonso Cano (1601 - 1667)
Saint John the Evangelist's Vision of Jerusalem
c. 1635 - c. 1638
Oil on canvas
Image size: 82.6 x 43.8 cm
The Wallace Collection, London



This painting was part of the altarpiece dedicated to St. John the Evangelist that was commissioned on 23 November 1635 from Alonso Cano by the convent of Hieronymite nuns of Santa Paula in Seville.

The paintings which constituted the large multi-paneled altarpiece of the visions of St John have since been dispersed such as in The Louvre in Paris.

Of the New Jerusalem, St John wrote:

"The wall was made of jasper, and the city of pure gold, as pure as glass. The foundations of the city walls were decorated with every kind of precious stone. The first foundation was jasper, the second sapphire, the third chalcedony, the fourth emerald, the fifth sardonyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh jacinth, and the twelfth amethyst. The twelve gates were twelve pearls, each gate made of a single pearl. The great street of the city was of pure gold, like transparent glass” (Revelation 21: 18-21).


A virtual cacophony of precious gems : a riot of colour to attract and dazzle the eye and awe the spectator

In George Eliot`s, Middlemarch (New York: W. W. Norton, 1977), Dorothea sees one of the pieces of jewellery of Celia, “a fine emerald with diamonds,” just as the sun, emerging from behind a cloud, lights it up, and she is transfixed by the gem’s beauty:

“‘How very beautiful these gems are!’ said Dorothea, under a new current of feeling, as sudden as the gleam. ‘It is strange how the colours seem to penetrate one, like scent. I suppose that is the reason why gems are used as spiritual emblems in the Revelation of St John. They look like fragments of heaven’”

Cano studied painting in Seville with Pacheco (Velázquez was his fellow-student) and sculpture with Montáñez, and stayed in the city from 1614 to 1638. He was forced to leave the city in 1638 because of a duel with the painter Sebastián de Llano y Valdés. He then moved to Madrid to become painter to the Count-Duke Olivares and was employed by Philip IV to restore pictures in the Royal collection.

Wednesday, October 07, 2009

Divini Illius Magistri



Gustave Klimt (1862-1918)
Portrait of the Pianist and Piano Teacher Joseph Pembauer
Oil on canvas, 1890
27 1/8 x 21 5/8 inches (69 x 55 cm)
Tiroler Landesmuseum Ferdinandeum, Innsbruck


On 31st December 1929, Pope Pius XI issued his Encyclical on Catholic Education Divini Illius Magistri

In these days of financial crisis and cutbacks it is still a useful and important document.

I notice from the American religious blogs that members of the United States Supreme Court recently attended the Red Mass prior to the opening of the Court Term.

Which brings up the subject of Divini Ilius Magistri again.

Is this the only Papal Encyclical to cite and quote with approval from a judgement of the United States Supreme Court ?

"37. This incontestable right of the family has at various times been recognized by nations anxious to respect the natural law in their civil enactments. Thus, to give one recent example, the Supreme Court of the United States of America, in a decision on an important controversy, declared that it is not in the competence of the State to fix any uniform standard of education by forcing children to receive instruction exclusively in public schools, and it bases its decision on the natural law: the child is not the mere creature of the State; those who nurture him and direct his destiny have the right coupled with the high duty, to educate him and prepare him for the fulfillment of his obligations.[28]
...
Footnote 28. "The fundamental theory of liberty upon which all governments in this Union repose excludes any general power of the State to standardize its children by forcing them to accept instruction from public teachers only. The child is not the mere creature of the State; those who nurture him and direct his destiny have the right coupled with the high duty, to recognize, and prepare him for additional duties." U.S. Supreme Court Decision in the Oregon School Case, June 1, 1925."


For the Oregon School Case (Walter M. Pierce vs. The Society of the Sisters of the Holy Names of Jesus and Mary) SEE HERE.

Tuesday, October 06, 2009

Another View of Klimt



Gustav Klimt 1862-1918
Farm Garden with Crucifix
1911-1912.
OIl on canvas
Destroyed by fire in 1945 at Schloss Immendorf


Klimt’s landscapes are now a highly admired aspect of his oeuvre.

