Good day, I just posted, starting at # 7 in the list, Part 3: Pigments and Mediums, required to paint the sacred image. Please note that the pigments in bold face are the ones you need to purchase for the sacred image in Exercise Number 1. Please remember that you will have to scroll down in the St. Joseph’s Art Workshop Tab in the Menu at the top of the site in order to reach the new post. Thanks.
April 17, 2018 © Deacon Paul O. Iacono 2011-2018
I just posted Part 1 and 2, which deals with the materials needed to paint a sacred image. It can be found within the St. Joseph’s Art Workshop tab in the Menu section at the top of the page.
The next Workshop posts will deal with the names of the paints you need to purchase, the sacred image I have chosen for this exercise, where you may obtain it on the web, and beginning the drawing process. I will, hopefully, post them by April 22, 2018.
Thanks for reading and participating in this artistic adventure!
© Deacon Paul O. Iacono 2011-2018
Allow me to suggest to my fellow Catholic sacred artists a “canon” of ten fundamental propositions. These ideas will hopefully act as an organizational tool which may provide clarity as to our foundation and purpose. The term “Catholic” in this document refers to the Latin Rite (Rome) and the more than twenty Rites of the Eastern Rite Catholic Churches that are in union with Rome.
The use of the term “canon” refers to the the original Greek word, kanon, which indicates a “model” or “standard.” My suggestion is that the following “canon” acts as a “model” for the sacred artist since this is the first in-depth publication of my thoughts on this subject and there is no consensus by the Catholic sacred art community as to its acceptance by a majority of artists and commentators in the field. Consensus may or may not be achieved in the future. Please consider these thoughts as a beginning, a starting point.
This post is a revision and update of a previous post in March 2017 with a similar theme. Also, as mentioned earlier, I will eventually discuss the spiritual and artistic values of Beato Fra Angelico (Guido di Pietro – Fra Giovanni da Fiesole, 1395 – 1455). I would be remiss if I did not say that he was my model for this post. I perceive Fra Angelico as being an artistic and spiritual giant of Latin Rite art who exemplified, in his behavior and sacred art, many of the ideas found in the “Canon” below.
The reader should also view the Explanatory Notes that follow the ten propositions to obtain commentary. I have provided a list (which is also a starting point) of five organizations in the Explanatory Notes below to assist you in your own studies. If you are aware of other organizations or Catholic colleges that promote the sacred arts, please contact me with that information. You are invited to reflect on these ideas in the Comments Section or, if you wish, send me a private email at deaconiacono@icloud.com.
The Canon of a Catholic Sacred Artist
1) The Latin Rite, and the more than twenty other Rites of the Catholic Church that are in union with Rome, have a traditional foundation: Sacred Scripture, Sacred Tradition, and the dogmas and doctrines of the Church. This foundation ultimately impacts the Catholic sacred artist within a specific cultural tradition. Catholic sacred artists accept and believe in this foundation.
2) A Catholic sacred artist’s first priority is to develop his or her personal holiness in light of the prayer and Sacramental traditions of our Church; specifically, worship through attendance at the sacred liturgy of the Holy Sacrifice of the Mass, reception of the Sacraments, and liturgical prayer – through the Liturgy of the Hours and/or sacred music.
3) A Catholic sacred artist understands the value of the Adoration of the Eucharistic Face of Christ (the true icon). Eucharistic Adoration is necessary, and highly recommended, because it is based on the artist’s desire for friendship with Jesus Christ, the need to express that friendship in an act of praise and thanksgiving, and Jesus’ desire for friendship with the artist. Within that prayer form, which requires the development of interior silence and stillness of soul, the sacred artist receives inspiration and solace.
4) Creativity within Catholic sacred art is influenced by many ideas, the foremost being the expression of the truth, goodness, and beauty of God. The creativity of the sacred artist should always be disciplined by the truth that the artistic product must be able to be clearly understood by the viewer or listener so that it may aid their worship and veneration of God, His saints, and angels.
5) Catholic sacred art brings artistic life to Christ’s Gospel message and the witness of the historic and spiritual personalities of the Church. Sacred art, in all its various forms, contributes to the New Evangelization of the Catholic Church.
6) Catholic sacred art can be a sacramental if it conforms to the aesthetic, semantic, and theological principles of our Faith.
7) Catholic sacred artists believe that the Sacramental grace of God strengthens personal faith and allows them to become co-creators of artistic beauty. The artist becomes a co-creator when he/she attempts to make a beautiful artifact and ensures that the attributes of the artifact are truthful, good, and beautiful. For the Catholic artist, God is the source of all beauty, truth, and goodness.
