People shelter underground in Zhytomyr, northern Ukraine. / Private archive.
Denver Newsroom, Mar 7, 2022 / 13:00 pm (CNA).
Much like 9/11 was a defining moment for the United States, “the brutal invasion of Ukraine will be a defining moment fo… […]
This past Friday, Mark Brumley (President of Ignatius Press) and Carl E. Olson (Editor of Catholic World Report) took some time to discuss some current events and news:
Bishop Raymond Chappetto, who retired as Auxiliary Bishop of Brooklyn March 7, 2022. / Courtesy of DeSales Media
New York City, N.Y., Mar 7, 2022 / 11:13 am (CNA).
The resignation of Bishop Raymond Francis Chappetto as Auxiliary Bishop of Brook… […]
Alexandria, Virginia City Hall / Ser Amantio di Nicolao via Wikimedia (CC BY 3.0)
Washington D.C., Mar 7, 2022 / 10:00 am (CNA).
The Alexandria City Council will no longer be considering a resolution to honor abortionists, after the city’s mayo… […]
Pope Francis meets with the Order of Malta’s Fra’ Marco Luzzago on June 25, 2021. / Vatican Media
Vatican City, Mar 7, 2022 / 09:35 am (CNA).
The Order of Malta’s future is in Pope Francis’ hands. After a meeting with senior members on Feb. 26, the pope will take time to ponder the proposals for renewal and eventually decide on a path of reform.
Cardinal Silvano Maria Tomasi, the papal delegate to the organization, reported on the meeting in a letter to confreres of the order.
Tomasi stressed that “we explained to the Holy Father that the reform under study keeps and better frames the order as a lay religious order and at the same time consents to the continuation of its charitable, diplomatic and humanitarian action for ‘our lords the sick’ and at the service of the Church.”
The Italian cardinal added that the pope had “decided to keep listening to us, and granted us another hearing. After the meetings, the pope will rule about the projects presented to him.”
Also present at the papal meeting were Fra’ Marco Luzzago, Lieutenant of the Grand Master, members of Tomasi’s working group for the reform, and a delegation representing the order’s members.
In a Feb. 27 press release, the 1,000-year-old institution stressed that “the focus of the meeting was the Order of Malta’s reform.”
It said that “in a letter sent to the Order of Malta’s leaders worldwide, Marwan Sehnaoui, chairman of the steering committee for the constitutional reform process, expressed his gratitude to ‘His Holiness for having dedicated two hours of his valuable time to the Order of Malta.’”
Sehnaoui said: “The Holy Father began and ended the audience by stating that he had taken himself the final decision-making of the critical issues regarding the order’s constitutional reform.”
“Pope Francis listened carefully to the presentations and interventions of both sides. After exchanging views, the Holy Father said there is no urgency in making a final decision. His Holiness also said that he wishes to gather and review more information and that he would probably convene another audience.”
These statements require a close reading. First, by explaining that the order’s diplomatic and humanitarian work will not be affected by the reform, Tomasi implicitly addressed a criticism raised after the circulation of a draft reform text, which described the Order of Malta as “subject to the Holy See.” This triggered concern that the new statutes would dilute the order’s sovereignty.
Although it possesses no real territory, the order has the hallmarks of sovereignty, such as its own official currency, postage stamps, and vehicle registration plates. It has diplomatic relations with more than 100 states and permanent observer status at the United Nations. It also oversees a flourishing humanitarian network that is currently delivering aid to refugees fleeing Ukraine.
Speaking with the National Catholic Register on Jan, 23, Tomasi stressed that in a subsequent draft, the order was no longer described as subject to the Holy See.
“We didn’t keep that expression,” he said, “and it’s not going to be in the text of the constitution that we’re going to circulate.”
He continued: “In a letter to the order, I said that, when we would be finished with the work under the constitution, government, and working group of the special delegate, we would send the text to the ‘fras’ — the religious — to the presidents of the associations, to the sovereign council and the members of the government so that we have everybody’s input and objections — if there were aspects of the constitution or the text that weren’t acceptable or considered objectionable.”
The most important reform is, in the end, that of fras, who are known as first-class knights. Only first-class knights who descend from a family of four quarters of nobility are eligible to be elected as the Grand Master, the order’s religious superior and sovereign. This provision means that fewer than 40 people in the order are able to be considered for the role.
Pope Francis took over the reform process after a fierce debate within the order.
The working group entrusted to draft the new statutes was composed of the canon law expert Father Gianfranco Ghirlanda, Msgr. Brian Ferme, secretary of the Vatican’s Council for the Economy, Maurizio Tagliaferri, Federico Marti, and Gualtiero Ventura.