Landscape painting enabled him to experiment, free from the pressure of commissioned work and the distractions of the metropolis.

It is utterly removed from the portraiture and allegory that filled so many of his works in Vienna.

Many were painted in the summer holidays.

In a letter written around the time he painted the above painting, he wrote:

"Early in the morning, mostly about six, a little earlier or later--I get up--if the weather is good I go into the forest nearby--I'm painting a little beech wood there (in the sun) with a few conifers in between, that lasts until 8 o'clock, then we have breakfast, after that a swim in the lake, taken with due care--after that again a little painting, when the sun's shining a picture of the lake, when the weather's overcast a landscape from the window of my room--often I don't paint in the morning but instead study my Japanese books--outside in the open. So midday comes, after eating, a little nap or reading--until afternoon coffee--before or after coffee a second swim in the lake, not regularly but mostly. After coffee it's painting again--a large poplar at twilight with a storm coming on--now and again instead of this evening painting there's a little game of skittles in a small place not far away--but that's rare--then dusk--dinner--then in good time to bed and again in good time up the next morning. Now and again in this division of the day there's a little rowing in order to get my muscles toned up" (quoted in F. Whitford, Klimt, London, 2004, p. 180).


On May 7 1945, an SS unit arrived at Immendorf Castle in southern Austria. That morning, German forces in Austria had signed their surrender, to take effect the next day.

Schloss Immendorf was a beautiful setting. It contained 13 paintings by Gustav Klimt. According to a 1946 police report, the SS officers "held orgies all night in the castle apartments".

The next day, the SS unit laid explosives in the castle's four towers and walked out. One man went back and lit a fuse, and a tower burst into flames. As the fire spread, explosives in the other towers detonated. Schloss Immendorf burned for days. Nothing survived of its interior, and the gutted shell was later demolished.

According to the eyewitness reports that reached Vienna months later not a single work of art survived.

Saturday, October 03, 2009

The Life of St Teresa of Avila


Print made by Adriaen Collaert (1560-1618) and Cornelis I Galle (1576-1650)
After Pieter de Jode I (?) (1570-1634)
Plate 6 of The Life of St Teresa of Avila: Teresa hearing God's voice. Interior with St Teresa praying in front of an altar, looking up, a nun standing on a balcony beyond at left; unsigned. 1613
Engraving
183 millimetres (trimmed) x 218 millimetres
The British Museum, London


Print made by Adriaen Collaert (1560-1618) and Cornelis I Galle (1576-1650)
After Pieter de Jode I (?) (1570-1634)
Plate 18 of The Life of St Teresa of Avila: John a Crucis and Antonius a Jesu at the convent. St Teresa at left and conversing with St John of the Cross and Antony of Jesus standing at centre, two nuns behind St Teresa, the two men with St Teresa in the background at right; unsigned. 1613
Engraving
183 millimetres (trimmed) x 218 millimetres
The British Museum, London


The Life and the teachings of St Teresa of Avila were not confined to literature. Art helped to spread the message of her Life and work.

The above are two of a series of twenty-five plates showing the life of St Teresa of Avila, dedicated to Roderico Lasso Nino, the head-chamberlain of Archduke Albert of Austria. they were first published at Antwerp, part of The Spanish Netherlands

These plates were published by Adriaen Collaert and Cornelis Galle in 1613 (first edition) and then later republished between 1622 and 1677.

This series of plates was extremely influential in the spread and depiction of the veneration accorded to St Teresa of Avila all over the Spanish Americas. For example, the series served as the basis of a series of sixteen paintings executed by José Espinoza de los Monteros in 1682. These paintings hang now in the Church of the Carmelite Convent in Cuzco, Peru.

The series served as the basis for two series of paintings on the life of the Saint currently in the Convento del Carmen San José (Carmen Alto) in Santiago, Chile. They are known as the Large Series and the Short Series on the Life of Saint Teresa. Both series were produced by an unknown member of the Cuzco School of painting. who was a follower of José Espinoza de los Monteros. The Large Series was produced around 1690 and the Small Series around 1694. See below.