8) Catholic sacred art is a critical part of the liturgical work and prayer of the Catholic Church. An artist’s creative act of making their art form, and the finished product, is not just art; it is communion with God.
9) Catholic sacred art enhances the sacred liturgy of the Church, and may make a significant contribution to the praise, thanksgiving, and repentance of the viewer or listener.
10) Catholic sacred artists are willing to continually learn not only about their Faith and Church traditions, but to professionally grow by increasing their awareness of developments within Catholic sacred arts, its present day contributors, networking and sharing ideas, and continually improving their personal artistic techniques within their artistic discipline.
Explanatory notes – the numbers below correspond to the number of the specific statement above
1) Culture is the fundamental engine that propels history; and the foundation stones of any culture is its Faith. An acceptance of the importance of a faith tradition (and tolerance of other faith traditions) by the people of a nation or continent significantly contributes to the growth of its inhabitants; rejection of the role of faith has shown that a culture will be stunted and eventually collapse. Within a culture that is growing in a positive manner there is the belief in a critical idea: tradition. This idea applies to faith and religious systems, political life, scientific exploration (such as the scientific method), the arts, etc. Tradition, however, is not an idea that is, in its application, suffocating to an individual’s growth or creativity. Positive change can certainly occur within a culture that follows specific traditions.
Briefly let us apply this word, tradition, to the Rites of the Catholic Church. A Rite represents a church tradition about how the Holy Sacraments are to be celebrated. There are over 23 Rites within the Catholic Church, of which the Latin Rite (Roman Catholic) is the largest with over 1.5 billion members. The other 23 Eastern Catholic Rites are in union with Rome, however, the Greek and Russian Orthodox Churches, are not in union with Rome.
Faith in Jesus Christ and the Nicene Creed has been the mortar between the foundation stones of every culture of Eastern and Western Europe for millennia and for hundreds of years in the Americas. Our Faith and its religious tradition must be viewed in two ways: a small “t” relating to cultural norms of behavior within our specific Rite, and, a capital “T” referring to Church Tradition. This idea of Sacred Tradition was specified by Jesus Christ, the Apostles, the Fathers of the Church, and the many hierarchical pronouncements proclaimed by Ecumenical Councils and Popes (such as the Nicene Creed, or the 7th Ecumenical Council and its promotion of sacred icons). This understanding is in association with the teaching authority (the Magisterium) of the Latin Rite of the Catholic Church and Eastern Catholic Rites that are in union with Rome.
Colin B. Donovan, STL informs us that when we consider the transmission of faith we must acknowledge that historically there are three major groupings of Rites: Roman, the Antiochian (Syria) and the Alexandrian (Egypt). The Byzantine Rite, the fourth major Rite, developed out of the Antiochian. These various Rites came into existence because the Apostolic ministry, within different cultural centers of the Roman Empire, ultimately saw the elements of the Faith being “clothed in the symbols and trappings” of a particular culture. This was promoted because the One, Holy, Catholic, and Apostolic Faith required that the Church become “all things to all men so that some might be saved” (see First Corinthians 9:22).
Historically, the four major Rites ultimately gave birth to over 20 liturgical Rites that currently exist, are in union with Rome, and to this day are serving the faithful. Applying this idea we can say that it is incumbent upon sacred artists within these Rites to ensure that their art provides a clear, unambiguous message to the world (in relation to the “t” and “T” of tradition). This demands faith, loyalty, and trust by the artist in Jesus Christ and the truths of the Church.
2) Rev. Deacon Lawrence Klimecki from Pontifex University has written insightfully on creativity, beauty, the role of the artist, and sacred art. He asks an important question: “What is sacred art? Is it liturgical art? Devotional art? Art with religious themes? The Catholic artist must address the issue of “who” is the audience? What purpose and need is the “sacred” artist trying to meet” in their creative act of making art, architecture, music, poetry, drama, or literature? In trying to answer Deacon Klimecki’s valuable questions we may begin by saying that the term sacred, from the Catholic Church’s cultural point-of-view, is any idea or artifact that refers to the truth, goodness, and beauty of God, His saints, and angels. It also critically assists in a person’s worship of God and veneration of His angels and saints. Sacred artistic artifacts convey or represent the dogmas, doctrines, and history/personalities of the Faith.
Sacred art, in all its various forms (architecture, painting, sculpture, stained glass, illuminated manuscripts, metalworking, music, etc) are the visual and auditory means through which we are assisted in our desire, through our soul, intellect, and senses, to be in union with the all knowing, all powerful, and beautiful God of Sacred Scripture and Tradition.
