Rome Newsroom, Mar 31, 2025 / 11:03 am (CNA).
The Shrine of Our Lady of Lourdes in France announced Monday that the entrances to the Basilica of Our Lady of the Rosary, featuring art by the disgraced artist Father Marko Rupnik, are being covered.
Bishop Jean-Marc Micas of Tarbes and Lourdes called the decision a “second step” after his initial decision in July 2024 to no longer light up the mosaics at night and during processions.
“You know my opinion about the presence of these mosaics on the doors of the basilica. It seemed to me, together with my collaborators, that a new symbolic step had to be taken to make the entrance to the basilica easier for all those who today cannot cross the threshold,” Micas said in an online post from the renowned Marian apparition site.
Mosaics by the alleged sexual abuser Rupnik, who is under investigation and awaiting a trial by the Vatican’s Dicastery for the Doctrine of the Faith, were added to the neo-Gothic facade of the lower Lourdes basilica in 2008.
The basilica’s side doors were covered on the morning of March 31, and the two central doors will be covered in a few days, according to the shrine. The coverings are yellow with small crosses and the words “With Mary, Pilgrims of Hope 2025.”
For the 2025 Jubilee of Hope, Micas decreed the Shrine of Our Lady of Lourdes to be one of two places in the diocese where pilgrims can receive a jubilee plenary indulgence. He said “passing through the entrance doors of the basilica had to be symbolic of the moment,” and noted that the third Friday of Lent, March 28, was also the Memorial Day of Prayer for the victims of sexual abuse committed in the Church of France.
After forming a special commission in May 2023, Micas announced in July 2024 that, as a “first step,” he had decided the mosaics will no longer be lit up at night during the shrine’s nightly candlelight rosary processions. He said his personal opinion was that the art installations should be completely removed, but it was too early for a final decision.
The shrine’s next steps regarding the Rupnik artwork, Micas said on March 31, is to continue with the commission “to move forward calmly rather than under pressure from various sources.”
“We are working for the long term, for the victims, for the Church, for Lourdes and its message for all,” he added.
Marlene Watkins, the leader of the North American Lourdes Volunteers, posted on the Facebook page “Our Lady of Lourdes Hospitality North American Volunteers” on Monday, welcoming the French bishop’s “thoughtful, prayerful, and courageous discernment to address this art in the sanctuary.”
“This step in his wise plan makes it possible for some and easier for many victims and those who love them to enter the Holy Doors for this jubilee. His timing seems slow to some unaware of French art legalities — but his plan is prudent and methodical to take measured steps to make the removal possible. He asked for our prayers for this from the announcement of his decision. Please, let us continue to pray,” Watkins wrote.
The mosaics from Rupnik and his art and theology school, the Centro Aletti in Rome, depict the luminous mysteries of the rosary with the Wedding Feast at Cana in the center. Rupnik’s signature red dot decorates one of the arched panels above the entrance.
Rupnik, a priest and artist, has been accused of spiritual, psychological, and sexual abuse of religious sisters. He was removed from the Jesuits in June 2023. He is currently facing a canonical trial over the allegations he abused dozens of women religious, including some within the context of the creation of his art.
The priest’s prolific art career has created a problem for many shrines and Catholic churches across Europe and North America. Rupnik’s workshop was involved in projects for over 200 liturgical spaces around the world, including Fátima, the Vatican, the John Paul II shrine in Washington, D.C., and the tomb of St. Padre Pio.
The Knights of Columbus last year covered mosaics by Rupnik in the two chapels of the St. John Paul II National Shrine in Washington and in the chapel at the Knights’ headquarters in New Haven, Connecticut, a dramatic move that represented at the time the strongest public stand by a major Catholic organization regarding the former Jesuit’s embattled art.
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“Mosaics by the alleged sexual abuser Rupnik, who is under investigation and awaiting a trial by the Vatican’s Dicastery for the Doctrine of the Faith…'”
How long does anyone who has committed such serious offenses get for those acts to still be considered “alleged?”
Until he’s convicted in a court of law. I think that relates to laws regarding libel. If someone were to accuse him, rather than mention allegations, they would be liable to a lawsuit, which would then be carried out in a civil court, with a lower standard of proof and no statute of limitations.
I get the legalese. But where’s the common sense and sense of justice? Nowhere to be found.
Sorry, but this guy’s misdeeds and his “in your face” attitude stinks.
Waiting for the next domino to fall. How long, oh Lord?
A “new symbolic step had to be taken to make the entrance to the basilica easier for all those who today cannot cross the threshold.” Thank you to Bishop Micas for taking another small step to console and protect victims of abuse, spiritual and physical. Slow though he may be moving, he has made another move at a most signficant holy site.
At least, Mary E, we know the second coming will resolve this Rupnik mosaic outrage.
A one-gallon can of Glidden Fundamentals Exterior Paint, White, Semi-Gloss, is available for $29.97 at WalMart.
The bishop — and anyone else who has a Rupnik to blot out — can order it online.
You’re welcome.
I think sledgehammers work better for mosaics.
Although, now that I’ve read the article, I’m wondering about what French art laws involve.
My sentiments, exactly, Amanda.
Given the totalitarian culture that now runs the French state, it’s likely that taking a sledgehammer to those mosaics might get you a trip to the guillotine.
Think of all the beautiful artwork over the last two thousand years depicting our Lady and our Lord and the church uses a mosaic that looks like it was made in the 1970’s. Then again, the current leadership of the Church are stuck in the 70’s.
