Tag: Catholic

The Virtues of St. Francis of Assisi – A Model For Sacred Artists, October 4th

On By Deacon Paul O. IaconoIn Art, Artists, Beauty, Catholic Art, Giotto, Giotto's paintings of St. Francis of Assisi, Roman Catholic, Saints3 Comments

In our celebration of the memorial of St. Francis of Assisi we must pause for a moment and examine the virtues that motivated and energized his life.

We can begin by saying that he was a simple man. He pursued simplicity. This does not mean that he was of limited intelligence, or that he pursued simplicity for simplicity sake, rather, it means that he was successful at eliminating everything from his life that did not enhance his understanding and love of Jesus.

In other words, he kept to what was essential in life: “God, the state of our soul, judgment and eternal life.” He realized that “to be simple is to see things with the eyes of God. St. Francis pursued simplicity because he innately knew that God Himself is simple” (from a sermon by Fr. Ronald Knox, 1936).

Other characteristics of Francis’ life are the virtues of faith and love. St. Francis understood that by praying  for faith, by acting faithfully and lovingly, his spiritual muscles would be stressed, making him  grow stronger in faith and love of God. He knew that God’s grace would assist him in this spiritual exercise if he committed himself to it.

Thus we see his extraordinary reaction to his father’s demand for repayment for the fabrics he took, and sold, to benefit the poor. How did he react when accused? He publicly disrobed; a humble nude standing majestically in the town square. Michelangelo should have attempted to sculpt that scene in marble. For what was the scene?

It was the image of the young Francis, not confronting the Goliath of military invasion, rather, the Goliath of a garden serpent who tempted him to return to the sweet life, la dolce vita. It was the image of the grace of a God given vision to live a virtuous life. Its simple grace would be the stone that would bring down the giant of his own ego and worldliness.

The magnificent Florentine painter, Giotto (1226-1337), born the same year St. Francis died, painted these virtues of St. Francis at work when he portrayed Pope Innocent III’s dream of Francis holding up the pillars of the Church.

It was St. Francis, and his fellow friars that would live in their daily lives the virtues of poverty, chastity, and obedience. These virtues, within the Franciscan perspective, would sweep the imagination of Europe and even gain respect in the Mid East.

How does this apply to an artist? Sacred artists must strive for balance in their spiritual and artistic life. Giotto is a wonderful example for us because he combines the principles of action and contemplation. Like Francis, Giotto was balanced. He achieved simplicity in his portrayal of spiritual truths, and was able to witness  continual dedication to combining action (art) with contemplation (prayer during the creative process).

Giotto was a master of painting sacred images that made St. Francis’ life come alive. For example, he captures the spirit of Francis in the Holy Land and brings a favorite story about him to life. In the year 1219 during the Fifth Crusade, Francis traveled to the Holy Land, where he was captured and beaten by the Muslims.

St. Bonaventure tells us in his history of the Franciscan Order that St. Francis was brought before the sultan Al Kamil, and he preached to him about love and the meaning of Jesus’ life. When Francis finished his sermon he then challenged the Sultan’s imams to a religious test to determine which was the true religion – Islam or Catholicism. The painting below, entitled Trial by Fire by Giotto, illustrates the drama of that moment.

“Francis said to the Sultan: “Please have a bonfire lit, and have your imam, along with me, enter the fire – so let it be that his God is the true God whoever emerges from the flames unhurt.”

The Sultan’s eyes lit up – now this is a man of faith!

His imams, however, felt that they had better things to do.

But from that moment on Al Kamil was so impressed with Francis that he gave the Franciscans safe passage to travel and stay unhindered, anywhere, in Muslim occupied territories; and as a direct result of this act, eight hundred years later, if you go to Jerusalem you will see that the Franciscans are still the Catholic Religious Order responsible for the maintenance of the holy shrines.

Theologian Dr. Marcellino D’Ambrosio teaches us that “St. Thomas Aquinas explains that a virtue, like a physical muscle, is a habit – a power or capacity – that gets stronger when its exercised – and atrophies – when it is not.” St. Francis shows us that faith and love, prayer and service are the main muscles in our spiritual body; and for artists they are the virtues that keep our lives balanced. Are we not all artists?

The life of St. Francis of Assisi was, itself, a work of art. For it was one in which the person, Francis, cooperated with the grace of God and allowed himself to be sculpted by the Divine Artist Himself; may we all be as courageous to do the same.

*Readers are welcome to read all my posts on St. Francis, and a relatively new one, entitled St. Francis of Assisi: A Nice Man or a Soldier of Christ? https://fraangelicoinstitute.com/2021/03/04/st-francis-of-assisi-a-nice-man-or-a-soldier-of-christ/

Copyright © 2011- 2024, Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author through making comment on this post in its comment section. Students, and those interested, may quote small sections of the article as long as the proper credit and notation is given. Thank you.

Catechesis and Catholic Art

On By Deacon Paul O. IaconoIn Abbot Mena, Apologetics, Art, Bawit Monastery, Catechesis, Catechesis, Catechetical Art, Catechetics, Catholic Art, Catholic Education, Catholicism, Christian Faith, Coptic, Gospel Reflections, Iconography, Icons, Jesus Christ, Roman Catholic, Roman Catholic Beliefs, Roman Catholicism4 Comments

Sacred art, by its very nature, is catechetical. The purpose of this art was and continues to be a method of instruction. The Catholic Church, in its Latin and Greek Rites, and the twenty-six Catholic Rites that are in union with Rome, have all produced magnificent sacred calligraphy and art; non-Catholic faiths have done this, too.

Two thousand years ago Christians hiding in Rome inscribed images of Christ, the Blessed Mother and with the Christ child, and other Scriptural images on the walls of the catacombs. That art contributed to the catechesis of the early Christians. Two millennia later, Pope St. John Paul II in paragraph 18 of his Apostolic Exhortation, Catachesi tradendae, speaks of this function: it is “an education in the faith… in an organic and systematic way, with a view to initiating the hearers into the fullness of Christian life.”

Sacred art, in tandem with scholarship, edifies and makes beautiful the truth, goodness, and beauty of God. One of my favorite forms of sacred art is that of the Coptic Christian Church (historically based in Alexandria, Egypt). Coptic art is presented in an especially down to earth way. It is beautiful and humble at the same time. It is catechetical and colorful. It possesses a fine palette, yet the viewer does not get caught up in the colors to the detriment of catechesis. 

The above icon is 7th century Egyptian Coptic.
This is a sacred image that I painted (Copyright © Deacon Paul O. Iacono). It contains Egyptian Coptic elements and is portrayed in a catechetical style. The concept is obviously borrowed from the 7th century artist, but my composition is extended to include a number of additional catechetical points. My palette is brighter than the first image but the original artist may not have had access to a variety of pigments. Coptic art, in later centuries, is known for its very colorful palette. As Winslow Homer said, “Every artist must stutter in his or her own language.”

The Coptic faith’s icons are simple, yet, profound. They convey theological truths in a way that can be understood by all age groups and are excellent sources of catechesis. 

The first image above is a 7th century Coptic icon. It was discovered at the Monastery of Bawit (Egypt) in the early 20th century by two French archaeologists who brought it, and other Monastery artifacts, back to Paris. Currently located in the Byzantine wing of the Louvre it is unique because it presents Jesus affectionately putting his arm around the Monastery’s abbot – Abbot Mena.

The second sacred image is my original composition. It is painted in archival ink, acrylic paint, and the halos are 23 karat gold leaf. My style slightly follows the Coptic in that it portrays figures that are not intimidating, are easily understandable, and act as a teaching tool for children and adults. It does present additional symbolism which further explains key theological truths of our faith.

Symbolism of the second sacred image:

The IC XC is the Greek abbreviation for Jesus Christ. 

The slightly larger than normal eyes represents holiness, spiritual wisdom, and maturity.  

Jesus’ white alb (tunic): purity; King David’s light green alb: hope for spiritual growth and friendship with God. 

Jesus’ outer garments consist of two parts: robe and stole which are painted in various shades of royal purple. Royal purple indicates kingly authority. The tassels of His stole are multicolored representing the intersection of purity and kingship. Christ’s lower stole’s has an intersecting weave representing Jesus’ blood and water shed for us on the Holy Cross. Liturgically, deacons, priests, and bishops all wear albs, cinctures (belts), stoles, and outer garments (dalmatic or chasuble). These articles of clothing each symbolize different aspects of Jesus’ Passion and ministry.

Elevated above Jesus’ left hand are the scrolls of the Old (Hebrew) and New (Christian) Testaments. The color symbolism for the Hebrew Scriptures’ scroll: green, which represents hope, expectation of the Messiah, and devotion to God. The Christian Scriptures‘ scroll: red, representing Jesus divine and human energy, love, Redemptive sacrifice, and His mercy and justice.

Jesus’ arm is around David’s shoulder. His gesture to David expresses His love, affection, and mercy which are evident and available to everyone. However, the expression that I put on Jesus’ face, especially His eyes, conveys the severe justice that Jesus’ renders to all non repentant sinners. David committed murder and adultery yet ultimately becomes aware of the enormity of his sins. His Psalms were written to plead for mercy, express sorrow for sins, and give praise and thanksgiving to God (see especially: Psalms: 1, 51, 56, 65, and 117). David’s crimson coat symbolizes human life and energy, it is trimmed in dark green symbolizing his hope for mercy.

Circa 1000 BC, David and his armies captured Jerusalem and brought the Ark of the Covenant into the city (1 & 2 Samuel). King David is holding the city of Jerusalem in his right hand; and in his left the book of Psalms. David’s son Solomon built the First Temple to house the Ark of the Covenant (1 & 2 Kings). 

Between David and Jesus are a ram and a new born lamb.

The ram refers to the sacrifice by Abram (Abraham) of a ram caught in a thicket in substitution for the sacrifice of his son Isaac (Genesis 22). Jesus and David are members of the same genealogical family, stretching all the way back to Abraham and Isaac and Isaac’s son Jacob.

The newborn lamb represents Jesus Christ, the “lamb of God” (John 1: 29). He was given in sacrifice by the Holy Trinity for the Redemption of mankind from their sins. That Redemptive act by Our Lord and Savior, Jesus the Christ, instituted the New Covenant which was sealed with His, the Lamb of God’s, blood.

The New Covenant does not replace the Old Covenant God made with the Hebrews. The New Covenant of Christ’s sacrifice (as described in the 27 books of the Christian Scriptures) fulfills the Old Covenant promise of a Savior found within the 45 books of the Hebrew Scriptures. The ram and the lamb provide the visible connection between the Hebrew Scriptures (Old Covenant) and Christian Scriptures (New Covenant).

The New Covenant is continued down through the centuries by the un-bloody sacrifice of Holy Mass. Selections from the Hebrew and Christian Scriptures are read. The Gospel is proclaimed prior to the priest representing Christ, in Persona Christi, transubstantiating the host and wine into the Body, Blood, Soul and Divinity of Jesus Christ.

In faith and action Catholics consume His Body and Blood toward the end of Holy Mass. This consumption does not transform Him, as simple food, into ourselves. Rather, we (as repentant sinners) are transformed by Him (through Sanctifying Grace) into Himself.  He doesn’t become part of us, rather, we become part of Him. This is an article of faith believed by all Catholic Christians of the Western an Eastern Rites of the Church. The reception of Holy Communion by Catholics is not a “right,” it is a privilege given by Jesus Christ to worthy (repentant and Reconciled) recipients (culminating in our giving eternal thanks and praise to Him in Heaven; see Matthew 26: 29).

Therefore, in this non-intimidating sacred image you have a teaching tool that includes elements of Sacred Scripture and Sacred Tradition. It is simple grist for any informed catechist’s mill.

UPDATE: If you find this subject interesting I recommend you read my post on Catechesis and Naive Sacred Art: St. Peter – A Lesson Plan, published on January 25, 2022. Thanks!

Copyright © 2011- 2021 by Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint essays and/or my paintings must be obtained from me by, using the comment box and making a comment/request on this post. I will respond to you through answering in the comment box. Students, and those interested, may quote small sections of my essays as long as the proper credit and notation are given. Thank you.





Sacred Art – Its Fate When a Catholic Church Closes Its Doors

On By Deacon Paul O. IaconoIn Roman CatholicLeave a comment

A subscriber recently asked me about the process of the movement of sacred art from a local church or cathedral into a secular or religiously affiliated museum and is there a specific “Rite” of the Church that applies to this situation?

Before I answer the question allow me to provide a quick review in reference to the word “Rite/rite.”

When a capital “R” is used it refers to specific Rites, such as the Rite of Christian Initiation of Adults, the Rite of Baptism, the Rite of Anointing of the Sick, etc.

Also, a capital R is used when referring to the Rite of the Western (Latin/Roman) Catholic Church, the Eastern Catholic Rites in union with Rome (there are 5), and the liturgical subsets of these five Eastern Catholic Rites. These liturgical subsets, which are all in union with Rome, number more than twenty specific cultural groups.

If the word “rite” is not capitalized it refers to the basic definition, which is: “the ceremonial practices of a Church governing the words and actions for a specific liturgical ceremony.

We may also look at the basic question from three different angles or categories.

In reference to the question asked by the subscriber: The first category is when a piece or pieces of sacred art is owned by one, or many, dioceses and are collected to be shown in a secular or religiously affiliated museum. The local Roman Catholic Bishop may allow this because the sacred art is  considered an opportunity and expression of beauty and catechesis for its viewers. This is especially important  since numerous faithful might never see the art because of personal circumstances or its public availability. An example of this was the opportunity I had to view some of Fra Angelico’s extraordinary paintings in Boston during the late winter and spring of 2018.

I posted some of my observations of these masterpieces in the exhibition “Fra Angelico – Heaven on Earth” that were loaned to Boston’s Isabella Stewart Gardner Museum. I would have never been able to see many of these paintings if they hadn’t been loaned to that Museum. That viewing, presented in a very respectful way by the Museum staff, became a spiritual and artistic experience for many people. It provided an opportunity to appreciate Fra Angelico’s enormous talent and the paintings ability to express Scriptural and Traditional truths of the Church. I am not aware of any blessing “rite” that occurred prior to their removal and/or reception as a loan to the Gardner exhibition, however, if the paintings were part of a specific diocesan collection, here or abroad, the local Bishop/Cardinal, may have supported such a blessing.

In another case, if a particular piece of sacred art was desecrated as a result of a museum’s irresponsibility or their insufficient security, I am sure the sacred art in question would be blessed prior to its being reinstalled in its original diocesan location. A specific blessing may be used; such a blessing may be found in the Roman Catholic “Book of Blessings” (numerous blessings for specific occasions). It would be given by the local bishop or his designee in a specified and prescribed form.

The second category is the sacred art that was/is created for a specific patron. This art is created to be venerated or simply enjoyed by the patron and his/her family and friends.

For the last 1,500 years wealthy patrons throughout the world  have commissioned and placed sacred art in their private chapels or rooms dedicated to it. Kings, queens, and other wealthy secular patrons (such as the Medici) may have had a deacon, priest, or normally the bishop bless the sacred art. The bishop may have used a particular blessing current at that point in history, or in contemporary times, within the “Book of Blessings” or other manuals, that every diocese possesses and its bishops, priests and deacons use.

Upon the death of the original patron the piece would probably be passed from one family generation to another until funds were needed and it was sold to another secular patron, or the piece was sold or donated to the Church or a museum.

There is a third category. If a diocese or a cleric commissions or purchases sacred art to hang within their basilica, cathedral, or parish church and uses diocesan or parish funds to do so, and eventually that cathedral or church is, for whatever reason closed, then, as in all of the above categories the question can be asked, “What happens to the sacred art?”

The answer is straightforward and the following process would normally occur (note well, the local bishop must always agree to the process undertaken whatever form it may take):

1. If a specific diocesan cleric commissioned the art for their parish church (legally a religious corporation) that parish, within a specific diocese, is the legal owner of the sacred art. It is not owned by the individual cleric but by the parish and diocese as a whole. If it was received by the parish or diocese as a gift  from the sacred artist it would normally receive a blessing when it was installed in the cathedral or parish church.

2. A privately or museum owned piece of sacred art would not fall under the category of requiring a Church blessing since it was probably blessed when it was in the possession of a Catholic patron, or a Catholic church that used it within a liturgical or sacred setting. If a secular museum, or non Catholic patron, acquires a piece of sacred art the Church would not require the non Catholic patron or museum to have the art blessed.

3. In the case of a church being closed, the local diocese would in turn transfer the art, based on need, to a parish church within their jurisdiction. Normally, it would never be sold to an individual; however, in a financial crisis the Bishop might sell a particular piece(s) to another Catholic diocese outside of his jurisdiction or a secular museum.

4. Diocesan pastors would be notified of the closing of a particular church and the distribution of its sacred items such as crucifixes, liturgical vessels, sacramentary, lectionaries, monstrances, thuribles, sacred paintings, sculptures, etc. These items would be available based on the need of another diocesan parish church. I am aware of such transfer of items having occurred within my own diocese from a parish church that closed to an active church.

5. Each case, especially when the sacred art is of great value (such as gold chalices, ciboria, stained glass, etc), has to be appropriately evaluated by the Bishop and/or individuals within his chancery office. The local bishop must always agree to the process undertaken.

Copyright © 2011- 2020, Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students, and those interested, may quote small sections of the article as long as the proper credit and notation is given. Thank you.

The Assumption by Fra Angelico
One of Fra Angelico’s reliquary paintings. This small segment, greatly increased in size, shows the detail of the Virgin Mary entering Heaven at the moment of her Assumption. It was part of the very large poster that a visitor would first see as they entered the 2018 exhibition at the Isabella Stewart Gardner Museum in Boston. The reliquaries on display all showed different scenes of the Blessed Virgin. They are stunning to behold.

IMG_1704
One of Fra Angelico ‘s reliquary paintings – The Dormition and Assumption of Mary – on display at the Isabella Stewart Gardner Museum in 2018. It shows the Dormition of Mary (her “falling asleep” at the end of her human life), her Assumption into Heaven and being welcomed by God. You can see the image of the Blessed Virgin greatly increased in size in the above poster. The reliquary is small, approximately 2 1/2 ft high.

Bernini’s Bronze Sculpture of Four “Giants” of the Church

On By Deacon Paul O. IaconoIn Apologetics, Apostolic Fathers, Art, Art Education, Artists, Beauty, Catholic, Catholic Art, Catholic Education, Catholicism, Christianity, Church History, Culture, Education, Evangelization, Faith, History, Iconography, Jesus Christ, New Evangelization of the Catholic Church, Popes, Religion, Religious Art, Religious Education, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Artists, Sacred Images, Saints, St. Athanasius, Uncategorized3 Comments

Today, May 2nd, is the “Memorial” day of St. Athanasius, a Doctor (profound theologian) of the Church.

There are four “giants” of the Nicene  and Post Nicene period, all are known as “Doctors” of the Church: St. Athanasius, St. Ambrose, St. John Chrysostom, and St. Augustine. They are immortalized in bronze by  the Renaissance sculptor, Bernini, and are portrayed in his magnificent sculpture of the Throne of St. Peter found in the sanctuary of St. Peter’s Basilica.

St. Athanasius and St. John Chrysostom are saints of both the Latin and the Greek Rites of the Church. Both were bishops. Yet, Bernini does not put the Bishop’s mitre on their heads. Sadly, the sting of the Great Schism of 1054 between the Latin and Greek Rites still stung in the 17th century.

Thus, these two Greek Fathers of the Church were slighted, not because of anything that they did (they were profound shepherds and theologians), but because Bernini wanted the authority of and preeminence of St. Peter’s position of “first among many” and the importance of two of the Latin Rite Fathers, to be showcased in bronze and remembered in the centuries to come.

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The above photo is the “Chair of St. Peter” and is found in St. Peter’s Basilica (Chair created 1656 – 1665). It is an extraordinary masterpiece by Gian Lorenzo Bernini (1598 – 1680) which he made for Pope Alexander VII (Chigi family, 1655/67). Bernini was a child prodigy and polymath. This Chair proved to be a wooden throne dating to the year 875. It was donated by Charles the Bald to Pope John VIII (served AD 872/882) on the occasion of his coronation to the papacy. Four humongous bronze statues of Doctors of the Church flank the chair: In front to the right “St. Augustine”, to the left “St. Ambrose” (Latin Rite). Behind to the left “St. Athanasius”, to the right “St. John Chrysostom” (Greek Rite). The entire bronze structure’s weight is 74 tonnes (81.5 tons). The height is 14.74 m (48.3 feet). The statues of the Doctors of the Church are 5.35 m (17.5 feet) high. Above the four saints is located a stained glass window: “Dove of the Holy Spirit,” dated 1911 by the German glassmaker Hagle from the original design of Giovanni Paolo Schor (1615/74). These facts are from https://romapedia.blogspot.com/2013/10/basilica-of-st-peter-second-part_3.html. That blog is edited by David Macch. This is an excellent website about all aspects of the art, architecture, and history of Rome.

There are five Councils of the Church that had major impact on the development of the Church’s sacred art: the Council of Nicaea, the First Council of Nicaea/Constantinople, the Council of Ephesus, the Council of Chalcedon, and the 2nd Council of Nicaea (2nd Nicaea met in AD 787 and is the last of the Seven Ecumenical Councils). Besides these Councils all the Church Fathers through their scholarship, pastoral zeal, and extraordinary homilies, witnessed to the truth, beauty, and goodness of the Holy Trinity.

The list below provides the names and birth/death dates of the Fathers of the Church within the “Post Nicene” (that is, the time after the Council of Nicaea, AD 325) period of Church history. A quick review of each of their contributions will prove to be beneficial to you if you decide to paint a sacred image of them. How can you truly benefit from painting a sacred image of a person that you don’t know! 🙂

I recommend that you refer to my bibliography (“Early Church Fathers”) provided in my post of February 8, 2019. There are a number of different books in that bibliography that will prove to be helpful to you.

The Post Nicene Church Fathers born within the Western (Latin) Rite are:

St. Ambrose (AD 340-397),

St. Jerome (AD 345 – 420),

St. Augustine (AD 345-430),

Pope St. Leo the Great (AD 400 – AD 461),

St. Benedict of Nursia (AD 480 – 547) and

Pope St. Gregory the Great (AD 540 – 604);

the Post Nicene Fathers born within the Eastern (Greek) Rite are:

St. Athanasius (AD 295 -373) – (he straddles the Nicene and Post Nicene Periods),

St. Basil the Great (AD 330 – 379),

St. Gregory of Nazianzus (AD 330 – 390),

St. Gregory of Nyssa (AD 330 – 395)

St. John Chrysostom (AD 345 – 407),

and St. John Damascene (Damascus) (AD 675 – 749) 

All of the saints listed, including those in the Greek Rite, are venerated within the Western Rite of the Catholic Church.

Ciao!

Copyright © 2011- 2019, Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students, and those interested, may quote small sections of the article as long as the proper credit and notation is given. Thank you.

Sacred Icons and Sacred Images – the Nicene Debate Continues!

On By Deacon Paul O. IaconoIn Arius, Art, Art Education, Artists, Catholic, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Church History, Council of Nicaea, Deacons, Education, Evangelization, Faith, Greek Orthodox, heresy, Iconography, Icons, Jesus Christ, John Daly- Australia, New Evangelization, New Evangelization of the Catholic Church, Orthodox Art, Orthodox Christianity, Orthodox Church, painting, Protestant, Religion, Religious Art, Religious Education, Roman Catholic, Roman Catholicism, Russian Orthodox, Sacred Art, Sacred Artists, Sacred Iconography, Sacred Images, Saints, St. Athanasius, St. Spyridon of Cyprus, Teaching, UncategorizedLeave a comment

AyaSofya
A photo of the inside of the Aya Sofya (Hagia Sophia) church in what is the present-day city of Iznik, Turkey. Iznik was called Nicaea prior to the rule of the Ottoman Turks . This photo shows the interior of one of the rooms in the  building complex that served as the location for the First Council of Nicaea (AD 325). Also, in the late 8th century the Seventh Ecumenical Council met in this building, too. That Council met to debate and decide the issue of iconoclasm (should sacred icons and images be prohibited and destroyed). The written arguments of St. John Damascene (Damascus) won the day and sacred icons were allowed to continue to be made. Iconoclasm was to raise its ugly head again in later years, and came to full fruition during the Protestant rebellion/reformation, the French Revolution, and worldwide Communism in all its cultural forms.  This photo of the inside of the Nicaean building is from Bryan Cross’ website: calledtocommunion.com. It was posted in May, 2010. Thanks Bryan!

I would like to thank one of my readers who identified the  contemporary icon of St. Spyridon (thanks Carol!). The iconographer is the Catholic priest William Hart McNichols. He is a very talented artist who paints traditional icons and sacred images. At times, he steps out of the bounds of the traditional approach and adds his own personal interpretation of the person he is portraying. His artistic vision is unique.

John Daly from Australia emailed me this morning to provide further grist for our mill concerning St. Athanasius, St. Spyridon, and the Council of Nicaea. One of the participants in his iconography school is a Greek Orthodox lady who is the sister-in-law of an Orthodox priest. He is coincidentally named Athanasius.

John had the opportunity to discuss with her the icons that we were analyzing in my posts of the last few days. She provided John some valuable information by explaining  that her mother had given her a beautiful sacred image of the First Council of Nicaea and specifically St. Spyridon’s role in the debate with the heretic Arius. The sacred image is below.

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Greek Orthodox sacred image of the First Council of Nicaea. Notice St. Nicholas on the lower right about to possibly physically strike Arius who reacts by pulling away. On the left you see St. Spyridon, holding a brick with flames streaming upward and water puddling below it to the floor (confer yesterday’s post of April 16th to obtain the explanation of that imagery). The room of the actual Council, as portrayed in this sacred image is quite ornate.

Also, like the sacred icon we examined in yesterday’s post we see the Emperor Constantine, dressed in the royal robes of Byzantine reddish purple (almost a maroon) sitting on the right. On the Emperor’s right we again observe a bishop, maybe its Bishop Alexander of Alexandria, Egypt. In front of him we again see a deacon, dressed in what is either an alb or dalmatic (he would have to stand up to see all the garments).

In the above sacred image, the deacon is again seated at the scribe’s desk. This makes sense, since a deacon serves the administrative needs and report’s directly to his bishop. That is true to this day; yet, throughout the world today the local bishop has his deacons serving in parishes, hospitals, prisons, etc. rather than in an administrative capacity in the local chancery. Notice the bishop is behind the deacon scribe to facilitate accurate communication.

The above sacred  image, which I have never seen before John Daly sending it to me, is very well done. The painter has captured the meaning of the Council as a whole and two of its major participants: St. Nicholas’, in his famous interaction with the heretic Arius, and the great oratorical and mystical abilities of St. Spyridon challenging Arius, too.

Is the deacon pictured in the painting from the Latin Rite or is he Orthodox? Truly, there is no way to accurately tell because the deacon is seated, and what is showing of the deacon’s stole is inconclusive. Depending on the angle of view both the Western and Eastern Rites’ deacon’s stole placement looks the same.

In today’s painting and in yesterday’s post of the icon, the deacon is seated and the possible vertical panel on the Eastern Rite and Orthodox stole is in shadow or not detectable, yet, the panel that drapes from left shoulder and gathers at the waist is visible, and would appear, as you see below, in both Latin, Eastern, and Orthodox Rites!

Just between you and me, I think the deacon depicted in the icon, from my April 16, 2019 post and today’s, is St. Athanasius from Alexandria, Egypt. The Catholic Church, the Eastern Rites in union with Rome, and all the Orthodox Churches venerate St. Athanasius as a great saint and designate specific feast days for him. He belongs to all of us.

The deacon’s stole in the Eastern Rites of the Catholic Church that are in union with Rome; and, the Greek Orthodox, the Russian Orthodox, and Coptic Orthodox deacon stoles look like this:

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Orthodox deacon’s stole in a royal Byzantine fabric (in  what appears to be a royal maroon purple) is bordered in gold thread with gold crosses. Originating at the left shoulder, gathered at the waist, with the fabric of the stole hanging vertically on the left shoulder both in the front and the back. The stole is worn on top of  the ornate gold and white dalmatic.

The cassock, alb, stole, and dalmatic all have the same meaning and functions in both the Western and Eastern Rites of the Church. In today’s Western, that is, the Latin Rite (Roman Catholic) tradition, a deacon wears the rank of his ministry and ordination, the stole, over the alb but under the dalmatic. Latin Rite deacons would wear their stole’s in this manner:

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A Roman Catholic deacon’s stole running from the left shoulder and gathered at the waist, then hangs vertically under the right arm. It is worn on top of a white alb, and under a dalmatic. The dalmatic is only worn during Holy Mass. When the deacon performs baptisms, marriage and funeral services, liturgical prayer services, and formal blessings, etc. the deacon would not wear a dalmatic, so the deacon would appear as in the above photo wearing a simple white or cream colored alb and a stole in the appropriate color..  The stole’s fabric in the photo above is dyed dark purple for Lent; during the season of Advent a purple stole is used, too; sometimes, it is of a lighter purple than the Lenten penitential purple. A white stole would be used for Baptisms. Marriages, Funerals, Holy Thursday services, and during the Easter and Christmas season. Red stoles would be worn at Palm Sunday and Good Friday services, Pentecost, and on the feast days of martyrs.

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A Roman Catholic deacon’s dalmatic which is worn over the white alb and the stole. The dalmatic is in the corresponding color to the stole. The color green is worn during “Ordinary” time (which is the liturgical period that borders the great seasons of Advent, Christmas, Lent, and Easter).

I’ve really enjoyed this lively information exchange. Thanks to all who participated in it!

May you have a blessed Easter Tridiuum of the Passion and Resurrection of Our Lord Jesus Christ.

Peace be with you.

Copyright © 2011- 2019, Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students, and those interested, may quote small sections of the article as long as the proper credit and notation is given. Thank you.

St. Athanasius and St. Spyridon: A Correction and Another Interpretation – Let’s Take A Closer Look!

On By Deacon Paul O. IaconoIn Anna Erakhtina, Apologetics, Apostolic Fathers, Archpriest Vladislav Tsypin, Art, Art Education, Artists, Beauty, Catholic, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Faith, Christian Spirituality, Christianity, Church History, Council of Nicaea, Culture, discipleship, Education, Evangelization, Faith, God, heresy, History, Holy Trinity, Iconography, Icons, John Daly- Australia, New Evangelization, New Evangelization of the Catholic Church, Orthodox Art, Orthodox Christianity, Orthodox Church, painting, Protestant, Religion, Religious Art, Religious Education, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Iconography, Sacred Images, Saints, Spirituality, St. Athanasius, St. Spyridon of Cyprus, Teaching, Uncategorized, Zemen Monastery1 Comment

I am always very appreciative of my readers writing to me and providing new information and interpretations of sacred icons and images. Happily, that occurred last evening when a reader, Mr. John Daly from Australia, provided me with information on the second icon that was in yesterday’s post on St. Athanasius. Let me provide you with that image so we will have a reference point:

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This is the sacred icon of a bishop confronting a heretic at the Council of Nicaea (AD 325). Mr. John Daly of Melbourne, Australia informed me that we should take a closer look at the details of this icon because of how it depicts the bishop’s castigation of the heretic. I concluded erroneously that it must be St. Athanasius since he was a pivotal orthodox figure at the Council. Even though he was a deacon at that time, and not a bishop at the Council, he was ordained a priest and bishop about three years later, so the iconographer just inserted him as a bishop. Mr. Daly recommends a closer look to discover that it is St. Spyridon of Cyprus.

Mr. Daly is correct – it is St. Spyridon (born AD 270, died 340).

Let’s take a look at the reasons for this correction:

  1. The bishop castigating the heretic Arius is wearing a distinctive hat. The hat is unique. It is shaped like a beehive. It is made of woven straw and was traditionally worn by Cypriot and other shepherds tending their flocks – an apt metaphor for a bishop caring for the flock of his faithful.
  2. St. Spyridon was from the island of Cyprus, and eventually became a bishop serving the people of Trimythous, thus, he would have been invited to the First Council of Nicaea as were all the other bishops in Christendom.
  3. At another time, possibly in Cyprus, St. Spyridon was involved in a debate with a pagan philosopher whom he ultimately converted to Christianity. Besides his theological arguments about the Holy Trinity, the good bishop used a piece of pottery or a brick, to demonstrate to the philosopher how you could have one single substance be also composed of three separate substances (pottery and bricks consist of clay, water, and are unified by the substance of fire).
  4. The story of his discussion with the pagan philosopher continues and says that as soon as St. Spyridon finished speaking the piece of pottery or brick burst into flame, water dripped from it, and clay ash remained in his hand. Well that would have been enough to place me on the road to conversion, and so it was with the philosopher, too. If you look closely at the icon above you can perceive the fire bursting out of the brick and the water puddling beneath it. Hmm, I didn’t see that! As Sherlock Holmes once said, “Watson, you see, but you do not  observe” (taken from the story A Scandal in Bohemia by Sir A.C. Doyle).  Wise advice.
  5. Mr. Daly also relates that it was [and probably still is] common for an iconographer to fuse the two incidents of St. Spyridon converting a pagan, and St. Spyridon at the Council of Nicaea debating with the heretic Arius.
  6. There it is: the beehive woven straw hat, the bishop’s vestments, the water, fire and ash metaphor, the confrontation with an individual that has an opposite argument, and the public venue for both incidents.
  7. So where is St. Athanasius in this icon? Mr. Daly offers that in the upper left corner of the icon, we see an individual portrayed as listening intently to St. Spyridon. He is dressed in a dark alb with a white collar. He suggests that this is St. Athanasius. That argument makes some sense because, as a deacon, Athanasius may not have been up front with the bishops, rather he possibly would be located near the altar ready to perform his diaconal duties. At the same time he is still involved in the proceedings, and/or ready to respond to the needs of his bishop – Alexander of Alexandria.  You notice the priests and monks in the back of the room, too, in dark conical monastic hats and cassocks.
  8. My only issue with that interpretation is that the figure portrayed in the upper left does not have a nimbus (halo) circling his head, nor is he wearing his deacon’s stole; however, the scribe in the lower left corner is wearing a deacon’s stole. My stole comes across my chest from the left shoulder and is gathered at the right hip; and the scribe’s stole does the same thing. Is this individual St. Athanasius? There appears to be writing on his stole. I have no proficiency in Greek so I cannot be of help there.
  9. The scribe in the lower left corner has a halo, too, and so do all the bishops. Did the iconographer think that all the bishops present were saints?  This is not unlikely, since they produced a Creed for Christendom in three months. Truly, a stunning achievement. It indicates that the assembled bishops were very clear in their own minds what the Faith, based on Scripture and Apostolic Tradition, was all about. The bishops all appear very animated and involved in the Council proceedings. It’s obvious that the Holy Spirit was working within that Council!
  10. There is a lot going on in the upper part of this icon, too. Christ, as a young child, is found walking across what appears to be an altar towards another bishop. That bishop on the upper right is seen discussing some issue with, possibly, another dissenter (a priest, or deacon; even though the priests and deacons in attendance didn’t vote, they certainly could influence the bishop of their diocese on issues and arguments).
  11. Sadly, I believe that the only existing documents that we have concerning this Council that are still in existence are the Nicene Creed itself, the procedural rules of the Council, and Emperor Constantine’s address to the assembled bishops. It is said that many of the bishops came, returned to their dioceses, and then came back to the Council. This probably contributes to the fact that we don’t have all the names of the participating bishops, just those mentioned in other documents or in the stories that were passed on through to the faithful (confer Anna Erakhtina’s article The “Model of Meekness,” and Slapping Arius, at http://www.orthochristian.com, May 22, 2016, specifically the contribution by Archpriest Vladislav Tsypin. He discusses the documents available to us today). If anyone has additional information on the actual participants please tell me your source, and the participants, and I will spread the information through a post.
  12. St. Spyridon was also known as a miracle worker, especially for his successful intervention (caused by the prayers of the soldiers and sailors of the Catholic Rites) in the 1716 battles with the invading Ottoman Turks on the Greek island of Corfu.

John, thanks again; this was a fun interaction.

Additional images of St. Spyridon:

ST. Spyridon Orthodox
A contemporary Sacred Icon of St. Spyridon showing his beehive woven straw hat, his bishops stole, the blazing potsherd or brick with water dripping from it, and his holding the book of the Gospels (dogmatic truth based on the Holy Scriptures and the Sacred Apostolic Traditions of the Western and Eastern Rites of the Catholic Church. If anyone knows that artist that is responsible for this beautiful icon please tell me and I will credit him/her in this post. Icon found on Wikipedia and originates at St. Spyridon Orthodox Church in Loveland, Colorado (thanks to them for posting the image of this magnificent icon).

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A medieval icon of St. Spyridon, wall fresco, Bulgarian Orthodox, found in the  Zemen Monastery, Bulgaria. Photograph may have been taken by I.E. Stankov in 2012 using a Canon EOS 600D camera.

In the Roman Catholic Church, St. Spyridon is venerated on his feast day, December 14th; and on December 12th in the Eastern Rites and the Orthodox Church.

Thanks for stopping by and reading this post.

Copyright © 2011- 2019, Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students, and those interested, may quote small sections of the article as long as the proper credit and notation is given. Thank you.

St. Athanasius – Coptic and Eastern Orthodox Icons

On By Deacon Paul O. IaconoIn Arius, Art, Art Education, Artists, Catholic, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Faith, Christian heresy, Christianity, Church History, Culture, Education, Evangelization, Faith, God, heresy, History, Holy Trinity, Iconography, Icons, Idolatry, Jesus Christ, New Evangelization, New Evangelization of the Catholic Church, Orthodox Art, Orthodox Christianity, Orthodox Church, painting, Protestant, Religion, Religious Art, Religious Education, Roman Catholic, Roman Catholic Beliefs, Roman Catholicism, Sacred Art, Sacred Iconography, Sacred Images, Saints, Scriptures, Spirituality, St. Athanasius, Teaching, Uncategorized1 Comment
St. Athanasius of Alexandria was “the Lion” of the Council of Nicaea. He was instrumental in providing well argued testimony rebuking the heretic Arius during the Council’s debates. His verbal skills, as powerful and commanding as a lion, shredded Arius’ arguments. His eloquence convinced the assembled bishops of the correct dogma that Jesus Christ has two, separate and distinct, natures (divine and human), and that Jesus Christ is fully human and fully divine. The heretic Arius insisted that Jesus was “just a creature” of God.