Catholic sacred artists undertake a great spiritual responsibility. This responsibility requires that the artist be firmly rooted in faith, the reception of the Holy Sacraments (especially Reconciliation and Holy Eucharist), and personal and liturgical prayer. Besides Eucharistic Adoration, some prayer aids for sacred artists would be participating in sacred music and/or praying the Liturgy of the Hours (Divine Office) either alone or in a group.
3) What is prayer? The saints tell us that prayer is the turning of the heart toward Our Lord, His Blessed Mother, the angels and the saints and allowing our mind and heart to sincerely speak words of love, praise, thanksgiving, and repentance to them. The sacred artist enters into communion with the Heavenly Court through the union of their prayer with creativity. This communion comforts and assists the sacred artist in their work. Unity allows a sacred artist to walk the various paths of Holy Scripture and experience the moment that the Scripture, or a story of the saints, presents to the soul. This experience feeds and transforms the sacred artist by affecting the clarity, line, and colors of their art. This may be how Beato Fra Angelico experienced the Crucifixion, and according to Vasari, as he painted he wept over the enormity of Christ’s sacrifice. In this process Fra Angelico prefigures Ignatius of Loyola by about 125 years in the ability to experience the words of Holy Scripture within his imagination. The use of the word – “imagination” – does not mean or imply “fantasy,” nor does the person in prayer “make-up” images not found in the Gospels or Church history. St. Andrei Rublev, Beato Fra Angelico, St. Ignatius of Loyola and others utilized this type of prayer experience to affect their work.
4) While remaining loyal to Sacred Tradition, the Church’s artistic tradition is fluid and is always affected by the artist’s creativity and understanding. This may lead to new interpretations of artistic expression. These new expressions, however, are never vulgar or disrespectful, and will provide no confusion as to the meaning of the images within the art form. Sacred art, while not exclusively catechetical, does certainly play a role in the catechesis of the faithful.
5) Also, the Western Rite (that is, the Latin Rite), and the Eastern Rites (that is, the Orthodox, and Eastern Rite Catholic churches that are in union with Rome) affirm that preaching the Gospel message (both in word, service, and art form) and celebrating the Holy Sacraments is critical for the evangelization, spiritual health, and salvation of God’s people.
6) Icons, sacred images, woodcarvings, calligraphy and other sacred arts if based on the Holy Gospels and Church Tradition spread the Good News of the Gospel. The sacred arts are sacramentals when they point the way to God. Sacramentals are blessings. The seven Sacraments provide the grace that interiorly heal and nourish us. Sacramentals, however, assist us in the exterior visualization of Our Lord Jesus who made that process possible through His Incarnation and Redemption of humanity. It also assists us in the visualization of His angels and especially His Blessed Mother and the saints, who modeled Jesus in their own lives.
An icon is a sacred image (confer John 1:14). An iconographer follows specific traditions of craftsmanship and specific elements of Theological (Scriptural and dogmatic content), Semantic (the visual language of the icon, appropriate perspective, the use of light, line, and color to create form, and correct use of signs and symbols within the icon), and Aesthetic principles (the quality of beauty with the icon itself). These three principles are based upon the sacred Tradition of the Church. The history of the Western and Eastern Rites illustrates that the sacred artist has continually moved through different artistic periods and technical understanding.
David Clayton, Provost at Pontifex University, has pointed out that we need to remember and apply the two ideas of St. Theodore the Studite (AD 759-826) in his criteria which must be followed if an icon is to be considered a sacramental, thus, worthy of veneration: 1) The icon must display the title of the saint or feast day represented, and, 2) the image needs to display the essential physical characteristics and attributes of the saint represented, such as keys for St. Peter; a book of Scriptures, a bald head, or sword for St. Paul; and dalmatics, the Book of the Gospels, or thuribles, etc. for deacons. Each angel or saint has a specific name and attributes.
The Roman Catholic Church moved out of an Iconographic period into the Gothic period, and then into the Baroque period. The Greek and Russian Orthodox Church and many of the Eastern Catholic Churches in union with Rome stayed within the period of Iconography that developed out of the early centuries of the Church. Cultural conditions (such as geographical location, political influence, and the affect of the Western European Enlightenment in the 17th and 18th centuries), access to earth pigments, and artistic differences all affected the Iconographic period within the Eastern Rite of the Church.
It is important to note that within the Latin Rite a sacred image is a religious image that is created of a historical holy person or religious scene; however, the artist allows their full creativity and personal interpretation to enter into the craftsmanship and artistic process (an example being Michaelangelo’s Sistine Chapel).