All could be done much quicker if the Roman Catholics did not lose their understanding of the purpose of the sacred art. In that case, no “pressure” would be needed. Take the Virgin Mary and think hard “the shrine of the Virgin Mary was adorned by a serial sexual abuser/pervert who had seduced several nuns into a participation in orgies”. I have to be gross to make sure that my point is delivered: “the Virgin Mary – sexual pervert and rapist”. How does it sound? To me (an iconographer), the mosaics are the abuse of the Virgin Mary. They are mockery; the Virgin Mary heals, Rupnik destroys.
And so, the mosaics should be taken down for several reasons, as:
1) offensive to God
2) questionable iconography which is not helping to pray
3) “the art of a sexual pervert/abuser adorning the Catholic shrine” is nothing else but a form of spiritual abuse. Of course, it is especially offensive to the victims of the abuser, then to all who have ever endured abuse in the Catholic Church but it is also offensive (or must be) to all the Church which is the Bride of Christ.
Personally, I am not “bloodthirsty” wishing to destroy those mosaics (despite the fact that Rupnik destroyed the brilliant mosaic’s in the Vatican done by a well-known iconographer) but I would like to make a museum of abuse within the Church and relocate there those frescos. Something like a center of repentance for the abuse within the Church which is well overdue.
I have been thinking that when the time comes, Alexander Kornouknov should be consulted about the fate of the Rupnik/Aletti Center mosaics. Beginning with the Redemptorist Mater Chapel in the Vatican. How anyone can walk into that chapel and not want to scream or start throwing things around is beyond me.
I read that the destruction of one of his best (inspired really) works there made a very big impact on Kornouknov’s health. He refused to talk about it for decades. Hence, I am not sure that he would be interested. I think he concluded that it is better for a liturgical artist not to deal with the Roman Catholic Church. As a fellow iconographer who did some work for a Roman Catholic parish, I now am slowly coming to the same conclusion. There is no guarantee that our works (and we are) will be treated even with minimal respect, by those who exercise the power. Unfortunately, even if the laity appreciates the work, they cannot conceive to protest its destruction or at least to question it.
The most shocking thing about Kornouknov’s story, to me, is that it was commissioned and praised by JPII. Despite that, no one stopped Rupnik from throwing Kornouknov out of the Vatican and from demolishing his mosaics, to free the space for his own work. And it was not just about the iconographer – behind him there were also Russian Orthodox philocatholics – philosophers, theologians, clergy, writers, poets who were enthusiastic about the reunion of two Churches and aided him with working out the new iconography which was about the Western and Eastern Churches as one, the unity. I know that circle of people, they were idealists. And this is not all – the Moscow Patriarch of that time gave him his blessing specifically for that work. None of them treated it as just a commission but a very important spiritual task. Well, the Vatican and Rupnik gave their answer to the good will of the Orthodox.
As for how people are not running out from the sight of the Rupnik’s works, I speculate that they think “if it is in the Church, it must be OK”. This is how the evil works, hiding under the umbrella of authority. Plus, no tradition of praying before the images and thinking they are for decoration.
As Ruby Franke’s daughter posted when she saw her mother being taken away in handcuffs, “Finally.”
Get the jackhammer.
Destroy and cover up all “art” by the disgusting rapist Rupnik. Besides it being tainted by association, it’s just plain hideous.
As well as derivative, unimaginative and soulless. He conveniently filled the post-conciliar liturgical art void with the finesse of a rip-off “artist.”
Yes, it’s bad enough art to be removed on that basis alone.
Jackhammer!
I think the accusers, take a step back and let judgement be that ileft to the lord, father almighty. The artwork stands as worship or repentance for sins, as one receives from a priest in a confessional.
That said, delaying investigation, obfuscation and making a mockery of the investigation to leave many accusers ignored and further distancing themselves from the Church, the Bride of Christ is reprehensible and grossly aligning with the Devil’s desires and not that of the Church.
Time for a Crusade! We are the the Church, we are God’s people. Time to take back our faith from the hands of those who stand in the way, and think they are Teflon protected. Time for a whirlwind or two. I pray for our Lord to intervene and offer his hand to all in need. Let us pray!
Within the ecclesial framework, believers are enjoined to cultivate patience and practice anticipatory faith regarding the stewardship exercised by divinely appointed representatives. This stance reflects a fundamental theological conviction in divine sovereignty, acknowledging that while some may deviate from established precepts, ultimate accountability rests within the purview of divine judgment. Such judgment, informed by infinite mercy and love, is properly reserved to the divine.
Regarding Rupnick’s purported artwork, a reasoned course of action from body of Christ would involve formal communication with each Church leader which is a custodian of each piece of his artwork. Each communication should articulate the theological and ethical concerns necessitating the immediate concealment and eventual removal of the artwork. The rationale should emphasize the Church’s imperative to uphold its public persona as a teacher of holiness and obedience to divine law and doctrine. This approach would underscore the Church’s commitment to maintaining its integrity as a moral and spiritual authority within the broader community.
In a journey of 10,000 miles one must take the first step.
What about the shrine to Rupnik art in San Giovanni Rotundo? There was big money used to build this new shrine at Padre Pio’s home, and it is full of Rupnik mosaics, gold gilded floor to ceiling. We saw it while on pilgrimage in 2010. And his name listed quite proudly on their website.