Icon-St.-Athanaius-the-Great
A contemporary icon, completed in The Egyptian Christian Coptic style, of St. Athanasius of Alexandria standing on the back of the heretic Arius (seen in very dark colored clothing) at the Council of Nicaea (AD 325). Athanasius is seen in front of the assembled bishops from the Eastern and Western Rites of the Catholic Church. He is holding the Council’s accepted conclusions in the document known as the Nicene Creed. Notice that he does not have a bishop’s mitre on his head similar to the bishops sitting in attendance behind him, and is dressed in what appears to be a deacon’s dalmatic with cape. The style of this sacred icon is very similar to the style of the Coptic (Egyptian) Orthodox Church’s sacred art; yet, the inscription above his head is in Greek rather than Coptic. Image found at churchofourladyofkazan.org; (thanks to them) throughWikipedia images.

The Council’s main purpose was to address the divine nature of Jesus Christ and the concept of HIs being the Son of God the Father. This had to be done in order to squash the Arian heresy once and for all. It was also to establish a date for the celebration of Easter, resolve organizational and clerical issues, and the development of Church law (what today is called Canon Law). They were also attempting  to settle a schism that had occurred in Egypt. That schism was being fomented by another bishop who had enlisted with the heretic Arius.

The Council was also tasked with development of a Christian Creed that would provide unity of belief for both the Eastern and Western Rites of the Church. This unity of belief was critical since the Church needed a formal set of beliefs  that could be used as a catechetical tool and a binder that kept all the cultural and geographical “Catholic” churches together.

The Council of Nicaea basically resolved all the main issues of its agenda. It was a stunning achievement. The priest Arius was banished for promoting heresy and his ideas declared anathema. Yet, the problem the Council still faced was convincing Arius’ followers of their heretical errors. Banishment or not, an unrepentant Arius continued to spread  his opinions fomenting confusion throughout the Empire.

THE_FIRST_COUNCIL_OF_NICEA
The above image is another example of a sacred icon, however, it is not completed in the Coptic style which originated in Egypt. It is an Eastern Orthodox icon (Greek, Russian, or one of the many other Eastern Rites of the Church), completed centuries after the Council ended in the summer of the year 325. It shows a non-heretical bishop castigating the heretic priest Arius (who is raising his hand in an attempt to stop the speaker). The bishop, because of his hat (mitre), appears to be labeled with Athanasius’ name found at the bottom); however, he is not clothed in a deacon’s dalmatic, nor did deacon’s wear that style of hat. It is believed that Athanasius was not ordained a priest and bishop until after the Council ended. The Emperor Constantine sits on the right dressed in imperial clothes and it may be surmised that it is Bishop Alexander of Alexandria (the bishop of Arius’ and Athanasius’ diocese) who sits to the immediate right of the Emperor.

The Eastern and Western Rites of the Catholic and Orthodox Church have always believed that sacred icons and sacred images are always venerated by the faithful; they have never and are never worshipped.To worship sacred icons, sacred images, statues, and other visual reminders of the glory of God and His saints is against the 1st Commandment (confer Exodus 20: 2-17, and Deuteronomy 5: 6 – 21). If anyone worshipped those visual images they would correctly be called idolaters. Worship is for God alone, that is, the Holy Trinity – the Father, the Son, and the Holy Spirit; Three Divine Persons in One God.

Our Savior Jesus Christ is One Person with two natures: human and divine; that is a state of being which is part of the great Mystery of the Incarnation of God into human existence.

Jesus Christ is the Lamb of God, sacrificed in Jerusalem through His Passion, Crucifixion, and death. Jesus, following His Father’s will, suffered and died for us in order to atone for all of humanity’s sins (past, present, future). God the Father and God the Holy Spirit responded by raising Jesus from the dead on the third day, ultimately enabling Jesus to interact and be seen by His Apostles and hundreds of disciples.

Truth, Goodness, Beauty, and Love, incarnate in our Savior.

Thanks for stopping by.

May you continue to have a prayerful Holy Week and a joyous Easter Season.

Copyright © 2011- 2019, Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students, and those interested, may quote small sections of the article as long as the proper credit and notation is given. Thank you.

 

Saint Nicholas Slaps a Heretic! A Reflection Appropriate for Palm Sunday

On By Deacon Paul O. IaconoIn Apologetics, Apostolic Fathers, Arius, Art, Art Education, Artists, Beauty, Bible, Catholic, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Church History, Culture, discipleship, Easter, Education, Evangelization, Faith, God, God the Father, Gospel Teachings, Grace, Greek Orthodox, heresy, History, Holy Spirit, Holy Trinity, Icons, Jesus Christ, New Evangelization of the Catholic Church, Orthodox Art, Orthodox Christianity, Orthodox Church, Religion, Religious Art, Religious Education, Roman Catholic, Roman Catholic Beliefs, Roman Catholicism, sacred, Sacred Art, Sacred Artists, Sacred Images, Spirituality, St. Athanasius, UncategorizedLeave a comment

The extensive Gospel reading for Palm Sunday relates the Scriptural and historical truth that Jesus  triumphantly entered Jerusalem, yet, five days later He was arrested, put on trial, tortured, and executed.

As you know, the religious and secular leaders of Israel did not accept Jesus as the Messiah and Son of God. They were adamant about the fact that Jesus was just a man and that His claims, teachings, and healings were all fraudulent.  Their disbelief took place during the first century, yet, two hundred years later there were Christians saying the same thing.

The questions came down to, “Who is Jesus Christ? Is He a man? Is He God? Is He both?”

These were the same questions that the people of Jerusalem, some of them waving palm branches, and their leaders were asking each other.

In the year 325 scholars and clerics were still grappling with those questions, too.

Many deacons, priests, and bishops of the Church had settled the question in their own mind, yet, all of Christendom was not in agreement. Emperor Constantine was worried; as a military man he knew trouble when he saw it. Religious disagreements could easily spread into civil war. Something had to be done.

Stories have come down to us through the centuries that St. Nicholas of Myra, a faith-filled bishop, decided to defend Sacred Tradition and the Scriptural interpretation of the reality of Jesus as the Son of God the Father. The story relates that he not only vigorously defended Sacred Tradition but became so worked up that during one of the debates he slapped the author of this heresy which was called Arianism.

But, was it a verbal or physical slap?

Let’s take a brief look at some of the details:

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Partial icon of the “incident” at the 1st Council of Nicaea. Immortalized in an early icon. The Early Church was well aware of the importance of this Council in debating and agreeing to the specific dogmas of the Church that would be ultimately proclaimed in the Nicene Creed. All catechumens that enter the Church at the Easter Vigil Mass proclaim their belief in the great Sacred Mysteries and historical truths of the Nicene Creed.

Who: Saint Nicholas of Myra, Bishop, (Myra, an Ancient Greek city on the coast of present day Turkey),  vs.  Arius, priest from the diocese of Alexandria, (Alexandria, a city on Egypt’s Mediterranean coastline). Emperor Constantine, Roman Empire, centered in the new city named in his honor: Constantinople (present day Istanbul, Turkey). Constantine convenes an ecumenical council of bishops from the five major patriarchies of Christendom (Alexandria, Antioch, Constantinople, Jerusalem, and Rome).

What: Supposed incident of Bishop Nicholas “slapping” the priest Arius, at the first ecumenical Council of Bishops: the Council of Nicaea. This was the first Council since the Council of Jerusalem (held in the first century and was attended by luminaries such as St. Peter and St. James).

When: Late Spring and early Summer of the year 325.

Why: The incident concerned the critical issue of who is Jesus Christ, and whether Jesus Christ is “the same in being and the same in essence” as God the Father. Arius was promoting the heresy that Jesus Christ was “just a creature” of God and not a divine Person of the Holy Trinity.

Where: Nicaea, an ancient city in Asia Minor; it is the present day city of Iznik, Turkey.

As it applies to sacred art, the Council of Nicaea provided a specific creed: a set of theological proclamations that impacted  sacred artists from the 4th century to the present day. It is stated clearly in this Creed that God the Father has communicated His love, mercy, and laws to humanity through His revealed word in the Hebrew and Christian Scriptures. This action culminated in the ministry, passion, death, and resurrection of His incarnated Word, His Son Jesus Christ.

The Nicene Creed definitively proclaimed that Jesus Christ is the same in essence, and the same in being, as God the Father and God the Holy Spirit. So we have the great Mystery of the Incarnation, the nature of Jesus Christ: He is both human and divine – the Son of God – One Person with two natures – human and divine.

orthodox_icon_of_our_jesus_pantocrator_of_sinai._large
The above is a 6th century sacred icon of Jesus as Pantocrator. Pantocrator is a Greek word describing the all knowing, all powerful Son of God: Jesus Christ. The Council of Nicaea declared that Christ, as God, is consubstantial: Jesus is the same in essence (substance) and in being as the Father and the Holy Spirit. Also, Jesus possesses two natures: human and divine. This is truly a great Mystery of the Church. The sacred artist of the above icon, probably a monk, used hot pigmented wax (the encaustic method) to render this likeness. This sacred icon is currently located in St. Catherine’s Monastery, Sinai Peninsula, Egypt. The face has a striking resemblance to the face on the Holy Shroud of Turin.

The day-to-day proceedings and debate notes of the Council have been lost to history, so we will never know if St. Nicholas gave Arius a physical or just a verbal “slap.” Regardless, St. Nicholas made his point and contributed to giving us the gift of the Nicene Creed.

In AD 381, the Nicene Creed was edited and amended at the First Council of Constantinople (thus, the Creed is called the Niceno-Constantinopolitan Creed. Try to say that phrase fast, three times!😃).

Thanks for visiting with me. May you have a prayer-filled Holy Week.

Sources for the above post are found in my bibliography post, entitled Early Church Fathers – A Short bibliography of February 8, 2019. I relied primarily on Pope Emeritus Benedict XVI’s works, also Aquilina and D’Ambrosio’s volumes.

Copyright © 2011- 2019, Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students may quote small sections of the article as long as the proper credit and notation is given. Thank you.

 

 

 

Luke 15: 1-3, 11-32. The Prodigal: Which Brother Are We?

On By Deacon Paul O. IaconoIn Art, Bible, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Faith, Christian Spirituality, Christianity, Compassion, Confession, Conversion, Culture, discipleship, Education, Evangelization, Faith, God, God the Father, Gospels of Jesus Christ, Healing, Holy Spirit, Hope, Jesus Christ, Lent, Parables of Jesus, Reconciliaton, Religion, Religious Art, Religious Education, Roman Catholic, Roman Catholicism, sacred, Sacred Art, Scriptures, St. Paul, Teaching, UncategorizedLeave a comment

I once heard a friend repeat a quote by the author Katherine Mansfield: If you wish to live, you must first attend your own funeral.”

How true. We begin to live life perceptively only when we project ourselves to the time of our own death, imagining how we’ve lived our life and wondering whether we’ve met the mark.

Depending on our frame of mind, and perspective on life, we may not include the spiritual in our self-assessment, or, only give it a passing thought. That is why Mansfield’s phrase may be viewed as spiritually deficient.

In today’s Gospel on the parable of the Prodigal Son there are family members that Jesus is requiring us to understand. The behavior of these people, the father and the two sons, provokes four questions. Questions not so much about our secular situation but our spiritual – our relation to God, and, each other.

At first glance, the younger son impresses us as an individual who is quite selfish. When he requests his inheritance from his father, he isn’t just asking for the cash, he is in effect saying to his father: “I want to live my life now and without any strings attached. To me you’re unimportant, this family is unimportant. Just let me get on with my life and give me my share right now.”

Are we living in  a way that categorizes God? Are we willing to acknowledge  Him only because we want to get something out of Him? Do we play upon His charity and generosity?

If this is so, if we have the younger son’s attitude, we end up like him – swimming with the pigs.  What will be our inheritance? It will undoubtedly be spiritual poverty and secular discontent. Sadly, sometimes people understand this only in the last few months of their life, or, in the moments right before their death.

Jesus is teaching us that the prodigal son was only able to enter into a state of recovery when he “attended his own funeral.” When he was able to perceive his own personal endpoint, his own material and spiritual poverty. He was finally able to admit that he was grievously wrong only when this realization slammed into his consciousness.

His new perception demanded that he learn the root causes of his problem, reject his worldly self, and humbly ask for repentance. He needed to realize that his father and family were all important to his happiness. This required acceptance of and humbly requesting his father’s mercy and love.

This perception did not demand psychoanalysis. He did not need years of therapy on a psychologist’s couch. He had the intelligence to figure it out because he confronted himself as he truly was and extended that personal analysis to his family and surroundings. He acknowledged his sins, and how truly needy he was of his father’s love and mercy.

We are half way through the Season of Lent. Like the younger son, have we confronted our own faults, our lack of perception, and yes – our own sins?

The Prodigal says: “I will arise and go to my father, and will say unto him, father, I have sinned against heaven, and before you.”

This is the turning point in the Prodigal’s life. It can also be ours.

Improvement begins with a decision to change the way we do things, the way we behave and perceive reality, both in a secular and spiritual sense. If you are a Western Rite Catholic, this is accomplished in three ways: Sacramental Confession, prayer, and resolution of purpose. Reconciliation is always possible. Our God is a God of justice, but also, a God of infinite familial love and mercy.

Do we behave like the younger son or the elder son? Are our hearts cold?

What the younger son ultimately accepts the elder son initially rejects. At first, the elder son resents the generosity of the father’s love – he resents the generosity of the act of forgiveness. It appears that he is unable to accept his repentant brother or his generous father.

Does this, in any way, apply to us? Do we ignore the Father, Son, and Holy Spirit’s love for us; do we resent people who have converted, changed their spiritual way of life? Or do we continue to judge them as if they were still enveloped by their sins? Do we verbalize our resentment or question their repentance? Are we unwilling to repent of these attitudes? Are our hearts cold?

I am a sinner and you are a sinner. There are very few people on this earth that are living saints. Regardless of whether our sins are small or large, visible or hidden, it is paramount that we remember the words of St. Paul: God the Father “reconciles us to Himself [through the passion and death of His Son] and has given us the ministry of reconciliation. Be reconciled to God. For our sake He made Him [Jesus Christ] to be sin who did not know sin, so that we might become the righteousness of God in Him” (2 Corinthians 5: 17-21).

We need to take stock of ourselves this Lenten season, repent and return to the Father’s embrace. This can only be done through the Sacrament of Confession/Reconciliation – a Sacrament made possible through the life, death, and resurrection of Jesus Christ, our Lord and Savior.

the-return-of-the-prodigal-son-illustration-for-the-life-of-christ1.jpglarge
Painting by James Tissot (French; 1836 – 1902). “Return of the Prodigal Son.”

Thank you for reading this post.

 Copyright © 2011- 2019, Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students, and those interested, may quote small sections of the article as long as the proper credit and notation is given. Thank you.

 

 

 

 

 

 

 

 

 

 

 

 

 

Christ in the Wilderness: Lent – the Season of Preparation – Luke 4: 1-2.

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Bible, Catholic, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Conscience, Conversion, Culture, Demons, Devils, discipleship, Education, Evangelization, Faith, Gospel Teachings, Gospels of Jesus Christ, History, Holy Spirit, Hope, Ivan Kramskoi, Jesus Christ, Joy, Lent, Lucifer, New Evangelization, New Evangelization of the Catholic Church, Orthodox Art, Orthodox Christianity, painting, Penance, Religion, Religious Art, Roman Catholic, Roman Catholicism, Russian Artists, Russian Orthodox, sacred, Sacred Art, Sacred Artists, Sacred Images, Satan, Satan devil, Scriptures, Sin, Spirituality, St. Luke, St. Paul, Teaching, Temptation, Temptation and Sin2 Comments

Jesus, full of the Holy Spirit, returned from the Jordan and was led by the Spirit into the wilderness, where for forty days He was tempted by the devil. He ate nothing at all during those days, and when they were over, He was famished. (Gospel of Luke chapter 4: verses 1-2)

In the extraordinary painting  below, we see Jesus after He was led into the desert wilderness by the Holy Spirit. He is surrounded by rocks and sand. He sits on a boulder, hands in front of Him. His eyes are filled with the knowledge of reality, of passions, power, and pain, ego and emptiness, sin and self aggrandizement.

This painting may move us from the awareness that in the desert wilderness Jesus is not only thinking through His ministry, Passion, and death but is also viewing our lives – our ministries, our passions, our death.

What do we see?

Let us examine His face.

christ_in_the_wilderness_detail_400

We see the seriousness of the forthcoming temptations; the physical, mental, and the spiritually violent struggle with the devil. It is written plainly upon His emaciated face.

We see the irrefutable fact of Jesus’ humanity.

We see that He is like unto us, except for sin.

This is the face of our Savior; but the victory is not His, yet.

His temptations, public ministry, Passion, and death are still to occur.

What do we see?

We see a man who knows His Mind. He knows His Body, Soul, and Spirit.

He knows His freely accepted duty to accomplish His Father’s will.

This is not the face of a defeated man. It is the face of a determined man who is also Lord and Savior.

**679px-Kramskoi_Christ_dans_le_désert

Observe Christ’s clenched hands, gaze deeply into His eyes, and you will see the artist’s portrayal of a Savior that is already, at the beginning of His ministry, aware of the viciousness of the tempter and the burden of our sins. Sins accepted by Him, and through His Passion and death, makes all things new.

christ_in_the_wilderness_detail_400

Jesus had to confront in that desert assault whether or not He was going to be faithful to His mission.

The Gospel passage above challenges us with the same questions: are we going to be faithful to the Commandments, to our Baptismal promises, to the mission given us in Confirmation to live and practice the truths that He taught us?

Are we going to be faithful to the spiritual power and grace given to us, not just when we feel like it, but even in the most difficult of circumstances?

As disciples of Christ we are on a daily basis constantly revolving around the axis of temptation and sin – faith and grace. We understand that temptation, in and of itself, is a test – it is not sin. It is only sin when we willfully place ourselves in its shackles, when we give into its fueled power to overwhelm our body and soul. That power  – a deadly power – obtains its animus and energy from the original tempter and liar – Lucifer himself.

Hell is real. It is not a mental construct. To say that it doesn’t exist is to call Jesus a liar, and His Passion, death, and Resurrection meaningless.

Jesus the Christ lived heroically in the face of Hell’s demons and witnessed to the power of God’s grace.

But you say, I am not Jesus Christ, I am a weak man or woman, boy or girl.

I say true, we all are; but by virtue of our faithful reception of the Holy Sacraments (Holy Mysteries) of Reconciliation (Penance/Confession) and the Holy Eucharist we have the power of Christ’s grace within us. A power, freely given by God and unmerited by us, to resist and overcome temptation and sin.

If we do sin – if we do “miss the mark” – we have a remedy.  We follow St. Paul’s advice: pick yourself up, dust yourself off (confess your sins), and confidently continue on your journey. We must do our part in cooperation with God’s love and mercy.

The Season of Lent is a time of joyful repentance, prayer, and fasting.

Let’s remember the  words of Nehemiah, who in the Hebrew Scriptures says: Today is holy to the Lord your God. Do not be sad, and do not weep; for today is holy to our Lord. Do not be saddened this day, for rejoicing in the Lord must be your strength! (Nehemiah 8: 9-10. 5th century BC)

***

The painting above was created and completed in the late 19th century by Ivan Kramskoi. He was a gifted Russian painter, noted portraitist, draughtsman, and teacher. The painting is entitled Christ in the Wilderness.

Copyright © 2011- 2019 Deacon Paul O. Iacono All Rights Reserved. Portions of this essay may be used in accordance with correct notation and bibliographical insertion; contact deaconiacono@icloud.com for more information or questions.

Apologists – Additional Saints Prior to the Council of Nicaea

On By Deacon Paul O. IaconoIn Apostolic Fathers, Catholic, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Ethics, Christian Spirituality, Christianity, Culture, discipleship, Evangelization, Faith, History, New Evangelization of the Catholic Church, Orthodox Art, Religion, Religious Art, Roman Catholic, Roman Catholicism, Sacred Art, Spirituality2 Comments

Today’s post will continue to add to my two previous posts: The Apologists (Defenders of the Faith) – Part 7, and The Apologists – Comparing Icons. 

The men below are also known as the Ante Nicene Fathers. The word Ante (before) refers to the fact that they defended the Faith during the terrible persecutions of the first three centuries of the Church (the Domitian, Decian, Valerian, and Diocletian persecutions). These persecutions occurred prior to the Council of Nicaea (AD 325).

The Council of Nicaea was called by the Emperor Constantine in order for the assembled bishops, and their representatives from throughout the Empire, to discuss, debate, and establish the basic elements of a Creed for the Catholic Church (Eastern and Western Rites).

Prior to calling this Council, Constantine had proclaimed the toleration of Christianity throughout the Roman Empire. He accomplished this through the Edict of Milan. This Edict (AD 313) did not mandate that Christianity was the official religion of the Roman Empire, that was to be done by a later Emperor – Theodosius I – in AD 380. The Edict just allowed for Christianity’s toleration as a religion.

The list below provides the additional Apologists who significantly contributed to the defense of all the aspects of the Early Christian Faith, such as the Real Presence of Christ in the Eucharist, the Seven Sacraments, the Holy Sacrifice of the Mass, etc.:

St. Justin Martyr, (born circa AD 100), an excellent writer, debater and teacher. He defended the Sacraments of the Church, especially the Real Presence of Christ in the Eucharist, the genuineness and inerrancy of the four Gospels, the Trinity, the two natures of Christ, how reason can come to know God, the Sacraments, God’s revelation and inspiration, etc. He also saw some aspects of ancient philosophy as a precursor of the Christian faith, and wrote two powerful defenses of the Faith to the Emperor and the Roman Senate. He was martyred, along with six other Christians, in AD 165.

St. Justin Martyr is a very important witness to the developing beliefs of the Catholic Church (Western and Eastern Rites) because he is discussing and describing many of the primary dogmatic and doctrinal beliefs of the Church which would be established over one hundred and fifty years later in the Nicene Creed (AD 325), and clarified and confirmed in the Council of Constantinople in AD 381.

St-Justin-Martyr-e1464838721698
A sacred icon of St Justin Martyr, martyred AD 165. He was a powerful teacher, writer, and Defender of the Faith as it was passed down to him from Apostolic Times.

St. Melito of Sardis, (died circa AD 185),  a scholar who saw the immense value and importance of the Hebrew Scriptures and how they contributed to the Christian Scriptures; in AD 175, wrote a defense of the Christian Faith which was published in a letter to Emperor Marcus Aurelius. He was also instrumental in teaching and explaining the two natures of Jesus Christ: one divine and one human. His explanations kept the two natures separate, and teaches that Jesus was truly human and truly divine. He fought the Christological heresies that were developing at this time (especially Marcion’s heresy concerning Jesus’ physical body).

Tertullian, (died circa AD 222) a powerful, yet, at times, tactless writer and lawyer. He wrote on many aspects of early Church theology. He also wrote a spirited defense of the Christian Faith in a letter to the Roman Emperor. Interestingly, he is known for his description of the members of the Christian Faith: “See those Christians, how they love one another,” and “The blood of Christians is [the] seed [of the Church].”

St. Hippolytus of Rome, (died circa AD 236) in his book – The Apostolic Tradition – sets down a manual of liturgical prayers and tradition and it refers to an order of the Holy Mass. The current Eucharistic Prayer 2, in the Sacramentary (liturgical missal) used in the Western Rite, is attributed to the central prayer found in his The Apostolic Tradition.

Origen of Alexandria, (died AD 254), a genius in speculative theology who wrote extensively on subjects such as the belief in One God, the Three Persons of the Holy Trinity, the Holy Sacraments of the Church, etc. He was a voluminous writer and died a martyr.

St. Cyprian of Carthage, (born circa AD 200); he was a student of Tertullian. St. Cyprian was a tireless theologian and worker for unity within the Church, and through his patient and good-hearted efforts solved many controversies and squabbles. As a bishop he proclaimed that he was willing to welcome any pagan or heretic into the Church who confessed their sins, were willing to do penance, and were baptized. His defense and scholarship on the Holy Sacraments is considered important. He died a martyr in AD 258.

In my next post, Part 8, I will briefly discuss the Golden Era of the Apostolic Fathers (AD 325 – 430) whose blossoming occurred after the Council of Nicaea; also in that post, I will discuss and list the Post Nicene Fathers (circa AD 430 – AD 800). In Part 9, I will briefly list some of the important Church Councils of the 5th century and how they affected the Church’s sacred art.

Please review the bibliography page (found at the post of February 8, 2019). It provides the sources that I have been using in this specific sequence of posts on Church history.

Thanks for visiting with me. On this Ash Wednesday allow me to offer you my best wishes for a productive and prayerful Lenten Season.

Copyright © 2011- 2019, Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students may quote small sections of the article as long as the proper credit and notation is given. Thank you.

 

Icons – Important Similarities/Differences

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Beauty, Catholic, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Culture, Evangelization, Iconography, Icons, Orthodox Art, Religion, Religious Art, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Artists, Sacred Iconography, Sacred Images, Saints, TeachingLeave a comment

Can you pick out the seven similarities between the two sacred icons of Church Apologists that are below? The differences?

IconPM-Irenaeus-2
St. Irenaeus of Lyons (died circa 201). Famous for his manuscripts Against Heresies. He used 21 out of the 27 books of the New Testament in his writings and sermons.

 

SAINT-CLEMENT-I
St. Clement of Alexandria, Egypt.  Born AD 150, died AD 215.                                                               Famous for his manuscripts on the Blessed Mother Mary as the New Eve, the significance of the Holy Eucharist, and other catechetical works.

Let’s take a look at the two icons above.

Both are correct in the way they are represented. From an artistic and symbolic point-of-view there are distinct similarities.

They have seven similarities: the beard (signifying experience, authority, and that the saint is an elder); a large, high forehead (signifying Christian wisdom as influenced by the Holy Spirit which is visualized through the saint’s works and knowledge); the Holy Cross upon the priest’s stole (it appears as a garment that circles the neck and extends down the torso which signifies Christ’s Redemptive suffering and the saint’s  willingness to give witness and suffer for Christ); the presence of the book of the Gospels (the revealed truth of God through His Son, Jesus Christ); the script of the saint’s name at the top or side of the icon; and the halo circling the head (representing the sanctity of the saint).

There are two absolutely necessary and critical indicators that designate a valid orthodox icon or sacred image: the artist must distinguish the person represented with his or her name, and, the icon must give witness to their life and ministry to the Church.

How does the sacred artist accomplish this requirement?

The artist needs to follow this rule: if the person(s) represented is/are a cleric (deacon, priest, or bishop) they need to be clothed with the proper vestments of their rank, and prototypical appearance. If their physical appearance is known (such as St. Therese of Lisieux or St. Maximillian Kolbe) they must be represented in a correct and accurate manner. The artist must also represent some aspect that distinguishes their ministry, such as the Book of the Gospels.

This is also true if the person(s) is/are a martyr, holy man or woman, monk, etc. This is, again, necessary since  the faithful need to know the name of the saint so they “may honor, revere, and give salutation to them and aspire after them” (from The Seventh Ecumenical Council: Concerning the Holy Icons).

The differences between these two icons of Church Fathers are primarily in the icons’ age, the colors used by each sacred artist, the adornment of the garments and book of the Gospels, and whether or not the halo, and area surrounding the figure is gilded. Many of these differences reflect the specific culture the sacred artist lived in, the time period of the artist’s life, and the artistic resources (such as pigments) that were available.

Historically, violent disputes broke out between icon supporters and icon destroyers. The situation came to a head in October AD 787, when the 2nd Council of Nicaea, among other issues, reinstated the validity and necessity of the veneration of holy icons/images. It specifically quoted: Genesis 31: 34; Exodus 25: 19 ff; Numbers 7: 89; and Hebrews 9: 5 ff;) in support of their position. The Council Fathers especially cited various passages of the Fathers of the Church which proved to be critical in the authority of their proclamation. They were also heavily influenced by the writings of St. John Damascene. The Council documents were signed by the Byzantine Empress Irene, as many as (or more than) 300 bishops, and two legates of the Pope.

Sacred icons, sacred images, statues, etc are never worshipped. Worship belongs to God alone as represented in the Holy Trinity. The holy personalities represented give witness to unity with Christ and point us in the truthful –  orthodox –  direction. We venerate sacred statues, icons, and sacred images – never worship them. (See the documents of the 7th Ecumenical Council of the Church (AD 787) to reiterate this position).

Church tradition also warns the sacred artist who paints sacred icons to guard against unnecessary innovations and artistic flourishes. Please remember that in my blog I make a distinction between sacred icons and sacred images. My articles on this subject can be found in the Category window found on the top, right hand side, of my Home Page. You may find that my article A Canon for Catholic Sacred Artists, found in the Category: Sacred Artists, in the month April, 2018 (once there, scroll down to April 2, 2018 and you’ll find the article). That article has a short section in the Notes following the ten elements of my suggested “Canon” that express my opinion on the differences between sacred icons and sacred images.

Thanks for visiting with me. My best wishes for a relaxing weekend.

Copyright © 2011- 2019 Deacon Paul O. Iacono All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students may quote small sections of the article as long as the proper credit and notation is given. Thank you. Deacon Paul Iacono, at deaconiacono@icloud.com.

 

 

 

Christian Witness and Sacred Art – The Early Church Fathers – Part 7

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Beauty, Catholic, Catholic Art, Catholic Education, Christianity, Culture, Education, Evangelization, Faith, Iconography, New Evangelization, New Evangelization of the Catholic Church, Orthodox Art, Religion, Religious Art, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Iconography, Sacred Images, SpiritualityLeave a comment

A Challenge: Are you as a Christian artist willing to internalize the message of the saint, scene, or Scripture passage you are artistically representing, and then, correctly portray it according to Church tradition?

Sacred artists must have more than just an awarenesses of Jesus, His Mother, angels and  saints because their witness provides us with the foundation stones of our Faith. Sacred artists must be more than artists who propose “Art for art’s sake”.

If we do this what do we become? We become evangelists to the truth, goodness, and beauty of God, through the witness of Jesus Christ and the holy men and women who called Him the Son of God.

In the years immediately following St. Polycarp’s martyrdom (died, circa AD 155, and remembered yesterday, February 22nd, in the Roman Breviary and Missal) a group of eight Western and Eastern Rite scholars and clerics arose known as the Apologists (Defenders of the Faith).

The Apologists defended the beliefs and traditions of the Church that passed down to them, in an uninterrupted line, directly from the Apostles and Apostolic Fathers.  This occurred during the years of continued persecution – AD 155 through AD 313.

The works and ministerial witness of the Apologists provide evidence for the continuity of beliefs and dogmas in the Early Christian Church. It is through this historic development, and the literary and physical witness of their efforts, that we have  religious and cultural traditions which dramatically affected the growth of sacred art. These clerics and scholars desired to unify and establish the beliefs of the Western and Eastern Rites of the Church.

Church artists, and the later group of clerics and scholars known as the Nicene Fathers (who I will cover in later posts), were heavily influenced by their efforts. These two groups, the Ante Nicene and Nicene Fathers all desired to make concrete and visible the correct teaching – the orthodoxy – of the Church. These efforts ultimately produced artistic representations of these early spiritual heroes – a visible sign of the truths of the Gospels being preached – and in some cases, their witness in blood.

The Apologists have also been termed The Ante (Before) Nicene Fathers because they lived and died prior to the establishment of the  Creed of the Catholic Faith, ultimately to be known as the Nicene Creed.

Let us briefly review two of the Apologists: St. Irenaeus of Lyons, and St. Clement of Alexandria. In a subsequent post you will have the opportunity to read three or four sentence descriptions of the contributions of the other six  Apologists.

St. Irenaeus of Lyons was born in AD 130 and died circa AD 202. He speaks of the four Gospels as being the “Four Pillars of the Church,” and was in a position to know that since he heard St. Polycarp (a friend and disciple of the Apostle John) preach. He was steadfast in supporting the belief in Apostolic Tradition. He taught that the true Faith is the one imparted by the bishops of the Church who, in turn, received it directly in an uninterrupted set of teachings from the Apostles. St. Irenaeus was tenacious in his fight against heterodoxy, specifically the Gnostic heresy.

St. Irenaeus understood the value of St. Polycarp’s New Testament scholarship and his emphasis on the Church’s sacred Tradition. He spoke with authority on Mary as the New Eve, and the Holy Eucharist. St. Irenaeus barely escaped death during the persecution of Emperor Marcus Aurelius, however during the round-up approximately 50 other Christians had the joy of earning the holy crown of martyrdom. He may have eventually died a martyr, yet, there is not sufficient evidence to support it.

IconPM-Irenaeus-2
St. Irenaeus of Lyons (died circa 202). Famous for his manuscripts Against Heresies. He used 21 out of the 27 books of the New Testament in his writings and sermons.

Another critical Apologist is St. Clement of Alexandria (born circa AD 150, died circa 215). He led a major catechetical school in Alexandria, Egypt and agreed with St. Irenaeus that the truth and knowledge of the holy Gospels proceed through the bishops and are for the population as a whole and not for any secret society (thus, he fought against the Gnostic heresy).

He taught that in order to understand the truths of the Gospels you must have faith in unison with reason. He is also known for three major catechetical works which are still in existence. These works were meant to accompany catechumens and those baptized into the Christian faith as an aid to their spiritual development. He was not martyred.

SAINT-CLEMENT-I
St. Clement of Alexandria – an Apologist of the Early Church – as represented by an early iconographer of the Eastern Rite of the Catholic Church.

 

Thanks for stopping by the Institute. I hope you have a relaxing weekend.

Copyright © 2011- 2019 Deacon Paul O. Iacono All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students may quote small sections of the article as long as the proper credit and notation is given. Thank you. Permission to copy these posts must be obtained from Deacon Paul Iacono at deaconiacono@icloud.com.

The Apostolic Fathers in Roman Catholic Sacred Art – Part Six

On By Deacon Paul O. IaconoIn Art, Catholic, Catholic Art, Catholic Education, Christianity, Education, Orthodox Art, Religious Art, Roman Catholic, Roman Catholicism3 Comments

This post and an upcoming posts will very briefly explain some of the major figures in the Church history during the period of AD 65 through AD 155 – the period known as the age of the Apostolic Fathers. Ultimately, Parts 7 through 9 will cover some of the key leaders within the three subsequent periods of the early  Church (circa AD 155 to circa AD 800). I am presenting this material because it is critical for anyone studying and painting sacred images and sacred icons to be aware of the theological understanding of the scholars and bishops in the Church’s early history.  Sacred art developed in tandem with the approved theology of the Church. I will ultimately show you how this is expressed, specifically how our Blessed Mother Mary is artistically portrayed in Part Nine and subsequent  posts.

After Jesus Ascension to Heaven the Apostolic Fathers continued the mission of Jesus and His Apostles to shepherd the early Church. The term “Father” refers to the early leaders of the Church who remained faithful to the Apostolic faith and traditions and brought the early Church out of “diapers” into “young adulthood.” These men carried on the spiritual beliefs and religious traditions of the Apostles and, in some cases, directly knew the Apostles (for example, both St. Ignatius of Antioch and St. Polycarp were disciples of St. John the Apostle, and St. Peter consecrated St. Clement of Rome a bishop).

The Apostolic Fathers lived and died between the years AD 65 through AD 155. Their writings began to be circulated around the year AD 95. Apostolic Fathers that I will not cover in this post are Marcion, who was an eye-witness to the martyrdom of St. Polycarp and wrote an account of it and the anonymous writers of important documents: (The Shepherd of Hermas – this document and the Apocalypse of Peter were eventually removed from the canonical collections of Christian writings), The Didache, The Epistle to Diognetus, and The Epistle of Barnabas.

Many scholars believe that the four Gospels: Matthew, Mark, Luke, and John, and the Epistles: of Paul, Peter, James, Jude, and John  were all written before the year AD 100. Yet  it took approximately another four hundred years for the dogmas, doctrines, writings and the Church approved Gospels/Epistles to be studied, discussed, codified, and accepted or eliminated by the bishops of the Catholic Church (Eastern and Western Rites). Concomitantly, the sacred art of the early Church was affected by and developed within these cultural and spiritual currents. To exemplify this I will definitely present images of these developments, as they apply to Our Blessed Mother Mary, in upcoming posts.

The Apostolic Fathers confronted numerous controversies and heresies. For example, Pope St. Clement of Rome (martyred in AD 99 or 101) addressed the question of the authority of the Bishop of Rome and clerical leadership (see his very important Letter to the Church at Corinth written in the first century). The Emperor Trajan (reigned AD 98 – 117) had him martyred by being thrown into the sea with an anchor around his neck.

St Clement of Rome
Pope St. Clement being martyred by drowning (Renaissance image)

While traveling to Rome to be martyred, the bishop St. Ignatius of Antioch wrote significant letters to various churches in Asia Minor on important theological issues. He promoted the structure of clerical hierarchy (deacons, priests, and bishops). Adhering to Apostolic Tradition, Ignatius promoted belief in the Real Presence of Jesus Christ in the Holy Eucharist (which was achieved by a validly ordained male priest through the Scriptural words of Consecration within the liturgical structure of the Holy Mass). St. Ignatius of Antioch is also the first bishop to use the word “catholic” (universal) to describe the first Christian Church communities. He was martyred in Rome’s Circus Maximus by being savaged by lions. His martyrdom occurred in AD 107 – 108.

ignatius_of_antioch_2
Martyrdom of St. Ignatius of Antioch (contemporary sacred icon)

The last Apostolic Father that I will briefly discuss in this post is the bishop St. Polycarp of Smyrna (a city in Asia Minor – currently in Turkey). Polycarp’s name, in Greek, means “much fruit.” St. Polycarp was a friend and disciple of St. John the Apostle; and he was known as a New Testament scholar, and author of an important letter to a Church community in Greece.

St. Polycarp was tireless in his fight against the Marcionite heresy. That heresy grew out of a heresy accepted by some interpreters of the Hebrew Scriptures who claimed that there were “two Gods” – one good and one bad. Polycarp was martyred in AD 155 or 156. The story of his martyrdom relates the attempted burning of this good bishop at the stake, but when the fire had no affect at all his frustrated executioners pulled him out and did the deed with a dagger!

polycarp-martyrdom
Martyrdom of the bishop St. Polycarp (not a contemporary sacred icon; possibly 15th century).Notice that it remains loyal to the story of his witness and martyrdom.