Historically, personal creativity and technique, while present within Eastern Rite iconography, is not seen as an absolutely critical issue for many of their sacred artists. Their sacred icons are, however, affected by the culture, and geographical location, of the artist (examples being Coptic vs. Greek, or, Novgorod vs. Moscow). The Eastern Rites, those that are in union with Rome, and those that are not, believe that the sacred icon must be faithful to Sacred Scripture, historic reality, and the Traditions the Church. The icon’s meaning must be easily recognizable by the viewer. There is no room for personal interpretation.
A sacred icon is made in a very specific manner. The techniques of production (from type of board to board preparation, drawing of the image, the necessity of line giving form to color – “its logos” (as discussed by George Kordis), the type of perspective, the use of egg tempera and natural materials – earths and minerals, the number of layers of paint, moving from dark colors to light, the oiling of the image, and the final blessing by a priest or deacon) are taken very seriously by the Orthodox and Eastern Rite Churches. It is my opinion that if a Latin Rite artist decides to paint a sacred icon, out of respect, they should study and follow the strict traditions of the Eastern Catholic Rites and the Orthodox Church. This can be accomplished by either studying with their iconographers or with Roman Catholics who have studied with them and follow their traditions of iconography. A number of my colleagues do not hold the same opinion, and that is their right to do so.
I do believe that a Latin Rite sacred artist may paint a sacred image in the style of a sacred icon, but, must be careful to explain the difference between the two types of representation (an example being that the artist has used different materials in creating a sacred image vs. a sacred icon). I currently follow this methodology of differentiating a sacred image from a sacred icon, and, a sacred image painted in the style of a sacred icon. My basis for this is respect for the Orthodox and Eastern Rite traditions and how they view their sacred art forms. A Catholic artist from another Rite, or within the Latin Rite, may not be concerned with this issue, and that is there right to hold that opinion; certainly arguments can be made on both sides of the issue.
In his book Spirit of the Liturgy, Pope Emeritus Benedict XVI provides a wonderful overview of the three periods of sacred art within the Roman Catholic Church (Iconographic, Gothic, and Baroque). You will notice that even though he discusses the Renaissance he does not include it within the three traditions. High Renaissance artists were not inspired purely by prayer or catechesis in the production of their art. For many their motivation was the desire to please themselves, their patrons, or the profit motive. Renaissance sacred images do have spiritual value and some can motivate the viewer to prayer and communion with God.
An example of an icon is St. Andrei Rublev’s image of Christ, or his icon of the Holy Trinity. An example of a sacred image is Pietro Annigoni’s image of St. Joseph and the Child Jesus in Joseph’s workshop, or Masaccio’s Holy Trinity. A sacred image painted in the style of an icon is my rendition of St. Michael Holding the Holy Eucharist. Pictures of these icons and images are found below.
7) The attributes of the sacred artifacts are beautiful. These attributes conform to the three basic elements of beauty as defined in the writings of St. Thomas Aquinas: clarity – the listener or viewer can discern what the artifact is, what it means, and that it reflects a “radiance” to those who perceive it; proportion – the listener or viewer can discern the artifact’s unity, order, harmony, and the correct relationship of its individual parts; and integrity – the listener or viewer is able to understand the “wholeness” of the artifact. Is beauty in the eye of the beholder? Certainly it is affected by the individual’s culture, geographical location, historic period, and other issues; but, we can also say that it is objective, in that people of Faith do not deny the Beauty of God.
Within the Roman Catholic Church and the Eastern Churches, it is believed that “Our justification comes from the grace of God which was merited for us by the Passion, Death, and Resurrection of Jesus Christ.” Sacramental Grace is a participation in the life of God. Justification is conferred through the Sacramental grace of Baptism. “Grace is the free and undeserved help that God gives us to respond to His call to become [members of His family], children of God, adoptive sons and daughters, partakers [through the Holy Sacraments] of the divine nature and eternal life” (confer John 1:12-18; 17:3; Romans 8: 14-17; 2 Peter 1:3-4). As the Council of Trent teaches – grace is known by faith – and faith, in association with the gifts and fruits of the Holy Spirit, produce good works. Our Lord teaches in Matthew 7: 20 “You will know them by their fruits” (confer Catechism of the Catholic Church, 2nd edition, paragraphs 1987 through 2005).
8) Contemporary Greek artist and iconographer, Dr. George Kordis, writes of this principle in his book Icon As Communion. Numerous authors have written in this field, to name a few, with the titles of their books: Sister Wendy Beckett’s Real Presence, Meditations on the Mysteries of Our Faith, and Encounters With God; Paul Evdokimov’s The Art of the Icon; David Clayton’s The Way of Beauty: Liturgy, Education, and Inspiration; John Saward’s The Beauty of Holiness and the Holiness of Beauty; Christoph Cardinal Schonborn’s God’s Human Face; Jem Sullivan’s The Beauty of Faith; Monsignor Timothy Verdon’s Art and Prayer; and Jeana Visel, OSB, Icons in the Western Church.