Cuzco School: The Second Conversion of Saint Teresa. ca. 1694.
Convento del Carmen
San Jose. Santiago de Chile


For more see: Mebold S.D.B., Luis (1987) Catálogo de Pintura Colonial en Chile. Obras en Monas­terios de Religiosas de Antigua Fundación. Santiago, Ediciones Universidad Católica de Chile.

See also Nicolás Rodríguez Juárez, Transverberation of Saint Teresa, 1692, Museo Nacional del Virreinato, Tepotzotlán

But by the very nature of the paintings which are narratives or still portraits, the artists cannot convey but a part of what is within the Life and her teachings. She is too big for the canvas. Paintings and artistic depictions cannot fully convey the style and character of the woman, the excitement, passion and verve with which she speaks to and holds her reader.

In her Life she speaks to us from down the centuries with a profundity, freshness and a directness which hold our attention. The Life is her. Energetic, joyful, prayerful, devout, filled with wisdom, totally self-aware and mindful of her limitations, filled with humility but not servile, mystical but filled with the utmost commonsense and utterly grounded in reality, a romantic rebel against what she saw were the failings about her but always obedient, strong willed and passionate but only in the furtherance of her vision and her noble cause. It is the portrait of a noble Soul.

As the then Archbishop of Westminster, Henry E Manning wrote in his Preface to the Life of St Teresa in 1865 (mentioned in the post  two below):

"[T]he five degrees of the knowledge of God, ... are illustrated in a luminous distinctness in the life of S. Teresa, namely the knowledge of faith, of love, of experience, of infusion, and of intuition, or of vision. And it is this knowledge of God which expanded and ennobled her soul to a capacity of the Divine Presence hardly to be surpassed in the examples of the Saints.

And with this one axiom of the spiritual life and of S. Teresa `s theology, that the knowledge of God is the nobility of the soul, I commend this book, beautiful and simple both in its thoughts and in its expressions, to the devout reading and the meditation of all who desire to know and to love God."

The Mystery of the Incarnation

Giovanni Bellini (1430-1516)
Agony in the Garden
Tempera on wood, c.1459
31 7/8 x 50 inches (81 x 127 cm)
National Gallery, London


Sandro Botticelli 1445-1510
Agony in the Garden
c. 1500
Tempera on panel, 53 x 35 cm
Capilla Real, Granada


Jan Gossaert. (Mabuse) (ca.1478-1532)
The Agony in the Garden. c. 1510.
Oil on oak, 85 x 63 cm
Gemäldegalerie, Berlin

Albrecht Dürer 1471-1528
Agony in the Garden
1515
Etching, 221 x 156 mm
Metropolitan Museum of Art, New York


Domenikos Theotokopoulos (El Greco ) (1541,-1614)
The Agony in the Garden
c. 1608
Oil on canvas, 170 x 112,5 cm
Museum of Fine Arts, Budapest

Rowan Williams, the Archbishop of Canterbury, in his biography of St Teresa of Avila emphasised that all Teresa's major writings concentrate on the Incarnation.

In the final chapter of his book, he argued that Christian mysticism is itself deeply misunderstood unless it is seen within the framework of the Incarnation:

"One of the bits of advice that St Teresa of Avila gave to her nuns a few hundred years ago was that it might help you to have a picture of Jesus in your pocket – to remind yourself that what you're trying to open yourself up to in this process is the personal life of Jesus Christ, and therefore a picture or a small Cross (again something to anchor you, something to pull on) can be extremely important. You're not seeking to be absorbed, to merge into something. You're trying to let a real personal life of love – the love of Christ – come alive in you.

And so we can never dispense with that personal side.

Now St Teresa of Avila was writing about that because she wrote in an environment where some people said you've got to get beyond the prayers and the images, into the darkness of God.

To which St Teresa replied, 'well yes, that's fine, you're right, but the only way you do that is in the company of Jesus'.

You have to hold on to that because in prayer you don't just disappear into God, but you come in and with Jesus, so as to share his personal relationship with God the Father."