 

The “Great Schism” between the Roman Catholic and Greek Catholic (Orthodox) Rites did not occur until AD 1056; and the Protestant movement did not begin until the middle of the 15th century. The Protestant Revolt came to full force in the early 16th century and continued through to the 17th century. The Protestant sects viewed sacred art as unnecessary for the faithful since they needed to concentrate only on Sacred Scripture (Sola Scriptura).

Prior to AD 1056 all Christians were “Catholics” from different cultural areas of Europe, Africa, and the Near East. Each one of these Eastern and Western Rite communities applied their own interpretation to appropriate liturgical music, sacred art, liturgical disciplines to their regional church environments. Examples of this interpretation are  celibacy for male deacons and priests, and liturgical use of cultural specific language. This was achieved by remaining faithful to approved Catholic Creeds (Nicene and Apostles), Holy Scripture, clerical/hierarchical organization, etc. A unified set of Church dogmas and doctrines developed out of this 800 year history.

Thank you for stopping by and reading this brief post. My next post will briefly review the next group of “Fathers of the Church” – the Apologists.

My best wishes for a restful weekend; and if you are in the United Stats an enjoyable Super Bowl football game!

Copyright © 2011- 2019 Deacon Paul O. Iacono All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students may quote small sections of the article as long as the proper credit and notation is given. Thank you. Deacon Paul Iacono, deaconiacono@icloud.com.

Roman Catholic Sacred Art – Three Major Stages

On By Deacon Paul O. IaconoIn Art, Art Education, Benedict XVI, Catholic Art, Catholic Education, Christianity, Religious Art, Roman Catholic, Roman Catholicism, Sacred Art, TeachingLeave a comment

Allow me to wish everyone a belated Merry Christmas and a Happy New Year! I can do that because, liturgically, we are still in the Christmas Season! That Season ends this Sunday – the Baptism of the Lord.

Okay, we left off in the last post with a schematic of the discipline of painting. The previous posts also provided a simple definition of Art and its disciplines.

As we now return to our study allow me to provide you with the three “Major Periods” of Catholic Sacred Art. These Periods also impact what I, in my humble opinion, have labelled “minor stages” of sacred art. These minor stages were outgrowths and were dramatically influenced by the previous major period. The academic source for the Major Periods is Pope Emeritus Benedict XVI’s book: The Spirit of the Liturgy.

I labelled the other stages minor not because they are any less in value, artistic merit, or cultural import, rather, I gave them that designation because the Major Periods promoted specific Catholic theological insights. The minor stages while artistically very significant, continued the theological themes and dogmas of the previous major period.  The minor stages contributed to culture and sacred art by providing different artistic interpretations of the previous major period.

I am emphasizing that Catholic theology and its cultural environment dramatically affected Catholic sacred art. This is not a “new” insight on my part, just one that I believe should be emphasized in our studies. The beginning and end dates for the Periods below are fluid and, depending on the region of Europe you are studying, can be slightly increased or decreased in time.

My chart of the Periods/Stages is below:

image002.png

Soon I will begin posting the development of specific theological themes, and a brief explanation of the major periods and minor stages. I will provide some artistic examples, too.

Your comments and constructive criticism are always welcome.

Thanks for visiting and have a great weekend.

Copyright © 2011- 2019 Deacon Paul O. Iacono. All Rights Reserved.

Art Schematic of Church Painting

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Beauty, Catholic Art, Catholic Education, Catholicism, Christianity, Education, Evangelization, painting, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Artists, TeachingLeave a comment

 

This is an easier way to view the material within yesterday’s post.

image001

 

Copyright © 2011- 2018 Deacon Paul O. Iacono All Rights Reserved

St. Joseph’s Art Workshop: Lesson 4 – Applying Color and Modeling the Face

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Beauty, Beauty built on Gospel Values, Catholic Art, Catholic Devotions, Catholic Education, Catholic Spirituality, Catholicism, Christianity, Education, Evangelization, Faith, New Evangelization, New Evangelization of the Catholic Church, painting, Religion, Religious Art, Roman Catholic, Roman Catholic Beliefs, Roman Catholicism, Sacred Art, Sacred Images, Saints, Spirituality, St. Rose of Lima, UncategorizedLeave a comment

Just wanted to notify the people who are following the art lessons in my St. Joseph Art Workshop tab that I just published Lesson 4: Applying Color and Modeling the Face. You need to go to the Menu tab above and click on Lesson 4 to see it.

My next post in the St. Joseph’s Art Workshop tab will be Lesson 5. It will be the last post in my Art Exercise of Painting Sacred Images using Acrylic Paint. 

Thanks.

 

Fra Angelico’s Four Reliquaries for the Church of Santa Maria Novella – Part 4 of the “Heaven on Earth” Exhibition

On By Deacon Paul O. IaconoIn Angels, Art, Art Education, Artists, Assumption of Mary, Beauty, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Education, Evangelization, Faith, Fra Angelico, Fra Angelico's Paintings, Jesus Christ, Mary, Mary - Our Blessed Mother, Motherhood, New Evangelization of the Catholic Church, painting, Roman Catholic, Roman Catholicism, sacred, Sacred Art, Sacred Artists, Sacred Images, Spirituality, The Queenship of MaryLeave a comment

Today’s post is Part 4 in my series that began on May 16, 2018 concerning the recently concluded exhibition of extraordinary egg tempera paintings by the Dominican friar Beato Fra Angelico. The exhibition was held at the Isabella Stewart Gardner Museum in Boston, Massachusetts during the Spring of 2018 and was entitled Fra Angelico – Heaven on Earth.

Nathaniel Silver, Associate Curator of the Collection for this exhibition, includes in his book, Fra Angelico – Heaven on Earth, articles by eleven scholars. Each paper is a quality contribution to scholarship. There is one article authored by Chiara Pidatella, entitled “The Provenance of the Four Reliquaries for the Church of Santa Maria Novella.” It clarifies and answers the confusion surrounding the provenance of the four reliquaries. Ms. Pidatella has written an important paper in that it compiles the documentary evidence that proves that the four sacred images within the reliquaries in the sacristy of the Church of Santa Maria Novella in Florence, were painted by Fra Angelico. These reliquaries and other Angelico masterpieces were on display in the Gardner Museum.

A reliquary is an ornate elaborately constructed box, frame, etc. that is made of wood or precious metals and contains the remains of an individual or multiple saints. These remains may be small or large particles of bone, hair, etc of the deceased saint.  Depending on the design of the frame the openings for the relics are contained in the top or bottom, and in the center if it is a box with lid. You can see the potential opening for the relics at the top of the frame in The Dormition and Assumption of Mary.  It would be within the top circle that is vertically sliced in the center, the relics would be put in that small opening behind “the doors.” It should be noted that Colnaghi & Co. built a new frame for that painting in 1899. I presume they were loyal to the original design of a gabled early Renaissance reliquary, and that the vertical slice is actually an opening for the relic(s).

The reliquaries in the exhibition are embellished with four extraordinary paintings of events in the life of the Blessed Virgin Mary. Ms Pidatella says that “The fact that the saints whose relics they [the reliquaries] contained are not explicitly named suggests that the relics were of minor importance, especially in comparison to others mentioned in the same documents and described with great precision (particularly those decorated with gemstones and precious metals). The third inventory also confirms that all four reliquaries stayed together in the sacristy until at least 1772″ [Pidatella, p. 25]. 

The history of the movements of the four reliquaries is interesting. I won’t go into the historic details yet one incident deserves mentioning  (I recommend that you purchase the book, Fra Angelico – Heaven on Earth, 2018, Gardner Museum, and Paul Holberton, London). The incident concerns the events of the early 19th century when the French government was required (under orders from Napoleon) to make an inventory of Italian artworks. The result being the French government took a very hard stand in relation to Italian art. Ms. Pidatella mentions their belief “that only France deserved to exhibit works from the most important moments in the history of art” (emphasis mine) [Pidatella, p. 27].   Pretty cheeky.

While three of the reliquaries remained in Florence, the Dormition/Assumption of Mary reliquary (one of four seen below) made its way into a collection of an English family headed by Rev. John Sanford (1777 – 1855; he was the chaplain to the Duke of Cambridge, brother of the British King George IV). This acquisition occurred  in the early 19th century; however economic difficulties led to Sanford’s daughter, Anna Horatia Caroline Methuen, to put this Angelico painting on the market. When this occurred Bernard Berenson recommended Isabella Stewart Gardner of Boston to purchase the piece, which she ultimately did in 1899, for £4000 [Howard, p. 18, Fra Angelico – Heaven on Earth]. The Dormition and Assumption of Mary painting then became the first Fra Angelico to be displayed in the United States. Its current frame (that you will see below) was commissioned by Colnaghi & Co.(art dealers) in 1899. Their focus was to frame it in its original gable design {Howard, p. 18-19, ibid].

It is my privilege to present to you my quickly snapped photos of these masterpieces of the four reliquaries (through the courtesy of the Isabella Stewart Gardner Museum) . I will also provide my photograph of the back of one of the reliquaries to show you the wooden panel on which the egg tempera paint was applied. You will see that the panel was covered with a decorated piece of paper-like parchment. The reliquaries are approximately 24 inches tall by 15 inches wide.

The Annunciation and Adoration of the Magi (painted 1426-27) egg tempera and gold on wood panel. This frame is not slightly tipped to the right in reality. It was my attempt to snap a photo before someone stepped in front of me; I didn’t realize the photo was tipped at the time!

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The above two are closeups of the Annunciation and Adoration. Slight tipping resulting from a quick snap occurred here, too. The green squares to the left of Mary’s head are not part of the painting. I did not use a flash. I don’t know what they are, possibly security lights. Notice the extraordinary grill work in back of the Virgin Mary, the angel Gabriel, and the Magi.

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The Dormition and Assumption of Mary (1433-34, egg tempera and gold on wood panel). Purchased by Isabella Stewart Gardner in 1899, making it the first Fra Angelico painting in America. The painting shows in the lower section the Dormition (falling asleep, death, and above it the resurrection of Mary, the Mother of God ( that is, Mother of Jesus’ human nature) and her simultaneous Assumption into Heaven. The angel, dressed in a blue garment to the left of the frame, is one of a number of larger than life size posters that graced the black walls surrounding the exhibit. These poster angels were copied from Fra Angelico’s paintings. They provided a dramatic effect to the entire exhibit.

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The above is a closeup of Mary which has also been expanded into a larger than life size poster image found in the above Assumption painting. This image was the first you saw as you rounded the second floor stairs into the exhibit at the Gardner Museum. It was taken from the above reliquary on the Dormition and Assumption of Mary and introduced visitors to the beauty of the exhibit.

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The Coronation of the Virgin (1429). The lower image within this reliquary is contained in a small rectangular panel called a predella. It shows the Adoration of the Christ Child by Mary, St. Joseph, and six angels. It also is completed in egg tempera, gold, on a wooden panel. You see more poster angels taken from the Dormition and Assumption of Mary painting in pink and blue garments to the right of this reliquary on the black walls of the exhibit.

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This is a closeup of the Coronation of the Virgin found within the above reliquary. Below are gathered a group of saints. The saint looking over his shoulder at the viewer near the extraordinary translucent stairs is Saint Peter holding the keys of Heaven. St. John the Baptist is on his left. Dominican saints, St. Peter Martyr and theologian St. Thomas Aquinas are also present, St. Francis of Assisi showing the stigmata in his hands, two deacons (St. Stephen, the first martyr (protomartyr), and possibly the deacon St. Benjamin, and some Old Testament prophets. St. Thomas Aquinas (above within the  bigger photo) is looking at the viewer. He is situated next to a pope (the Benedictine Gregory the Great?), possibly placed in that position because both Aquinas and the pope were not martyrs.

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The Madonna della Stella (The Madonna of the Star, 1433/34). Within the predella are the major saints of the Dominican Order (Order of Preachers). Saint Dominic (middle) flanked on the right by St. Thomas Aquinas and on the left by Saint Peter Martyr. The small circular photo of the Church of Santa Maria Novella on the back wall of the exhibit accidentally was included in my quick snap of this picture.  It is interesting that it appeared, I did not plan it. It is the church that the four reliquary paintings were originally housed before they were split up during the last two and one-half centuries.  Presently the Gardner Museum has the Dormition/Assumption of Mary reliquary staying in its collection and the other three will be returned to the Museo San Marco in Florence, Italy.

 

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Closeup of the Madonna della Stella, showing the symbolic colors of the garments worn by the figures. The color blue represents divine attributes, which in the Blessed Mother’s case, represents the belief that she was always immaculate – without sin – and that the Holy Spirit “overshadowed” her resulting in the Incarnation taking place within her physical body. The presence of her immaculate nature was within Mary from the moment of her conception. The Latin Rite, the Eastern Rites in union with Rome, the Coptic Church, and the Orthodox Rites believe that Mary is not God, or a goddess. All of these Rites and Churches do not worship Mary; she is venerated by them. Worship and veneration are two very different concepts; they should never be equated.

The color red of Mary’s inner cloak (as well as Jesus’ outer cloak) represents their human nature. The orange trim of her cloak represents the specific spiritual illumination, and self knowledge, of her status as the Mother of Jesus’ human nature, not His divine nature.

With the two lower angels you notice that the blue/red colors are reversed. The inner cloak is blue representing their spiritual illumination and unique qualities/functions, yet, their outer cloak is red. This is done because Fra Angelico represents them all with human features, but, in the case of the two lower angels he represented their outer cloaks as red. I can place no other interpretation on it other than to say that because Jesus and Mary were resurrected from the dead, and have new physical bodies (with unique and specific qualities) the angels dressed in red outer cloaks may be serving Mary’s physical needs (whatever they may be) in Heaven. Heaven is viewed as both a physical (while different from ours) and a spiritual dimension.

As you know, angels are spiritual beings living within the divine atmosphere of Heaven. According to the Latin Rite (Roman Catholic) and other Rites, there are nine “choirs” of angels; each choir possesses specific attributes and functions. Fra Angelico may be distinguishing one “choir” from another through the different colors of the angels’ garments. Angels are pure spiritual beings; they do not have human features or bodies. They are represented that way in Latin and Greek Rite paintings, and some of them in the Holy Scriptures, in order to give the observer/reader a way to relate and understand their functions.

The Dominican Order was keen on expressing the theology of illumination as expressed in the Blessed Mother, their founder – St. Dominic (who illuminated Europe with his sermons against heretics) – and the illumination of the doctrines and dogmas of the Catholic faith provided through the writings of 13th century theologian St. Thomas Aquinas.

For Mary, Fra Angelico expressed that illumination through the orange pigment of Mary’s inner garment and the extraordinary gilding of the rays of light emanating from Mary and Jesus’ bodies. Notice that Fra Angelico shows the love between the two by having the child Jesus place His head close to His Blessed Mother as if He is about to give her a kiss with the Madonna lovingly holds Him.

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Closeup of the Madonna della Stella; also showing a lovely lavender angel on her left.

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The back of one of the reliquaries showing the structure of the wooden panel, and its decorated paper covering. On the front Fra Angelico applied a base coat of gesso, and then his egg tempera paints and gilding.

I hope you enjoyed viewing my four part series on this extraordinary work by Beato Fra Angelico – Fra (Friar) Giovanni di Fiesole. My deep gratitude to Peggy Fogelman  (Director), Nathaniel Silver (Associate Curator) and the very talented staff  of Boston’s Isabella Stewart Gardner Museum for bringing these masterpieces to America. For my wife and I it was a once in a lifetime experience. Congratulations to them and my sincere thanks, too.

I will be featuring some of the remaining single paintings within this exhibition at appropriate times during 2018-19. Some of the remaining Fra Angelico images from this exhibit are the marriage of St. Joseph and the Blessed Mother, the Deposition (taking down) of Jesus from the Cross, another painting of the Dormition of Mary, and events in the life of of Saints Cosmas and Damian.

June 12, 2018

© Deacon Paul O. Iacono 2011-2018 – text and photos. Photos were taken through the courtesy and generosity of the Isabella Stewart Gardner Museum, Boston, Massachusetts, USA. I took the photos with an iPhone 6, no flash.

 

Fra Angelico and the Armadio degli Argenti – Part 3 of the “Heaven on Earth” Exhibition

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Beauty, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Evangelization, Faith, Fra Angelico, Fra Angelico's Paintings, Gospel Reflections, Mary, New Evangelization of the Catholic Church, Religious Art, Renaissance Art, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Artists, Sacred Images, Teaching, Uncategorized4 Comments

Today’s post is Part 3 in my series that began on May 16, 2018 concerning the recently concluded exhibition of extraordinary egg tempera paintings by Fra Angelico. The exhibition was held at the Isabella Stewart Gardner Museum in Boston, Massachusetts and entitled Fra Angelico – Heaven on Earth.

Today’s  painting concerns a major piece of the exhibition – the Armadio degli Argenti.  The four panels of which the Gardner Museum only showed one is also known as the “Silver Chest.” It was commissioned in 1450 and completed in 1452, three years before Fra Angelico’s death.

This panel (123 x 160 cm) includes eleven compartments: The Road to Calvary, The Disrobing of Christ, The Crucifixion of Christ, the Entombment of Christ, The Descent into Limbo, The Three Marys at Christ’s Tomb, The Ascension of Christ, Pentecost, The Last Judgment, The Coronation of the Virgin, and the Lex Amoris (Law of Love). The panel is seen below.

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This panel is one of four that decorated a large cupboard-like chest. The chest contained highly valuable silver votive offerings that were donated by the faithful of Florence to the Church of Santissima Annunziata. Their donations were in honor of a miracle working fresco of the Annunciation of Mary in a side chapel of that church.

The entire chest was commissioned by Piero di Cosimo de’Medici during the church’s restoration. The paintings within the thirty-six “compartments” are painted in egg tempera and gold on a wood panel (The Last Judgement occupies two compartments).

In 1782, the panels were separated from the chest in, thankfully, an unsuccessful attempt to sell them. In 1812 they began their journey to the Galleria dell’Academia, and finally to their current resting place – the Museo di San Marco.

Some close-ups of the panel are found below.

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The “compartment” above was entitled Lex Amoris (Law of Love) by Fra Angelico. It shows a menorah covered with scrolls on which are written items relating to the New and Old Law, and emphasizing the New Law as superior. The scrolls specifically relate to the Sacraments of the Church and specifics of the faith. We also see the twelve Apostles and the twelve Hebrew prophets on each side of the menorah showing that they are all connected through the holy Cross of Christ (top center with red and white standard). The purpose of this panel is to explain that in the coming of Jesus Christ you see the fulfillment of the Biblical prophecy of the Messiah, which does not stand alone, but is related to other events in Jewish history. Notice the female in the lower left corner holding a shield which proclaims “Lex Amoris” (Law of Love) versus the Jewish tradition of “Lex Timoris” (Law of Fear). In her right hand she holds an open book. A beautiful allegory of faith that is beautifully executed by Fra Angelico.

IMG_1762The above photo is one of the thirty-six panels describing events of the New Testament, in this case the Coming of the Holy Spirit at Pentecost. Notice Jesus’ mother Mary at the top center of the image with the Apostles and disciples (Peter is on her top right, and John is on her top left). They are receiving the Gifts and Fruits of the Holy Spirit symbolized by the tongues of fire. A curious crowd gathers below the upper room as described in the Acts of the Apostles. IMG_1760

This is a close-up photo of one of panels in the Armadio degli Argenti in this case showing part of the image of the Last Judgment. Notice one of the angels dragging a sinner from the right side of Christ, the abode of the saved – to the left side of Christ, the abode of the damned prior to their being cast into hell.

The beautiful book, published in union with the Gardner Exhibition, Fra Angelico – Heaven on Earth – was edited by Nathaniel Silver and published in 2018 (Boston, London). It was extremely helpful (pages 210 – 215) in my commentary.

photos (iPhone 6, no flash) and text © Deacon Paul O. Iacono 2011-2018

St. Joseph’s Art Workshop – Lesson 3 – Applying Pigment

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Beauty, Beauty built on Gospel Values, Catholic Art, Catholic Devotions, Catholic Education, Catholic Spirituality, Catholicism, Christianity, Education, Faith, New Evangelization of the Catholic Church, Religion, Religious Art, Roman Catholic, Roman Catholicism, sacred, Sacred Art, Saints, St. Rose of Lima, UncategorizedLeave a comment

To all those that have expressed interest in the FREE on-line sacred art workshop that I am offering here at fraangelicoinstitute.com please note that yesterday I posted Lesson 3 in Exercise 1: Painting an Image of St. Rose of Lima.

Just click on the St. Joseph’s Art Workshop Tab on top of the image of St. Gabriel and the Virgin Mary and you will see the first Workshop page.

If you have already visited the Workshop Tab then just continue to scroll down to find the Lessons that I have posted so far. I am putting all the Lessons in one place because it will be easier for you to scroll up and down to refer back and forth to other Lessons for Exercise 1.

More lessons will be posted in the upcoming weeks. You have enough to read and keep you busy for now!

Feel free to participate and enjoy the process of creating art!

Fra Angelico – “Heaven on Earth” Exhibition – Part 2 – Ascension, Pentecost, the Last Judgement

On By Deacon Paul O. IaconoIn Acts of the Apostles, Art, Art Education, Artists, Beauty, Beauty built on Gospel Values, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Evangelization, Faith, Fra Angelico, Fra Angelico's Paintings, Grace, Hope, Jesus Christ, Mary - Our Blessed Mother, New Evangelization, New Evangelization of the Catholic Church, Pentecost, Religion, Religious Art, Renaissance Art, Roman Catholic, Roman Catholic Beliefs, Roman Catholicism, sacred, Sacred Art, Sacred Artists, Sacred Images, Spirituality, Uncategorized5 Comments

I hope you had a blessed Feast of Pentecost!

Please read Part 1 of “Fra Angelico – Heaven on Earth” (posted here on May 16, 2018) in order to receive a proper introduction to the Isabella Stewart Gardner Museum’s extraordinary exhibition that, unfortunately, closed this weekend..

As you moved into the gallery that exhibited this once in a lifetime collection of Fra Angelico paintings you first saw the beautiful painting entitled The Ascension of Christ, The Last Judgement, and Pentecost (the Corsini Triptych). It is painted in egg tempera with gold leaf on a wood panel. Fra Angelico painted it during the years 1447-1448, seven years before his death in 1455. It was loaned to the Gardner Museum from the Galleria Nazionali d’Arte Antica di Roma – Galerie Barberini Corsini, Palazzo Corsini.

My photographic images of that painting are found below:

The Ascension, Last Judgement, and PentecostIMG_1686

The following quotation is taken from the Exhibition’s commentary found on the right side of the painting. Mesmerizing in its detail, Fra Angelico’s painting pictures three biblical events. At left, Christ ascends into heaven over the heads of the Virgin Mary and the  Apostles. At right, a masterfully foreshortened dove – the Holy Spirit – descends to earth. The story culminates in the center. Christ passes judgment over the living and the dead, saving the worthy (left) and condemning the wicked (right). While the damned cower from fearsome devils who attack the poor souls with claws, angels embrace the blessed.

“This small devotional triptych – a painting with three parts – served a cultivated individual, probably a cleric (deacon, priest, or bishop) in Rome.” Please compare its three episodes to others in my upcoming posts. In the above painting Fra Angelico adopts a vertical presentation. This energizes the connection and communication between heaven and earth. The Gardner Museum’s curator remarked that this technique “enlarges the central scene, and emphasizes” the Catholic Church’s spiritual power.

Fra Angelico, as a Dominican priest, desired to present that Jesus’ act of Redemption (passion, death, and resurrection), and His Ascension back to the Father, made possible the moment of Pentecost. Christ’s actions enabled the eventual opportunity for our free will to choose to accept His Truth and be fed by the Spirit’s power. It is the Father and the Son’s will to have the Holy Spirit nourish us through His grace. This grace is available to us through the proper administration and worthy reception of the Holy Sacraments. Thus, we come to the central panel –  the Last Judgement. Did we freely accept His Sacramental grace or did we ignore, and thereby, reject it? At that moment will we be on the right or the left of Christ?

Allow me to make some personal points on the three close-up photos below. In the first panel of this painting, notice the gold work around the body of Christ. I was allowed to closely examine it. I have never seen a painting’s gold work done with such precision and delicacy. It is not just gold leaf that is applied in a flat manner to the panel. It appears to be actual raised strands, or threads of gold, all applied with great precision. As you slowly move left or right around that part of the painting you notice the light catching the gold and literally radiating and shimmering around the image of Christ. IMG_1745

The Ascension, with Pentecost below.

Second, the image of Pentecost, with the Blessed Mother in the center of the Apostles as the dove hovers and the fire of the Holy Spirit descends upon them and gives them the gifts and fruits of the Holy Spirit (Isaiah 11:23; 1st Corinthians 12: 4 ff; Galatians 5: 22 ff).

Notice St. Peter, filled with conviction, speaking to the assembly of men below (“Peter’s Discourse” found in the Acts of the Apostles chapter 2, verses 14 ff.). Also, notice the clothing on one of the men who gather outside of the upper room listening to Peter: the detail of the lace work on the bottom of one of his garments, and the shadows on the man’s red leotard/shoe. If you stand away from the painting at approximately eight to ten feet to take it all in (as you see in the panoramic top photo) you don’t notice all the detail; but the blessed Fra with his extraordinary perception, noticed the need for it, and he painted it in. A master of detail, and as a true maestro, he knew how to successfully accomplish it. Wonderful!     The last two close-up pictures are below.

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My photos (through the kindness of the Isabella Stewart Gardner Museum), and            my text © Deacon Paul O. Iacono 2011-2018. Photos taken with an iPhone 6, no flash.

 

Fra Angelico – The “Heaven on Earth” Exhibition – Part 1

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Assumption of Mary, Beauty, Beauty built on Gospel Values, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christianity, Education, Evangelization, Faith, Fra Angelico, Fra Angelico's Paintings, Gospel Reflections, Hope, Mary, Mary - Our Blessed Mother, Motherhood, New Evangelization, New Evangelization of the Catholic Church, Religion, Religious Art, Renaissance Art, Roman Catholic, Roman Catholic Beliefs, Roman Catholicism, sacred, Sacred Art, Sacred Artists, Sacred Images, Spirituality, The Blessed Virgin Mary, Uncategorized2 Comments

The Isabella Stewart Gardner Museum in Boston, Massachusetts is the only venue in America for the extraordinary “Fra Angelico: Heaven on Earth” exhibition. This amazing collection of reliquaries which express the life of the Virgin Mary, and other paintings of the greatest painter of the Early Renaissance, will be on display until this Sunday May 20th, 2018. Earlier incorrect media reports had the last day as May 28th.

I will be posting my photos of the Gardner Museum’s exhibit starting with this post and continuing on through the upcoming weeks and months. The exhibit consists of more than just the exquisite four reliquaries and it will be my pleasure to bring to you my photos of all of it. I am grateful to the Isabella Stewart Gardner Museum for allowing me to take photographs of the exhibit.

I will proceed with the first photo showing the image that you see as you climb the stairs of the Museum to the second floor where the exhibit is located. That image is of the Assumption of the Virgin Mary, surrounded by angels as she ascends in a vortex-like movement, toward God the Father. The reliquary containing the complete image was acquired by Isabella Stewart Gardner in 1899. This is the first time in history that all four reliquaries are reunited since they were split up and acquired by collectors and museums around the world.

My wife and I were privileged to visit the Museum and exhibition last week. Words cannot describe the restored reliquaries and paintings in this display.  I am not embarrassed to say that at one point I was choked up with emotion as to the beauty, technical skill, narrative brilliance in explaining Sacred Scripture, and the theological depth that Fra Angelico expressed in these sacred images.

Beato Fra Angelico (birth name Guido di Pietro) was a Dominican friar and known by his religious name as Brother John of Fiesole. The first historical record of Fra Angelico as a painter is the 1418 record of payment for a painting commissioned by the church of Santo Stefano al Ponte in Florence. Fra Angelico is believed to have been born in the late 1390’s and died in 1455. He is buried in Rome at the church of Santa Maria sopra Minerva. He was beatified (beato) by Pope Saint John Paul 2 on October 3, 1982, and in 1984 the Pope declared that Fra Angelico was the patron of Catholic artists (that is why I named this blog after him). Beato Fra Angelico’s feast day is celebrated every year on February 18th.

As you come up the stairs  leading to the second floor of the Museum and turn the corner you first see an enlarged version of Fra Angelico’s Dormition and Assumption of the Virgin located below. This image is showcased because it is found within the reliquary acquired by Isabella Stewart Gardner in 1899.

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This enlarged version of the Virgin Mary is found within the reliquary, and is its centerpiece, seen below.Dormition and Assumption

The above outer frame and base, which contains Fra Angelico’s painting, is known as a   reliquary. A reliquary is a container which holds the relics (bones, hair, etc) of deceased holy people or declared saints of the Roman Catholic Church. The reliquary allows the faithful to venerate, not worship, the life, deeds, and mortal remains of the person whose relics it contains. Fra Angelico painted the four reliquaries’ images specifically for the church of Santa Maria Novella in Florence between the years 1424 through 1434 The painting is rendered in egg tempera, oil glazes, and gold. It is simply stunning.

There is another separate painting in the exhibit which concentrates just on the dormition of the Virgin Mary. I will show that to you in the next post.

The “Heaven on Earth” exhibition is made possible with the support, in part, by the Robert Lehman Foundation and the Massachusetts Cultural Council (the Council receives its funding from the State of Massachusetts and the National Endowment for the Arts). The media sponsor is WBUR in Boston. The Museum’s Executive Director, chief conservator, curators, conservators, and support staff brilliantly provided the technical expertise and planning for this exhibit. The companion book, edited by Dr. Nathaniel Silver (with contributions by more than ten experts) is also very well done and a worthy addition to your library.

Photos and text © Deacon Paul O. Iacono 2011-2018. Thanks again to the Isabella Stewart Gardner Museum for this beautiful exhibit and enabling the public to enjoy, be edified, and to take photos of it.

St. Joseph’s Art Workshop, Lesson 2: Obtaining, Drawing, and Applying the Sacred Image to A Panel

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Beauty, Catholic Devotions, Catholic Education, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Education, Evangelization, Faith, Iconography, New Evangelization, New Evangelization of the Catholic Church, Religion, Religious Art, Roman Catholic, Roman Catholicism, sacred, Sacred Art, Sacred Artists, Sacred Images, St. Rose of Lima, UncategorizedLeave a comment

If you click on the Tab in the Menu titled St. Joseph’s Art Workshop, and scroll down, you will find my recent addition (as of April 26, 2018) on painting a sacred image. That new post – LESSON 2 – describes obtaining, drawing, and applying a sacred image to a wood panel. Enjoy!

April 26, 2018         © Deacon Paul O. Iacono 2011-2018

St. Joseph’s Art Workshop – Part 3: Pigments and Mediums

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Beauty, Catholic Art, Catholic Education, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Education, Evangelization, Faith, Iconography, New Evangelization of the Catholic Church, Religion, Religious Art, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Artists, Sacred Images, Spirituality, Teaching, UncategorizedLeave a comment

Good day,  I just posted, starting at # 8 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

 

St. Joseph’s Art Workshop: Part 1 and 2 – Materials

On By Deacon Paul O. IaconoIn Art, Art Education, Artists, Catholic Art, Catholic Education, Catholicism, Christianity, Education, Iconography, Icons, Religious Art, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Artists, Sacred Images, Teaching, UncategorizedLeave a comment

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

The Canon of a Catholic Sacred Artist

On By Deacon Paul O. IaconoIn Art, Artists, Beauty, Benedict XVI, Catholic Art, Catholic Education, Catholicism, Christian Spirituality, Christianity, Education, Evangelization, Faith, Fra Angelico, Iconography, Icons, New Evangelization, New Evangelization of the Catholic Church, Religion, Religious Art, Roman Catholic, Roman Catholicism, sacred, Sacred Art, Sacred Artists, Sacred Iconography, Sacred Images, Spirituality, Uncategorized6 Comments

Allow me to suggest to my fellow Catholic sacred artists a “canon” of ten fundamental propositions. These ideas and proposals are my personal musings. They assist me in organizing my thoughts and behavior. It is my hope that they will act as an organizational tool for the interested reader, too. They may also assist you, as they have for me, in providing clarity to our foundation and purpose as sacred artists.

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. Sacred artists within the Orthodox Rites and the Protestant denominations may also find some of the proposals helpful in their work.

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 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. Pope Emeritus Benedict XVI has reminded us in his book The Spirit of the Liturgy (Ignatius Press, page 90) that “Communion only reaches its true depth when it is supported and surrounded by adoration.” The word “adoration” is used because we are acknowledging the Real Presence of the Body, Blood, Soul, and Divinity of Jesus Christ in the Eucharist.

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. Sacred art, therefore, is a cultural artifact that turns our heart, mind and soul towards God in praise, penance, petition, and thanksgiving,

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, have not been in union with Rome since the 11th century.

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 (confer EWTN website) 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 his blog about 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, and makes visible (if possible) 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, artistic styles within a specific time period, and the historic 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. Sacred art, therefore, is a cultural artifact that turns our heart, mind and soul towards God in praise, penance, petition, and thanksgiving, 

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) Saint John Paul 2, in note 61 of his encyclical Ecclesia de Eucharistia (The Church Comes from the Eucharist) explains that “By giving the Eucharist the prominence it deserves, and by being careful not to diminish any of its dimensions or demands, we show that we are truly conscious of the greatness of this gift. We are urged to do so by an uninterrupted tradition, which from the first centuries on has found the Christian community ever vigilant in guarding this ‘treasure.’ Inspired by love, the Church is anxious to hand on to future generations of Christians, without loss, her faith and teaching with regard to the mystery of the Eucharist. There can be no danger of excess in our care for this mystery, for “in this sacrament is recapitulated the whole mystery of our salvation.”

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, form, and colors of their art (a tip-of-the-hat to my friend and teacher Dr. George Kordis and his seminal work on line, color, and form). This may also 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 styles and 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, and the Eastern Rites, affirm that preaching the Gospel message through (word, service (Spiritual and Corporal Works of Mercy, and sacred art), 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. Within sacred art artistic styles change (this may be a good thing), but the truth of the Faith, and the witness of the Church’s spiritual giants – the witness of Jesus Christ and His saints – cannot.

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; dalmatics, the Book of the Gospels, or thuribles, for deacons; or the gaunt figure of St. Mary of Egypt, etc.. 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, artistic differences and changes in style 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, and the change of specific artistic styles are present within Eastern Rite iconography. Their sacred icons are affected by the culture, historical moment, style, 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. The artistic style may change but there is no room for personal interpretation to change the way Christ, His angels, or saints are portrayed (an example of this would be portraying Christ as doing some action outside the truth and witness of the Gospels, or having Him beheaded rather than crucified). Sacred icons should never be static and “flat.” The personality of the sacred artist is present in their art, and yet, that is not the most important issue.

A sacred icon is made in a 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 one of my teachers, George Kordis, the type of perspective, the predominant use of egg tempera and natural materials – earths and minerals, the lack of symmetry, moving from dark colors to light, and the final blessing by a priest or deacon) are taken 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 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.

I do believe that a Latin Rite sacred artist may paint a religious image in the style of a sacred icon, but, must be careful to explain the difference between the two types of representation. I currently follow this methodology of differentiating a sacred image (religious art) from a sacred icon, and, religious art 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. Yet, it must be admitted that the “traditions” of Orthodox sacred art were primarily formalized by the Greek artist Photis Kontoglou (1895-1965), and the Russian artist and historian Leonid Ouspensky (1902-1987). Thus, these two scholars, within the last one hundred years, outlined what they believed was the historic “tradition” of Orthodox painting, and this “tradition” became formalized within the Orthodox community.  A Catholic artist from another Rite, or within the Latin Rite, may not be concerned with these issues. I believe, however, that the Latin Rite sacred artist must not only be aware of the currents within the Orthodox sacred art community but be respectful of it, too.

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 Truth, Goodness, and 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 of 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.

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

Originally posted April 2, 2018; updated June 2, 2018

Fra Angelico Institute for Sacred Art.

Copyright © 2011- 2018 Deacon Paul O. Iacono All Rights Reserved

Images:

Christ-Pantocrator.-Andrei-Rublev.-1410-1420s.-The-central-part-of-the-iconographic-Deesis-of-Zvenigorod.-Moscow-The-State-Tretyakov-Gallery

St. Andrei Rublev’s icons: Christ (completed 1410, above) and his                                         The Trinity (1411, or 1425-27)trinity-rublev-1410

 

Masaccio_Holy_Trinity

Masaccio’s sacred image: Holy Trinity (completed 1428, above) and

Pietro Annigoni’s sacred image: St. Joseph the Worker (altarpiece, completed 1963, below)annigoni, st joseph

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.

IMG_0193

My text/last photo, Copyright © 2011- 2018 Deacon Paul O. Iacono All Rights Reserved

 

 

Jesus Our Savior – An Image that is a Work in Progress

On By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Christianity, Iconography, Icons, Jesus Christ, Roman Catholic, Sacred Art, Sacred Iconography, Sacred Images, Uncategorized2 Comments

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

The Gospel of John 1:35-42 – An Invitation to Follow Jesus

On By Deacon Paul O. IaconoIn Catholicism, Christianity, Gospel Reflections, Gospel Teachings, Gospels of Jesus Christ, Jesus Christ, Roman Catholic, Roman Catholic Beliefs, Roman CatholicismLeave a comment

In our Gospel today we hear John the Baptist proclaim “Behold the Lamb of God.”

We see in our mind’s eye, Andrew and another disciple, probably St. John, listening to the Baptist say those words.

Immediately after Jesus walks by they look at one another and, without saying a word, begin to follow Jesus.

Jesus, sensing their presence, turns and seeing them says,

“What are you looking for?”

They say: “Rabbi where do you live?”

They didn’t presume to say, “Rabbi we want to be your companions – we want to learn from you.” Rather they instinctually knew that this man, whom John the Baptist had proclaimed “The Lamb of God,” was the Lamb of God – the promised Messiah; and they wanted to be with Him.