9) In the Roman Catholic Church, liturgy as defined in the New Testament, “refers not only to the celebration of divine worship but also to the proclamation of the Gospel and to active charity” (confer Luke 1:23; Acts 13:2; Romans 15:16, 27; 2 Corinthians 9:12; Philippians 2: 14-17, 25, 30. Also, review the Catechism of the Catholic Church, 2nd edition, paragraphs 1066 through 1209).
The work of a sacred artist (this of course includes all the sacred arts) can be viewed as a liturgical act because it provides a service to our neighbor, in that the sacred art elucidates and visualizes the reality of the truth, goodness, and beauty of God. The sacred artist assists the Church in making the reality of Christ present within the community of believers. Sacred artists, by providing this service, are participants in active charity. They aid in providing a “visible sign of communion in Christ between God and men” (confer paragraph 1071, Catechism of the Catholic Church, 2nd edition).
10) Transformation in Christ is a Sacramental, prayerful, intellectual, and fellowship process. A Catholic sacred artist must be involved in all four of these transformative elements in order to reach their full potential. A student of this process would be remiss if they did not investigate the writings of St. Thomas Aquinas and St. Augustine on these issues. St. Augustine writes beautifully in his Confessions on the truth and the beauty of God, one paragraph begins: “Late have I loved you, O Beauty ever ancient, ever new, late have I loved you”…. Artists are wise to remember that their art must not only be good and truthful in its message, but beautiful as well because they are reflecting the truth, goodness, and beauty of God Himself.
Catholic sacred artists, as they study the various manifestations of sacred art over the last two millennia, should network and become aware of the contributions of contemporary leaders and contributors in the various fields of Catholic sacred art. The Catholic Art Guild, The Catholic Artists Society, The Foundation for Sacred Arts, and the Institute for Catholic Culture are organizations to help you discover contemporary issues in Catholic sacred art; they also occasionally provide seminars and lectures in sacred art. Pontifex University, an on-line Master of Arts Degree program in Roman Catholic sacred art, is also another opportunity for a sacred artist or student who desires to advance their knowledge and understanding of sacred art; contact person: Provost – David Clayton: dclayton@pontifex.university
Some of the recent Popes have expressed valuable insights on beauty, sacred art, and the role of the sacred artist. A few examples: the many writings of Pope Emeritus Benedict XVI such as, his 2008 homily in St. Patrick’s Cathedral in which he discussed the architecture and stained glass windows of St. Patrick’s as a quest for truth and faith; his Meeting With Artists in November 2009, his 2002 comments “The Feeling of Things: The Contemplation of Beauty,” and his book The Spirit of the Liturgy. Professor Matthew Ramage’s January 2015 essay “Pope Benedict XVI’s Theology of Beauty and The New Evangelization” (found in Homiletic and Pastoral Review), is an excellent introduction to Pope Benedict XVI”s contributions to truth and beauty in sacred art.
Emphasis must also be placed on the absolutely critical document for any sacred artist: Pope Saint St. John Paul II’s Letter to Artists. Pope Pius XII’s 1947 encyclical, Mediator Dei, from a liturgical point-of-view it explains in paragraph 187 that “Three characteristics of which our predecessor Pope Pius Xth spoke should adorn all liturgical services: sacredness, which abhors any profane influence; nobility, which true and genuine arts should serve and foster; and universality, which, while safeguarding local and legitimate custom, reveals the catholic unity of the Church” (Pius XII referenced this from an Apostolic Letter of Pope Pius X of November 1903). These three principles, when united with the principles of aesthetic, semantic, and theological truth, provide the Catholic sacred artist with a firm foundation on which to build their creative work.
Thank you for reading this and I look forward to your comments. Please see the images below, too.
Pax Christi, Deacon Paul O. Iacono, April 2, 2018, revised and updated April 11, 2018.
Fra Angelico Institute for Sacred Art.
Copyright © 2011- 2018 Deacon Paul O. Iacono All Rights Reserved
Images:
St. Andrei Rublev’s icons: Christ (completed 1410, above) and his The Trinity (1411, or 1425-27)
Masaccio’s sacred image: Holy Trinity (completed 1428, above) and
Pietro Annigoni’s sacred image: St. Joseph the Worker (altarpiece, completed 1963, below)
Deacon Paul O. Iacono’s sacred image done in the style of an icon: of St. Michael Holding the Holy Eucharist, (completed 2015-2017). Please see my post on this blog of September 29, 2017 for a brief explanation.