St Teresa of Avila, in Chapter IX of her Life, describes how she used to meditate early on in her life:

"My method of prayer was this ... As I could not reason with my mind, I would try to make pictures of Christ inwardly; and I used to think I felt better when I dwelt on those parts of His life when He was most alone. It seemed to me that His being alone and afflicted, like a person in need, made it possible for me to approach Him. I had many simple thoughts of this kind. I was particularly attached to the prayer in the Garden, where I would go to keep Him company.

I would think of the sweat and the affliction He endured there. I wished I could have wiped the sweat from His face, but I remembered that I never dared to resolve to do so, for the gravity of my sins stood in the way. I used to remain with Him there for as long as my thoughts permitted it."

This incident upon which St Teresa liked to meditate is the first sorrowful mystery of the Rosary.


Thérèse of Lisieux lived her agony in communion with the agony of Jesus, "experiencing" in herself the very paradox of Jesus's own bliss and anguish:

"In the Garden of Olives our Lord was blessed with all the joys of the Trinity, yet his dying was no less harsh. It is a mystery, but I assure you that, on the basis of what I myself am feeling, I can understand something of it". Last Conversations. Yellow Booklet (6 July 1897): OEuvres complètes (Paris, 1996), p. 1025

St Teresa and the Cardinal



The year 2015 will mark the 500th anniversary of Teresa`s birth.

Those of us who read her in English are dealing with a different language of a different time

Her greatest trials were from good, orthodox spiritual people with considerable positions and influence in the Roman Catholic Church in Spain of her time.

A declaration of her as Doctor Ecclesiae would have shocked the highly patriarchal society of sixteenth century Spain, especially the officials of the Spanish Inquisition.

What was the view or interpretation of St Teresa in the Church of mid-Victorian England ?

In 1865, Lockhart wrote and published The Life of Saint Teresa of the Order of Our Lady of Mount Carmel which was based on quotations from a translation of St. Teresa's Vida. It was edited by Henry Edward Manning, the then newly consecrated Archbishop of Westminster who provided the Preface. The work was published however under the name of Manning alone.

In the second edition of 1867, Manning produced a much more extensive Preface and the quotations are from the second edition.

Some of his thoughts about St Teresa are worth revisiting:

"The life and writings of S. Teresa are a perpetual exposition of the words of S. Paul to the Ephesians :

`That He would grant you, according to the riches of His glory, to be strengthened by His Spirit with might unto the inward man. That Christ may dwell by faith in your hearts : that being rooted and grounded in charity, you may be able to comprehend, with all the saints, what is the breadth, and length, and height, and depth. To know also the charity of Christ, which surpasseth all knowledge, that you may be filled unto all the fulness of God.` Ephesians. iii. 16-19.

Her single and unceasing aim was to unite herself to God, through His Incarnation, with the most expanded vision of her intelligence illuminated by faith, and the most intense union of her will inflamed by charity. This appears from the outset of her life. ...

At seven years old she used to pray to die that she might see God. She read in the lives of saints that the martyrs enter immediately upon the vision of God. She at once desired to be a martyr that she might immediately see God. For this purpose she resolved to escape from her father s house,, and find her way into Africa, that she might be martyred by the Moors.

She secretly left her home, but was overtaken at some distance beyond the walls of Avila, and brought back to her parents. When asked why she had run away, she said, `I ran away because I want to see God, and I must die before I can see Him`. This is the key of her whole life ..."



Pope`s visit to Britain



The attempt to sabotage the visit of Pope Benedict XVI to the United Kingdom has begun.

Father Tim Finigan of The Hermeneutic of Continuity discusses one recent line of attack in a left wing broadsheet newspaper. More importantly he rebuts line by line the hysterical attack.

The main line of attack seems to be try to associate Pope Benedict personally with a lack of activity against priests and other religious who were abusing young children. The attack is emotional and provokes an emotional response gainst the Holy Father. It is gutter journalism.

No doubt there are going to be more of such attacks. One only has to recall the recent ridicule on the visit of the relics of St Thérèse of Lisieux to England.

One has to be vigilant and rebut these accusations.