In what must have been an astonishing moment for them, Jesus in turn says, “Come, and you will see.”

What did they see in those three years they spent with Him? That is what John believed he had to write down.

Those three years, and then the following years of John’s own ministry, had to be written down.

Two thousand years later we experience his excitement in the short clips of his memory as we read the significant facts and unique moments of what he experienced.

For in those facts and moments are contained the unique vision of John’s Gospel and Epistles.

They proclaim his experience of the truth that the Word of God – the Mind of God – was incarnated into the man Jesus, the Son of God.

This was done so that the Father could fully express the meaning of His love and His desire to share that love with His creation.

“Rabbi, where do you live?”

“Come and you will see.”

But this is the 21st century; and many of us do not hear the call of God to “Come and see.”

Maybe Jesus is calling to us and we are too distracted, or hurt, or swallowed up by life’s events; or maybe we don’t know how to see or listen to His message, or are just not listening at all.

But the message of this Gospel is that Jesus’ call – His invitation – is always open.

He invites us, like Andrew and John, to join Him for the afternoon and share a simple meal of bread and wine.

He invites us to be baptised into His family so we can receive the many gifts He desires to give us.

He invites us to know His laughter and joy; and He invites us to suffer with Him by knowing loneliness, sickness, heartache, and loss.

“Rabbi, where do you live?”

“Come and you will see.”

Our imagination can visualize a small Hebrew home, with a low doorway so large animals would not wander in.

IEC-exhibition

We can imagine that this is where Jesus lived: in a small but adequate house on a simple Hebrew street.

Jesus, and any visitors, would have to bend down to get through the door.

We are asked to bend down, too.

We are to lower ourselves in humility, patience, reconciliation, and love.

For how are we to live with the Creator of the Universe if we, in the light of the One who loves us, are unwilling to honestly look at our own souls, ask for the forgiveness of our sins, and implore His mercy?

Ultimately, we respond to Jesus’ call by inviting Him into our heart. For that is where He truly wants to live, and rest, and share a simple meal of bread and wine.

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The above post is my homily for the 2nd Sunday of Ordinary Time. Year B. I delivered this homily at St. Francis of Assisi Church in Wakefield, Rhode Island on January 18. 2015 at the 8 AM and 10 AM Masses. It was updated on January 11, 2019.  Copyright © 2011- 2019, Deacon Paul O. Iacono All Rights Reserved  Thanks to the blog Clerical Whispers for the photograph of a typical Hebrew street scene. Their site can be located at: http://clericalwhispers.blogspot.com/2012/05/exhibition-recreates-gospel-village-for.html

 

Link to the Film Within the Post: The Sacred Artist’s Cultivation of Silence

On By Deacon Paul O. IaconoIn Art, Artists, Beauty, Catholicism, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Artists, Silence, UncategorizedLeave a comment

A few readers have emailed me to say that they are having a problem linking to the film mentioned in yesterday’s post. Since many subscribers receive these postings through their email address the easiest way to link to the film is to click on the blue title of the post that appears at the top of your opened email. When you single or double click on this blue title you are redirected to the actual website. The film appears within the website posting.

Another way to connect to the film is to go down to the last part of the opened email and you see the titles of the “tags and categories.” Connected to this section is a URL address, if you click on that URL address it will redirect you to the film, too. It is much easier to read the posts if you  come to the actual website rather than trying to read the tiny print of the email.

I have Cox Communications and when the posts come back to me in my email they are appearing in a font size that is close to size 8, which is pretty hard to read for these old eyes! So click on the blue title and it will redirect you to the website which is in a much bigger, and more enjoyable, font. If you still are having problems, please email me and I will make other arrangements for you to see the film.

The Sacred Artist’s Cultivation of Silence

On By Deacon Paul O. IaconoIn Art, Artists, Christian Spirituality, Prayer, Roman Catholic, Silence1 Comment

I recently received a post from the always challenging and informative blog entitled Catholicism Pure and Simple. It features a short film by the Benedictine monk Abbot Christopher Jamison, O.S.B.

In this film Fr. Jamison speaks about silence and how critical it is for our well being. He mentions that its cultivation is a necessary prerequisite for certain types of prayer. The good news is that we can begin the process of cultivating silence by setting aside at least five minutes but no more than thirty minutes during the day. During that time we participate in an ancient Christian technique of developing awareness of our breathing, the silence that is within us, and the need to enter into this type of prayer in order to hear the still, quiet voice, of God. I’ll have more about this ancient Christian prayer technique in future posts.

Finding silence is especially important for the sacred artist. Sacred artists must prepare themselves prior to picking up the tools of their art and creating a sacred image. They accomplish this  through the cultivation of prayer throughout the creative process. The disciplines of silence, fasting in its various forms, and repentance for sins are important components of the Christian artistic and soul journey.

What is especially helpful about this ten minute film is that Fr. Jamison and a parishioner demonstrate the process of cultivating silence through an actual short period of silent relaxation and spiritual meditation. It is a simple yet profound moment that demonstrates how easily you can connect with the rhythms of your body and soul, and in the process, develop your prayer life with the Lord, His angels, and saints. This film is not only necessary viewing for the sacred artist but for all who are interested in a mature relationship with God.

The Way of Beauty On-Line Course and Reimbursement Scholarship Opportunities

On By Deacon Paul O. IaconoIn Art, Beauty built on Gospel Values, Catholic Art, Religious Art, Roman Catholic, Roman Catholic Beliefs, Sacred Art, Sacred Artists, Sacred Iconography, UncategorizedLeave a comment

The mission of the Fra Angelico Institute for the Sacred Arts is to teach the truth, goodness, and beauty of God through the prayerful creation of sacred art.

We are happy to announce that we have recently entered into a partnership with Thomas More College of Liberal Arts to present a wonderful on-line course to anyone interested in Catholic Culture and the sacred art of the Church. We also have a special opportunity for teachers of history, art, religion, and the humanities in Catholic high schools of the Diocese of Providence who complete this course.

Thomas More College of Liberal Arts is offering an on-line course entitled The Way of Beauty. This course has been designed by David Clayton and is being successfully implemented at Thomas More College of Liberal Arts. David is an Oxford University graduate, sacred artist, published author and broadcaster, and holds the position of Artist-in-Residence and lecturer in Liberal Arts at the College. David is passionate about Catholic art and music, the forms it has taken through the centuries, and the reinvigoration of Catholic culture. David’s blog can be found at www.thewayofbeauty.org.

As stated on the College website the Way of Beauty course “focuses on what shapes a Catholic culture and what makes it beautiful. It discusses the general connection between worship, culture and beauty particularly through the prism of visual art. The course program consists of a 13 episode video series and an e-book written by David Clayton. This book is only available to those who take this course. Participants who complete the on-line program are eligible to receive 25 hours of Continuing Education Units endorsed by Thomas More College of Liberal Arts. The College is regionally accredited by the New England Association of Schools and Colleges. Time spent in this program may also be able to be used towards later college credit offerings.” The cost of the on-line course is $99.00.

For the 2014-2015 academic year, The Fra Angelico Institute will provide reimbursement scholarships, through a competitive selection process, to Diocese of Providence high school teachers who enroll and complete the Way of Beauty on-line course.

In an attempt to provide a competitive atmosphere among the teachers, The Fra Angelico Institute for the Sacred Arts will provide a total of five reimbursement scholarships, one per high school, to Catholic high school teachers with the best implementation process.

In order to enter the competition to receive the reimbursement scholarship an interested Diocesan teacher will:

1) Notify the Fra Angelico Institute of their interest through our email at frainstitute@cox.net.

2) Formally register by clicking on the tab and following the prompts for the On-Line Course through www.thewayofbeauty.org.

3) Through the teacher’s personal Google account, participate in the program which consists of 13 on-line videos (approximately 30 minutes apiece) produced in association with Catholic TV.

4) Read the e-book – The Way of Beauty: Liturgy, Education, Art, and Inspiration. This e-book has been written exclusively for this course.

5) Submit on school stationary a statement from the teacher that the course has been completed, a one-page summary of how the course will be actually implemented in their curriculum, and one or two suggestions on how the course may be improved.

6) Submit a letter from the principal of their high school stating that they support the teacher in their desire to implement the goals of this course.

Using the US Postal System, these documents should be mailed to: Deacon Paul Iacono, Fra Angelico Institute for the Sacred Arts, St. Francis of Assisi Church, 114 High Street, Wakefield, RI 02879.

We hope you enjoy the course and best wishes to the teachers who compete for the reimbursement scholarships!

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

Albert Lapierre – Sacred Artist and Iconographer

On By Deacon Paul O. IaconoIn Iconography, Icons, Mary, Mary - Our Blessed Mother, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Iconography, Sacred Images, The Visitation of Mary to Elizabeth2 Comments

This past July I had the pleasure of restoring an icon that was written by the fine artist, Albert Lapierre, from Attleboro, Massachusetts. It is a beautifully done and was commissioned by Joan O’Gara on the occasion of the birthday of her sister, Rosalind, in October, 1998.

Rosalind told me that her sister knew of her appreciation and devotion to the Gospel account of the Visitation of Mary to her cousin Elizabeth; however, Joan was not able to locate a print of this particular icon. In 1997 Joan decided to contact Albert Lapierre who was resposible for the creation of many religious objects, statues, and sacred images. Prior to his passing he had a store and studio in Attleboro, Massachusetts. There are many examples of his work at the LaSalette Shrine in Attleboro.

At the time of Joan’s request, Albert was busily engaged at the Shrine with many projects, and was reluctant to take on another commission. Joan persuaded him, however, to take on this project – telling him that “Our Lady really wanted him to paint this image.” I am told that he didn’t have a comeback for that request!

Mr. Lapierre was able to fit its creation into his busy schedule and it was varnished and ready to be delivered by October, 1998. Needless to say, Rosalind was thrilled by Joan’s gift and it remains to this day an important focal point in Rosalind’s prayer life.

Time does take its toll and the icon sustained some accidental damage over the years. Rosalind located me through a Google search and phoned for a consult. She was especially concerned about areas that had chipped and lost pigment. We met and discussed the damage and she requested that I try to repair it as best as possible.

The repair turned out to be an interesting challenge. First, I believe that it is absolutely essential that a restorer not impact or change the design, colors, or compositional elements of the piece being restored. Respect for the original artist, and what they created, is paramount. Ultimately, the viewer must be able look at the restored piece and be unaware of the fact that it has been restored. There should be no distractions from the original intent of the artist.

My biggest challenge in this restoration was matching the original colors. For this particular icon Mr. Lapierre used acrylics. Since the painting was only seventeen years old, and had not been kept in direct sunlight, the paint had not deteriorated or dulled to any great degree. Thus, my task was to repair the chips that could be restored and then blend in the pigment restoration. The restoration was a success and it was blessed, and delivered to a grateful Rosalind, at a Mass here in South Kingstown at St. Francis of Assisi Church in August 2014.

Albert Lapierre died a number of years ago. Sadly, I never met the man that created such a sensitive and dynamic icon. It was a distinct honor to work on it. I thank Joan and Rosalind O’Gara for the privilege of doing so.

Below are a few images of the piece with a close-up of Mary’s face, and the beautiful catechetical scene of Elizabeth’s husband, Zechariah, praying in the Temple.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

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Discipleship, Wisdom’s Light, and the Art of Charles Bosseron Chambers

On By Deacon Paul O. IaconoIn Beauty, Catholic Spirituality, discipleship, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Images, Uncategorized3 Comments

The Gospel of Luke 8:16-18 emphasizes that God desires us to respond to His generosity by using our gifts in union with His wisdom and grace. The Lord desires to give us His gifts but He also desires to challenge us. As good stewards of His wisdom, we are not meant to conceal Wisdom’s Light under a “vessel or hide it under a bed.” By virtue of our Baptism, we are all sent out into the vineyard – some early – some late, but called and sent nonetheless, to proclaim the good news of God’s salvation.

We need to remember, however, that we will be attacked and maligned when we stand in the vineyard of our existence and promote His love and defend the truth of the Church. Christian discipleship does have a cost.

As you read this, Christian martyrs of our own day die in Asia at the hands of the Islamic State, or through the harassment and torture of hostile governments throughout the world. Spiritual martyrdom is also happening in America, at the hands of a secular and hostile media and government that appears to have lost its sense of ethics, Constitutional roots, and tradition. This is exemplified by the recent action of the Oklahoma City Convention Center refusing to hear the arguments of Christians, and Catholics in particular, who are deeply offended and outraged by the planned Satanic mass and exorcism of the Holy Spirit that will occur in a few days.  Archbishop Paul S. Coakley of the Archdiocese of Oklahoma City, and his staff, have shown courage and determination in attempting to stop this blasphemy; thankfully, they were at least successful (through the persuasion of a lawsuit) in getting the Satanists to hand over the consecrated host which was to be desecrated in their ceremony.

What does the bravery of Archbishop Coakley tell us? It tells us once again that our Church, under pressure and intimidation, refuses to run, refuses to fold, and refuses to hide the Light of Christ’s love, truth, and beauty in a darkened world. Let us pray that the bravery of today’s martyrs who suffer in the public square, or in silence, may inspire us in our ministry of discipleship.

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The above painting, entitled The Light of the World, was painted by Charles Bosseron Chambers (1882 – 1964). Mr. Chambers was born in St. Louis and was known for his figurative work, mainly portraits and works with religious motifs. He studied art at the Berlin Royal Academy and at the Royal Academy in Vienna. In 1916, Chambers returned to America and settled in New York City. It was in New York City that he painted the The Light of the World.

This painting by Chambers was the first painting that made an impression on me as a child. My mother hung a  framed reproduction of it in the bedroom. I remember staring at it in the dim light that filtered into the room from the hallway and wondering what the child Jesus was thinking. At that time it appeared to me that He had a concerned look in His eye. Why? What was He concerned about?

We still have the picture. It is 2014, and I’ve just completed my 66th  year of life.  I now understand why He is so concerned, but I recognize that it is a concern enveloped in eternal love; a Love that will never be diminished, a Light that will never be withdrawn, no matter what the blasphemies hurled against Him.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

David Clayton Has Another Great Idea for Catholic Evangelization

On By Deacon Paul O. IaconoIn Catholicism, Christian Spirituality, Evangelization, New Evangelization, New Evangelization of the Catholic Church, Roman Catholic, Roman Catholicism2 Comments

The following essay was written by David Clayton a lecturer in sacred art, author of the very fine book on the implementation of the New Evangelization of the Catholic Church entitled The Little Oratory – A Beginner’s Guide to Praying in the Home, successful blogger, fellow sacred artist, and friend. His essay captures the imagination that Catholics need to develop if we are to be effective witnesses of the truth of Christ and His Church in today’s world. The following essay takes you through an experience of evangelization that a Protestant church in Nashua, New Hampshire has developed into a welcoming and community based operation. Please take a relaxed moment with a cup of tea or coffee to allow Clayton’s Catholic application of a successful idea to seep in and stimulate you. Think about whether it could apply to your parish, your Catholic college, or within your Diocese, share it, pray about it, and gather some friends to implement it if you are moved by the Spirit to do so.

Contact David at Thomas More College of Liberal Arts: thewayofbeauty.org/contact/

A Model for A Cultural Center for the New Evangelization
by DAVID CLAYTON on JULY 4, 2014
Going Local for Global Change.

How About a Chant Cafe with Real Coffee ..and Real Chant?

There is a British comedienne who in her routine adopted an onstage persona of a lady who couldn’t get a boyfriend and was very bitter about it (although in fact as she became a TV personality beyond the comedy routines, she revealed herself as a naturally engaging and warm character who was in fact happily married with a child). Jo Brand is her name and she used to tell a joke in which she said: ‘I’m told that a way to a man’s heart is through his stomach. I know that’s nonsense – guys will take all the food you give them but it doesn’t make them love you. In fact I’ll tell you the only certain way to man’s heart…through the rib cage with a bread knife!’

Well, wry humour aside, I think that in fact there is more truth to the old adage than Jo Brand would have acknowledged (on stage at least). Perhaps we can touch people’s hearts in the best way through food and drink, and in particular coffee.

There is a coffee shop in Nashua NH where I live called Bonhoeffer’s. It is the perfect place for conversation. They have designed it so that people like to sit and hang out – pleasing decor, free wifi, and different sitting arrangements, from pairs of cozy arm chairs to highbacked chairs around tables. The staff are personable and it is roomy enough that they can place clusters of chairs and sofas that are far enough apart so that you don’t feel that you are eavesdropping on your neighbors’ conversation; and close enough together that you feel part of a general buzz of conversation around you. There is not an extensive food menu but what they have is good and goes nicely with the image it conveys of coffee and relaxed conversation – pastries, a slice of quiche or crepes for example. It has successfully made itself a meeting place in the town because of this.

This is all very well and good, if not unremarkable. But, you wouldn’t know unless you recognized the face of the German protestant theologian Dietrich Bonhoeffer in the cafe logo and started to ask questions, or noticed and took the time to read the display close the door as you are on your way out, that it is run by the protestant church next door, Grace Fellowship Church. Furthermore a proportion of turnover goes towards supporting locally based charities around the world – they list as examples projects in the Ukraine, Myanmar, Ethiopia, Haiti and Jamaica on their website. Talks and events linked to their faith are organised and there are pleasant well equipped meeting rooms available for hire. I include the logo and website to illustrate my points, but also in the hope that if Bonhoeffer’s see this they might push an occasional free coffee in my direction…come on guys!

Well, it was worth a try. Anyway, back to more serious things…the presentation of their mission does not even dominate the cafe website which talks more about things such as the beans they use in their coffee, prices and opening times and the food menu. The most eye-catching aspect when I was nosing around is the announcement of the new crepes menu! There is one tab that has the heading Hope and Life Kids and when you click it it takes you through to a dedicated website of that name, here , which talks about the charity work that is done.

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I went into Bonhoeffer’s recently with Dr William Fahey, the President of Thomas More College, just for cup of coffee and a chat, of course, and he remarked to me as we sat down that this is the sort of the thing that protestants seem to be able to organize; and how we wished he saw more Catholics doing the same thing.

I agree. What the people behind this little cafe had done was to create a hub for the local community that has an international reach. It is at once global and personal. I would like to see exactly what they have done replicated by Catholics. But, crucially, good though it is I would add to it, and make it distinctly Catholic so that it attracts even more coffee drinkers and then can become a subtle interface with the Faith, a focus for the New Evangelization in the neighborhood.

I don’t know how to run coffee shops, so I would be happy with a first step that copied precisely theirs – the establishment of coffee shop that competes with all others in doing what coffee shops are meant to do, sell coffee. Then I would offer through this interface talks and classes that transmit the Way of Beauty, many of which are likely to have an appeal to many more than Catholics (especially those with a ‘new-age spiritual’ bent). There are a number that come to mind that attract non-Christians and can be presented without compromising on truth – icon painting classes; or ‘Cosmic Beauty’ a course in traditional proportion in harmony based upon the observation of the cosmos; or praying with the cosmos – a chant class that teaches people to chant the psalms and explains how the traditional pattern of prayer conforms to cosmic beauty.

Another class that might engage people is a practical philosophy class that directs people towards the metaphysical and emphasizes the need of all people to lead a good life and to worship God in order to be happy and feel fulfilled. This latter part is vital for it is the practice of worship that draws people up from a lived philosophy into a lived theology and ultimately to the Faith. For it is only once experienced that people become convinced and want more. This works. When I was living in London I used to see advertisements in the Tube for a course in practical philosophy. These were offered by a group that had a modern ‘universalist’ approach to religion in which they saw each great ‘spiritual tradition’ as different cultural expressions of a single truth that were equally valid. The adverts however, did not mention religion at all but talked about the love and pursuit of universal wisdom that looked like a new agey mix of Eastern mysticism and Plato. The content of the classes, they said, was derived from the common experience of many if not all people and from it one could hope to lead a happy useful life. They had great success in attracting educated un-churched professionals not only to attend the class, but also to go in to attend more classes and ultimately to commit their lives to their recommended way of living. They were also prepared to donate generously – this is a rich organisation. Their secret was the emphasis on living the life that reason lead you to and not require, initially at least a commitment to formal religion. Most became religious in time, which ultimately lead some to convert to Christianity – although many, because of the flaws in the opening premises and the conclusion this lead to, were lead astray too. It was by meeting some of these converts that I first heard about it. There is room, I think, for a properly worked out Catholic version of this.

Along a similar line are classes that help people to discern their personal vocation, again using traditional Catholic methods. Once we discover this then we truly flourish. God made us to desire Him and to desire the means by which we find Him. While the means by which we find Him is the same in principle for each of us, we are all meant to travel a unique path that is personal to us. To the degree that we travel this path, the journey of life, as well as its end, is an experience of transformation and joy.

Drawing on people from the local Catholic parishes I would hope to start groups that meet for the singing of an Office – Vespers and or Compline or Choral Evensong and fellowship on a week night; and have talks on the prayer in the home and parish as described by the The Little Oratory. This book was intended as a manual for the spiritual life of the New Evangelization and would ideally be one that supports the transmission of practices that are best communicated by seeing, listening and doing. These weekly ‘TLO meetings’ would be the ideal foundation for learning and transmitting the practices. They would be very likely a first point of commitment for Catholics who might then be interested in getting involved in other ways. It would enable them also to go back to their families and parishes teach any others there who might be interested to learn.

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We could perhaps sell art by making it visible on the walls or have a permanent, small gallery space adjacent to the sitting area (provided it was good enough of course – better nothing at all than mediocre art!). All would available in print form online as well of course, just as talks could be made available much more widely and broadcasted out across the net if there was interest. This is how the local becomes global.

What I am doing here is taking the business model of the cafe and combining it with the business model of the Institute of Catholic Culture which is based in Arlington Diocese in Virginia. I wrote about the great work of Deacon Sabatino and his team at the ICC in Virginia in an article here – thewayofbeauty.org/2012/09/the-institute-for-catholic-culture-an-organisational-model-for-the-new-evangelisation/ called An Organisational Model for the New Evangelization – How To Make it At Once Personal and Local, and have International Recognition. His work is focussed on Catholic audiences, and is aimed predominently at forming the evangelists, rather than reaching those who have not faith (although I imagine some will come along to their talks). By having an excellent program and by taking care to ensure that his volunteers feel involved and are appreciated and part of a community (even organising special picnics for them) Deacon Sabatino has managed to get hundreds volunteering regularly.

Another group that does this as just well is the Fra Angelico Institute for Sacred Arts – https://fraangelicoinstitute.com/ – in Rhode Island. It is  run by Deacon Paul Iacono. I have written about his great work here. The addition of a coffee shop may give it a permanent base and interface with non-Catholics and even the non-churched.

I would start in a city neighborhood in an area with a high population and ideally with several Catholic parishes close by that would provide the people interested in attending and be volunteers and donors helping the non-coffee programs. It always strikes me that the Bay Area of San Francisco, especially Berkeley, is made for such a project. There is sufficiently high concentration of Catholics to make it happen, a well established cafe culture; and the population is now so far past ‘post-Christian’ that there is an powerful but undirected yearning for all things spiritual that directs them to a partial answer in meditation centers, wellness groups, spiritual growth and transformation classes, talks on reaching for your ‘higher self’ and so on. Many are admittedly hostile to Christianity, but they seek all the things that traditional, orthodox Christianity offers in its fullness although they don’t know it. Provided that they can presented with these things in such a way that it doesn’t arouse prejudice, they will respond because these things meet the deepest desire of every person.

Here’s the additional element that holds it all together. As well as the workshops or classes I have mentioned I would have the Liturgy of the Hours prayed in a small but beautiful chapel adjacent to and accessible from the cafe on a regular basis, ideally with the full Office sung. The idea is for people in the cafe to be aware that this is happening, but not to feel bound to go or guilty for not doing so. I thought perhaps a bell and announcement: ‘Lauds will be chanted beginning in five minutes in the chapel for any who are interested.’ Those who wish to could go to the chapel and pray, either listening or chanting with them. The prayer would not be audible in the cafe. So those who were not interested might pause momentarily and then resume their conversations.

From the people who attend the TLO meetings I would recruit a team of volunteers might volunteer to sing in one or more extra Offices during the week if they could. If you have two people together, meeting in the name of Jesus, they can sing an Office for all. The aim is to have the Office sung on the premises give good and worthy praise to God for the benefit of the customers, the neighbourhood, society and the families and groups that each participates in aside from this and for the Church.

When the point is reached that the Office is oversubscribed, we might encourage groups to pray on behalf of others also in different locations by, for example singing Vespers regularly in local hospitals or nursing homes. I describe the practice of doing this in an appendix in The Little Oratory and in a blog post here: thewayofbeauty.org/2012/12/send-out-the-l-team-making-a-sacrifice-of-praise-for-american-veterans  Send Out the L-Team, Making a Sacrifice of Praise for American Veterans.

As this grows, the temptation would be to create a larger and larger organization. This would be a great error I think. The preservation of a local community as a driving force is crucial to giving this its appeal as people walk through the door. There is a limit to how big you can get and still feel like a community. Like Oxford colleges, when it gets to big, you don’t grow into a giant single institution, but limit the growth and found a new college. So each neighborhood could have its own chant cafe independently run. There might be, perhaps a central organization that offers franchises in The Way of Beauty Cafes so that the materials and knowledge needed to make it a success in your neighborhood are available to others if they want it.

I have made the point before that eating and drinking are quasi-liturgical activities by which we echo the consuming of Christ Himself in the Eucharist (it is not the other way around – the Eucharist comes first in the hierarchy). So it should be no surprise to us that food and drink offered with loving care and attention open up the possibilities of directing people to the love of God. If the layout and decor are made appropriate to that of a beautiful coffee shop and subtly and incorporating traditional ideas of harmony and proportion, and colour harmony then it will be another aspect of the wider culture that will stimulate the liturgical instincts of those who attend. (I have described how that can be done in the context of a retail outlet in an appendix of The Little Oratory.) We should bare in mind Pope Benedict’s words from Sacramentum Caritatis (71):

‘Christianity’s new worship includes and transfigures every aspect of life: “Whether you eat or drink, or whatever you do, do all to the glory of God.” (1Cor 10:13) Here the instrinsically eucharistic nature of Christian life begins to take shape. The Eucharist, since it embraces the concrete, everyday existence of the believer, makes possible, day by day, the progressive transfiguration of all those called by grace to reflect the image of the Son of God (cf Rom 8:29ff). There is nothing authentically human – our thoughts and affections, our words and deeds – that does not find in the sacrament of the Eucharist the form it needs to be lived in the full.’

So Jo Brand, we’ll put away the bread knife and offer the bread instead!

Step one seems to be…first get your coffee shop. Anyone who thinks they can help us here please get in touch and we’ll make it happen!

Contact David at Thomas More College of Liberal Arts: thewayofbeauty.org/contact/

Copyright © 2009–2014 David Clayton. All rights reserved.

 

 

 

 

 

The Little Oratory – A Beginner’s Guide to Praying in the Home – A New Book by Clayton and Lawler

On By Deacon Paul O. IaconoIn Catholicism, Family Prayer, Prayer, Religion, Roman Catholic, Roman Catholicism, Sacred Art2 Comments

Friend and fellow sacred artist David Clayton, in association with Leila Marie Lawler, has written a wonderful book entitled The Little Oratory: A Beginner’s Guide to Praying in the Home. Sophia Institute Press published this book in the spring of 2014.

In a beautiful writing style that is truly accessible to all readers, Clayton and Lawler explain the purpose of a home oratory, the role that prayer, chant, and sacred art can play in the life of an individual or family, and the significance of maintaining a faith filled prayer life with young and adolescent children.

The word oratory derives from the Latin oratorium, and orare, which means to pray. An oratory is a sacred space set aside for prayer and meditation. A little oratory refers to a space within a home that is recognized as the home’s sacred space, and which is used as a focal point for individual and family prayer. It may be small as a simple shelf containing a crucifix and sacred art, or it could be a larger corner table space. The authors perform a marvelous service in reviewing all the questions that a family, single parent, or individual will face in designing their home’s sacred space.

I was happy to read chapters and sections that describe how to keep children on track during prayer, the length of a daily prayer time, leadership of the family prayer group, praying with a breviary (The Divine Office) and Holy Scripture. There are also sections on how to introduce the rosary into family life, and many other valuable and pertinent issues such as the role that chant and sacred art plays in the life of today’s Roman Catholic.

The Little Oratory is divided into twelve chapters and eight appendices. It contains lovely in-text illustrations by Deirdre M. Folley, and eight sacred images drawn and painted by David Clayton. These sacred images by Mr. Clayton may be separated from the binding of the book so that they can be framed and prayed with during each liturgical season of the year. They also provide for you a publisher’s website through which you can download additional images and line drawings that may be used for children’s activities.

You may ask why does each Catholic home need a little oratory? Good question, for the answer reaches to the heart of who we are as 21st century Catholics. It is obvious that we are surrounded by a secular society that bombards us with continuous messages that can easily distract and exhaust us. In response to this onslaught we need to make a space within our homes that is a quiet and reflective corner that focuses on God and will allow us to recharge our minds and rest our souls. This sacred space will be a visual reminder of the holy presence of God, the Blessed Mother, the angels and saints in our lives. So our little oratory acts as a bridge between our homes, our parish church, and the Lord Himself. It is a link that connects us with Divine Word, Song, and Image during the course of our week. Through the authors’ efforts families and individuals relearn, or learn for the first time, the necessity of understanding and respecting the idea of a sacred prayer space in the home

The Little Oratory – A Beginner’s Guide to Praying in the Home is a valuable and resource filled book. Every Catholic that reads it will come away refreshed and filled with ideas on how to bring the life of the Church into their home. It can be purchased on-line or through any major bookstore. This paperback’s cover price is $19.95.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

 

The Black Mass at Harvard – Is It A Hate Crime?

On By Deacon Paul O. IaconoIn Black Mass at Harvard, Catholicism, Christian Spirituality, Christian Unity, Evangelization, Faith, Gospel Teachings, Gospels of Jesus Christ, Greek Orthodox, New Evangelization of the Catholic Church, Orthodox Christianity, Orthodox Church, Uncategorized8 Comments

News reports have been circulating the story that Harvard University’s Memorial Hall will be the site of a Satanic Black Mass on Monday evening May 12, 2014. The Satanic Mass, by its very nature, is a spiritual crime against the truth, goodness, and beauty of the Catholic Mass and everything that it stands for – specifically the transubstantiation of bread and wine into the real presence of the Body, Blood, Soul, and Divinity of Jesus Christ, the Son of God.

The Harvard Extension Cultural Studies Club is hosting this despicable event. Its promoters and supporters know exactly what they are doing and why they are doing it, and the attempt to sugar coat this blasphemy by saying that it is an attempt to promote cultural understanding is preposterous and vile.

Reports from the Catholic News Agency (http://www.catholicnewsagency.com/news/priest-sees-deluge-of-support-against-harvard-black-mass/) state that “Early media reports included confirmation from Priya Dua, a spokesperson for The Satanic Temple, which is staging the event, that a consecrated host would be used. However, updates to the initial reports said that Dua later retracted her statement, saying that there had been a miscommunication and no consecrated host would be used.”

It is my belief, and the belief of over one billion other Christians in the Latin, Greek, and Russian Rites, that a consecrated host is the most sacred and precious object on earth and the “source and summit” of our faith. I do not understand, how is it not a crime if the original intent is to show a ritual that promoted the desecration of the Mass in its Word and Matter?

If a person or organization desecrates a Koran, or promotes racism or sexism would we not vociferously object and demand justice?

Would Harvard University allow a reenactment to occur in Memorial Hall in which students were shown how to desecrate a Koran, or stone  a woman because she desired an education, or bullwhip a racial or sexual minority for their culture or personal views. What’s next, a symposium on teaching the elite student body of Harvard how to tie a correct knot for a lynching?

We are not taking about an avant garde theatrical performance in which the boundaries of good taste can be obliterated and the right of free speech can be stretched. We are talking about a Satanic ritual that has for many years had the express purpose of spewing hate and ridicule against the specific liturgical and spiritual meaning and reality of the Catholic and Orthodox Mass.

Catholics in the Harvard and MIT communities and the Archdiocese of Boston are wisely protesting and engaging in prayer and witness to this affront to all Christians.

Allow me to pose two questions: What is the definition of a hate crime, and, is Harvard University, by allowing this event to take place in Memorial Hall, condoning a hate crime?

Laws.com states that a hate crime is “an intentional, deliberate, and methodically-charged crime executed in order to cause harm or damage with regard to a specific victim chosen as a result of prejudice, racism, bias, and unlawful resentment.” It goes on to say, “The following are commonly associated with charges of a Hate Crime:

a. Prejudice: Unfounded opinions that are preconceived in nature.

b. Bias: Favoritism that is not based on empirical or pragmatic reasoning.

c. Aggravated Felony: A classification of an intentional, premeditated crime that is severe in nature.

d. Defamation: The slandering or unjust conveying of libelous sentiment.

e. Ethnicity: The country or nation of origin belonging to an individual or entity.

f. Racism: Preconceived prejudice resulting from bias with regard to race.

g. Religion: The process of spiritual belief latent in an individual.

h. Sexual Orientation: The nature and particularity of the sexual attraction latent in an individual.

i. Unalienable Rights: The right of every citizen to ‘Life, Liberty, and the Pursuit of Happiness’.

j. First Amendment: The right of every citizen to the Freedom of Speech.” (http://criminal.laws.com/hate-crimes)

Don’t some of the above ten articles apply to this situation?

Catholics, Orthodox, and Protestants believe that the Holy Trinity is the repository of all truth, goodness, and beauty. In the Trinity’s love and mercy for humanity they have shared themselves with us through word, grace, and sacrament. The ministry, suffering, and death of Jesus Christ won for us the opportunity to be fully participating members of God’s family. Christ’s resurrection is the proof of His victory over sin and Satan. With this in mind we should not be afraid, but we do need to be prudent.

Jesus warned us that Satan, and his minions, still prowl the earth searching for souls to devour. We must be as innocent as doves but as clear eyed as the eagle. Let us pray this afternoon and evening for the Harvard Catholic Community that they may have the strength to witness, in a non-violent Christ-like manner, against Satanic hate.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

 

Eugene Burnand and The Greatest Easter Painting Ever Made | Crisis Magazine

On By Deacon Paul O. IaconoIn Beauty built on Gospel Values, Catholic Art, Christian Spirituality, Christianity, Easter, New Evangelization, New Evangelization of the Catholic Church, Religion, Roman Catholic, Roman Catholicism, Sacred Art, Sacred Images, Saints2 Comments

Clicking on the attached link found below produces an excellent article by Elise Ehrhard in Crisis Magazine describing the Swiss painter Eugène Burnand’s late 19th century masterpiece The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection. 

One writer has described this painting as a visual Lectio Divina since the observer cannot help but feel the joy, hope, and love of these disciples for the Lord. 

May you and your families experience an Easter season filled with the healing love of Christ.

The Greatest Easter Painting Ever Made | Crisis Magazine.

 

Beautiful Russian Sacred Icons at the New Haven Knights of Columbus Museum

On By Deacon Paul O. IaconoIn Art, Art Miniatures, Artists, Catholic Art, Catholic Devotions, Christianity, Iconography, Icons, Orthodox Christianity, Orthodox Church, Religious Art, Roman Catholic, Russian Artists, Russian Orthodox, Sacred Art, Sacred Images, Uncategorized1 Comment

If you are in the vicinity of New Haven, Connecticut within the next two weeks take the opportunity to stop by the Knights of Columbus Museum for their magnificent exhibit entitled “Windows into Heaven – Russian Icons and Treasures.”

The Museum is located at One State Street, New Haven, and offers free admission and parking. They are open from 10 to 5 pm.

For the past year it has hosted a private collection of spectacular Russian sacred icons and liturgical artifacts. It is the finest collection of Russian sacred icons that I have observed in the Northeast owing to the fact that each of the icons and treasures are in excellent condition.

You will enjoy artifacts such as a 7th century Byzantine Reliquary (bronze, traces of gold plate, and blue enamel) and three rooms of sacred icons encompassing the portrayal of Jesus Christ, His Mother – the Blessed Theotokos, much loved saints, and angels.

Their website,  www.kofcmuseum.org/en/index.html provides a wonderful overview of the 225 pieces that are on exhibit. They mention that “few customs or traditions have endured for longer than a millennium, but the use of icons in Russia is among them. In this exhibition, the Knights of Columbus Museum is pleased to share more than examples of Russian Orthodox iconography, along with other liturgical and devotional items.

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Icons are often called windows into heaven because they are said to give the viewer a glimpse of the eternal realm. Many of the items are more than 100 years old, predating the Bolshevik Revolution (1917).

In AD 988 Prince Vladimir of Kiev converted to Orthodox Christianity, and he persuaded his countrymen and women to do the same. Thus, iconography was introduced as a means of fostering religious understanding and devotion among all the people of Kievan Rus (present day Ukraine, Belarus and northwest Russia).

The artistic traditon followed the strict models and formulas of the Byzantine Greek Orthodox tradition (these artistic practices developed in Constantinople and Greece and spread both East and West). Ultimately, the Russian sacred art tradition developed its own distinctive styles within each major city of Russia.

As a form of sacred art, iconographers historically prayed or fasted before and during the creation of an icon. Traditionally, icons were painted in egg tempera on wood and often accented with gold leaf or covered with ornately gilt metal covers called rizas. Rich in symbolism, they are still used extensively in Orthodox churches and monasteries, and many Russian homes have icons hanging on the wall in a “beautiful” (or prayer) corner.”

“Icons have been synonymous with Christian prayer and practice for centuries,” said Supreme Knight Carl Anderson. “One of the great traditions of Eastern Christianity, icons are less well known here, and we are pleased that this exhibit will enable residents of the Northeast to grow in their understanding of the history and religious significance of these windows into heaven.” This exhibit concludes on April 27, 2014.

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Viewing this exhibit during Holy Week or the First Week of Easter leading up to Divine Mercy Sunday and the canonization of Pope John 23rd and Pope John Paul 2 on April 27th would be of great assistance in your joyful experience of the reality of the resurrected Christ. My prayers are with you for a prayerful Holy Week and a blessed Easter Season!