If you are interested in actually creating a sacred image in the tradition of the Roman Catholic (Latin Rite) Church then please click on the Tab in the Menu Bar above Fra Angelico’s image of The Annunciation and read the introductory post on St. Joseph’s Art Workshop. That Tab will explain what I hope to provide interested individuals who would like to participate in this free on-line service.
Participants must remember that all artistic endeavors are a continual learning process. As a result, if a student decides to walk through the door of this Workshop they must remember that rarely is a “masterpiece” created by the beginning student on their first try; yet, that student will create a work of sacred art that is personally meaningful to them. Students will read about, study, and actually paint a sacred image by following the steps I provide to them.
Our model is St. Joseph, the carpenter. St. Joseph was a master builder and protector of the Holy Family. He was the husband of the Blessed Mother. He was a sturdy man – both physically and mentally. Joseph was of the royal line of King David and as a righteous man knew how to pray to God while he worked in his own workshop. He was a model to the child, teenage, and young adult Jesus, and he is a model for us, too.
Our Savior humbled Himself and took human form to successfully redeem all mankind from their sins. We must not forget that prior to His ministry Jesus was also a successful carpenter – having understood and acquired the necessary skills through Joseph’s knowledge and loving care. By working in St. Joseph’s workshop Jesus, at a young age, became aware of the truth that His earthly father was a very holy and humble man who possessed three key qualities of life: prayer, loving service, and obedience to God’s law. We should not forget that painting sacred images demands the same from us. I will discuss this, too, in future posts.
I hope that you will seriously consider participating in this on-line workshop. Please click on the Main Menu Tab that says St. Joseph’s Art Workshop to read more about this free educational offer and when it will begin.
Copyright © 2011- 2018 Deacon Paul O. Iacono All Rights Reserved.
Yesterday, March 19th, Catholics happily celebrated the Feast of St. Joseph. Today’s post is slightly different from those previous in that it will discuss an Italian pastry in relation to a symbol found in Catholic sacred art. We are breaking new ground here!
A little history is in order. In the 1800’s, a creative baker in the city of Naples, Italy made, for the first time, a pastry known as the zeppola (plural, zeppole). Through the years other areas created this delicacy, too, such as the islands of Sardinia, Sicily, and Malta. This traditional pastry travelled with the Italian immigrants to America and Canada, and, I am happy to say that it continues, and finds its apogee, in the southern New England area of America.
But first things first. This blog normally talks about Gospel truths, Catholic and Orthodox sacred art, iconography, the relationship of art to Catholic prayer, saints, etc. This is my first venture in discussing pastry cuisine (!), but, in this case I think it is important. Why? Because in my opinion, the noble zeppola reflects a Catholic religious symbol. Obviously I am not sure the original baker (Pasquale Pintauro from Naples) desired to reflect this in his magnificent creation, but, in my opinion, it is there. More on that in a moment.
First, a quick overview of the artistic symbolism associated with St. Joseph. Many sacred images of St. Joseph either alone, or with the child Jesus, usually has him holding a rod with a flower or flowers at the top. In one hand he holds the rod, in the other, he is holding the child Jesus next to his chest. A simple example of this is found in the statue below.
There are variations of this basic model and many portray the artistic emotion and sentimentality that was popular during times past. Yet, what does the symbol of the rod mean? Does it have any basis in history? What does it have to do (in my opinion) with the noble zeppole?
Catholic tradition in this matter starts with Jewish custom. Rev. Maurice Meschler, S.J. describes the legend associated with this image in his excellent book on St. Joseph. He mentions that an ancient book entitled De Ortu Virginis, explains an occurrence in the city of Jerusalem in the first century AD, he writes, “...the Jewish priests in accordance with a special revelation received from the Holy of Holies in the Temple at Jerusalem, are supposed to have ordained that, in a manner like the one in which Aaron had been chosen by God to be high priest of the Temple, all the young men of the family of David were to place a branch or a rod on the threshold of the Holy of Holies; and the one whose rod should become green and blossom, and upon which the Holy Spirit should visibly descend, was to be the spouse of the most Blessed Virgin Mary. St. Joseph alone, whether from a motive of humility or love of virginity, did not present his rod; and thus no decision was arrived at. When the priests had instituted an inquiry into the affair, God answered that the rod of a man of the family of David was still missing. Joseph therefore [because he possessed the virtue of obedience] brought his rod, and lo! it blossomed. The Holy Spirit descended upon it, and Joseph became the spouse of Mary. It is for this reason that Saint Joseph is often depicted with a blossoming rod in his hand, while upon its crown, even in very early representations of art, rests the Holy Spirit.” Rev. Meschler explains in his chapter on the espousals of Joseph and Mary that the sacerdotal purpose of their mutual virginity sealed the marital bond between these two people, chosen by God, to be instruments of His work in redeeming His creation.