The group was later enlarged with the addition of a few senior members of the order, including the Grand Chancellor Albrecht von Boeselager. But Boeselager announced in January that he was stepping down from the expanded group. Sehnaoui, president of the order’s Lebanese association, was appointed to take Boeselager’s place, assisted by Péter Szabadhegÿ.
Tomasi refused to recognize the Sehnaoui appointment, and so he could not attend the two-day meeting to discuss the draft text.
It is particularly significant, then, that Sehnaoui was included in the group that met with the pope on Feb. 26. Sehnaoui’s presence might be considered a gesture of detente.
Tomasi sent a letter to the knights after a private meeting with the pope on Jan 29, after the two-day reform meeting, held on Jan. 25-26.
The cardinal said that “the pope has decided that he wants to meet the mixed working group with some members representing the professed, the government of the order, the procurators of the priories and the presidents of the associations, to present to him concrete reform projects.”
So, Tomasi wrote, “the Holy Father, therefore, decided to suspend all other activities until this meeting is taking place, following which he will make a final decision.”
“Therefore, the meeting of the mixed working group of Feb. 22-23 is suspended, and the meetings of the steering committee chaired by President Marwan Sehnaoui are also suspended.”
Tomasi stressed that “any other activity before the meeting with the pope will be considered an act of disobedience to the Holy Father.”
It was a notably harsh statement which indicated that the pope would be taking responsibility for the process.
Knights who took part in the papal meeting told CNA that “they had a positive feeling” and that the pope “listened carefully to their issues.”
Members of the order must now wait to see what the pope decides. It will eventually become clear whether he has chosen to treat the order principally as a religious order or will also consider the vast humanitarian network overseen by this sovereign entity with no territory.
Polish volunteers help Ukrainian refugees arriving at a train station in Przemyśl, southeastern Poland. / Kutsenko Volodymyr/Shutterstock.
Kyiv, Ukraine, Mar 7, 2022 / 07:00 am (CNA).
The leader of the Ukrainian Greek Catholic Church thanked Po… […]
Papal almoner Cardinal Konrad Krajewski, pictured in St. Peter’s Basilica on June 29, 2019. / Daniel Ibáñez/CNA.
Lublin, Poland, Mar 7, 2022 / 05:35 am (CNA).
A Vatican cardinal has said that he will travel as far as he can in Ukraine to expres… […]
A close-up of the copy of Michelangelo’s Vatican Pietà, usually kept at the Vatican Museums. / Ela Bialkowska/OKNO studio.
Rome Newsroom, Mar 7, 2022 / 04:00 am (CNA).
As war rages in Ukraine and the pandemic lingers, Michelangelo’s celebrated Vatican Pietà — and two lesser-known figures he also sculpted — can be deeply meaningful to a pain-wracked world, says a priest and art historian.
Michelangelo Buonarotti’s Pietà depicts a larger-than-life Virgin Mary as she mourns her crucified Son, Jesus, lying limp in her lap. The masterpiece, carved out of Carrara marble, was finished before the Italian artist’s 25th birthday.
Over the course of more than 60 years, Michelangelo created two more sculptures on the same theme — and a new exhibit in the Italian city of Florence brings the three works together for the first time.
The exhibit opened at the Museo dell’Opera del Duomo on Feb. 24, and includes the Florentine Pietà, also called the Deposition, which Michelangelo worked on from 1547 to 1555, and exact casts, or copies, of the Vatican Pietà and Milan Pietà — which could not be moved from their locations.
Msgr. Timothy Verdon, the director of the Museo dell’Opera del Duomo, told CNA by phone that the gallery wanted to do something to show its solidarity with a Feb. 23-27 meeting of mayors and Catholic bishops.
“The images of suffering that the Pietà always implies I think will deeply touch people. I think that visitors will be moved to see these works,” he said. The image of the Pietà evokes “the personal suffering of mothers who hold their children not knowing if their children will survive.”
The 75-year-old Verdon is an expert in art history and sacred art. He was born in Hoboken, New Jersey, but has lived in Italy for more than 50 years.
“So many of the issues that face the Mediterranean world today are forms of suffering,” he said, “and so this ideal series of images of the God who becomes man [and] accepts suffering, and whose Mother receives his tortured body into her arms, these are deeply meaningful.”
“All human situations of suffering and exclusion invite a comparison with the suffering of Christ, the death of Christ. And [the Pietà] condenses and concentrates a devout reflection on that,” the priest said.