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved. The sacred icons shown are taken from the Knights of Columbus website which offers a history of each sacred image or artifact exhibited.

 

 

Correction on Medieval Graffiti Post

On By Deacon Paul O. IaconoIn Art, Artists, Graffiti, Medieval European Society, Roman Catholic, Roman Catholicism, UncategorizedLeave a comment

It has come to my attention that the links for today’s post that was sent by email to my subscribers are not appropriately linking to Matt Champion’s or Robin Stummers’ articles in The Guardian and The Observer. I believe the problem has been fixed, however, to see the post with the corrected links the email subscriber must click on the Blue Title of today’s post that appears when you open up the email on your computer. The corrected article/links should appear for you in a more easily read environment.  Thanks.

Medieval Graffiti in English Churches – The Case of John Lydgate, O.S.B.

On By Deacon Paul O. IaconoIn Art, Artists, Graffiti, Medieval European Society, Roman Catholic, UncategorizedLeave a comment

A fascinating series of articles came to my attention today by Tatjana Jovanovic, a top contributor of a Linkedin group called Medieval and Renaissance Art, Antiques, Architecture, Archaeology, History and Music.  Her article is entitled “Medieval Banksy: Confession of Medieval Graffiti Artist, Monk, and Writer.”

Ms. Jovanovic is an aesthetician and artistic designer. She basis her article on two pieces that appeared in the US edition of The Guardian/The Observer. The first by Matt Champion provides a gallery of 13th and 14th century graffiti that is being collected by a British association known as the Norfolk Medieval Graffiti Survey www.theguardian.com/artanddesign/gallery/2014/mar/29/medieval-graffiti-pictures-lydgate

A second article by Robin Stummer in The Observer provides an overview of the life of a Benedictine monk John Lydgate. He was a well-known and well connected poet and writer who had as clients the Mayor of London, various dukes, and the Kings Henry IV, Henry V, and Henry VI.

Lydgate was born around the year 1370, lived a self-described dissolute youth, and entered religious life joining the Benedictine Order. He travelled throughout Britain and the Continent. He admits, however, that in his youth he had more fondness for “clear wine” than his religious studies!  Stummer’s detailed article can be found here: http://www.theguardian.com/books/2014/mar/29/john-lydgate-graffiti-chaucer-monk-literary-talent  

Both Champion and Stummer provide insight into 14th century English society. They help clarify the artistic aspects of the graffiti found on church walls and pillars, as well as Lydgate’s own contribution to the graffiti through his use of verse and puzzle. The Norfolk Survey has found a specific graffiti with Lydgate’s name attached, and it may prove to be the oldest known signature of an English poet/writer in existence.

I have attached for your enjoyment (courtesy of Matt Champion and The Guardian) a few of the images that the Norfolk Medieval Graffiti Survey have discovered; some of them remind me of abstract portraits, are quite playful and even humorous.

Lydgate inscriptionThe first one has now generated great interest it shows an inscription found this week in St Mary’s church, Lidgate, Suffolk. The text on the pillar, a few millimetres high, translates from the Latin as ‘John Lydgate made this on the day of St Simon and St Jude’. That feast day is 28 October, with the year some time between 1390 and 1450.

The following 13th, 14th, and 15th century images show a musician, accompanied by a singer, and a happy bishop in his mitre. The last is a profile, possibly the local vicar, that looks like it could have been drawn for a New Yorker magazine cartoon. Great fun!

Musician playing pipe graffitihouse graffitiBishop graffiti

A late medieval caricature portrait

A Recent Art Workshop Leads to Another! – The Fra Angelico Institute

On By Deacon Paul O. IaconoIn Art, Artists, Iconography, Icons, Religious Art, Roman Catholic, Sacred Art, Sacred Artists, Sacred Images, UncategorizedLeave a comment

This past month the Fra Angelico Institute for the Sacred Arts was happy to sponsor a two day workshop. The purpose of this workshop was to introduce people to the idea that everyone has the capacity for expressing themselves in art. Using acrylic paints the participants were taught the process of “seeing” an image of a rose, breaking down its component parts, drawing the rose, applying and mixing pigments, painting the rose, etc.

Our desire was to ultimately interest people, who possibly never considered themselves as having artistic talent, to see that they could paint a good quality representation of an object. This would then lead to their participation in a sacred art workshop in which they would be learning how to reveal, through prayer, study, and artistic techniques, the spiritual message of sacred images painted in an iconographic style.

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I am happy to say that this workshop will lead to another sacred art workshop here at St. Francis of Assisi Church in Wakefield, Rhode Island. We will conduct our Spring 2014 workshop on Saturday mornings from 9:30 to 11:30 on March 29th, April 5th, 12th, and 26th. An assessment will be made on the 26th to determine if we need additional sessions. The cost of the workshop is $35.00.

Each participant will receive a photocopy of a sacred image, personal instruction, a brief “process” manual of steps, a 1/2 inch wooden board, and brushes. Tube acrylic paints will be provided.  If each participant desires their own tube of paints the cost will be higher. Members of the Institute, or others interested in the process of painting a sacred image in the iconographic tradition, are welcome to contact me by March 20th if they desire to participate in the Spring 2014 workshop. Members of the Institute who have participated in past sacred art workshops will be given the opportunity to paint a new sacred image in the iconographic style. If you are interested please email me at frainstitute@cox.net. 

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

The Messages of St. Joseph – His Predestination and Preeminence

On By Deacon Paul O. IaconoIn Blessed Mother Mary and St. Joseph, Catholic Devotions, Catholic Spirituality, Catholicism, Religion, Roman Catholic, Roman Catholicism, Saints, St. Joseph, Uncategorized1 Comment

Readers: 

The statement below proclaims that the apparitions and messages have been approved by a few Roman Catholic bishops. I provide them here for your edification and prayerful consideration in light of the approaching feast day of St. Joseph.  I have never heard of these messages and found them to be a fascinating expression of the witness of St. Joseph. I also recommend to you the wonderful article by Dominican scholar Fr. Reginald Garrigou-Lagrange, O.P. on the Predestination of St. Joseph and his preeminence among the saints.  (Deacon P.I. 3/15/2014). I have reblogged this from the following website: http://www.motherofallpeoples.com/2010/10/the-messages-of-st-joseph-in-our-lady-of-america/

The Messages of St. Joseph in Our Lady of America

Published on October 29, 2010 by  in Marian Private Revelation

“The following are messages of St. Joseph as contained in the messages of Our Lady of America. Cardinal Raymond Burke (then Bishop Burke) wrote a letter to the United States Conference of Catholic Bishops on May 31, 1997. He establishes that, in his canonical opinion, these apparitions are already approved in virtue of the repeated support of Archbishop Paul F. Leibold, spiritual of the visionary Sr. Mary Ephrem. These messages of St. Joseph comprise one of the most extraordinary and profound revelations regarding the truth that, after Our Lady, St. Joseph is the greatest saint of all time. – Editor of the source website.

Message of Early October, 1956

In early October, 1956, about a week after Our Lady’s first appearance, St, Joseph, though I did not see him at this time, spoke to me the following words; “It is true, my daughter, that immediately after my conception I was, through the future merits of Jesus and because of my exceptional role of future Virgin-Father, cleansed from the stain of original sin. I was from that moment confirmed in grace and never had the slightest stain on my soul. This is my unique privilege among men.

My pure heart also was from the first moment of existence inflamed with love for God. Immediately, at the moment when my soul was cleansed from original sin, grace was infused into it in such abundance that, excluding my holy spouse, I surpassed the holiness of the highest angel in the angelic choir. My heart suffered with the Hearts of Jesus and Mary. Mine was a silent suffering, for it was my special vocation to hide and shield, as long as God willed, the Virgin Mother and Son from the malice and hatred of men.

The most painful of my sorrows was that I knew beforehand of their passion, yet would not be there to console them. Their future suffering was ever present to me and became my daily cross, so I became, in union with my holy spouse, co-redemptor of the human race. Through compassion for the sufferings of Jesus and Mary I co-operated, as no other, in the salvation of the world.

St. Joseph    Message of March 11, 1958

On March 11, 1958, Our Lady said to me: “St. Joseph will come on the eve of his feast. Prepare yourself well. There will be a special message. My holy spouse has an important part to play in bringing peace to the world.” St. Joseph came as was promised, and these are the words he spoke at this time:

“Kneel down, my daughter, for what you will hear and what you will write will bring countless souls to a new way of life. Through you, small one, the Trinity desires to make known to souls Its desire to be adored, honored, and loved within the kingdom, the interior kingdom of their hearts. I bring to souls the purity of my life and the obedience that crowned it. All fatherhood is blest in me whom the Eternal Father chose as His representative on earth, the Virgin-Father of His own Divine Son. Through me the Heavenly Father has blessed all fatherhood, and through me He continues and will continue to do so till the end of time. My spiritual fatherhood extends to all God’s children, and together with my Virgin Spouse I watch over them with great love and solicitude. Fathers must come to me, small one, to learn obedience to authority: to the Church always, as the mouthpiece of God, to the laws of the country in which they live, insofar as these do not go against God and their neighbor. Mine was perfect obedience to the Divine Will, as it was shown and made known to me by the Jewish law and religion. To be careless in this is most displeasing to God and will be severely punished in the next world. Let fathers also imitate my great purity of life and the deep respect I held for my Immaculate Spouse. Let them be an example to their children and fellowmen, never willfully doing anything that would cause scandal among God’s people. Fatherhood is from God, and it must take once again its rightful place among men.”

As St. Joseph ceased speaking I saw his most pure heart. It seemed to be lying on a cross which was of brown color. It appeared to me that at the top of the heart, in the midst of the flames pouring out, was a pure white lily. Then I heard these words: “Behold this pure heart so pleasing to Him Who made it.”  St. Joseph then continued:

“The cross, my little one, upon which my heart rests is the cross of the Passion, which was ever present before me, causing me intense suffering. I desire souls to come to my heart that they may learn true union with the Divine Will. It is enough, my child; I will come again tomorrow. Then I will make known to you how God wishes me to be honored in union with Jesus and Mary to obtain peace among men and nations. Good night, my little one.”

Message of March 19, 1958

On the evening of the next day, March 19, 1958, St. Joseph again appeared to me as he had promised and addressed me in these words:

“My child, I desire a day to be set aside to honor my fatherhood. The privilege of being chosen by God to be the Virgin-Father of His Son was mine alone, and no honor, excluding that bestowed upon my Holy Spouse, was ever, or will ever, be as sublime or as high as this. The Holy Trinity desires thus to honor me that in my unique fatherhood all fatherhood might be blessed. Dear child, I was king in the little home of Nazareth, for I sheltered within it the Prince of Peace and the Queen of Heaven. To me they looked for protection and sustenance, and I did not fail them. I received from them the deepest love and reverence, for in me they saw Him Whose place I took over them. So the head of the family must be loved, obeyed, and respected, and in return be a true father and protector to those under his care. In honoring in a special way my fatherhood, you also honor Jesus and Mary. The Divine Trinity has placed into our keeping the peace of the world. The imitation of the Holy Family, my child, of the virtues we practiced in our little home at Nazareth is the way for all souls to that peace which comes from God alone and which none other can give.”

Then suddenly, as he ceased speaking, I was favored with a unique and marvelous vision of the glorious St. Joseph, He seemed suspended, as it were, a short distance above what had the appearance of a large globe with clouds moving about it. His head was slightly raised, the eyes gazing upward as if in ecstasy. The hands were in a position similar to that of the priest during the celebration of Holy Mass, only they extended upward somewhat. The color of his hair, as also of his rather small and slightly forked beard, seemed a very dark brown. His eyes resembled in color the hair and beard. He was clothed in a white robe that reached to his ankles. Over this he wore a sort of cloak which did not come together at the throat, but covering the shoulders and draped gracefully over each arm, reached to the hem of the robe. The cloak at times had, or seemed to have, the appearance of a brown, sometimes a purple, hue, or perhaps a slight blending of the two. The belt about his waist was of a gold color, as were his sandals. His appearance, though quite youthful, gave at the same time the impression of rare maturity combined with great strength. He seemed a bit taller than medium height. The lines of his face appeared strong and purposeful, softened somewhat by a gentle serenity. I also saw his most pure heart at this time. Moreover, I saw the Holy Spirit in the form of a dove hovering above his head. Standing sideways, facing each other, were two angels, one on the right, the other on the left. Each carried what appeared to be a small pillow in a satin covering, the pillow on the right bearing a gold crown, the one on the left, a gold scepter. The angels were all white, ever their faces and hair. It was a beautiful whiteness that reminded me of the stainlessness of heaven. Then I heard these words:

“Thus should he be honored whom the King desires to honor.”

When the vision ended, St. Joseph before taking leave spoke to me in the following manner:

“The Holy Father need have no fear, for I have been appointed his special protector. As God chose me to be the special guardian of His Son, so has He chosen me as the special guardian of him who in Christ’s Name is head of the Mystical Body of that same Son on earth. My special protection of the Holy Father and the Church should be made known to him. God wishes to make this known to him that he may receive thereby renewed consolation and encouragement. During the war, little daughter, it was I who saved him from death at the hands of his enemies. Continually I watch over him and the Church, and I desire this to be acknowledged for the greater glory of God and the good of souls. Lovely child, precious to the heart of your spiritual father, I will come again on the last Sunday of this month. Jesus and Mary will come also in a special visit. Receive my blessing.”

As I knelt down to receive it, I felt his hands on my head and heard the words: “May Jesus and Mary through my hands bestow upon you eternal peace.”

Message of March 30, 1958

As he had promised, St. Joseph came again on March 30. His requests were similar to those of Our Lady and the First Saturday. The Sacred Hearts of Jesus, Mary, and Joseph have been chosen by the Most Holy Trinity to bring peace to the world; hence, their request for special love and honor, also, in particular, reparation and imitation. These are the words of St. Joseph as recorded on March 30:

“I am the protector of the Church and the home, as I was the protector of Christ and His Mother while I lived upon earth. Jesus and Mary desire that my pure heart, so long hidden and unknown, be now honored in a special way. Let my children honor my most pure heart in a special manner on the First Wednesday of the month by reciting the Joyful Mysteries of the rosary in memory of my life with Jesus and Mary and the love I bore them, the sorrow I suffered with them. Let them receive Holy Communion in union with the love with which I received the Savior for the first time and each time I held Him in my arms. Those who honor me in this way will be consoled by my presence at their death, and I myself will conduct them safely into the presence of Jesus and Mary. I will come again, little child of my most pure heart. Until then, continue in patience and humility, which is so pleasing to God.”

As St. Joseph had promised, Jesus and Mary also came on March 30. Jesus had the appearance of a boy about fifteen or sixteen year old. He spoke to me first. It was about the sanctification of the family and other matters. He said it would not be required of me to write it at this time, as He would ask this of me at a later date. Our Lady and St. Joseph also spoke to me concerning the same subject and also about the Divine Indwelling.”

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My thanks again to voxpopuli@voxpopuli.org at http://www.motherofallpeoples.com/2010/10/the-messages-of-st-joseph-in-our-lady-of-america/ for providing this information. Happy St. Joseph and St. Patrick’s Day!

Christ in the Wilderness, a Russian Artist, and a Challenge

On By Deacon Paul O. IaconoIn Art, Artists, Beauty built on Gospel Values, Catholic Art, Christian Spirituality, Christianity, Ivan Kramskoi, Jesus Christ, Religion, Religious Art, Russian Artists, Russian Orthodox, Sacred Art, Sacred Artists, Temptation and Sin5 Comments

In the late 19th century a Russian painter, the noted portraitist, draughtsman, and teacher Ivan Kramskoi painted a haunting image of Jesus alone in the desert. It is a painting which expresses the internal struggle of the flesh versus the spirit. It portrays Jesus, in the early morning hours and the cold air of the dawn, with the sun rising over His back.

He is surrounded by small boulders and sits on a rock, hands in front of him, eyes filled with anguish and pain. This portrait of Christ in the desert is not one of victory; looking closely at His face you recognize the seriousness of the struggle and the irrefutable fact of Jesus’ humanity.

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Observe Christ’s clenched hands, gaze deeply into His eyes, and you will see the artist’s portrayal of a Savior that is already at the beginning of His ministry aware of the viciousness of the tempter and the burden of our sins that will weigh upon Him.

Kramskoi’s painting is so powerful because it shows not the physical tearing that was to come in the scourging and crucifixion, but the sensual, psychological, and spiritual battles that would challenge the mission and authority of Jesus Christ.

**679px-Kramskoi_Christ_dans_le_désert

Jesus had to confront, in that very first desert assault, whether or not He was going to be faithful to His mission; was He going to be faithful to the anointing that He received from the Father and the Spirit at His baptism?

The Gospel challenges us with the same questions: are we faithful to our Baptismal promises? Are we faithful to the Commandments? Are we faithful to the call that we received at our Confirmation to live and practice the truths that He taught us, not just when we feel like it, but everyday – even in the most difficult of circumstances?

As disciples of Christ we are on a daily basis constantly revolving around the axis of temptation and sin – faith and grace. We understand that temptation, in and of itself, is a test – it is not sin. It is only sin when we willfully place ourselves in its power, when we give into its power to overwhelm our body and soul, – a deadly power that obtains its animus and energy from the original tempter – Satan himself.

Christ lived blamelessly in the face of evil, but you say, I am not Christ, I am a weak man or woman, boy or girl. I say true, we all are, but by virtue of our faithful reception of the Sacraments we have the power of Christ’s grace within us.

Unlike Christ we don’t enter the wilderness of our own temptations alone. When we do face the anguish of our own sin, our own desolation in the face of Satan’s onslaughts, when we peer over the edge of the pit of sin – Christ’s witness tells us “Do not despair. Do not dwell in the pit. Do not accept the pit of sin as being permanent.” Jesus Christ tells us that He has instituted a Church that, with all its human sins and imperfections, still exists – in purity – to convey through its clergy the grace of God.

One of the first things that you notice about Christ in this portrait is that here, at the beginning of Jesus’ ministry, the artist has Jesus’ hands clasped together. Yet, when you walk into a Catholic or Orthodox Church, and look at the crucifix or an icon of one, you see Jesus as He ends His ministry on the Cross, with His hands unclasped, and stretched out, stretched out for each one of us.

This Lenten season we need to reach out our hands to the One, who 2000 years ago, stretched out His hands for our Redemption – and who still reaches out for us today. Reach out to Him in prayer and the Sacrament of Reconciliation, and through Jesus, reach out to those around you who are suffering in the same way, and lead them back to the love of Christ.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

Sin and the Sacred Artist

On By Deacon Paul O. IaconoIn Art, Artists, Beauty built on Gospel Values, Catholic Art, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, discipleship, Evangelization, Gospel Reflections, Gospels of Jesus Christ, Religion, Roman Catholic, Roman Catholic Beliefs, Sacred Art, Sacred Artists, Uncategorized4 Comments

Our society is quite adept at pointing out the sins and foolishness of others. Cable TV, radio talk shows, and various web sites love to dwell on the ignorant and immoral actions of politicians, celebrities, and the man in the street. But, as sacred artists within the Christian Tradition, what does Jesus require of us?

Jesus demands that we become countercultural. He requires us to be more concerned with our own sinfulness rather than the sins or inadequacies of others.

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When we first heard it years ago, last Sunday’s Gospel of Matthew 5: 17-37 must have caught us off guard – with talk of plucking out of eyes and cutting off of hands. Today, as adults and sacred artists, we certainly would have a difficult time practicing our craft if we took Jesus at His word. As you know the graphic figures of speech that Jesus uses are meant to shake us up – to provoke a reaction in us by vividly describing what we should figuratively do rather than falling into certain types of sin.

The vivid images that He uses emphasizes the truth of how dangerous these sins are to our souls. He uses this phrase twice: “it would be better to lose one of your members than to have your whole body thrown into Gehenna.”

What is He saying?

Human nature, combined with the age that we live in, contribute to our forgetting the essence of this Gospel and reflecting on its purpose. It is apparent that Jesus is emphasizing the following three truths: 1) Sin is real; 2) We will be judged on our sins; and 3) Gehenna, that is, Hell, is a real place: the place of eternal sorrow and separation from God.

Now, in the last fifty years, there exists some Catholic and non-Catholic theologians that would disagree with all or some of these three Scriptural truths; in fact, some of them would even cast doubt on the authenticity of the Holy Scriptures. But make no mistake; it is the doctrine of the Holy Catholic Church that we will be personally judged, not by these theologians, but by Jesus Himself.

So, it is wise and prudent for us to understand that Jesus is not mincing any words in this section of Matthew’s Gospel. For Jesus is challenging us to take seriously God’s perception of reality, and the truth that we can, through our personal and social sinful acts, be separated from God not only in this life but for all eternity, too.

Jesus’ words are timeless because He cites pride, anger, vengeance, unlawful divorce, lust, and lying as problems that affect not only the Jewish community – but our community as well. Jesus knows our hearts; and He knew the hearts of the men and women that stood before Him. His goal was to teach and heal us, and most importantly, willfully sacrifice Himself so that we would be redeemed of the stain of Original Sin and the subsequent sins of our life.

Jesus-Picture-Carrying-Cross-The-Passion-Of-Christ-Movie

So Jesus is presenting us with an opportunity to be a student in His school of discipleship. Jesus’ school, however, demands that we be honest with ourselves, as artists and as Christians, and recognize and strive to eliminate all sins –  all  barriers – to being His disciple. For how can we produce sacred art in the Tradition of the Church if we are carrying the burden of unrepented sin?

We pray that the Holy Spirit uses us as His instruments to promote the truth, goodness, and beauty of God, His angels and His saints. It follows then that if we are His instruments we must make every effort to model ourselves after Him.  Rather than just copying the image of the sacred model, as a fellow artist Jesus desires us to become the model – alter Christus – another Christ.

I don’t need to tell you that, over the last fifty years within the Latin Rite of the Catholic Church in certain parts of the world, the Sacrament of Reconciliation is widely ignored as a throw back to the Middle Ages. This attitude by American and European Catholics is based on poor catechesis and, possibly, an unwillingness to accept and repent of their own faults and sins. We may have forgotten the reality of sin, but  Jesus, our Judge, has not; and why hasn’t He?

It is because sin is the reality of our separation from Him – and He is always aware of it. It is the reason why He suffered and died for us; however, along with this is His desire to share His mercy with us – if – we want it. Christ’s mercy is always available to us; and as Catholics we are blessed to have the Sacrament of Reconciliation to spiritually cleanse us from our sins. Why would we cast aside such a valuable gift?

Today, Jesus is calling us to repent – let us not turn a deaf ear, and a hard heart, to Him.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved. This essay is a modified form of a homily I delivered last week at St. Francis of Assisi Parish in Wakefield, Rhode Island, USA. Photo Credits: “Jesus,” and “Jesus Carrying the Cross” from Mel Gibson’s classic film: The Passion of the Christ.

PREPARE! Bruno Mars in Light of Matthew 5: 13-16

On By Deacon Paul O. IaconoIn Art, Artists, Catholicism, Christianity, discipleship, Evangelization, Religion, Roman Catholic, Roman Catholic Beliefs10 Comments

If you had the opportunity to watch the Super Bowl half-time show last weekend you saw that there were a number of symbolic messages that were being sent by the producers and main performer of the show; interestingly, variations on these messages continued to be sent throughout the game in the form of the commercials.

The singer Bruno Mars’ half-time performance sent one specific message – one specific word – that flashed three times behind him at the beginning of his act, the word was: prepare.

Prepare. But prepare for what?

The verb prepare in and of itself, is a neutral word. It means to “to make someone or something ready.” A negative intonation on that word might carry the meaning that we are to prepare for a terrorist attack, war,  plague, the collapse of the dollar, or increased government dysfunction.

But our concern here is about our Catholic identity and even though much of the world has either turned against Christianity or is indifferent to it, let’s look on the positive side, and say that we are to prepare for something good, something holy, even if, in the process, we might become uncomfortable.

Only the producers know the answer as to why the message to “prepare” was used so often during some of the Super Bowl commercials and half-time show; yet, does its presence last Sunday, in the light of this Sunday’s Scriptures, carry a message for us now?

Figuratively when we chew on the hearty meal that is our Holy Scripture we experience personalities called by God, who at first, are reluctant to prepare and respond to His call.

For example, Moses tells God that he is frightened to speak to the people. The prophet Isaiah humbly tells the Lord that impure speech has passed his lips and this makes him unfit to be His prophet. Sarah, Abraham’s wife, bluntly says that she is too old and tired to have a child; and Peter confesses that he is just too sinful. In Sunday’s Epistle, Paul declares to the Corinthians that he came to their sophisticated audiences with “weakness, fear, and much trembling.”

To their credit all of these people ultimately prepared and responded with a sense of hope and trust. From their witness we learn that nothing is impossible with God; for He takes ordinary people and, through His grace and their prayerful preparation, transforms them into His salt, light, and lampstand. He does this so that His disciples may enhance the bland flavor of today’s society and preserve and penetrate it with the richness of Christ’s message, thereby becoming a welcomed light that guides people on their spiritual journey.

So the challenge of Sunday’s Gospel is “Do we exclude ourselves from the promise of discipleship because of our lack of preparation?”

Now, you could say “Well let the ordained clergy do it: the deacon, the priest, the bishop. Or, let the brotherhood or sisterhood do it, because I’m just too busy or I’m not “called” in a formal way.” But if we hold that attitude we are ignoring the grace of our Baptism and Confirmation, we are rejecting the truth that we are all called and gifted.

Now what does preparation entail? It demands that we pray and continuously use the Sacraments available to us, especially Reconciliation, so that grace may transform us into disciples that are the salt of the earth.

Isaiah reminds us today, “to share our bread, shelter the oppressed and the homeless, and clothe the naked when you see them.”  He clearly tells us “Do not turn your back on your own.”  But important as that work is, we are not called to be just a Church of social workers. We are called to be a holy Church, a pure Church, a prayerfully prepared Church that responds to the Redemptive act of Jesus’ life so that our family and friends will be transformed, through God’s grace and our efforts, into fellow disciples of Christ.

As we begin thinking about the Lenten season, let us double our efforts this year to be prayerfully prepared for whatever may happen, and with confidence put our fear, weakness, and trepidation aside and give glory to Our Heavenly Father, by radiating the love and truth of Jesus to those around us.

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Copyright © 2011- 2014 Deacon Paul O. Iacono.  All Rights Reserved. Photo courtesy of: Dr. Marcellino D’Ambrosio (from his Facebook Timeline Photos).

Baptism, Discipleship, and the Art of Lorenzo Lotto

On By Deacon Paul O. IaconoIn Art, Baptism, Baptism of Christ, Beauty built on Gospel Values, Catholic Art, Catholic Spirituality, Catholicism, Christianity, Lorenzo Lotto, Religious Art, Renaissance Art, Roman Catholic, Roman Catholic Beliefs, Sacred Art, Uncategorized2 Comments

In our Gospel last week we stood at the banks of the Jordan River and witnessed Jesus’ baptism by John the Baptist. Today we hear John announce to all that the Spirit of God rests upon Jesus who is described as the Lamb of God and the Light of the World. John goes on to say that Jesus is not an angel, a prophet, nor a magician; rather, He is the incarnate Son of the Most High God. John reminds us that as the “Lamb of God” Jesus has a specific mission. His role is to teach and preach, and most importantly, it is to heal, and that healing can only occur through sacrificial service – specifically through the sacrifice of His own blood.

We are just one month past the celebration of the birth of Jesus and today our Gospel reminds us of the purpose of His mission.

Five hundred years ago a beautiful painting was completed by the Italian artist Lorenzo Lotto entitled the Nativity of Christ. Lotto presents the typical stable scene, yet, his spiritual insight focuses on one specific artistic touch: he places on the wall behind a kneeling St. Joseph the image of a crucifix with the body of Christ emanating a beautiful glowing light that spills out onto the wood of the cross and the stable itself.

nativity

To my knowledge, Lotto’s innovation was the first time such an insight had been seen in Western art, but its originality is emphasized by the fact that your eye naturally moves from the crucifix, through the eyes of Joseph and Mary, and then down to the open arms of Jesus. Here as an infant, on the wood of the manger, He freely opened His arms to Mary and Joseph; and as an adult carpenter, He freely laid Himself down upon the wood of the Cross, to be sacrificed in an open embrace of love for all.

The challenge of this Gospel is that Christ offers us, as His disciples, the model of sacrificial service. No matter who you are, or what your age or station in life, you can perform sacrificial service to those around you. But it must be offered in the same redemptive spirit that Christ offered His service: with spiritual love and compassion for the souls of those in need. By virtue of our own Baptism we are all called to serve others as Christ has served us. You may be a mother or father caring for children or elderly parents – this care, if offered in the spirit of Christ – is sacrificial service. You may be a sacred artist, laboring quietly and prayerfully to create beautiful images that will assist yourself and others in prayer. This creative labor is sacrificial service.

You may be a child or teenager that courageously doesn’t participate in the bullying of another and comforts the one injured – if offered in the spirit of Christ – this is sacrificial service. You may be an adult – sick or aching from the pain of years of courageous work for your family or on behalf of the Church’s needs, such as supporting the pro-life movement or other social and moral justice issues. You see, if in prayer – you offer up your pain and efforts for souls in need – this is Christ-like, redemptive, sacrificial service. So as we offer sacrificial service on behalf of others, we turn our mind to God and place ourselves in His presence. This presence is a moment of prayer for us.

Allow me to make a recommendation: when we offer sacrificial service we should say the first verse of Psalm 70, which says, “God come to my assistance, Lord make haste to help me.” By saying this prayer, awareness of our Baptismal discipleship takes root. For it is in that short verse that we successfully unite ourselves to Jesus in the Jordan River, and like Him, receive grace from the Father to continue our mission, even if it ends up on Calvary.

As we travel through the dark days of winter, let us not forget that the Light of Christ is always present to us, and that Jesus’ arms will always remain open to patiently help us as we serve others.

God come to our assistance. Lord, make haste to help us.

***The above homily will be delivered by me at St. Romuald Chapel at 10 AM, and Noon at St. Francis of Assisi Church, South Kingstown, Rhode Island, USA on Sunday January 19, 2014. Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved. Notes on the Painting: Lorenzo Lotto’s Nativity of Christ was completed in 1523. It is painted in oil on wood, and is presently in The National Gallery of Art in Washington, D.C.

“The Nativity” – Presented by the Jim and Jane Henson Family Puppets – Christmas Eve on CBS

On By Deacon Paul O. IaconoIn Art, Artists, Catholic Devotions, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Christmas, Christmas Eve, Christmas Puppet TV Show, Jim and Jane Henson, Jim Henson Creature Shop, Puppets, Religious Art, Roman Catholic, Sacred Art, Sacred Artists, Uncategorized2 Comments

Floridian Sean Keohane, a member of the Fra Angelico Institute for the Sacred Arts, and a participant in the beautiful CBS/Paulist Production of “The Nativity” sent me the following information on an American television Christmas Eve Special that will be broadcast this Tuesday evening on CBS at 11:30 PM. You will want to set your DVR’s to record the show. I am sure that it will prove to be quite beautiful and a wonderful addition to your enjoyment of the holy Christmas season.  Sean is an artist and has been working with the famous Henson puppeters and the Jim Henson Creature Shop. He included a note and some pictures from Cheryl Henson that I would like to share with you.

Merry Christmas to all and best wishes for a safe and secure New Year, Deacon Paul and Jackie Iacono.

“A special note from Cheryl Henson:

I want to let you know about this special presentation of our mother’s puppet performance of “The Nativity” that will be a part of a CBS special on Christmas Eve. Heather Henson and I worked with Father Eric Andrews at Paulist Productions to remount this beautiful classic production as a tribute to Jane Henson. Mom had created this production over the past five years together with Heather and Sean Keohane in Orlando. The piece workshopped at The National Puppetry Conference at The Eugene O’Neill Theater Center. From there, Mom sculpted the heads for the first group of puppets which were then built and costumed by the New York Workshop. In remounting the show, the workshop made a few important additions, a bowing donkey and two shepherds among them. Vandy Wood designed a beautiful light weight set with a blue back drop dyed by Jason Weber. Everyone who worked on the show did a spectacular job.

We were blessed with an excellent team of performers who we know from shows we have funded through the Jim Henson Foundation and from the Henson workshop. Amanda Maddock directed the puppets for the television production, working with storyboards from Sean Keohane and Heather Henson. Chris Green, Erin Or, Eric Wright, Ulysses Jones, Yoko Myoi, Amy Rush joined her as puppeteers, delivering elegant breath taking performances.

We couldn’t be prouder of how this came together quickly to create a lasting tribute to our mother. There will even be mini documentary tribute to Jane included at the end of the commercial free hour. In addition to Jane Henson’s puppets, the show also includes the kites of Curtiss Lee Mitchell, flown by Curtiss and Heather Henson. The extraordinary spirit kites that they performed at mom’s service in April take flight over three spectacular songs; “Ave Maria,” “Silent Night” and “Joy to the World.” Everyone on the production agreed that all church services should include kites. They help the spirit soar!

We miss our mother and are glad to be able to celebrate her this holiday season. Please tune in or record this production if you can. Happy holidays and thank you for being a part of this community that she loved so much.

Cheryl Henson”emailed_image_v3

lizandmaryThe Visitation” Mary and Cousin Elizabeth in Jane Henson’s ‘Nativity Story’ for its premiere at St James Catholic Cathedral in Orlando, 2010, Puppet heads sculpted by Jane Henson, tabletop puppets built and costumed by the Jim Henson Creature Shop. Photo by John Henson.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved

Mary and Joseph’s “Yes” – The Risk of an Open Heart

On By Deacon Paul O. IaconoIn Christianity, Gospel Reflections, Gospel Teachings, Gospels of Jesus Christ, Hope, Jesus Christ, Joy, Mary and Joseph, Roman Catholic, Roman Catholic Beliefs, UncategorizedLeave a comment

Our Gospel today (4th Sunday of Advent, Matthew 1: 18-24)) provides us with the story of a young couple, Mary and Joseph, who through their pondering of God’s request for understanding and trust provide humanity with the opportunity for divine Redemption. It is in their collective “Yes” to the angel’s request, that God’s plan could be fulfilled. His strategy for humanity’s Redemption was patiently planned and executed. It was a plan, seen in the Holy Scriptures, that shows Him searching for His broken human family, seeking ways in which He can communicate His desire for love and friendship.

God is very methodical in His attempts to search for His lost children. The first question ever asked in Holy Scripture is found in the book of Genesis. It is there that God asks the question: “Where are you?” He asks of the first family, Adam and Eve, “Where are you hiding?”  We know that they were hiding because of their sin; because of their collective “No” to God’s request of them to stay away from the Tree of Knowledge of Good and Evil.

With their sinful actions, God set into motion His plan for our Redemption – a plan that ultimately saw His entrance into human history to teach, heal, and redeem it from the sins of our spiritual parents. At the birth of Christ, the seven hundred year old messianic prophecies of Isaiah became a historic reality; and on a yearly basis, we celebrate that moment at Christmas.

But today we also need, in light of our Gospel, to pause and rejoice in remembrance of Mary and Joseph’s courage and willingness to say, “Yes,” to God. We need to consider that their “Yes” was not a simple act – it contained enormous risks since Mary’s circumstances after that “Yes” were at the very least – precarious.

She was a young woman, probably in her mid teens, engaged to be married, and is suddenly pregnant, not from the man she loves, but, by an unseen Holy Spirit of God; moreover, what about Joseph? He was a successful carpenter in Nazareth who had fallen deeply in love with Mary, was publicly betrothed and ready to live a happy life with her. Then the news: “I’m pregnant.” As a result under Jewish law, Mary faced a public humiliation and stoning and Joseph, stunned and confused, faced feelings of betrayal, pain, and anger. Understandably, at first, he is not ready to say “yes” to Mary and her story of divine intervention, there are few men that would.

But through divine intercession you have God, through His angel, making another request:

474px-'Joseph's_Dream',_painting_by_Gaetano_Gandolfi,_c._1790

“Joseph, Joseph, do not be afraid to take Mary your wife into your home.” With Joseph’s “Yes,” to this request his pain and anger subside and are replaced with a joyful nurturing spirit that enables him to take leadership of the situation and begin acting as a faith-filled stepfather. So the collective “No” by our spiritual parents Adam and Eve, is now trumped by the collective “Yes” of the first Christian family: Mary and Joseph.

Now it may be hard for us to relate to this Gospel. Our lives may be filled with anger, worry, family resentments, and disappointments. We may conclude that this story really doesn’t relate to us because the sharp axe of pain and frustration has severed the roots of our own sense of joy, hope, and love. If that is our dilemma, we must call out to God for His direction and try to remember, that in this Christmas season we can, with His help, change our focus. We can say, maybe for the first time with maturity, “Yes” to God and His call to us. You see the story of Mary and Joseph and the Christ child is absolutely relevant. For the angel’s request to Joseph of “Be not afraid” applies to us, too.

The request of  “Be not afraid” involves many different opportunities: the opportunity of forgiving others who have hurt us; or confronting our own sinfulness and unburdening ourselves of our sins, or the opportunity of being a person who desires to seriously investigate their faith and explore the reasons why we believe.

You see all of this involves the same risk that Mary and Joseph experienced: the risk of exposing our mind, heart, and soul to God’s love and allowing Jesus, through His sacramental grace, to be joyfully born into our own hearts and to give us the courage to truly live as a Catholic Christian.

So my brothers and sisters, as we make our final preparations for the celebration of Christmas, let us make every effort to imitate Mary and Joseph by saying “Yes” to God’s call, and in so doing, open the doors of our own hearts to provide a loving home for the Lord.

hol fam-1

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved. This is a homily that Deacon Paul O. Iacono delivered at the 8 and 10 AM Masses at St. Francis of Assisi Church in Wakefield, Rhode Island USA on Sunday December 22, 2013. Information on the painting: This painting was completed by Gaetano Gandolfi (1734 – 1802). It is entitled Joseph’s Dream, is oil on canvas, and is approximately 37 inches high by 30 inches wide. It was completed in 1790.  Information on the mosaic: Detail of the apse mosaic in the St Joseph’s chapel of Westminster Cathedral. It was installed in 2003, and the designer is Christopher Hobbs who worked with mosaic artist, Tessa Hunkin. – See more at: http://elmiradominicans.blogspot.com/2011/12/holy-family-of-jesus-mary-and-joseph.html#sthash.vVewiGgP.dpuf

Thanksgiving Day – A Christian Homily

On By Deacon Paul O. IaconoIn Catholicism, Christian Unity, Christianity, Religion, Roman Catholic, Thanksgiving4 Comments

Ken Burns’ extraordinary film series on World War 2 was recently on PBS. In that series, he explored the lives of a variety of Americans  – average people – in and out of uniform, from small towns and big cities who quietly, competently, and generously responded when America, thrust into war, called for their help.