So what does that have to do with custom of eating zeppole on the Feast of St. Joseph? It is my opinion that the 19th century Neapolitan baker, Pasquale Pintauro, would certainly have known of the symbol of the flowering rod held by St. Joseph, after all he would have seen it in churches and statues found throughout Naples.
With this in mind, the creation of the zeppole pastry was his way of expressing the branch or rod and flower portrayed by sacred artists. This is especially seen in its presentation by a Rhode Island bakery by the name of DeLuise (it is found on Oaklawn Avenue in the city of Cranston and on Chalkstone Avenue in the capital city, Providence. By the way they make the finest zeppoles in southern New England. We drove down from Massachusetts to buy them at the Cranston store). Notice the photos below of the mini zeppole I happily consumed last night.
So, here comes my critical analysis (!): the rough textured spiral side represents the branch or the rod of the family line of King David. The red cherry on the top of the pastry indicates the descent of the Holy Spirit which is represented by the miraculous flower. The cream filled center represents that the unique family line of King David would again flower – and be fruitful – through the power of the Holy Spirit in the Incarnation of Jesus Christ.
The desire of God to redeem His creation was made possible because of the care of His Son, as a babe and youngster, by Joseph and Mary – both members of the Davidic family line. Every year on March 19th Catholics throughout the world celebrate this fact by consuming the noble zeppole – the the staff and flower – of the Feast of St. Joseph .
Thanks for reading! It was fun to write, but even more joyful to eat!
Copyright © 2011- 2018 Deacon Paul O. Iacono All Rights Reserved. Photos of the zeppole by the author.
On this day, September 29th, the Western Rite of the Catholic Church celebrates the Feast Day of Saints Michael, Gabriel, and Raphael (the Eastern Rite celebrates it on either November 8th or 21st depending whether or not they use the Gregorian calendar).
Pope St. Gregory the Great (AD 540 – 604) mentions in one of his homilies: “You should be aware that the word “angel” denotes a function rather than a nature. Those holy spirits of heaven have indeed always been spirits. They can only be called angels when they deliver some message. Moreover, those who deliver messages of lesser importance are called angels; and those who proclaim messages of supreme importance are called archangels.”
Michael, Gabriel, and Raphael, as angelic spirits, have no gender; and are designated saints by the Western Rite and Eastern Rites of the Catholic Church as a result of their special status as messengers of God. We discover this in Holy Scripture (specifically the books of, Genesis 28: 12-13, Daniel 9: 22-23, Tobit 12: 15,18,20, Luke 1: 26-56, the Epistle of Jude 1: 9, and Revelation 12: 1-17). The designation “saint” also refers to their ability to intercede for the people of God at the throne of God. The Western and Eastern Rites do not worship the angels or the saints. Worship is relegated to God alone – Father, Son, and Holy Spirit. The angels and the saints are venerated – offered great respect – but never worshipped.
I painted the above sacred image of St. Michael a number of years ago. Instead of inserting the typical military shield that is associated with this archangel, I inserted a representation of the Holy Eucharist. The Western and Eastern Rites believe that a validly ordained priest, upon saying the words of consecration during the Holy Mass, through the sacred power of his ordination to the priesthood, converts the substance of the bread and wine into the true Body, Blood, Soul, and Divinity of Jesus Christ. Worthy reception of the Eucharist (meaning the recipient is not in the state of Mortal Sin) enables the recipient to be transformed into the life of Christ. Christ’s life strengthens us in our daily spiritual battle. Thus, St. Michael is holding the Eucharist as a representation that Jesus Christ, in the Holy Eucharist, is our shield – our true defense – against the wiles of Satan. The Holy Eucharist has embossed upon it IC, XC which is the Greek abbreviation for Jesus Christ, and the letters NI KA (Nika), represent the Greek word or phrase, “victory,” or, “our victor”). You will notice that the blue lower wings are in a different position. The blue wings on the left of the image are slightly elevated. I painted it this way to emphasize the truth that St. Michael is always here to assist us in our spiritual battle. He is always ready to move, to “fly” to our aid and intercede for us. Pope Leo XIII reminds us in his famous exorcism prayer to St. Michael, that Michael helps us when we sincerely call upon him at times of sinful temptation.