Friday, October 02, 2009

St Teresa of Avila in English


Peter Paul Rubens 1577-1640
Teresa of Avilà's Vision of the Dove circa 1614
Oil on canvas 97 cm x 63 cm
The Fitzwilliam Museum, Cambridge

As a Carmelite, one of the great influences on St Thérèse of Lisieux was St Teresa of Avila

St Teresa of Avila`s works were widely published and distributed around Europe. Her influence in Europe and where the Continental states had empires was immense.

St Teresa of Avila began to write The Interior Castle on June 2, 1577, Trinity Sunday, during a particularly painful and trying period of her life, and in less than six months had completed her masterpiece on prayer.

Soon after her death in 1582, numerous copies of The Interior Castle were widely distributed. Publication in Spanish began in 1588 just six years after her death.

It spread throughout Spain and then throughout the rest of Europe in translation.

But as regards an English translation, that is another story. It has to be borne in mind that St Teresa of Avila is one of the great figures of the Catholic Counter-Reformation.

The first known English translation was in 1611, published by Henry Jaye in Antwerp. Its full title was The lyf of the mother Teresa of Iesus, foundresse of the monasteries of the descalced or bare-footed Carmelite nunnes and fryers of the first rule. Written by her self, at the commaundement of her ghostly father, and now translated into English out of Spanish. By W.M. of the Society of Iesus. Very profitable for all vertuous and deuout people, and for all those that are desyrous to be such, or at least do not obstinately depriue themselues os so great a benefit.

Who was W.M.? The most reliable conjecture is the English Jesuit Michael Walpole (1570–1624?).

However this would have had to have been smuggled into England because of the Catholic persecution at the time.

It is clear from contemporary sources at the time that in England there was a great shortage of all types of devotional literature for Catholics in England.

It is only from the Continent that the effect of St Teresa of Avila at this time on English literature can be seen.

An underground or samizdat translation of The Autobiography was published by Tobie Matthew in his preface to his 1642 translation of Saint Teresa’s life.

The Life is also to be found in English in the Works of the Holy Mother St. Teresa of Jesus (third part). It was printed in the year 1675, pp. 137-286 (during the Restoration of King Charles II after the Protectorate). It bears the title: The Interiour Castle: or, Mansions. It was by Abraham Woodhead and another, whose name is not known

It appears that it was only in the nineteenth century that a proper English translation was produced and published. This was in 1852. It was by the Rev. John Dalton, and was repeatedly reprinted. It was dedicated to Bishop Ullathorne. It was extremely popular.

It would appear that it was only after 1852 that St Teresa and her thought became well known to English speaking readers. They were already well known to Spanish, Italian, Polish, German, Portuguese and French speakers.

One of the first effects was on George Eliot, who cast Teresa as patron saint of the frustrated bluestocking Dorothea Brooke in Middlemarch. The Prelude to the novel is about the saint.

“Who that cares much to know the history of man, and how the mysterious mixture behaves under the varying experiments of Time, has not dwelt, at least briefly, on the life of Saint Theresa, has not smiled with some gentleness at the thought of the little girl walking forth one morning hand-in-hand with her still smaller brother, to go and seek martyrdom in the country of the Moors? Out they toddled from rugged Avila, wide-eyed and helpless-looking as two fawns, but with human hearts, already beating to a national idea; until domestic reality met them in the shape of uncles, and turned them back from their great resolve. That child-pilgrimage was a fit beginning. Theresa's passionate, ideal nature demanded an epic life: what were many-volumed romances of chivalry and the social conquests of a brilliant girl to her? Her flame quickly burned up that light fuel; and, fed from within, soared after some illimitable satisfaction, some object which would never justify weariness, which would reconcile self-despair with the rapturous consciousness of life beyond self. She found her epos in the reform of a religious order.

That Spanish woman who lived three hundred years ago, was certainly not the last of her kind ...

Here and there is born a Saint Theresa, foundress of nothing, whose loving heart-beats and sobs after an unattained goodness tremble off and are dispersed among hindrances, instead of centring in some long-recognisable deed”

George Eliot, Prelude to Middlemarch: a study of provincial life (1871-1872)