As I listened to the elders describe war experiences their caring and competent words resonated through me. Words expressed their concern for their own personal survival but they also spoke of their apprehension for those around them.

Nobel Prize winning author Elie Wiesel has written that dangerous or tragic events motivate “Americans to help one another…” He said, “Human beings are defined by their solidarity with other people, especially when the other fellow is threatened or wounded.”

War, or catastrophic weather, earthquakes, personal or familial tragedy shocks us into the reality of perceiving what is truly important in life. These events should also trigger us to spontaneously appreciate what we have and give thanks to God.

Yet, our lives are usually not filled with these catastrophic problems, and as we move through life we may miss what is truly important. I am reminded of a man who made this point so very well.

Captain J. Charles Plumb was a Navy jet fighter pilot in Vietnam.  After 75 combat missions, his plane, on May 19, 1967, was destroyed by a surface-to-air missile.  Plumb ejected over North Vietnam and parachuted into enemy hands.  He and his radar intercept officer, Gary Anderson were captured, tortured, and spent six horrific years in a Communist prison camp. He survived the ordeal and was released in 1973. He occasionally speaks on lessons learned from those years.  In one of those lectures, he told a thought-provoking story.

Upon his return to the States, he and his wife Cathy were dining out in a restaurant, and a man at another table came up and said, “You’re Plumb! You were a fighter pilot in Vietnam from the carrier Kitty Hawk; and you were shot down!”

“How in the world did you know that?” asked Plumb.

The man looked at him for a few seconds and said:  “I’m the guy that packed your parachute!”

Captain Plumb recalled that he wasn’t able sleep that night, thinking about that man. He told his wife, “I kept wondering what he might have looked like in a Navy uniform.  I wonder how many times I might have seen him and not even said, “Good morning, how are you?” or anything because, you see, I was a fighter pilot and he was a sailor.”

He thought of the many hours the sailor had spent at a table in the belly of the ship weaving the shrouds and carefully folding the silks of each chute. There were over 5600 officers and sailors on the Kitty Hawk, and here was this unnamed sailor, vigilantly and patiently working, holding in his hands the fate of someone he probably didn’t even know.

On this Thanksgiving Day we need to ask ourselves: “Who’s packing our parachute?”

Whether we recognize it or not we all have someone who provides what we need to make it through the day – it may be a loved one, or, it may be God Himself. Fighter pilot Plumb’s words nudge us to do a gut check. His words prod us to give thanks for the people in our life, and in our history as a nation. To give thanks for the food that will today grace our tables and for the religious and political liberty that we enjoy; for the ability to pursue a dream whatever it might be, or the confidence that comes from knowing that when we climb into the cockpit of our lives other people are there to support us, the most important person being God Himself.

So as we continue our Eucharistic banquet, let us remember that God packs our parachute every day. He, too, may be unseen, down in the belly of our soul, carefully folding and weaving the silks of our life; His care, love, and mercy enabling us to enjoy the harvest of our labors and appreciate those who love us.

On this important day, and in preparation for the Lord’s Supper, let us now say that beautiful prayer that we all learned as children: Bless us O Lord and these Thy gifts which we are about to receive from Thy bounty through Christ, our Lord. Amen.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved. Thanks to the American Ex POW website:  http://www.axpow.org/stories-whopacksyourparachute.htm for the story of Captain J. Charles Plumb. The above post is the Thanksgiving Day (11/28/2013) homily that Deacon Paul O. Iacono will deliver at the 9 AM Mass at St. Francis of Assisi Church in Wakefield, RI USA.

The Apocalypse and Christian Duty – 33rd Sunday in Ordinary Time

On By Deacon Paul O. IaconoIn Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Epistles of St. Paul, Gospel Reflections, Gospel Teachings, Gospels of Jesus Christ, Jesus Christ, Religion, Roman Catholic, St. Paul, UncategorizedLeave a comment

It has been said that we are living between times – between Advents – in the times between Christ’s first coming – as an infant in the manger, and His second coming – as Lord and Judge of this earth. Our Scriptures challenge us today – the 33rd Sunday in Ordinary Time – with an important question: “Do my actions in public and private indicate that I am a disciple of Christ, dutifully preparing to meet the Lord?”

You see, we could spend a lot of time and effort trying to figure out the signs of the times, discussing this visionary and that seer, trying to determine whether or not we are in the actual last days before the Second Coming. We could speculate on how various personalities in the media discuss the deterioration of political effectiveness, the degradation of cultural discourse, or our precarious economic situation. We could also become unsettled over the apocalyptic scenario of what continues to occur at the destroyed Fukushima nuclear plant in Japan, the possible demise of its nuclear core, and the resulting catastrophic impact on the Pacific region.

Troubled times were also prevalent two thousand years ago when St. Paul penned his letters to the Greeks of Thessaly. St. Paul was alarmed that the gossiping about current events and apocalyptic speculations were causing disruptive behavior. The Greek word that Paul uses to describe their behavior refers “to actions that interrupt the truthful announcement and living out” of the Good News of Christ. He carefully tells us that these alarmists are false prophets if they are causing such unease as to reduce the effectiveness and the realization of the Gospel in the lives of the people.

So what does Jesus and St. Paul suggest?

First, we need to take them seriously and not be overly concerned about when the last days will come. Christians should be alert – but not worry; rather, like Noah upon hearing the word of God, they should prepare and rejoice. We need not worry because we have plenty to do in the interim by concentrating our attention on our duties to love God with our whole heart and our whole soul, repent of our sins, and love and assist our neighbors, too.

St. Paul, echoing Christ, is very specific on this point, he says, “Your love must be sincere. Detest what is evil, cling to what is good. Love one another with the affection of brothers and sisters. Anticipate each other in showing respect. Do not grow slack but be fervent in spirit; He whom you serve is the Lord. Rejoice in hope, be patient under trial, and persevere in prayer.” (Romans 12: 9-12)

Let us pray that whatever the role we find ourselves in, we faithfully carry out the duties the Holy Spirit has asked us to complete. Each of our jobs and duties are important in the eyes of God. How, and in what spirit we perform them affects our life, and the lives of others, both on earth and in eternity. So let us be worthy of the trust, love, and friendship that Jesus has for us. If we do that, and live in the prayer and grace-filled life of His Word and Sacraments, we will have nothing to fear.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved. I will deliver this homily at St. Francis of Assisi Church in Wakefield, Rhode Island on Sunday November 17, 2013.

God’s Playfulness – Video and Verse

On By Deacon Paul O. IaconoIn Birds, Catholicism, Christian Spirituality, Christianity, Joy, Nature, Nature Photographs, Nature video, Orthodox Christianity, Religion, Roman Catholic, Sacred Art, Science, Uncategorized2 Comments

If you have a moment, click on this link, expand the very brief video to full screen, then sit back and enjoy the playfulness of God and the gift of His creative grace. After watching it, I composed a few verses, which I share with you.

http://www.guideposts.org/video/mysterious-ways/the-miracle-of-flight?int_source=MysteriousWays&int_medium=RN&int_campaign=Starlingmurmurations

Thanksgiving 

Grace, the gift of God’s energy; the sharing of Divine life. 

God plays with His creation – mutual joy crashes in on our senses, like the lovely waves of the starlings’ wings, to drench us with His beauty.

Grace, God freely shares His friendship.

We are graced.  

We rejoice and give thanks.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved. I would like to thank nature photographer Dylan Winter for the incredible starling murmurations video and for the Guideposts website for featuring it. 

St. Francis of Assisi, Faith, and Grace

On By Deacon Paul O. IaconoIn Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Faith, Gospel Reflections, Gospel Teachings, Gospels of Jesus Christ, Grace, Roman Catholic, Saints, St. Francis of Assisi5 Comments

The following is my homily for the 27th Week in Ordinary time delivered at St. Francis of Assisi Church Wakefield, Rhode Island USA, October 6, 2013. The memorial of St. Francis of Assisi was celebrated on October 4th. 

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This weekend, as the Church remembers the life of St. Francis of Assisi, let’s pause for a moment and examine the virtues that energized Francis’ life.

We can begin by saying that he was a simple man. He pursued simplicity. This does not mean that he was of limited intelligence, or that he pursued simplicity for simplicity sake, rather, it means that he was successful at eliminating everything from his life that did not enhance his love of Jesus and service to his fellow man.

In other words, he was continually aware of the four eternal goals of life: keeping our soul in the state of grace, awareness of judgment by God, eternal life, and companionship with God Himself.

He realized that “to be simple is to see things with the eyes of God. St. Francis pursued simplicity because he innately knew that God Himself is simple.”

Other characteristics of Francis’ life are the virtues of faith and love. St. Francis understood that by praying for faith, by acting faithfully and lovingly, his spiritual life would be stressed – like an athlete preparing for a match – enabling him grow stronger in faith and love of God. He knew that if he committed himself to it God’s grace would assist him in this spiritual exercise.

In St. Francis’ life story we see his extraordinary reaction to his father’s demand for repayment for the fabrics he took, and sold, to benefit the poor.

How did he react when accused by his father?

In innocence and detachment he publicly disrobed –  a humble nude standing majestically in the Assisi town square.

Michelangelo should have attempted to sculpt that scene in marble. For what was the scene?

It was the image of the young Francis, not confronting the Goliath of military invasion, rather, the Goliath of a garden serpent (in the form of acceptance by society and his father’s love) who tempted him to return to the sweet life, “la dolce vita”.

But it was also the image of the grace of a Divine call to live a virtuous and detached life, filled with love for God and His creation.

The simple grace of Francis’ vision would be the stone that would bring down the giant of his own ego and worldliness.

Now let’s apply this to our Gospel (Luke 17: 5-10).

In today’s parable Jesus demonstrates the power of faith for overcoming temptation and obstacles.

But what did Jesus mean when He said that our faith could move trees and mountains? (see  also Matt.17: 20; Mark 11:23)

In the Middle East  – even to this day – the term “mountain mover” is used for someone who could provide the solutions to great difficulties.

So when Jesus tells us that if our faith was just the size of a mustard seed we could “uproot trees and mountains,” His emphasis is on His grace working in conjunction with our faith.

The gift of His grace is sufficient to assist us in dealing with our problems. Jesus doesn’t say that all our problems will instantly go away, rather, He says that we will be able to endure them, and yes, like Christ Himself, even overcome them.

So, we know St. Francis of Assisi today because he responded, in a heroic way, to the specific grace that he was given as a disciple of Christ.

Faith and grace was infused into his soul, and ours, at the moment of Baptism. If we choose to participate in Christ’s Sacraments, and do so on a regular basis, grace will build upon grace, and like Francis, our perception will become clearer, we will understand our personal Christian duty, and know how to respond to it.

With today’s Gospel, and St Francis in mind, we can say that God wants us to respond to His grace and scale the mountains of our own difficulties – to climb upon the crosses of our everyday life – because it is through this effort that we receive, in His love, the ability to be His partners in eternity.

At the end of his life, if St. Francis had been asked the question of what did he accomplish, he would have probably answered that he accomplished – nothing.

Rather, he may have said that it was as a loving disciple of Christ that he responded to the gift of God’s grace – and that it was God’s grace working through him that enabled him to perform good deeds and loving actions.

Let us pray that, in the spirit of St. Francis, we respond to God’s grace with the same faith, love, and generosity of spirit.

683px-Giovanni_Bellini_-_Saint_Francis_in_the_Desert_-_Google_Art_Project

hand of st francis bellini

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Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved. Notes on the art: The first image of St. Francis is a 13th century contemporary image of him. It is found in the Benedictine Monastery in Subiaco, Italy. Thanks to Digitalnun at www.ibenedictines.org. The second and third paintings are by Giovanni Bellini (1430-1516). Bellini painted this around 1480. The third painting is a close-up of a section of this painting by Bellini which shows a curious and loving rabbit peeking out of his den just as St. Francis receives the stigmata. The last photo is of a cloak that was worn by St. Francis. You may observe it and other personal items of St. Francis, such as his prayer book, slipper, and a cincture in the Basilica of St. Francis in Assisi, Italy. Quotations on simplicity based on a 1936 sermon by Fr. Ronald Knox. The reference to “mountain mover” and its usage in the Middle East was provided by D. Schwager. My thanks to him.

The Virtue of Christian Responsibility

On By Deacon Paul O. IaconoIn Art, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Faith, Gospel Reflections, Gospel Teachings, Gospels of Jesus Christ, Lazarus and Dives, Parables of Jesus, Religion, Roman Catholic, Roman Catholic Beliefs, Uncategorized1 Comment

This weekend’s Gospel (26th Week in Ordinary Time) about Lazarus, and a rich man by the name of Dives, is filled with very concrete images about the virtue of Christian responsibility.

Jesus’ message is twofold: first, He is saying that during his earthly life the rich man was not applying the teaching of the first five books of the Hebrew Scriptures which speak of the obligation to hospitably help those around us.

Jesus is also challenging us by mentioning that the rich man sinned. In the Hebrew language the word sin means to “miss the mark” and the rich man Dives clearly missed the mark.

diveslazarusdrawn by an unknown illustrator of petrus comestar's biblehistorialecrop

Father Ron Rolheiser tells us that the Hebrew Scriptures are filled with the concept that giving to the poor was never a negotiable moral option. Rather “it was an obligation” which stated  “giving a certain amount to the poor” in your community was “prescribed by law.”

For example, in the book of Leviticus (25:23) Moses clearly states that nothing is really ours because everything belongs to God. “We are only its stewards and guardians.” We may enjoy it because we worked for it, but with the understanding that our enjoyment is possible because God Himself allows us to earn and take pleasure from it, yet, everything ultimately belongs to God.

How does this apply to us?

The answer brings us to the second part – the silent challenge within Jesus’ parable. Missing the mark, that is, sin, is a deliberate human act that denies or defies the teachings of God. Ultimately, it is an act of narcissism – an act of self-absorption – an act of self-will that puts “the almighty me” first, and the laws of God and His Church, second.

Jesus challenges us to examine how we put our trust in other things: pleasure, pride, power, or possessions – to the neglect of God. What did Dives – the rich man – trust? From the parable we see that he trusted in his wealth. Now, there is nothing wrong with wealth; wealth, however, can become a problem – and lead to sinful behavior – when we as its stewards fulfill only our own needs to the detriment of those suffering around us.

The rich man committed a sin of omission in that he failed to help a needy person that was right in front of him; so the rich man’s wealth, which in itself was morally neutral, enabled him to make the decision to become gluttonous, avaricious, and selfish. This leads us to understand that the root of all sin is pride and the inability to consistently act with humility before the Lord.

Jesus’ challenge in this story is extremely applicable, for we need to determine whether we are going through our lives committing sinful acts with little regard for the consequences of our behavior. When this happens – we – like Dives – miss the mark, and ultimately, we will go unfulfilled in this life, and like him, unfulfilled in the next – so, what must we do?

Well, if Dives – the rich man – trusted in his wealth, Lazarus – the poor man – trusted in God. In fact, the name Lazarus means God is my help. Despite a life of misfortune and suffering, Lazarus, in humility, did not lose hope in God.

Like Lazarus we must rediscover, or discover for the first time, the joy and freedom of completely trusting in God.

And what does this mean?

It means that the virtue of Christian responsibility demands that  we perform our work, worship God alone, and acknowledge that He is our only lasting treasure. By doing that we will escape the deadly trap that befell the rich man – for when we love God with all our heart we never forget to help those in need.

Let our prayer be: Lord, increase my thirst for You and for Your way of happiness. Give me a generous heart so I may responsibly share with others the wealth you have given to me.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved The above is a homily that was delivered by Deacon Paul O. Iacono on the weekend of September 28/29, 2013 at St. Francis of Assisi Church in Wakefield, Rhode Island USA. Notes on the painting: The painting above is an illustration drawn by an anonymous illustrator for the Petrus Comestar (Peter Comestor) Commentaries on the Gospels. Peter Comestor, a French priest and scholar, died in Paris in 1178. He was considered one of the three most learned men in France during his lifetime.

Pentecost 2013

On By Deacon Paul O. IaconoIn Christianity, Evangelization, Faith, Gospel Reflections, Gospel Teachings, Gospels of Jesus Christ, Holy Spirit, Pentecost, Religion, Roman Catholic, Uncategorized1 Comment

As we celebrate the birth of the Church at Pentecost (confer the Acts of the Apostles, Chapter 2 ff), we should be filled with an urgent need to obtain and, most importantly, use the Seven Gifts of the Holy Spirit that are available to us.

Our Scriptures tells us that the Seven Gifts of the Holy Spirit are: fear of the Lord (which means that we desire not to offend God in any way), understanding, counsel (which is supernatural prudence), fortitude, knowledge, piety, and wisdom. These Seven Gifts are received as a grace of God at the moment of our Baptism; and they are strengthened and completed at the moment of our Confirmation.

pentecost 2 detail

In our Gospels, Jesus explains these Gifts by using the two analogies of breath and water. Jesus tells His disci- ples: “Let anyone who thirsts come to me and drink. Rivers of living water will flow from within him who believes in me”  – and – “the water that I shall give will become in him a fountain of living water, welling up into eternal life.”

Jesus explains that this new water, “the living water” of the Holy Spirit, is a new kind of water because it is given to those who are worthy to receive it.

Christ uses the analogy of living water to express the grace of the Spirit, because all things are fundamentally dependent on water, and all plants and animals have their origins in water.

One of the early Fathers of the Church, St. Cyril of Jerusalem, tells us: “When water comes down from the heavens as rain, it is always the same in itself, yet, it produces different effects – one in a flower, another in a tree, and yet a third and fourth in an animal or person. So the grace of the Holy Spirit,  like water, adapts itself to the needs of every creature that receives it. In the same way the Holy Spirit, whose nature is always the same, simple, and indivisible, gives grace to each man [or woman] as  He, [the Holy Spirit] wills.” (St Cyril of Jerusalem)

We have all received the saving grace, and the Seven Gifts of the Holy Spirit at Baptism, but there comes a moment, usually around the age of our Confirmation, in which we are asked to recognize, develop, and use those seven Gifts.

But there is a condition, my brothers and sisters for this to happen: like a dry plant in your garden, the soul is able to produce the many flowers of holiness only when the soil of the soul has been raked and fertilized through repentance, and Sacramental reconciliation. This act of repentance is both an intellectual and spiritual action. Repentance has made your soul ready to effectively use the water, the grace, the Gifts of the Holy Spirit.

St. Paul and St. Cyril remind us that “the Holy Spirit makes one person a teacher, another a healer, a third a prophet, and a fourth a pastor. Scripture tells us that in each person [who is free from serious sin] the Spirit reveals His presence in a particular way for the common good.” (St. Cyril of Jerusalem)

Ultimately, if we actively apply these truths we are able to impact the spiritual life of those around us. How does this happen? It happens by virtue of our own dedication to holiness as we live out the Seven Gifts of the Holy Spirit.

Pentecost Sunday reminds us that we were Sacramen- tally Baptized and Confirmed to be apostles – to go forth and use these Seven Gifts that God has given us – to work on behalf of the family of God.

Let us be joyous on this Pentecost Sunday; let us rejoice in the truth that the Holy Spirit will always remain with our Church and sanctify us with His many graces; and let us recommit ourselves to allowing the Holy Spirit, through the graces of all the Sacraments, to energize us, and if necessary, change our natures for the better – so that we, too, may be fruitful apostles for Christ.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved This essay was delivered as a homily by Deacon Iacono at St. Francis of Assisi Church, Wakefield, RI USA on Pentecost Sunday May 19, 2013.  Notes on painting: Jan Joest van Kalkar (c. 1450 – 1519). Pentecost (Pfingsten) 1505 – 1508, Oil on wood, 41 x 28 1/4 inches, location: St. Nicholai’s Church (Katholische Pfarrkirche Sankt Nikolai), Kalkar Kreis Kleve. Link to the source of this information: http://idlespeculations-terryprest.blogspot.com/2011/06/pentecost.html Thanks to Terry Prest for providing the image and its source.

       

Roger of Helmarshausen O.S.B. – Theophilus the Presbyter: Part 3 – The Prologues

On By Deacon Paul O. IaconoIn Annunciation of Mary, Art, Artists, Beauty, Catholic Art, Catholicism, Christianity, Roger of Helmarshausen, O.S.B., Roman Catholic Beliefs, Sacred Art, Sacred Artists, Theophilus the Presbyter, Uncategorized1 Comment

Last February, in Parts 1 and 2 of this article, I shared with you some thoughts on an important figure in the history of Western European art: the Benedictine monk, Roger of Helmarshausen, also known by his pen name, Theophilus the Presbyter.

Dom Roger was born in the late 11th century during a dramatic time in Western European history. In 1066 the Normans successfully invaded England and defeated the Saxons, which forever changed the history of England and the Continent. In 1084, St. Bruno founded the Carthusian Order in France, and in 1098 the foundation monastery of Citeaux saw the beginning of the Cistercian Order.

In 1095, at the Council of Clermont, Pope Urban II preached the First Crusade in an attempt to restore Christianity to the Holy Land. In 1115, St. Bernard became the abbot of the monastery of Clairvaux; and remained its abbot until his death in 1153. In 1120 we have the extraordinary sculptor Gislebertus working on the tympanum of Autun Cathedral in the Burgundy region of eastern France, and in 1150 we have Abbot Suger beginning the rebuilding of the abbey-church of St. Denis in Paris, which ushers in the beautiful Gothic period in Western art and architecture.

It is within this dynamic and exciting environment of the early 12th century that the Benedictine monk, Roger of Helmarshausen (considered by many, but not all scholars, to be Theophilus the Presbyter) compiles and writes his important manuscript De diversis artibus (On Divers Arts), also known as Schedula diversarum artium, or simply the Schedula. His book contains three chapters of which only one (the most extensive and detailed) deals with metallurgy, the other two deal with painting and the making of stained glass.

Many scholars believe that On Divers Arts was written/compiled between the years 1100 and 1140. Besides its importance as a medieval artistic treatise, On Diverse Arts is known as containing the first very early description of oil paint, thus, conclusively proving Georgio Vasari (1511-74) was mistaken in claiming that the van Ecyk’s were the first to develop the use of painting in oils.

Dom Roger’s artistic skills revolved around metallurgy, specifically in the crafting of exquisite gold and silver liturgical furnishings, an example of which can be seen in the image below of a Portable Altar, c. 1120, Oak box, clad in partly gilded silver, feet of gilded bronze, 165 x 345 x 212 mm (approx. 6.6 by 13.6 by 8 inches), found in the Cathedral of Paderborn, Germany.

2altar

Dom Roger’s contributions to the understanding of late 11th and early 12th century Western European sacred art are so numerous as to be out of the purview of this post to catalogue them all. My goal today is to mention how specifically a contemporary sacred artist in the Western Tradition could benefit in reading his book On Diverse Arts.

This is my main point: if a sacred artist picks up Dom Roger’s book and quickly scans through the Prologues to each of the three chapters in the book they will miss the entire point of what he was trying to accomplish. It is a book that requires the reader to view its contents not as another medieval manuscript of pigment recipes or the social anthropology of a highly skilled 12th century artist. Clearly, Dom Roger is inviting us into his working world and the spiritual perception of the application of prayer to work, which is true to the motto of his Benedictine Order: Ora et Labora.

Each of the three prologues discusses the development of specific spiritual values in relation to the sacred art (painting, glass making, or metalworking) the student is pursuing. There is a progression through different skills and obstacles that the student must master in order to reach the heights of individual artistry.

St. John Climacus and other Patristic Fathers in discussing a soul’s spiritual journey speak of a similar progression up the “ladder of ascent” to the Godhead and spiritual union with God. The soul’s journey is fraught with problems and obstacles, yet, those souls that persevere are rewarded for their efforts. Dr. Heidi Gearhart, presently of Harvard University, also speaks of this idea in her research on Dom Roger when she identifies the intention that he is interested in a progression forward, an ascent, through different and more complex art forms to the pinnacle (in his mind) of artistry – which is Dom Roger’s own specialty: the art of gold, silver, and bronze metal work.

The First Prologue to the chapter on painting emphasizes the need for the sacred artist to be humble in his/her approach, they should not neglect the wisdom of the past, nor should they be idle or selfish with the artistic gifts they have received. They have the duty to pass on to their receptive students the wisdom of the arts that they have been given by God, and have gained through study, and experience; and lastly, your art should always give glory to God and to His holy name.

In the Second Prologue, which is the preface to the chapter on glass making, we read that Dom Roger is emphasizing his adherence to the guidance of Holy Wisdom. In a passage of mystical quality he says “I drew near to the forecourt of holy Wisdom and I saw the sanctuary filled with a variety of all kinds of differing colors, displaying the utility and nature of each pigment…” He goes on to say that he can accomplish superior effects through the use of glass alone, thus, “without repelling the daylight and the rays of the sun.”  We wonder whether Abbot Suger in Paris was familiar with Dom Roger’s experiments with glass prior to or during his renovation of the abbey church of St. Denis – the precursor of French Gothic churches.

The Third, and last, Prologue, the preface to the art of metal work, takes us into the recesses of Dom Roger’s soul, for in this preface he is stressing that the Holy Spirit bestows on the sacred artist the grace of the Seven Gifts of the Holy Spirit. These Seven Gifts: Fear of the Lord (which means that we do not desire or act to offend God in any way), Understanding, Counsel (Spiritual Prudence), Fortitude, Knowledge, Piety, and Wisdom have been given to us through the compassion of God. These Gifts are given to the artist who sincerely desires them through the Sacraments of the Church, sincere prayer, and activity, which acknowledges the truth, goodness, and beauty of God. The sacred artist should always be open to cooperate with the grace of God. Dom Roger implores his students to understand that their work should reflect the truth that it is executed under the authority, direction, and guidance of the Holy Spirit.

Dom Roger’s perspective is solidly within the Benedictine tradition of attempting to live within a state of spiritual wisdom, and to transfer that wisdom, through teaching and practical workshop application, to another generation of monk/artists. Humility, creative technique, investigation, silence, prayer – listening to Holy Wisdom – enable him to succeed at his art.

His approach is to remain true to his spiritual values as a Benedictine. He recognizes the absolute significance of the role that the Holy Spirit plays in assisting, molding, and inspiring the artist in his or her efforts to create artworks which give glory to God and to share their knowledge with those who are willing to learn.

My next post on this subject will present a brief overview of some salient research by an outstanding scholar of this period of European art history: Dr. Heidi Gearhart of Harvard University.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved         The quotations are taken from the John G. Hawthorne and Cyril S. Smith translation from the Latin of Theophilus’ On Divers Arts, published by Dover Publications, New York, 1979.

Aidan Hart’s New Book on Sacred Iconography

On By Deacon Paul O. IaconoIn Aidan Hart, Art, Artists, Iconography, Icons, Orthodox Art, Orthodox Christianity, Religious Art, Roman Catholic, Sacred Art, Sacred Artists, Sacred Iconography6 Comments

The article below is reblogged from the always informative Orthodox Arts Journal. The article is the 9th in a series about sacred iconography that was written by Brother Aidan Hart, a British iconographer. Brother Hart has written extensively on all aspects of sacred iconography and has recently published a very comprehensive book on the subject called Techniques of Icon and Wall Painting. The editor at the Orthodox Arts Journal highly recommends it. Brother Hart’s articles are available at his website and he also offers sacred iconography workshops in Britain. This nine part article is well worth the effort of perusing through all of it. His series contains many gems of information that will add to your knowledge of the sacred arts. Links to his site and the series are provided for you below.

Designing Icons (pt.9): Perspective Systems in Icons [from Orthodox Arts Journal]

April 16, 2013

By 

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 Editorial note:  We have convinced Aidan Hart to post a chapter from his new book. “Techniques of Icon and Wall Painting” which is being hailed as the most comprehensive book to date on practicing the art of Iconography.  At 450 pages, with 460 paintings, 150 drawings and covering everything from theology and design to gilding and varnishing, it is a prized possession for anyone interested in the traditional arts.  The chapter being serialized over the next weeks is called “Designing Icons”.  You will see why Archimandrate Vasileos of Iviron called this book the “Confessio of a man who epitomizes the liturgical beauty of the Orthodox Church”.  More details about the book on Aidan’s website.    

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In this section, Aidan discusses the different perspective systems used in icons.

This is part 9  of a series.  Part 1, Part 2 , Part 3, Part 4, Part 5, Part 6, Part 7, Part 8

Inverse perspective.

With inverse perspective the lines of a building do not converge on a point on the horizon, inside the painting, but instead they converge on us, the viewers. This serves to include us in the action depicted. The Orthodox hymns make it plain that a sacred event in the past is still acting on us today: “Today Christ is born”, they say, “Today Christ is risen. Let us join with the angels in praising His third day resurrection!”

The Hospitality of Abraham / "Old Testament Trinity" by Fr. Silouan

An example of inverse perspective.  The Hospitality of Abraham / “Old Testament Trinity” by Fr. Silouan

Inverse perspective also gives us the sense that the persons depicted are looking out at us. It is as though the image is drawn not from our own point of view but theirs, and ultimately, God’s. We have already discussed the meaning of repentance as being a change of seeing. We could also explain it as a change of perspective, where we realize that we are not the centre of the universe, but God.

Inverse perspective also draws our attention to the real space between the image and ourselves. The emphasis is on the grace coming to us through real space, rather than us being drawn into an imaginary world or reconstructed scene within the picture. Iconography is above all a liturgical art, designed to be part of a larger sacred dance that involves the church building, the space within the building, the hymns sung within it, and the liturgical movements during services.  As Gervase Mathews puts it:

In the Renaissance system of perspective the picture is conceived as a window opening on to a space beyond…The Byzantine mosaic or picture opens onto the space before it. The ‘picture space’ of Byzantine art was primarily that of the church or palace room in which it was placed, since art was considered a function of architecture.[1]

Flatness

Icons do not attempt to create a great sense of depth. They do use enough highlighting and perspective to affirm that the material world is real and good and part of the spiritual life. Nevertheless, things are kept somewhat more on a plane than in naturalistic painting. In a group icon, like that of Mid-Pentecost for example, people in the rear will be shown the same size, or sometimes even larger, than those closer. Every person is thus kept intimate with the viewer. The mystery of the person overcomes the limits of physical space and distance.

an example of flatness. Mid Pentecost, by Aidan Hart

an example of flatness. Mid Pentecost, by Aidan Hart

Why else do icons retain this flatness? It helps us to pass through the icon to the persons and the events depicted. The aim of the icon is not to replace the subjects depicted, but to bring us into living relationship with them. This explains why statues are not as a rule used in the icon tradition. Their three dimensionality makes them too self contained. Where sculpture is utilized it is kept to base relief.

Romanesque cross by Aidan Hart

Romanesque cross by Aidan Hart

Flatness can also be seen as a intentional weakness, a deliberate imperfection that constantly reminds us that this image is not the reality but a door to its prototype.

There is also an honesty in this flatness. There no attempt to make the picture plane what it can never be, a three dimensional object, let alone the real thing itself.  Incidentally it is this honesty to the picture plane that inspired the American art movement called colour field painting of the 1940’s and 1950’s.

Planarity also gives much greater freedom to arrange things according to their spiritual importance rather than being limited to their position in three-dimensional space. The figures within the icon of Christ’s birth, for example, are often arranged in three bands to represent the heavenly, earthly and unitary realms, and also in a circle centred on the Christ child

072Nativity 3 copy 2

This symbolic arrangement would not be possible if the event were depicted naturalistically, with figures receding toward the distance.

Multi-view perspective

Sometimes a building is shown as though seen simultaneously from left and right, below and above. This helps us to see things as God sees them, and as they are in themselves and not merely as they appear from our single view-point, limited as this is to one place at a time.

073IMG_3774 copy 2

The same multi-view perspective is sometimes applied to time, where the same person is depicted more than once in the same image, such as with Christ in the Nativity icon. The icon tradition can also place an important person in an event at which they were not historically present, but in which they later came to participate spiritually. Icons show things from the view of divine time (kairos  in Greek) and not merely chronological time (kronos). One example is Saint Paul in the Pentecost icon (fig. PentecostIMG copy.tif). He was not even a believer at the time of Pentecost, but later came to be great among the apostles and a pillar of the Church together with Peter, who is shown opposite him.

Isometry

In this approach the sides and edges of an object are depicted parallel, neither converging nor diverging. This affirms how a thing is in itself, rather than how it appears to us. All things have been called into unity in Christ, and this unity preserves and strengthens the integrity of each thing, rather than reducing it to a numerical one. Unity presupposes relationship which in turn presupposes otherness, though not separateness. Isometry affirms this otherness.

An example of isometry

An example of isometry

Hierarchical perspective

Often a personage who is more important than others will be enlarged. A typical example of this is the Virgin in the Nativity icon (see Nativity icon posted above). Conversely someone might be made particularly small to make a spiritual point. The Christ Child is often depicted thus in Nativity icons, to emphasize God the Word’s humility in becoming man for our sakes.

Vanishing point perspective

Although inverse perspective is more commonly used, we do also find instances where lines converge toward a point in the icon’s distance. This is not pursued in the systematic, mathematical way devised by the Renaissance painter, architect and sculptor Alberti Brunelleschi. In fact when this system is used you are likely to find as many convergence points as there are objects. This in itself transports the viewer out of the static vantage point assumed by mathematical perspective, and presupposes instead a much more dynamic experience – surely something closer to our actual experience of life.

[1] Gervase Mathews, page 30.

St. Peter’s Affirmation of His Love for Christ Is A Model for Us

On By Deacon Paul O. IaconoIn Art, Artists, Catholicism, Christian Spirituality, Christianity, Faith, Gospel Teachings, Gospels of Jesus Christ, Religion, Religious Art, Roman Catholic, Sacred Art, Sacred Images, St. Peter, UncategorizedLeave a comment

In our Scriptures for the 3rd Sunday of Easter we have the extraordinary contrast of St. Peter’s deeds in the first reading with that of his behavior in our Gospel. In the first reading from the Acts of the Apostles we see Peter’s defiance of the priests and the elders in the Temple. This defiance is in direct contrast to his cowardice two months earlier on the night of Jesus’ arrest; and it also differs from what we visualize in today’s Gospel.

The events of this Gospel occur before our first reading and the coming of the Holy Spirit at Pentecost. This Gospel recounts the third appearance of Jesus to the disciples after the resurrection. St. John tells us that even though Jesus had commissioned the disciples in His first two appearances, to go out and spread the Good News, they are still a little shaky on what they should be doing.

Their confusion caused them to be stressed, and like all of us today, they relieved their stress by returning to some activity they were comfortable with – in their case it was fishing, but they weren’t successful, they fished all night long and came up empty.

As dawn breaks upon the Sea of Galilee, John first notices someone standing on the shore, and that person called out to them: “Have you caught anything to eat?”

tissot-christ-appears-on-the-shore-of-lake-tiberias-741x484

They respond – “No.”   So this Person tells them where to fish – and their nets overflow. John, at that point realizes who it is, and tells Peter  –  “It’s the Lord!” and Peter immediately swims ashore. They all arrive to find that it truly is Jesus and He has made breakfast for them! After their shared meal, Jesus gets down to business: He begins to test Peter.

It is natural for us to feel uncomfortable for Peter. He is being asked three times whether or not he loves Jesus. The humiliation of the public questioning must have stung him and yet Jesus continues to ask, and He responds to Peter’s affirmations with:  “Feed my lambs,” “Tend my sheep,” “Feed my sheep.”

Jesus is asking Peter to totally bare his soul to Him. In Peter’s threefold denial of Jesus on Holy Thursday night, in his propensity for loudly proclaiming his devotion to Christ, in his subsequent denials, in his guilt, in his sins, in his pre Pentecost lack of action  – Peter is, ultimately, a reflection of all of us; but Peter is dramatically different – from us and from the other Apostles, because it is in this flawed man that Jesus continues to recognize and affirm “the rock,” on which His Church would be built.

Peter’s answers on that Galilean beach, and his willingness to publicly say that his deeds would follow his words, became the affirmation of his most inner self back to the Lord. His sincere “Yes” enabled him to become a leader, a man of deeds, and not empty words. His affirmation enabled Peter to receive the grace of Jesus’ mercy and love, and this enabled him to complete his mission to be the shepherd, the leader, the Vicar of His flock.

Pentecost provided Peter and the Apostles with the final graces of total transformation. A Eucharistic banquet on the beach and the confirming fire of the Spirit at Pentecost enflamed these once confused and dejected men to go out, and in the name of Jesus Christ, transform the world.

We have received the sacramental grace of the Spirit   in Baptism, many of us have received the grace of Confirmation, and we are fed on a weekly basis through the Eucharistic Banquet at Mass. Similar to Peter and the Apostles, we are on that Galilean beach surrounded by the  love and mercy of Jesus Christ.

My brothers and sisters by the virtue of the Sacramental graces that we have received, we in turn, have the same mission. For we are required to tend the flock – the lambs – the sheep – of our own families, friends, strangers, and help open their hearts to the love and mercy of Christ.

Let us pray for the continued outpouring of the gifts of the Holy Spirit that will enable us, like St. Peter, to stand up in the marketplace of our lives and feed the flock that we have been called to shepherd.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved. The above was a homily delivered by Deacon P. Iacono at St. Francis of Assisi Church Wakefield, Rhode Island on Sunday 4/14/2013. Notes on the artist: The painting of Christ Appearing on the Shore of Lake Tiberias is by James J. Tissot (15 October 1836 – 8 August 1902). Tissot was a French artist who spent much of his career in Britain. He was born in 1836 to a family of Italian descent in the port town of Nantes, France. His father, Marcel Théodore Tissot, was a successful drapery merchant while his mother, Marie Durand, assisted her husband in his business and designed hats. His mother was also a devout Catholic and instilled pious devotion in Tissot from a very young age. In 1885, Tissot experienced a re-conversion to Catholicism, which led him to spend the rest of his life illustrating the Bible. To assist in his completion of Biblical illustrations, Tissot traveled to the Middle East in 1886, 1889, and 1896 to make studies of the landscape and people. (source: Wikipedia article on the artist, and the Brooklyn Museum: www.artabase.net/exhibition/1868-james-tissot-the-life-of-christ).