St. Michael in the iconography of the Church is always represented with a shield. The shield may say “Who is like God?,” which was his response to Lucifer when the latter attempted to storm the throne of Heaven. St. Michael brings us the message that evil, sin, and the demons are real. We are in the midst of a spiritual war; but God is victorious and has given His Church – His people – the help that it needs through the Holy Scriptures, the Incarnation and Redemption, and the seven Holy Sacraments.
St. Gabriel’s message to us is that God loves His creation so much that He desires to enter into it, to redeem it, and provide for its salvation; however, He will not force Himself on humanity, and needed the young virgin Mary’s consent in order for this to take place (refer to Luke 1: 26-56 for the account of the Annunciation). The name Gabriel means “the Strength of God.” He is God’s major “ambassador” – the angelic representative of God to humanity. You can see this in Fra Angelico’s beautiful painting at the very top of this site’s masthead which represents him in a majestic and very dignified manner. Church tradition believes that he is the angel that also announced the good news of Christ’s birth to the shepherds, prior to Jesus’ birth comforted St. Joseph upon his hearing of Mary’s pregnancy, and consoled Jesus in the Garden of Gethsemane.
St. Raphael’s message is that God heals us. He is found specifically in the Old Testament book of Tobit healing and ministering to humans. His name means “Medicine of God.” He cured Tobias, defended Sara, and assisted a young man on his pilgrimage with advice and companionship.
One of my former pastor’s, Father Nicholas Smith, mentioned in one of his morning homilies that the angels are here “to defend, serve, and help us. They are part of God’s family, and therefore, a part of ours.” These are beautiful words of comfort and consolation. Through our baptism we are members of God’s family, but until Father Smith’s homily, I never realized that the angels are part of our family, too!
May these three Holy Archangels help us this day, and every day, in assisting us on our path to God.
(Besides the Holy Scriptures listed above, I recommend a book entitled: St. Michael and the Angels, published in 1983 by TAN Books, it is filled with approved and scholarly sources on the nine choirs of angels).
(My sacred images and essays copyright 2009-2017, Deacon Paul O. Iacono)
I have the happy service of presenting a new workshop to interested adults from Massachusetts and Rhode Island beginning on Saturday February 14th, 2015.
In an attempt to give everyone individual attention the class is currently filled at a limit of ten people. We will be pursuing our studies of painting sacred images in the Latin iconographic tradition. I hope to make the artists aware of the importance of studying the Latin and Byzantine origins of sacred images and its inevitable blossoming within the Greek and Russian civilizations.
The workshop will run over a five-week period, for a total of twenty hours of class time. While they will not be painting the sacred image that is found below of Jesus Our Savior, the technique that I used to paint this image will be taught to the artists. Note that the image is painted using acrylic paints; however, I have developed a different approach in manipulating the layers of the paints. This approach evolved out of studying the work of the 12th century Benedictine monk, Theophilus the Presbyter (whom I have written about in previous essays on this blog), and my own experiments over the past few years of working with egg tempera and acrylic paints.
I specialize in painting personal prayer images (9 by 12 inches, or 12 by 16 inches) rather than images that would be found in large church or chapel applications. The image found below (95% finished) is typical of my approach. It is an image that the person in prayer can relate to, yet, it also carries a sense of transcendence. This approach will be taught in the upcoming workshop. I attempt to teach simplicity in both technique and spirituality. I avoid flourishes and excessive naturalism in facial or garment representation. In this way I have ignored the typical approach of many Latin Rite sacred artists from the mid 14th century onward. I am attempting to rediscover, or reestablish, the Latin Rite techniques of painting sacred icons. This endeavor is a work in progress!
In the upcoming workshop the students will be studying my technique and actually paint an image of St. Michael the Archangel. Upon completion of that sacred image, they will eventually move on to painting an image of the Holy Theotokos, the Blessed Mother, and then complete the sequence in studying and painting a sacred image of Jesus Christ. In upcoming posts I will be blogging about their experience and the steps that they will take in completing the sacred image of St. Michael.
My approach to the painting of sacred images in the iconographic tradition owes a debt of gratitude to my many teachers in the Byzantine and secular artistic traditions. I also owe a profound thank you to the Holy Spirit, whose grace has enabled my hands to paint sacred images. I pray that my sacred art has not offended Him. The image below appears slightly brighter than it actually is as a result of the flash.
Jesus Our Savior by Deacon Paul O. Iacono, Fra Angelico Institute for the Sacred Arts, Copyright © 2011- 2015 Deacon Paul O. Iacono All Rights Reserved
Copyright © 2011- 2015 Deacon Paul O. Iacono All Rights Reserved