The lesser-known Pietàs
Many years after Michelangelo completed the Pietà displayed in St. Peter’s Basilica, he began his Florentine Pietà, which depicts Nicodemus, Mary Magdalene, and the Virgin Mary receiving the body of Christ as it is removed from the Cross.
The 72-year-old Michelangelo worked on the sculpture for eight years before eventually abandoning it in 1555.
He probably began the Rondanini Pietà, which is in Milan, in 1553. Michelangelo continued to work on the piece until just days before his death in 1564.
According to a press release from the city of Florence, “near his own death, Michelangelo meditated deeply on the Passion of Christ.”
One way this is known is because shortly before his death, Michelangelo gave a drawing of the Pietà to Vittoria Colonna, the Marquess of Pescara, on which he wrote: “They think not there how much of blood it costs.”
The line, from Canto 29 of Paradiso, one of the books of Dante’s “Divine Comedy”, is also the subtitle of the Florence exhibition.
Bringing the three Pietàs together into one exhibit gives the viewer the chance to see “the full range of Michelangelo’s reflection on this subject across 60-some years,” Verdon explained.
Not only is the Renaissance artist’s stylistic evolution on display, but also his spiritual development.
“We know that [Michelangelo] was a religious man,” Verdon said. “His interpretation of religious subjects, even in his youth, is particularly sensitive and well informed.”
According to the priest, Michelangelo seems to have had a range of theological influences.
“His older brother was a Dominican friar and in Michelangelo’s old age we’re told that he could still remember the preaching of Savonarola,” Verdon said.
Girolamo Savonarola was a popular Dominican friar, preacher, and reformer active in Renaissance Florence. He spoke against the ruling Medici family and the excesses of the time, and in 1498 he was hanged and his body burned after a trial by Church and civil authorities.
According to the Catholic Encyclopedia, “In the beginning Savonarola was filled with zeal, piety, and self-sacrifice for the regeneration of religious life. He was led to offend against these virtues by his fanaticism, obstinacy, and disobedience. He was not a heretic in matters of faith.”
“That’s an interesting page in cultural history,” Verdon said, “because the early Pietà is done in effect shortly after the Savonarola period, or in the Savonarola period.”
“So we’re talking about an artist to whom this subject means a great deal, and which he is also equipped to treat.”
The artist’s last Pietàs were created, instead, in the context of the Counter-Reformation.
The Florentine Pietà was carved during the same period as the Council of Trent, when the Catholic Church issued its decree concerning the Holy Sacrament of the Eucharist, Verdon pointed out.
The council, he explained, “had to rebut the heretical ideas of Protestant reformers, and so it insists, in a decree on the Eucharist published in 1551, that indeed in the bread and wine, Christ’s Body and Blood are truly present.”
“So Michelangelo, who was personally religious, and who, especially in his later period, worked exclusively for the Vatican, was therefore very close to the changes occurring in Catholic thought, Catholic theology, Catholic devotion,” Verdon said.
The exhibit “really gives us the opportunity to gauge the evolution of a theme from one time to a very different one, from the end of the 15th, to the mid- 16th century.”
The St. Peter’s Basilica Pietà
Verdon said that the Vatican Pietà is the only one of the three to remain in the place it was intended for — above an altar in St. Peter’s Basilica.
The sculpture was originally created for the 4th-century Constantinian basilica, the “Old St. Peter’s Basilica,” which was replaced by the Renaissance basilica standing today.
Viewing art in a church is not the same as viewing it in a museum, the art historian noted.
“Obviously it is different, especially for the fact that the Vatican Pietà has remained on an altar, above an altar, and so the body of Christ depicted by Michelangelo would have been seen in relation to the sacramental body of Christ in the Eucharist.”
“This was true of the first situation in the Old St. Peter’s, the work was on an altar, and it’s true of the present collocazione [position],” he said.
“And actually,” the priest continued, “the same thing was true of both of the other Pietàs. They were intended by Michelangelo to go on an altar in a chapel in a Roman church where he expected to be buried. We think the church was Santa Maria Maggiore.”
“So the relationship of the image of Christ’s body with the Eucharistic Corpus Christi is very important,” he said.
The copies of the Vatican and Milan Pietàs are on loan from the Vatican Museums, and will be in Florence for the Three Pietàs exhibit through Aug. 1.
“And in our museum, in the Florence Opera del Duomo Museum, we have put the Pietà, our Pietà, on a base that evokes an altar, as the very specific Church meaning [of an altar] has to do with the Sacrament,” Verdon said.
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