Easter 2013

On By Deacon Paul O. IaconoIn Art, Christian Unity, Christianity, Easter, Gospel Teachings, Gospels of Jesus Christ, Jesus Christ, Religious Art, Roman Catholic, Sacred Art4 Comments

“The splendor of Christ risen from the dead has shone on the people redeemed by His blood, alleluia.”

“Our Redeemer has risen from the tomb; let us sing a hymn of praise to the Lord our God, alleluia.”

“Alleluia, the Lord is risen as He promised, alleluia.”

Fra_Angelico_024

God our Father, by raising Christ Your Son You conquered the power of death and opened for us the way to eternal life. Let our celebration today raise us up and renew our lives by the Spirit that is within us [through our Baptism into Your Life]. Grant this through our Lord Jesus Christ, Your Son, who lives and reigns with You and the Holy Spirit, one God, for ever and ever.” Amen

Notes on the painting: This painting by Fra Angelico is found in one of the “cells” (cell 31), that is, one of the rooms that were used by Dominican friars as their personal living quarters in their priory, or what is today called the Museo de San Marco, in Florence, Italy. The painting portrays Jesus Christ, after His resurrection on Easter Sunday morning, entering into that spiritual place where the souls of the righteous deceased were waiting for their expected liberation by the Messiah. Christ’s hand is extended to Adam, Eve is behind him and St. John the Baptist is next to her, followed by all the righteous from past history. Jesus, the Son of God, will now lead them into Heaven, to rejoice forever with the Trinity. The door to this spiritual place has been shattered, catching a demon under its fall. Other demons cower in a corner, totally overcome by the beauty, majesty, and spiritual power of God Himself. Jesus Christ’s image is one of love, mercy, tenderness, and welcoming. He is happy to be there and to be the source of their personal spiritual Redemption and liberation. This Redemption was made possible by Jesus’ bloody sacrifice and death on the Holy Cross which is represented on the standard that He holds.

This painting is a fresco and is approximately 5 feet by 6 feet in size. It is called Christ Storming Hell, and is also known as Christ in Limbo. It was completed between 1437 and 1450.

We pray that  you have a Happy Easter Day and a grace filled Easter Season!

The quotations are taken from volume 2 of the Roman Breviary – The Divine Office, page 524-526, antiphons and closing prayer for Easter Sunday morning.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved

Good Friday

On By Deacon Paul O. IaconoIn Art, Christianity, Evangelization, Good Friday, Gospel Reflections, Gospels of Jesus Christ, Orthodox Christianity, Roman Catholic, Sacred Art, UncategorizedLeave a comment

“Come, let us worship Jesus Christ, the Son of God, who redeemed us with His Precious Blood.”

“If we wish to  understand the power of Christ’s blood, we should go back to the ancient account of its prefiguration in Egypt. Sacrifice a lamb without blemish, a one year old male, commanded Moses, and sprinkle its blood on your doors. If we were to ask him what he meant, and how the blood of an irrational beast could possible save men endowed with reason, his answer would be that the saving power lies not in the blood itself, but in the fact that it is a sign of the Lord’s blood. In those days, when the destroying angel saw the blood on the doors he did not dare to enter, so how much less will the devil approach now when he sees, not that figurative blood on the doors, but the true blood on the lips of believers, the doors of the temple of Christ.

If you desire further proof of the power of this blood, remember where it came from, how it ran down from the cross, flowing from the Master’s side. The gospel records that when Christ was dead, but still hung on the cross, a soldier came and pierced his side with a lance and immediately there poured out water and blood. Now the water was a symbol of baptism and the blood, of the holy eucharist. The soldier pierced the Lord’s side, he breached the wall of  the sacred temple, and I have found the treasure and made it my own. So also with the lamb: the Jews sacrificed the victim and I have been saved by it.”

It was about nine in the morning when they nailed Jesus to the cross.

From noon until three o’clock there was darkness over the whole world.

christ_cross

At three o’clock, Jesus cried out in a loud voice: My God, my God, why have you forsaken me?

It is finished.

When we were His enemies, God reconciled us to Himself by the death of His Son Jesus Christ.

An innocent Jesus sacrificed for us, the guilty.

Realize that you were delivered from the futile way of life your fathers handed on to you, not by any diminishable sum of silver or gold, but by Christ’s blood beyond all price: the blood of a spotless, unblemished lamb chosen before the world’s foundation and revealed for your sake in these last days. It is through Him that you are believers in God, the God who raised Him from the dead and gave Him glory. Your faith and hope, then, are centered in God.  (1 Peter 1: 18-21)

“Awake, O Sleeper, and rise from the dead, and Christ will give you light.”

Copyright © 2013 Deacon Paul O. Iacono All Rights Reserved

Notes on the painting: Christ’s Crucifixion, is by the Spanish master Diego Velazquez (1599 – 1660); it was completed between 1631 – 32.

All the Scriptural quotations are taken from The New American Bible (1970) Confraternity of Christian Doctrine, Washington, D.C. The “Awake, O sleeper…” verse is taken from an ancient homily from the first centuries of the Church. First quotation is from The Roman Breviary: The Divine Office, volume 2, page 467. The second quotation is from The Catecheses by Saint John Chrysostom (AD 347-407), archbishop of Constantinople, Byzantium (present day Istanbul, Turkey). His Catecheses is also found in volume 2 of the Breviary, pages 473-475.

The Last Supper – Jesus as Servant, Christ as Sacrifice: An Evening Meditation

On By Deacon Paul O. IaconoIn Artists, Ford Madox Brown, Gospel Teachings, Gospels of Jesus Christ, Holy Thursday, Jesus Christ, Prayer, Religious Art, Sacred Images, The Last Supper of Christ3 Comments

At the Last Supper, on the night He was betrayed, our Savior entrusted to His Church the memorial of His death and resurrection.
This memorial came to us through the Institution of the Holy Eucharist, a memorial that He intended would be celebrated forever by His Church in the magnificent prayer that is known as the Holy Mass.
Let us adore Him, and say:
Jesus, sanctify Your people, redeemed by Your blood.
Lord, You humbled Yourself by being obedient to the Father’s will, even to accepting death, death on a cross.
Please give all who faithfully serve You the gifts of:
obedience to Your Holy Word found in Your Gospel,
service to our neighbor because they are reflections of You,
and patient endurance in all our troubles and tests.
Christ Washing Peter's Feet, Ford Madox Brown

Jesus Washing Peter’s Feet, (1852-56) by Ford Madox Brown (1821 – 1893), Tate Britain, London.

(Meditation based on the Intercessions, Evening Prayer for Holy Thursday, found in the Roman Breviary: The Divine Office, volume 2, page 465. Thanks to the Catholic Artists Society for the posting of Ford Madox Brown’s painting, please visit their site and consider becoming a member: http://catholicartistssociety.posterous.com ).

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved

 

 

The Meaning of Lent: Repentance and Renewal

On By Deacon Paul O. IaconoIn Catholic Spirituality, Catholicism, Christianity, Conscience, Gospel Teachings, Gospels of Jesus Christ, Healing by Jesus Christ, Lent, Roman Catholic, Uncategorized4 Comments

The following is a homily that was delivered at St. Francis of Assisi Church and St. Romuald Chapel in Wakefield, Rhode Island USA by Deacon Paul O. Iacono on the weekend of the 5th Sunday of Lent –  March 16/17, 2013.

Last week’s Gospel related the story of the prodigal son; this week the prodigal daughter stands before us.

These two people start with dissent against authority and its commands. Their actions led to life altering, almost near death experiences. They end their self-destructive journey with a conversion that speaks to all repentant sinners of the availability of the astonishing love, mercy, and forgiveness of God.

In last week’s Gospel, the merciful father pardons his prodigal son; today, God’s merciful Son pardons the sinful daughter.

Last week, the oldest son questioned the father’s reasoning; today, the Jewish elders question Jesus’ reasoning, and He responds to this challenge with questions of His own.

Jesus’ first challenge is to the mob: “Let the one among you who is without sin be the first to throw a stone at her.”

This inquisitive command forces even the most proud and dogmatic of them into uncomfortable moments of self-reflection, and to see in that mirror their own sins – which results in their silently walking away.

Then Jesus turns, and looks at the woman – twenty-four hours earlier she was beautiful and appealing. What does He see now?  A woman whose feet were bloodied from running in panic through the streets, clothes torn, hair askew, mind and heart filled with panic at her impending death.

Her defiance of the 6th Commandment was gone; as she was running for her life defiance gave way to abject terror and remorse, and when finally caught, her grief gave way to despair.

In lust’s name, she had betrayed married love – publicly humiliated and publicly condemned – she stood surrounded by the mob – waiting for the first rock to be thrown – staring alternately at Jesus and the ground.

But, Jesus’ second challenge is to the woman herself. His challenge doesn’t wound her, rather, she comes into full contact with Jesus’ Sacred Heart. His words, spoken from His heart – caresses her heart; and as their eyes meet He says:    “Neither do I condemn you. Go, and sin no more.”

Stunned with disbelief she must have stood there for a few moments, staring into Jesus’ eyes, the realization of His forgiveness washing over her – her heart filled with a new sense of hope and an overwhelming awareness of the invitation to live in His love and mercy.

The woman caught in adultery was blinded by her own lust, caught in the web of darkness she was unable to hear and speak to God, yet, what does Jesus do?

Ben1047ChristAndTheWomanInAdultery1659MunichW

He opens her eyes and ears; He gives her interior light; He covers her nakedness with a mantle of love and mercy and renews her ability to live a life that respects the laws of God.

At that moment Jesus blessed the adulterous woman with all the graces that are available to us in the Sacrament of Reconciliation

In the stories of the prodigal son and daughter, we have a new awareness that in our own ways, we too, are prodigals; and relief – relief in the knowledge that when we do Sacramentally repent, and attempt to sin no more, we receive extraordinary graces and the invitation to live in the love of divine mercy.

This is the meaning of Lent my brothers and sisters. For it teaches us that we have no reason to fear Christ – no reason to fear reconciliation with Him – for He freely offers us His Sacramental strength so that we may walk in His freedom, be renewed, and become more like Him.

Like the prodigal son and daughter, let us put aside our sinful ways, and grasp the hand of our merciful God in Sacramental Confession. Let us trust in Him; for Jesus’ love is vast and the waters of His mercy, to those who repent, continually refresh and satisfy our deepest longings to rest in Him.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved. Notes on painting: The above artwork is a preliminary sketch by Rembrandt for his finished painting on Christ and the  Woman Taken in Adultery (1644). I thank art historian Gary Schwartz for providing an image of that sketch at his website: www.garyschwartzarthistorian.nl/. Rembrandt’s finished painting is now displayed at the National Gallery in London, England.  

Beauty – “The Great Legacy” of Pope Benedict XVI

On By Deacon Paul O. IaconoIn Beauty, Benedict XVI, Catholicism, Roman Catholic, Uncategorized1 Comment

I am interrupting my series on Theophilus the Presbyter and the affect he had on the development Medieval art and technology with this post that just came in from the Catholic News Service/EWTN.

The following article is very important and relevant to our understanding of the significant role that his Holiness Emeritus Benedict XVI had in moving the Church forward while appreciating and applying the beauty of our faith, in all of its component parts, to our holy liturgy, prayer, and devotion to our Eucharistic Lord. This understanding contributes to our appreciation of what it means to be a member of the Latin Rite of the Catholic Church. The complete article appears below:

Beauty in liturgy the ‘great legacy’ of Benedict XVI

By Carl Bunderson

VATICAN CITY, March 1, 2013 (CNA/EWTN News) .  Pope Emeritus Benedict XVI will be remembered in Church history for his work to recover the beauty of traditional liturgy, according to Bishop James D. Conley.

The head of the Lincoln, Neb. Diocese, who has been reading Benedict’s writings on liturgy for decades, said these works “will remain a great contribution to liturgical theology for years to come.”

“His great legacy,” Bishop Conley told CNA Feb. 27, “will be the re-discovery of the beauty of the traditional liturgy.”

Benedict awakened a “new way” of looking at the ordinary form of the Mass – the liturgy which came after the 1960s Second Vatican Council – “with a greater attempt to be more attentive to the rubrics.”

In the former pontiff’s view, Mass should be celebrated with beauty, dignity, and in continuity with the tradition of the Church, Bishop Conley noted.

Benedict’s liturgical legacy also includes his “blessing” of those “who have a great attachment to the old Mass” and who are in union with the Holy See, the bishop said.

In 2007, Pope Benedict released a directive titled “Summorum pontificum,” which in a “watershed moment,” gave every priest permission to say Mass using the 1962, or pre-Vatican II Missal.

“He made it one of his priorities to…introduce the ‘hermeneutic of continuity’, trying to show that the pre-conciliar liturgy of the 1962 Missal is the same liturgy as the Roman Missal of Pope Paul VI,” the bishop explained.

Pope Benedict “allowed the traditions to harmonize…so the cross-pollination could take place; so the very best of the reforms of the post-conciliar liturgy could be enhanced and influenced, by an open, unbiased acceptance of the Mass that preceded it.”

Bishop Conley believes that Pope Benedict has allowed the pre-conciliar liturgy to flourish alongside of the post-conciliar liturgy “in a hope that some of the transcendence, the beauty, the tradition, the Latin” will permeate the new liturgy.

The Pope’s own manner of celebrating Mass, including subtle “symbolic gestures” have “sent a message” and have had “a catechetical value” for both priests and faithful, said Bishop Conley.

These gestures include distributing Communion to the faithful kneeling; beautiful vestments and those which had fallen into disuse; ensuring a cross and candles are on the altar; and celebrating facing the same direction as the faithful, all elements of a “reform of the reform of the liturgy.”

“He even created a new way of looking at the two traditions,” reflected Bishop Conley, “the extraordinary form and the ordinary form.” Pope Benedict coined these terms in “Summorum pontificum,” to refer to pre and post Vatican liturgies respectively.

“They’re two parts of the same form, and of the same Roman rite: that’s what he really wanted to emphasize by that change in language.”

Transcendence and beauty

Pope Benedict has long been “trying to recover that sense of transcendence and beauty of the liturgy,” reflected the bishop.

Part of this effort was his involvement in the translation of the third edition of the Roman Missal. Bishop Conley noted the former Roman pontiff’s concern that the Latin prayers be translated both accurately and “also with a sense of beauty in the language.”

The bishop also noted Pope Benedict’s creation in November of a “Pontifical Academy for Latin.” He sees this as tied to the Pontiff’s desire to increase the use of Latin in the Church’s life, including in her liturgy.

Bishop Conley also noted how Pope Benedict’s vision was shaped by the Liturgical Movement of the early 20th century, an effort that called for a reform of the Church’s worship, led largely by Benedictines.

“He knew the great players of the Liturgical Movement back before the Council,” the bishop said.

One of his major writings on the liturgy was his 2000 work The Spirit of the Liturgy. That publication hearkened back to a book of the same name by Father Romano Guardini, known as one of those “great players.”

In The Spirit of the Liturgy,  Benedict – as a theologian writing before his rise to the papacy – encouraged a “New Liturgical Movement” that would recall the best elements of the first Liturgical Movement.

Benedict’s concern with beauty and liturgy is not one of mere aesthetics, Bishop Conley noted, but flows from a recognition that liturgical prayer is the “source and summit” of the Christian life, as the Second Vatican Council taught.

“A lot of people are talking about the impact that he’s had on the Church, and you certainly have to say that the liturgy is going to be one; primarily because he took such a personal interest in it and he believed that…everything flows from prayer,” said Bishop Conley.

“That’s what he said when he announced his resignation, that he made this decision after deep prayer. And now he’s going to a life of deep meditation and contemplation, and all that centers on the Eucharist, and the liturgical worship of the Church, which he very much has a profound love for.”

 

A continuing influence

Doctor Horst Buchholz, director of music at the St. Louis archdiocese, told CNA Feb. 25 that Pope Benedict has offered such a wealth of teaching on the liturgy that his influence has yet to come to full fruition.

“There has been no Pope since Pius X, or even before, with such a fervent love for liturgy and Sacred Music like Benedict XVI…We still have to accept, digest, and adapt many of Benedict’s thoughts and directives on liturgy and Sacred Music,” he said.

Buchholz commended Pope Benedict’s example of including the use of the Gradual at his recent Masses in St. Peter’s Basilica. The Gradual is an ancient form of singing the psalm between the readings that may replace the responsorial psalm.

“The Gradual is rarely, rarely ever sung, so that is a very good sign, that people are even aware that there is an option like that,” largely through the example of the Pope’s Masses.

Illustration, not imposition

Jeffrey Tucker, publications director for the Church Music Association of America, agreed that Pope Benedict has led by example in liturgy.

“I knew he would show us the beauty of the Roman rite in a way people hadn’t seen it before, and inspire people through example,” he said to CNA Feb. 20.

Tucker called Pope Benedict a liberal, “in the best sense of that term.” The Roman Pontiff provided “a kind of license” for the pre-conciliar liturgy, he said, and integrated “the reformed Mass into the tradition of the Roman rite more generally.”

“The reforms at St. Peter’s Masses and (papal) liturgy generally have been astonishing, extraordinary, especially from a musical standpoint,” Tucker said.

He pointed particularly to the use of the Introit, the official text from the psalms meant to be sung at the beginning of Mass, at every large Mass said at St. Peter’s recently.

“He’s worked to make the Roman rite more true to itself, which is very encouraging for those of us at the grass roots level, because now we can point to papal liturgies as a useful example of what we’re seeking to accomplish in our own parish lives.”

Tucker praised the fact that while Pope Benedict did make minor changes in liturgical laws, he recognized that “beauty itself, once it’s liberated, compels belief in a sense.” He described the Pope as working not through imposition, but with “inspiration, illustration, example – putting beauty on display and creating a kind of global hunger for solemnity and seriousness, and ritual.

Charles Cole, director of the schola at the London Oratory, told Vatican Radio Feb. 24 that “under the pontificate of Benedict XVI there has been a particular focus on the relationship of the liturgy and music and this remarkable heritage and its grown to ever greater prominence.”

In 2007 Pope Benedict wrote an apostolic exhortation on the Eucharist, “Sacramentum Caritatis,” cementing some of his teachings on the liturgy into the Magisterium.

Writing for The Catholic Herald, Dom Alcuin Reid, a Benedictine monk, said that “his conviction expressed therein, that ‘everything related to the Eucharist should be marked by beauty,’ was reflected in papal liturgies. These became master classes on how to celebrate the modern liturgy in continuity with tradition, where the best of the old and of the new serve to raise our minds and hearts to God.”

Bishop Conley concluded with CNA by remembering the Pope’s constant example of reverence and beauty in celebrating the liturgy.

“When I first came to Rome in 1989 as a priest-student, on Thursday mornings he would celebrate Mass in a chapel of the proto-martyrs inside the Vatican.”

“It would be a Latin Novus Ordo mass, always Novus Ordo, but always celebrated very reverently and with a great sense of transcendence. So not only by his writings, but by the way he celebrated Mass, he was teaching.”

 

Theophilus, the Art of Iconography, and the Contemporary Sacred Artist – Part 2

On By Deacon Paul O. IaconoIn Art, Artists, Beauty, Catholicism, Christianity, Iconography, Icons, New Evangelization of the Catholic Church, O.S.B., Religion, Religious Art, Roger of Helmarshausen, Roman Catholic, Sacred Art, Sacred Artists, Sacred Images, Theophilus the Presbyter, Uncategorized4 Comments

Please take a moment to read the first part of this multi-part essay that I posted a few days ago. I am requesting that you do this in order for you to understand my perspective on creating contemporary sacred art within the Latin Rite.

Creating sacred art for me is a service ministry. It is a ministry through which a sacred artist unites him or herself to God’s Redemptive efforts. If you are a Baptized Christian who has been educated in the faith, regardless of the Rite or the denomination, you know that the Christian faith requires you to cooperate with the grace that the Holy Spirit provides to you through Scripture and the Sacraments. If one does this, and maintains a disciplined prayer life, you are cooperating with the Spirit in the duties that you must perform in your life.

For a Christian, human history is more than the individual searching for God. As the book of Genesis (3: 8-9) tells us, God walked through the Garden of Eden searching for us – for our spiritual parents: “When they heard the sound of the Lord God walking in the garden in the cool of the day, the man and his wife hid themselves from the Lord God among the trees of the garden. But the Lord God called the man and said to him, “Where are you?”

The Lord asks that question of us, too. 

Jesus is constantly calling out to us, constantly searching for us, constantly knocking on the door of our hearts hoping to hear our loving response. Christianity is the faith through which a searching God shows Himself to be so loving and so merciful as to persevere, to the point of sacrificing His own Son, in the effort of bringing rebellious humanity back into His family.

So the history of Christian sacred art shows us that people desired sacred icons (Greek, eikon: image) to reference that sense of family, in the same way that we have photographs today of family members, living and dead, which remind us of the love shared and their importance to our lives. These photographs or images are not idols. Even if a loved one does kiss a photograph or a sacred icon or image, the meaning behind that gesture is that the kiss – the love and respect – is not meant for the celluloid, or the wood and pigment; rather, it is meant for the prototype, for the person it represents, the loved one, God, His saints and angels.

Unfortunately, the faith family that is the Church split in the Great Schism of 1054. The Latin Rite and the Greek/Russian Rite split along cultural, theological, philosophical, political, and artistic lines. This Schism is one of the great scandals that has affected Christ’s Church.

The Schism, however, did not affect trade and the exchange of ideas among the laity. Commerce continued and new products, artistic materials, and techniques were evaluated, bought, and sold. The development of the Latin Rite artistic tradition after the Schism indicates that in Western Europe the linking of faith with the creative impulse was very strong and did much to solidify and unify the various cultural groups within the Latin Rite.

But, what was the Latin Rite tradition post AD 1054? What were the techniques of the Latin Rite artists of the Romanesque and early to mid Gothic period? Were there artistic manuals that were more than just recipe books on preparing pigments and varnishes and which discussed the spiritual underpinnings of the artisan’s art?

Where to begin?

As mentioned before, I happily discovered Pope Benedict XVI’s book –The Spirit of the Liturgy. This became my starting point, with its expression that the three periods within the liturgical art of the Latin Rite can be found in the Iconographic, Gothic, and Baroque styles of art.

I was searching for the techniques that Catholic artists would have used approximately one thousand years ago. Sacred artists within the late Iconographic period and early Romanesque period (AD 900 – 1300) would have approached their art within a disciplined theological, semantic, and aesthetic viewpoint. As Western Europeans, however, they easily accepted innovation and even experimentation if it provided a final product which met the artisan’s demanding and critical eye, and especially that of the master artisan of the workshop.

In the Spring of 2012 I discovered a twelfth century book entitled On Diverse Arts by Theophilus the Presbyter (translated by Hawthorne and Smith, Dover Press, 1979, 216 pages). This book is the critical corner stone of my attempt to link contemporary sacred art with its medieval roots. For Theophilus the Presbyter – a twelfth century master artist – is an individual who can still effectively speak to us in our own time. Theophilus has the perspective and the attitude that provides us with a foundation for our spiritual view of art.

This does not mean that we are slavishly going back in an attempt to reproduce the twelfth century. To do that would not be honest, rather, while staying true to the theological, semantic, and aesthetic beliefs of artists like Theophilus we are able to reinterpret and refresh our current situation in light of the contributions and truths discovered and lived in the past. Truth, goodness, and beauty are not limited by space and time.

O Beauty, ever ancient, O Beauty, ever new.

One of the key ideas of Theophilus that needs to be shared with Christian sacred artists is that the Holy Spirit is moving through our creative efforts, and is actively involved in the artist’s daily work. It is my belief that Theophilus sees the role of the artist as a person with a specific vocation, a calling, who is to unite his call by God to create beautiful works of art with his own prayer life and the Catholic spiritual view of reality.

Many, but not all art historians, believe that Theophilus is the pen name for a Benedictine monk by the name of Roger of Helmarshausen. Roger was a master at metalworking, specializing in gold and silver, and lived in the Benedictine monastery located in the town of Helmarshausen in modern day Germany.

In his manual, On Diverse Arts, Theophilus not only lays out his spiritual vision in three specific prologues to his chapters on painting, glassmaking, and metalworking but he provides specific directions and guidance to fellow artists. For example, he lays out – step by step – the process for creating a sacred image: the types of pigments to use, specific colors for the base coat, shadows, colors to use for hair, beards, skin, drapery, etc.

Theophilus’ union of a sincere spiritual perspective with technical guidance shows him to be a master teacher and mentor. He accomplished this within his own Benedictine monastery at Helmarshausen and his reputation expanded throughout the Rhine-Meuse River Valley in Germany.

In my next post I hope to discuss the spiritual importance of Theophilus’ three chapter prologues, and ultimately their relationship to the contemporary Catholic sacred artist.

In my fourth post in this series I will discuss a marvelous doctoral dissertation on Theophilus that was written in 2010 by Heidi Gearhart, Ph.D.

And in my fifth and last post in this series I will discuss how, in the mode of Theophilus, I am developing a practical sacred art workbook that provides step-by-step advice for the contemporary sacred artist. I have two of the four chapters completed and I will probably self-publish it for my sacred art workshops prior to a publisher (hopefully, :{) !) formally printing it.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved

Pope Benedict 16th and the Virtues of Humility and Patience

On By Deacon Paul O. IaconoIn Pope Benedict 16th, Popes, Religion, Roman Catholic, Roman Catholic Beliefs, The Blessed Virgin Mary, Uncategorized3 Comments
May the Peace of Christ be with you on this unique day in the history of the Roman Catholic Church.
Today we commemorate the memorial of Our Lady of Lourdes which reminds us that the Virgin Mary appeared to St. Bernadette in 1858 at Lourdes, France. Her message was clear and concise to the young Bernadette: “I am the Immaculate Conception.” She requested Bernadette to tell the local clergy that a church should be built on the site of the apparition so that the sick and suffering might come to find comfort, and healing of both body and soul.
A beautiful church was built, and on a yearly basis hundreds of thousands of people  come to Lourdes to be in prayerful union with the suffering Christ and His Immaculate Mother.
In 1992 Pope John Paul 2nd declared this day as the “World Day of the Sick.” He said that this day was to be a “special time of prayer and sharing, of offering one’s suffering for the good of the Church, and of reminding us to see in our sick brothers and sisters the face of Christ, who, by suffering, dying, and rising, achieved the salvation of humankind.”
John Paul 2 in his later years provided a great witness to the nobility of the elderly since he modeled for us the suffering Christ. His successor and close friend, Pope Benedict 16th, has also given us the witness of a man who silently suffered many troubles while valiantly leading the Church and protecting its traditions and spiritual truths.
With the news this morning of Pope Benedict’s announcement of his planned resignation on February 28th the Church has entered a transitional period which has not occurred since Pope Gregory 12th resigned the papacy in 1415.
What does this tell us?
It tells us that the Holy Spirit continues to guide the Holy Catholic Church. Christ is the Head of the Church and we, faith-filled clergy and laity, are its Body.
The papacy, originating with St. Peter, has provided the Church with the leadership that was and is required in any continually maturing and growing institution.
The papacy has, at times, been on a roller coaster ride of popularity, yet, throughout the two thousand years of its history it has never done anything to confuse or limit the truths found in the revealed word of God or the Traditional faith and moral teachings of the Church itself.
People may like the personality or find the historical stance or perception of one pope more acceptable than another, yet, if one truly looks at the history of the papacy, without the proverbial axe to grind, you find an institution based in the humanity of Jesus Christ giving Peter “the Keys to the Kingdom” (Matthew 16: 13-20) and which continues to be guided and protected by the wisdom of the Holy Spirit.
That wisdom guided, and continues to guide, Pope Benedict 16th, for his decision to resign his office speaks volumes about his understanding of the virtues of humility and patience. Humility, in that he understands that owing to his age and physical condition, it is right to turn over the chair of Peter to another man; and patience, in that he knows (and lovingly trusts) that the Holy Spirit will patiently guide the Cardinals to select a new pope who will continue to lead the Church with love and fidelity to Christ and His teachings.
We wish Pope Benedict 16th well and pray for the continued blessings of the Holy Trinity to be with him. We thank him for his great gifts of teaching, scholarship, and leadership to the Church over the long history of his service to us as deacon, priest, bishop, cardinal, and pope.
We must continue to remember him in our prayers.
The Catholic League for Civil Rights
http://www.catholicleague.org/ just posted a wonderful summary of the Legacy of Pope Benedict 16th, I have reposted it below for your edification.

Pope’s Legacy is Secure

February 11, 2013

“Bill Donohue offers seven good reasons why the pope’s legacy is secure:

Religion for Pope Benedict XVI is as much a public issue as it is a private one.

In 2008, he warned American bishops against “the subtle influence of secularism,” holding that “any tendency to treat religion as a private matter must be resisted.”

The pope made it clear that religious freedom was not only a God-given right, it was “the path to peace.”

He knew religion could be abused, leading even to violence. His much misunderstood 2006 Regensburg University lecture was really about the uncoupling of religion from reason (reason not united to faith also leads to violence).

The pope reached out to dissidents on the right and the left, seeking to bring them to communion. Not all his efforts succeeded, but his attempts were noble.

No one did more to successfully address the problem of priestly sexual abuse than Joseph Ratzinger. Just weeks before he was chosen to be the new pope, he spoke bluntly about this issue: “How much filth there is in the Church, and even among those who, in the priesthood, ought to belong entirely to Him!”

Addressing those who still blame Jews for the death of Christ, the pope settled the issue with authority by pointing out that no one should be blamed since, as he argued, the crucifixion was necessary for God’s plan of universal redemption.

The pope’s many references to what he called “the dictatorship of relativism” were a constant reminder that one of the greatest threats to freedom today is the abandonment of the search for truth.

Pope Benedict XVI’s willingness to step aside comes as a surprise this Monday morning. What is not surprising is his humility. Indeed, it is one of his most defining characteristics, one that separates him from today’s ego-centric public figures.”

Copyright © 2013 Deacon Paul O. Iacono All Rights Reserved

Mary, The Holy Mother of God – The Sign of Our Unity

On By Deacon Paul O. IaconoIn Christian Unity, Christianity, Greek Orthodox, Mary, Mary - Our Blessed Mother, Motherhood, Orthodox Church, Protestant, Roman Catholic, Russian Orthodox, Uncategorized7 Comments

We celebrate on this the first day of the New Year the Solemnity of Mary, the Holy Mother of God.

Mary, by this very title, is the Holy Mother of the human nature of Jesus Christ. We receive insights on how the Church came to this title within the Holy Scriptures; for through a prayerful reading of them we come to an understanding of who this remarkable young woman was and what she means for us today. Three evangelists, Matthew, Luke, and John help us with this in their presentation of Mary as a woman who was clear minded, humble, intelligent, devout, loving, immensely strong, and quietly, yet fiercely, devoted to her Son.

Our beautiful Scriptural readings for this Solemnity (Numbers 6: 22-27, Galatians 4: 4-7, and Luke 2: 16-21) help us  approach today’s celebration through the perception of Mary herself. Today’s Scriptures remind us that Mary and  Joseph were devout Jews who understood the importance of faith, family devotion, tradition, and the fulfillment of the Jewish Law itself. It was with Holy Scripture – Hebrew and Christian – in mind, and the sacred tradition provided by the Apostolic fathers, that the debate over Mary’s title rested upon.

The designation of Mary, as the Holy Mother of God was debated and decided upon at the third Ecumenical Council of the Church. It was held in the year 431 at the city of Ephesus in Asia Minor. This Church Council was known as the First Council of Ephesus and was attended by over 250 bishops from the four (soon to be five) patriarchates of the Catholic Church: Rome, Alexandria, Antioch, Constantinople, and eventually, in 451, Jerusalem (Jerusalem, at the time of the First Council of Ephesus was part of the Patriarchate of Antioch, Syria). Now that the formal persecutions by the Roman Empire had ended, the fifth century saw much activity within the Church to formally secure theological positions on both Christ and the role of His mother in salvation history. The catechesis of the people was paramount. Using their gifts of reason and the Holy Spirit, combined with the Holy Scriptures, and the sacred Tradition of the early Church the assembled bishops determined to safeguard the Truth of the Church while simultaneously further establishing the foundations for the  catechesis of its clergy and laity.

But at the heart of the matter, for all Christians, Jesus is the human incarnation of God Almighty. He presents to us in His Person, the true, physical Presence, of God; and with His Divine Nature intact, He in turn with a true human nature, could then call us His brothers and sisters. We are, through Him, and Mary’s maternity, adopted sons and daughters of our Father in Heaven. Mary is the Mother of Jesus’ human nature, and, she is the Mother of the Church.

How do we know this?

We know it because Jesus said it was so: “Whatever you did for the least of My brothers and sisters, you did for Me” Matthew 25:40; and let us not forget John 19: 26-27: “Jesus saw His own mother, and the disciple [John] standing near whom He loved; He said to His mother, “Woman, behold your son.” Then He said to the disciple, “Behold your mother.” And from that hour, he took his mother into his family.” 

Such is the love of God for His creation.

Theotokos

While doing some other research a few weeks ago, I was struck  by some quotes from the three main leaders of the 16th century Protestant revolt. While certainly these men steered their new churches along a different path from the Tradition of the Western and Eastern Rites, the quotes provided below show them to have an understanding and love for Mary as the Holy Mother of God and the significance of her perpetual virginity.

Martin Luther: “It is an article of faith that Mary is Mother of the Lord and still a virgin… Christ, we believe, came forth from a womb left perfectly intact.” (Works of Luther, Vol. 11, pages 319-320; Vol. 6, page 510.)

John Calvin: “There have been certain folk who have wished to suggest from this passage [Matthew 1:25] that the Virgin Mary had other children than the Son of God, and that Joseph had then dwelt with her later; but what folly this is! For the gospel writer did not wish to record what happened afterwards; he simply wished to make clear Joseph’s obedience and to show that Joseph had been well and truly assured that it was God who had sent His angel to Mary. He had therefore never dwelt with her nor had he shared her company… And beside this Our Lord Jesus Christ is called the first-born. This is not because there was a second or a third, but because the gospel writer is paying regard to the precedence. Scripture speaks thus of naming the first-born whether or no there was any question of the second.” (Sermon on Matthew 1:22-25. Published in 1562.)

Ulrich Zwingli: “I firmly believe that Mary, according to the words of the gospel, as a pure Virgin brought forth for us the Son of God and in childbirth and after childbirth forever remained a pure, intact Virgin.” (Zwingli Opera, Vol. 1, page 424.)

Perhaps, in God’s Divine Plan, the beautiful and holy virgin Mary – the Holy Mother of God – will be the cause for the reunification of all the Christian Churches: Catholic, Orthodox, and Protestant.

As a fellow Christian, please consider making the following prayer that I wrote a few hours ago part of your own prayer arsenal for the New Year: “Holy Mary, Mother of God, keep us within your most precious and immaculate heart. Through your maternal love, intercede with your Son to remove the painful scars of division and hurt that lie within our own hardened hearts. We implore you to ask your Son to strengthen us with His Truth, Goodness, and Beauty so that we may always fulfill His Divine Will. Amen.”

Copyright © 2013 Deacon Paul O. Iacono All Rights Reserved

Notes: Source of the sacred icon of the Holy Theotokos with the Christ: http://en.lpj.org/2011/12/30/solennite-de-marie-mere-de-dieu/ 

Protestant leader quotations taken from http://blackieschurchmilitant-apocalypsis.blogspot.com/2008/01/perpetual-viginity-of-blessed-virgin.html

 

The Christmas Star of Bethlehem – Merry Christmas, Everyone!

On By Deacon Paul O. IaconoIn Astronomy, Beauty, Catholicism, Christianity, Gospel Reflections, Jesus Christ, Joy, New Evangelization of the Catholic Church, Roman Catholic, The Christmas Star, The Star of Bethlehem, Uncategorized5 Comments

Even though the vast majority of us are not astronomers, the famous star of Bethlehem still has a great ability to intrigue us especially as it relates to its actual astronomical occurrence. As Christians we believe in the Christmas story, not as legend or myth, but as an actual historical occurrence which led to the Redemption of mankind by the Son of God – Jesus Christ.

There are many elements of the Nativity of Christ that are expressed by the evangelists, and one of the most interesting is the illumination of Israel by a brilliant star at the time of the actual birth of Jesus. The Christmas Star has intrigued artists and poets in its ability to shed light on the truth of the cosmic meaning of Christmas; and in recent years some research has been done using computer animation and astronomical programs to determine if, when, and where it actually occurred.

The EWTN network usually airs a contemporary and extremely popular documentary entitled The Star  (of Bethlehem) (please examine the filmmaker – Rick Larson’s site – for a wonderful, multipart, overview of his documentary: www.bethlehemstar.net/

The following post attempts to determine the birth date of Jesus Christ in light of the astronomical evidence. The quotes I provide are taken from a fascinating study entitled Probable Date of Birth of Christ found in this website: www: copiosa.org/christmas/birth_date.htm by Father William G. Most (Fr. Most’s article offers a summary of the work done by  E. L. Martin, in his book The Star That Astonished the World, ASK Publications).

“In the evening of June 17, 2 BC, there was a spectacular astronomical event in the western sky. Venus moved eastward seemingly going to collide with Jupiter. They appeared as one star, not two, dominating the twilight of the western sky in the direction of Palestine. This conjunction had not happened for centuries, and would not happen again for more centuries. Jupiter was considered the Father, Venus the Mother.

Then not many days later, Venus came within 0.36 degrees of Mercury. On September 11 came the New Moon, the Jewish New Year. This happened when Jupiter, the King planet was approaching Regulus, the King star. Further, there were three conjunctions of Jupiter and Regulus within the constellation of Leo, the lion, which was considered the head of the Zodiac.

Now Genesis 49:10 had foretold there would always be a ruler from Judah, whom Jacob called the lion, until the time of the Messiah. The star Regulus, which astronomers called the King Star, dominated Leo.

The Magi, being astronomers and astrologers, would surely read these signs. (The three conjunctions with Regulus were August 12, 3 BC; February 17, 2 BC, and May 8/9, 2 BC). In Hebrew, Jupiter was called sedeq = “righteous,” a term especially pertaining to the Messiah.

On September 11, Jupiter was close in the constellation of Virgo, the virgin. On September 3rd of 3 BC Jupiter was in conjunction with Regulus, the brightest star in the constellation of Leo — Leo the Lion, which was associated with Kings, and the Lion of Judah, as foretold by the dying Jacob in Egypt in Genesis 49:10.

Also, on December 25 of 2 BC, Jupiter stopped for 6 days over Bethlehem. This is a normal motion for Jupiter; it stops twice, and reverses its seeming movement. This may have been the very time the Magi came with their gifts. This was also the time of the Hanukkah festival, during which it was customary for Jewish Fathers to give gifts to their children.

The shepherds watching their flocks in the fields indicate a date either in late summer or early fall.

E.L. Martin [whose research this article is based on] thinks the birth of Jesus was in September, 3 BC (Jupiter in conjunction with Regulus), and the probable date of the Magi was December 25, 2 BC (Jupiter stopped for 6 days over Bethlehem).”

Please don’t forget when we speak in BC time, the “ladder of time” comes down from let us say 10,000 BC to 1 BC, in a descending order, so 3 BC comes before 2 BC.

In AD time (Anno Domini, a Latin phrase which means “the year of Our Lord” the “ladder of time” is ascending, so, we are currently in the year 2012, but as of midnight December 31st, we will then be in the year 2013, or two thousand and thirteen years since the birth of Christ. When this Gregorian Calendar system was developed and applied to western Europe, approximately five hundred years ago, they did not have the sophistication of computer/astronomical observations to correct the date of Christ’s birth, if we agree with Martin’s research, to the year 3 BC.

“The above span of dates (approx. 16 months) coincides with The Slaughter of the Innocents, where Herod killed all males under the age of two years. Herod died shortly thereafter. Interestingly, More than 600 planetariums here and in Europe have revised their Christmas star show to match this work of E. L. Martin.”

594px-Giotto_-_Scrovegni_-_-18-_-_Adoration_of_the_Magi

The above painting is entitled the Adoration of the Magi by Florentine painter Giotto di Bondone (1267–1337). The Star of Bethlehem is shown as a comet above the child. Giotto witnessed an appearance of Halley’s Comet in 1301.

“Magi were not really just astrologers. They served as court advisors, going from one royal court to another. It would not then be difficult to suppose they had come from a great distance with gifts. In those days all astronomers were acquainted with astrology. They were also mathematicians.” This is the end of Fr. Most’s article.

For more information check out Fr. Most’s website: copiosa.org/christmas/index.htm. As you go down this index on the left hand side you will see Fr. Most’s complete article on the Probable Date of the Birth of Christ. His site has some very interesting articles that can be very helpful in explaining to people – especially children – the origins of Catholic Christmas traditions.

220px-Nativity_Icon

The above icon was written (painted) in Russia and displays, in a lovely catechetical way, the entire Nativity narrative: the angel’s appearance to the shepherds, the Star of Bethlehem (appearing as a disk with a shaft of light coming down to the cave of the birth, the actual birth of the child Jesus being wrapped in swaddling clothes by His Blessed Mother – Mary, the coming of the Magi, the washing of the child Jesus, and St. Joseph being visited by an old man in furs (some refer to this last image as the temptation to doubt that confronted Joseph.

Soon after the dream visitation by an angel, St. Joseph realizes the nature of this Child. He understands that he is given the responsibility to care for Him and His mother and raise the child as if He was his very own. St. Joseph does exactly that; he is the epitome of quiet, loving leadership, and a model for all fathers.

St. Joseph is silent throughout the entire Gospel narrative. Yet, his actions speak louder than words. We see in St. Matthew’s Gospel (Chapter 1: 18ff) that he ultimately had a thoughtful plan to quietly divorce Mary when he learns that she is pregnant; however, he is not stubborn or hard of heart, for when the angel Gabriel visits him and tells him what is happening he does not rebel and say “No, I will not do it” out of pride or ego. Rather, he changes his plan and trusts the angel’s message which was sent by God to him.

This is so important – and it should speak volumes to us – if we, too, have open hearts and minds to hear what God is telling us in prayer, Scripture, and the grace of the Holy Sacraments. These three sacred tools, along with a holy orthodox spiritual director, will assist us on our path – and like the Star of Bethlehem – lead us to the Christ.

In the immortal words of Tiny Tim Cratchit: “… and a Merry Christmas, everyone!”

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

The Magnificat of Mary – A Beautiful Analysis By The Venerable Bede

On By Deacon Paul O. IaconoIn Catholic Spirituality, Christian Spirituality, Christianity, Faith, Gospel Reflections, Joy, Mary, Mary - Our Blessed Mother, New Evangelization of the Catholic Church, Roman Catholic, The Blessed Virgin Mary, The Visitation, Uncategorized3 Comments

This morning’s selection from the Office of Readings in the Roman Breviary is written by an English monk named “the Venerable Bede.” It discusses Mary’s joy-filled song – The Magnificat.

Bede was born in the year 673 and died in 735. He lived in Northumbria, primarily in the two monasteries of Saint Peter and Saint Paul. These monasteries had accumulated a wonderful collection of Greek, Latin, and early Church manuscripts. Bede spent his life studying, writing, and dictating the results of his research and prayer. He is known primarily for his most famous tome which is The Ecclesiastsical History of the English People. This work resulted in later generations giving him the title “The Father of English History.”

In 1899, Pope Leo 13th made Bede a Doctor of the Church. Bede was a skilled translator, linguist, and writer. His ability to compose insightful spiritual essays, and skill in making the writings of the Early Church Fathers accessible to his fellow Anglo-Saxons, significantly contributed to the growth of Roman Catholicism in England.

Let us take a moment today to dwell upon one of his perceptive and rich essays on the Blessed Mother. In the selection below, Bede provides us with an essay on Mary’s response to the knowledge that she will be the mother of the Savior. Her poetic song is known as The Magnificat, said in the presence of her cousin Elizabeth (and possibly Elizabeth’s husband Zechariah). They mutually rejoice in the knowledge that they are both pregnant (The Visitation).

visitation

Mary’s song of joy, faith, and trust is here separated by Bede and analyzed for our prayerful consideration. Mary’s words appear in bold italics, Scriptural references are in plain italics, Bede’s are in regular print. The entire Magnificat can be found in the first chapter of the Gospel of St. Luke, verses 46 – 55.

00.159.19_PS1

Mary said: My soul proclaims the greatness of the Lord, my spirit rejoices in God my Savior.

Bede’s comments have Mary thinking these thoughts: “The Lord has exalted me by a gift so great, so unheard of, that language is useless to describe it, and the depths of love in my heart can scarcely grasp it. I offer then all the powers of my soul in praise and thanksgiving. As I contemplate his greatness, which knows no limits, I joyfully surrender my whole life, my senses, my judgment, for my spirit rejoices in the eternal Godhead of that Jesus, that Savior, whom I have conceived in this world of time.”

The Almighty has done great things for me, and holy is his name.

“Mary looks back to the beginning of her song, where she said: My soul proclaims the greatness of the Lord. Only that soul for whom the Lord in His love does great things can proclaim his greatness with fitting praise and encourage those who share her desire and purpose, saying: Join with me in proclaiming the greatness of the Lord; let us extol His name together.”

“Those who know the Lord, yet refuse to proclaim His greatness and sanctify His name to the limit of their power, will be called least in the kingdom of Heaven. His name is called holy because in the sublimity of his unique power He surpasses every creature and is far removed from all that He has made.”

He has come to the help of His servant Israel, for He has remembered His promise of mercy.

“In a beautiful phrase Mary calls Israel the servant of the Lord. The Lord came to his aid to save him. Israel is an obedient and humble servant, in the words of Hosea: Israel was a servant, and I loved him.”

“Those who refuse to be humble cannot be saved. They cannot say with the prophet: See, God comes to my aid; the Lord is the helper of my soul. But anyone who makes himself humble like a little child is greater in the kingdom of Heaven.”

The promise He made to our fathers, to Abraham and his children for ever.

“This does not refer to the physical descendants of Abraham, but to his spiritual children. These are his descendants, sprung not from the flesh only, but who, whether circumcised or not, have followed him in faith. Circumcised as he was, Abraham believed, and this was credited to him as an act of righteousness.

The coming of the Savior was promised to Abraham and to his descendants forever. These are the children of promise, to whom it is said: If you belong to Christ, then you are descendants of Abraham, heirs in accordance with the promise.”

The Responsory Prayer (Luke 1: 48 – 50) follows this reading:

“From this day all generations will call me blessed. The Almighty has done great things for me, holy is His name. He has mercy on those who fear Him in every generation.”

Bede’s words are beautiful words and the sacred images shown may be very helpful to you as we enter the eve of Christmas. May you all have a holy and joy filled Christmas day and good fortune in the New Year! You are in my prayers. Thank you for reading my post.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved. Notes on the paintings: The first sacred image is a contemporary sacred image written/painted in the iconographic style; I do not know its author. The second sacred image of Mary lost in ecstasy as she sang The Magnificat, was completed by James J. Tissot, a French painter (1836 – 1902). This painting currently hangs in the Brooklyn Museum. The medium is opaque watercolor over graphite on gray woven paper. It is approximately five by ten inches in size. Bede’s commentary is taken from The Liturgy of the Hours, Volume 1. Catholic Book Publishing Co., New York, 1975, page 362.

 

December 21, 2012 – The Archangel Gabriel’s Greeting to Zechariah

On By Deacon Paul O. IaconoIn Annunciation of Mary, Art, Artists, Beauty, Catholic Art, Christianity, Faith, Gospel Reflections, Jesus Christ, Religion, Roman Catholic, The Blessed Virgin MaryLeave a comment

A very clear narrative greets us in the Gospel by St. Luke. He tells us that both Zechariah and his wife Elizabeth were both righteous before God: walking in all the commandments and ordinances of the Lord – they were blameless; but they have no child. Elizabeth was barren and both were elderly. We read of Zechariah silently bringing his heavy heart before the Lord – even after all those years – it was still burdened with disappointment. The couple probably remembered Psalm 112 which says:

“Happy the man who fears the Lord, who takes delight in his commands. His sons will be powerful on earth; the children of the upright are blessed.”

Zechariah was a priest, and on that day – by lot – it was his turn to enter the chamber within the Temple called the Holy Place and burn incense on the special altar. The Holy Place was a small chamber that led to the Holy of Holies, which housed the Ark of the Covenant.

For whatever reason, Zechariah that morning carried his disappointment with him into the Holy Place; and while he was there the archangel, Gabriel, appeared on the right side of the Altar of Incense. Gabriel tells Zechariah not to be afraid and that his prayer was heard before the throne of God. Gabriel continues with the joyous news that Elizabeth will bear a son, and that he will be called John – which in Hebrew means – “the Lord is gracious.” This child will grow and be great before the Lord, and even from his mother’s womb – he will be filled with the Holy Spirit.

But, in a typically human way, Zechariah questions the archangel’s announcement. His query must have been different in tone. It must have had the typical masculine attitude of “Are you kidding me!” Zechariah’s tenor makes Gabriel, and possibly God, indignant – and Zechariah is struck speechless for his insolence.

In Scripture, few lines later, we see Gabriel’s announcement to Mary. She questions him, too, as “How can this be since I do not know man?” But Gabriel does not strike her speechless. We have to be struck by this difference. What does it teach us?

It is clear that God knows our hearts. God knew what was on Zechariah’s heart when he was in the Holy Place. Zechariah does not trust the message or the messenger, and by inference – he does not trust God. God knows his heart; and disciplines this good man. Like Zechariah, we, too, may disbelieve God. In our sophistication or position in life we may say “Well that’s fine, but, the Scriptures don’t apply to our situation, or this specific teaching was acceptable years ago, but, too much time has passed and it doesn’t apply to my problems.

The Gospel says that Zechariah and his wife were good and righteous people. It was mentioned that he kept all the Commandments and ordinances. Yet, when his big moment comes – where is all that goodness and righteousness? It might still be there in his heart, but, there was also a pocket of doubt – a crevice of skepticism – that was significant enough for him, as a priest of the Almighty God, to be struck speechless in punishment for not trusting Gabriel’s message.

As sacred artists, as Christians, this Gospel asks us to stop, and check our souls in this last week of Advent. It asks us how patient, confident, and trusting have we been of the Lord’s message to our hearts, and have we allowed this to carry over into our actions? Have we become more interested in all the hype about the end of the world from a pagan culture, or, have we trusted in the Word of the Lord and His messengers?

Zechariah learned the hard way that when the Lord prepares us for His coming He desires us to be alive, awake, and alert to His call and to trust His message. So, our prayer in these last days of Advent should echo that of Zechariah, who in the months of speechless waiting, most likely in his mental prayer said,  “Lord, I believe; cleanse me of my disbelief. Lord, I trust, heal me of my distrust;” and it should also echo that of Mary – who in humility and expectation waited patiently for the graciousness of the Lord to take fruit in her womb.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

Thanks to angels-angelology.com for stained glass window image

Our Lady of Guadalupe – An Icon of The Woman Who Will Crush The Serpent

On By Deacon Paul O. IaconoIn Beauty, Catholic Devotions, Catholic Spirituality, Catholicism, Christianity, Iconography, Icons, Mary, Mary - Our Blessed Mother, Religion, Roman Catholic, The Blessed Virgin Mary, Uncategorized2 Comments

Today’s feast of Our Lady of Guadalupe, the patroness of all the Americas, recalls the apparition of our Blessed Mother on the hill of Tepeyac in present day Mexico City. This approved apparition occurred from December 9th through the 12th 1531. Guadalupe is the Spanish translation of the Aztec phrase that Juan Diego heard Mary associate herself with – the name, interestingly, in Aztec means “she will crush the serpent of stone.”

In the same year as this Marian apparition, rebellion and protest against the Latin Rite of the Catholic Church was sweeping Germany, France, and England. While millions of people were leaving the faith in Europe, the  Blessed Mother, through the miraculous image that appeared on Juan Diego’s tilma, convinces millions of people to enter the Catholic faith in Central America.

As the European rebellion was tearing down millennia of Church theology and sacred tradition, Our Lady was building up the understanding of both the Spanish clergy in Mexico and the Native American population of the love of God and the assurance of her compassion and protection.

Our Lady spoke to Juan Diego in his native dialect. She identified herself and said:  “Juanito, the humblest of my children, know and understand that I am the ever virgin Mary, Mother of the true God through whom all things live. It is my ardent desire that a church be erected here so that in it I can show and bestow my love, compassion, help, and protection to all who inhabit this land and to those others who love me, that they might call upon and confide in me. Go to the Bishop of Mexico to make known to him what I greatly desire. Go and put all your efforts into this.” (footnote 1)

You probably know the rest of the story. The Bishop is told of this event, disbelieves Juan Diego, and then the bishop asks for a sign. Juan Diego reports back to Mary and is told by her to cut the Castilian roses that are growing and put them in his poncho which is called a tilma. The tilma is opened in front of the Bishop and other witnesses, the roses fall out, and the miraculous image of Our Lady appears on the tilma.

But is this story true?

Here are some of the historical facts:

1) The extraordinary conversion of multi-millions of Native Americans, and the Aztecs in particular, who, as a blood thirsty civilization, were known to kill as many as 20,000 human beings in one day to appease the blood lust of their primary god.

2) The roses that Juan Diego cut were native of Damascus, Syria, and did grow in Spain, but were unknown in Mexico at that time.

3) The tilma, or poncho, that Juan Diego wore was made of the agave fibers traditionally used by the Native Americans. These fibers were a natural substance that should have deteriorated within 35 years, and yet, today, the 481st anniversary of the event – this tilma is still in excellent condition.

4) Through scientific analysis done over the last forty years, it has been determined that the pigments used on the tilma are not of natural or man-made material, and there is no glue or sizing on the tilma to fix the pigment in place. Plus the colorization or iridescence of the image on this “icon not made with human hands” would not have been able to be produced by a human artist in the 16th century. This iridescent effect would have been seen only in nature.

5) Our Lady is represented in the colors and dress of a pregnant Aztec princess. Modern astronomical research has shown that the stars on Our Lady’s image are in the configuration of the stars in the heavens on the nights of the apparition in 1531.

6) Most remarkably, a microscopic analysis of Our Lady’s eyes was completed by Peruvian engineer and optical scientist Dr. Jose Aste Tonsmann (who trained at Cornell University and worked at IBM). He magnified the iris of the Virgin’s eyes 2,500 times and, through mathematical and optical calculations, was able to identify the witnesses of the Guadalupan miracle at the moment Juan Diego unfurled his tilma before the bishop and other witnesses [the bishop was Juan de Zumarraga, the Franciscan bishop of Mexico City.] (footnote 2)

But most importantly, these few miraculous facts about the icon of Our Lady of Guadalupe, do not stress the key issues of this apparition:

1) You see, Our Lady came to the Mexican people – as she comes to us this Advent season – as a pregnant young woman who is promoting life and her protection – not only for her unborn child – but for all of us.

2) Our Lady calls to us through this icon to stress that she loves us, has compassion for us, sees our tears, and desires to offer us her love and comfort.

3) As the Mother of the incarnate Son of God she also points to her Son, and desires a church to be built so He can be properly worshipped, the people receive His graces, and so she can be there to assist us in our prayers to God.

4) Mary has always reminded us that He is the One, True, All Powerful God who desires our love, respect, and obedience.

As the Roman Breviary says this morning: “Who is this that comes forth like the dawn, as beautiful as the moon, as resplendent as the sun? You are the glory of Jerusalem, the joy of Israel; you are the fairest honor of our race. O Virgin Mary, how great your cause for joy; God found you worthy to bear Christ our Savior.”

And as the Book of Revelation tells us, God has found Mary worthy to crush the head of the Serpent. All praise, honor, and glory be to God! And may the Blessed Virgin’s love help transform us into the image of Christ. Amen.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

Footnotes and  sites to investigate for more information:

(1) From a report by Don Antonio Valeriano, a Native American author of the 16th century; as published in the Supplement of the New Feasts and Memorials for the General Roman Calendar – The Liturgy of the Hours.

(2) “Science Sees What Mary Saw From Juan Diego’s Tilma”   Zenit News Service, 2001.

Zenit News Agency. Science Stunned by Virgin of Guadalupe’s Eyes. 1/14/2001

http://www.miraclehunter.com/marian_apparitions/index.html

The Immaculate Conception of Mary – The Beauty of the New Eve

On By Deacon Paul O. IaconoIn Beauty, Catholicism, Christian Spirituality, Christianity, Faith, Gospel Teachings, Jesus Christ, Mary, Mary - Our Blessed Mother, Orthodox Christianity, Religion, Roman Catholic, Roman Catholic Beliefs, The Blessed Virgin Mary1 Comment

We are about to begin the second week of Advent and as you may know the word Advent has its root in the Latin word adventus which means “coming.” The liturgical term adventus is similar to the Greek word parousia which refers to the Second Coming of Christ at the final judgment of the world.

Through the millenia Church scholars have linked these two words together because they hope to instill within us the understanding that we are on a spiritual journey. In this journey we experience the waiting period – the longing – for the coming of Jesus, the actual birth of Jesus, and then, we again experience the waiting time for His return at the Second Coming.

As part of our preparation for the great solemnity of Christmas, the Catholic Church, in both the Western and Eastern Rites, remembers the significance of Mary’s immaculate purity as being a necessary part of this entire spiritual journey.  For in her humble “Yes” to the invitation to be the Mother of the Messiah, Mary becomes the New Eve – the mother of Jesus – and the Mother of the Church.

Our sacred Tradition tells us that Mary was the daughter of Saints Joachim and Anne. They were devoted Jews who raised their child to be loyal and pure within the Jewish holy tradition. Mary was born within the royal line of King David and was betrothed, and later married under Jewish law, to Joseph, a respected Jewish carpenter from Nazareth.

Little is known of Mary’s day-to-day life other than the references to her in the Gospels. Those early references indicate that she was a loving, concerned, and devoted person. During her Son’s ministry she attended the wedding feast at Cana, was present at Jesus’ crucifixion, and was most likely with the Apostles at the coming of the Holy Spirit on Pentecost.

The most famous Old Testament prophecies concerning the coming of the Messiah are Genesis 3:15, Isaiah 7:14 and Micah 5:1-4. In all three prophecies the Mother of the Messiah plays a prominent role.”Therefore the Lord Himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.” [Isaiah 7:10-14].  The name Immanuel in Hebrew means “God is with us.”

As the mother of Jesus, and the wife of Saint Joseph, Mary is the greatest saint. She is the model of faith, purity, and maternal devotion for all Christians. Mary is called the Blessed Virgin because our Sacred Scriptures tell us that she conceived Jesus by the power of the Holy Spirit, so Saint Joseph is the foster father, not the biological father, of Jesus.

To become the mother of the Savior, Mary was “enriched by God with gifts appropriate to such a role.” (Lumen Gentium). Mary freely gave herself to God with complete trust even in the face of possible confusion about what was happening to her, and she freely responded and consented to God’s Will for her life. Mary’s “Yes” to God’s request that she become the Mother of the Incarnate Son of God, Jesus, enabled our Redemption to occur.

What is the Dogma of the Immaculate Conception?

The Church teaches that Mary was conceived without sin.  This is the Dogma of the Immaculate Conception which we celebrate on December 8th of every year. This Solemnity explains to us that Mary received from God a special grace which is known as Prevenient Grace. Prevenient Grace is a “grace that comes before.” This means that prior to Mary’s biological conception, God decided that in His plan for salvation history He needed a totally pure woman to be the New Eve – to be the New Ark – free from all stain of sin and free from any future sin.

This was possible through God’s gift of Prevenient Grace which was given at her conception. Mary burned with God’s grace, purity, and love – gifts that were freely given by God.  She, like the burning bush that Moses confronted, was enriched by these gifts and, like a warming fire, softly radiated the grace of God’s love to those around her.

As The Catechism of the Catholic Church states in paragraph 491, the Dogma of the Immaculate Conception means that “Mary was redeemed from the moment of her conception.”  Pope Pius 9th  announced this Dogma when he said: “Mary was preserved immune from all stain of original sin.” This was accomplished through the power of God. He willed and acted so that Mary should be free from the stain of sin. Mary, as the angel Gabriel described is “full of grace”… “Hail Full of Grace / Rejoice Highly Favored One.”

The Fathers of the Eastern Catholic Church also agree with this truth and verify it when they address the Mother of God as “the All-Holy” (Panagia) and celebrate her as free from any stain of sin.

Theotokos-the-burning-bush-Inner-Liturgy-of-the-Heart

An interesting article entitled Mary in Scripture, on the EWTN website, explains “The angel Gabriel’s greeting to Mary is of great consequence for our understanding of Mary and Marian doctrine. The greeting has been variously translated as “Rejoice highly favored” and “Hail full of grace.”

The object of the varied translations is the Greek word kecharitomene which refers to one who has been transformed by God’s grace. The word is used only one other time in the New Testament and that is in the Epistle to the Ephesians where Paul is addressing those who, by becoming Christians, are transformed by grace and receive the remission of sins. It is clearly significant that Mary is considered to already have been transformed by grace before the birth of Christ.” ( Confer the article “Mary in Scripture” at this site: http://www.ewtn.com/library/MARY/MARYINSC.htm

So, we see that God intervened and did not allow the stain of Original Sin to be passed to Mary. She – as the pure vessel – would receive the redemptive grace of God before the actual Redemption took place. This is logical and filled with common sense. Why would God the Father have His Incarnate Son be conceived in a woman who was tainted by the stain of Original Sin? As the Scriptures state – we do not put new wine into old wineskins. To make a commonplace analogy: would any self respecting surgeon, cook, artist, or musician use soiled instruments as they were healing, creating, or performing a masterpiece in their art?

The Christian scholar Origen (AD 185 – 254) made a very interesting observation, he said,  ”Because the angel greeted Mary with new expressions, which I [Origen] have never encountered elsewhere in the Scriptures, it is necessary to comment on this. I do not, in fact, recall having read in any other place in the Sacred Scriptures these words: “Rejoice highly favored one, O Full of Grace. “ Neither of these expressions is ever addressed to a man: such a special greeting was reserved only for Mary.” (quote taken from the article referenced above – “Mary in Scripture.”

In the year AD 431, at the Council of Ephesus in present day Turkey (attended by over 200 bishops from throughout Christendom), Mary was named Theotokos (the God Bearer) and a model of Christian living. “Mary is truly “Mother of God” since she is the mother of the eternal Son of God made man, who is God Himself.” (Catechism of the Catholic Church, 2nd edition, #509).

She is called the New Eve because just as the original Eve brought sin and death into the world, Mary, as the bearer of spiritual life, brought Jesus (the New Adam) into the world. This provided the opportunity for grace, Redemption from Sin, and salvation to impact and transform mankind for all eternity.

Since 1964, Mary has been honored as the Mother of the Church.  She is called The Mother of the Church because through her free choice she cooperated with God’s plan to be the Mother of God – mother of our Redeemer. As a result of His life, ministry death, and resurrection He was able to transform us into a new people and build a new “arc of salvation” (the Church) for us.

By the 700’s the Catholic Church celebrated four major Marian solemnities: the Annunciation (Gabriel’s announcement to Mary that she would be the Mother of the Savior), the Presentation of Mary in the Temple, the Assumption of Mary into Heaven, and the Birthday of Mary. The Immaculate Conception became popular by the tenth century. Saint Bernard of Clairvaux, Saint Louis de Montfort, Pope John Paul II and many other saints of the Church have written extensively on Mary and her role in the Church and in the lives of individuals. The Church teaches that Mary was assumed into heaven with body and soul united. 

Roman Catholics, Greek Orthodox, Russian Orthodox, and all of the Eastern Rite Catholic Churches DO NOT worship Mary. WORSHIP IS RESERVED FOR GOD ALONE. The Western and Eastern Rites of the Catholic Church pay respect and reverence to Mary but never worship her.

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The meaning of Our Blessed Mother Mary for us today is that, especially at this time in history, we must remember that she spiritually pleads for mercy on behalf of us before the throne of God. She does this in the same way that a mother would intercede with the father on behalf of her children. She loves us with the love of a true mother – for she sees not only our faults but our inherent goodness, too. Please God that we respond to the graces she has to offer us. Hail Mary, full of grace. The Lord is with you. Blessed are you among women, and blessed is the fruit of your womb, Jesus.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

Some sources on the concept of Prevenient Grace: “Every time we begin to pray to Jesus it is the Holy Spirit who draws us on the way of prayer by his prevenient grace” (#2670 Catechism of the Catholic Church). “That grace is preceded by no merits. A reward is due to good works, if they are performed; but grace, which is not due, precedes, that they may be done [St. Prosper].” Can. 18. #191 Council of Orange II A.D. 529 (Second Council of Orange).  St. Augustine also wrote extensively on the concept of grace; and my Associate Pastor Rev. Joseph R. Upton, also mentioned it in his beautiful sermon for this solemnity’s vigil Mass on December 7, 2012 at St. Francis of Assisi Church in Wakefield, Rhode Island.  Special thanks to the blog: http://classicalchristianity.com/category/holyfathers/theotokos-mary/ for the Orthodox sacred icon of Mary and the Child Jesus surrounded by the Burning Bush.

What Does Charles Dickens Have To Do With St. Francis Xavier?!

On By Deacon Paul O. IaconoIn Catholic Spirituality, Catholicism, Christianity, Roman CatholicLeave a comment

The novels of Charles Dickens have always been a favorite of mine, for contained within them are so many marvelous and accurate observations of human nature.

For example, in his novel The Christmas Carol, Dickens knew that each of us carries within our hearts and memories an accumulation of past Advent and Christmas seasons – seasons that dramatically influence the way we prepare and celebrate the birth of Jesus.

All of our past and present preparations for the Solemnity of Christmas either enriches or diminishes our love for our Lord and for those who will share in His birthday with us.

With this in mind, possibly we can admit that our past Advent preparations have not been as good as they should have been; maybe we were more concerned with the sights, sounds, tastes, and smells of the season rather than the state of our hearts and souls.

If this is so, then we should joyfully take the prophet Isaiah’s advice and “Climb the Lord’s mountain, to the house of the God of Jacob, that He may instruct us in His ways and we may walk in His paths.” (Isaiah 2: 3).

The prophet’s instruction in this morning’s reading  demand that we remain alert and awake, to the promptings of His voice and the movement of His Spirit.

Perhaps, most importantly, he demands that we spend time in prayer – learning and reflecting on the fact that Advent is a time of penitentially preparing for Jesus to enter our lives right now by being born into our hearts.

If Christmas Day is to be especially meaningful for us this year, we need to embrace Jesus not just as the past babe in the manger or the future righteous king; but as the present healer, Savior, and teacher who alone is capable of touching our hearts and bringing joy into our lives.

It is in this spirit of healer and teacher that we also remember today, the witness of one of the founding members of the Jesuit Order, St. Francis Xavier, who preached throughout Asia and brought the love and hope of Christ to those who lived in darkness and ignorance of the Redemptive sacrifice of Christ.

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The above photograph is of the incorrupt body of St. Francis Xavier S.J. He died on this day in 1552. Forensic pathologists have examined his body and have concluded that while it is decomposed in spots, the body is, for the most part, incorrupt. It presently resides in the Church of the Baby Jesus in Goa, India. Xavier possessed indefatigable zeal, extraordinary and heroic faith, and desire to spur others to see themselves as missionaries; because of this he is known as the patron saint of all missionaries.

Charles Dickens, the 19th century English writer has captivated many people with his extraordinary ability to paint word pictures of unforgettable characters and scenes. But, what is it that links St. Francis Xavier with Charles Dickens?

Charles Dickens

It could be said that they both, as very gifted men, had the ability to speak to the heart of their listeners. They desired to touch not just the emotions, but the will of their audience. By that I mean that they both desired to see that their listeners had an experience which took them beyond themselves into a realm that opened their minds, hearts, and wills to act on the message that was being given. Who can disagree with Xavier’s ability to sway the hearts and minds of the Indian people who desired to hear him and follow his call to turn their lives over to Christ?

And what of Dickens?  Because of their emotional and psychological impact he was known to have people faint at his public readings of his most loved stories. Who can forget the haunting and cutting words of the Ghost of Christmas Present when he says to Scrooge “Are there no poor houses? Are there no prisons?” after showing Ebenezer the scrawny bodies of Ignorance and Want.

As we begin this Advent Season, let us pray that we possess the faith, hope and love of St. Francis Xavier, and, yes, even the gift of a Charles Dickens’ story, to express that our Lord will quietly work in our own lives to prepare our hearts to be ready to hold and comfort Him on Christmas morning and throughout the year.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

The Lumen Christi Award

On By Deacon Paul O. IaconoIn Catholicism, Christianity, Roman Catholic, Uncategorized6 Comments

Teresa Rice, prolific essayist and insightful commentator at the catholibertarian.com blog has nominated The Fra Angelico Institute for the Sacred Arts for the Lumen Christi award.

This is our fourth award nomination, and I must say, I am also deeply touched an honored by it. Thank you very much.

I am told that I must answer three questions, and then nominate another blogger.

First, “the name of my favorite saint,” well, its a split decision: St. Thomas Aquinas and Beato Fra Angelico. For Aquinas expressed the truth, goodness, and beauty of God through scholarship and Angelico expressed it through artistic creativity.

Second, “Name my favorite part of the Mass”: the moment of the Consecration of the Holy Eucharist and Precious Blood and then my reception of the Divine Presence; the Eucharist – “the Source and Summit” of Our Faith.

Third, “My favorite part of being a Catholic.”  I hope my answer does not fall into the category of spiritual pride. “The favorite part” is the knowledge that, over a two thousand year period, the truths that Jesus Christ handed down to the Apostles have been continuously protected, expressed, evangelized, and elucidated by elegant teachers of the Church – in both the Latin and Greek Rites. These teachers were not afraid to explore the meaning of our faith as well as investigate and contribute to secular fields of study. Fine Catholic men and women have contributed much to world civilization; and with God’s help, will continue to do so in the future.

My nomination: I nominate the blog called The Pulpit: bigpulpit.com  It is compiled by Tito Benedictus and it is one of the finest resources for insightful, meaningful, and always thought provoking articles from around the Catholic world: Latin Rite, Eastern Rites, Coptics, and the Orthodox Rite. It is truly a cornucopia of information. Check it out!

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

 

Our Blessed Mother’s Poverty of Spirit

On By Deacon Paul O. IaconoIn Christian Spirituality, Christianity, Faith, Gospel Reflections, Gospel Teachings, Mary, Mary - Our Blessed Mother, Orthodox Christianity, Roman Catholic, The Blessed Virgin Mary3 Comments

Our Gospel today (Luke 21: 1-4) asks us to reflect on how we express our love for God.

At first glance, the poor woman in the Gospel looks reckless. Yet, love, regardless of whether it is for God or another person, doesn’t calculate all the percentages.

Many times, it just blissfully provides whatever the beloved needs, even to the point of true sacrifice on the part of the lover for the beloved. The lesson here is simple: love has greater value than material possessions.

This  Gospel reminded me of Our Blessed Mother Mary’s actions in a few Gospel accounts which speak about her presence, love, and the willingness to intercede with her Son; these actions reveal the condition and generosity of her heart.

So our Gospel is not just about what we contribute to the collection basket. It is all about the condition of our hearts – the state of our generosity to the Lord.

You see this Gospel challenges us to ask ourselves this question: “When we give to others, whether it is money, time, talent, or just a sympathetic ear, do we do it out of love or out of a sense of obligation?”

Mary and the poor woman’s witness is that our generosity should always be linked to God’s spirit of charity. These women show us that true selfless generosity must always come from the heart and that we must be willing to give of ourselves for the love of God.

This may not mean cleaning out our bank accounts and giving it all away, a few like St Francis of Assisi, were called to do that; but the vast majority of us are called to clean out our hearts of all those things that interfere with our witness to God’s spirit of love and generosity in our own lives.

As we conclude this liturgical year, and look forward to beginning a new one next weekend, let us pray to Mary to intercede with her Son so that we, too, may share in her poverty of spirit and love of God’s charity.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

We Are All Blind – We Are All Needy

On By Deacon Paul O. IaconoIn Christian Spirituality, Christianity, Faith, Roman Catholic2 Comments

There are three parts of this morning’s Gospel that we should highlight. The first is that the blind man is petitioning the Lord for His help. The lesson from this is that we should never feel guilty or selfish in our continuous requests for assistance from God.

At times we become so overwhelmed with our cares, that we stop our appeals. This may occur out of frustration, a sense of futility, distraction, or weakness of faith.

This sense of frustration directly leads to the meaning of our second highlight, which is the reaction and rebuke of the crowd. The crowd, in its frustration to quiet the blind man – actually censured the man’s faith, attempting to get him to stop and go away. We too, at times, may feel the frustrated rebuke of our own wills which, like the crowd, is molded by the consequences of Original Sin.

Rather than scream at us, our wills may quietly yet incorrectly whisper in our ears that our prayers are not heard, and that we should stop, and retreat, from the Lord’s presence. This, in turn, leads to the Gospel’s final highlight which contradicts our inclination to retreat and run away from prayer. You see, the blind man gives witness to the importance of courageous personal faith.  He shows us that the public rebuke by the crowd did not discourage him because he had faith.

How do we obtain the faith of the blind man? The answer is simple to say, but difficult to implement, because we must first acknowledge that we, too, are needy. The blind man knew that he was in need of Jesus’ healing power, His grace, and he didn’t allow the screams of his own anxiety, or that of the crowd, deter him from petitioning Jesus.

The blind man engaged his heart, mind, and will to not only petition but to believe that the Lord would respond and heal him. His actions, in their clarity and simplicity, are a model for us, too.

As we approach our Thanksgiving holiday, let us remember to give thanks not only for our material blessings – but for the most important spiritual one – the joyful knowledge that our baptismal faith in the Lord and His Holy Sacraments have healed us from the darkness of sin and given us the ability to see the saving power of Jesus in our own lives.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved     Image source:http://joshmcclellan.files.wordpress.com

Bishop Josaphat Kuncevych – A Saint of Forgiveness and Unity

On By Deacon Paul O. IaconoIn Orthodox Art, Orthodox Christianity, Religion, Roman Catholic, Saints, Uncategorized4 Comments

In this morning’s Gospel from St. Luke (17: 1-6) we hear Jesus imploring His disciples to teach and practice the art of forgiveness toward those who hurt and abuse us, our families, and friends.

Jesus is teaching that it is so important for people who want to be considered His disciples to follow His example and in no way offer a bad example or scandal to others. Jesus is emphasizing the power of faith to assist us in our efforts to be His disciples. People of faith possess the grace to forgive others.

Our desire to model Jesus enables our hearts to be filled with the grace of the Holy Spirit. This, in turn, empowers us to demonstrate our faith and yes, do the impossible in touching and moving the dead weight of a person’s soul who is mired in sin and dissension.

Faith is infused into our souls at the moment of our Baptism. It is increased at our First Holy Communion and every subsequent Communion, and is increased further still when we receive the Sacrament of Confirmation. The grace of Faith is given to us so that we may possess the spiritual energy to develop a personal relationship with God, and, those around us.

With today’s Gospel in mind we can say that God expects more from us than we can do by ourselves. You see God wants us, with His help, to scale the mountains of our own difficulties and to climb upon the crosses of our everyday life. It is through this stress and burnishing that we receive, in His love, the personality that makes us ready to be His partners in eternity.

We are given numerous examples of this truth through the various saints of the Eastern and Western Rites of the Church. Today we remember Bishop Josaphat Kuncevych who died in 1623. He was born in Poland, and raised within the Ukranian Orthodox Church. He however, as a young adult, converted to the Latin Rite of the Church, became a monk of St. Basil, and ultimately was ordained a bishop.

His fidelity to the Roman Catholic Church, and his outstanding ability to convince members of the Orthodox Rite to unite with Rome while still preserving their Slavonic rite and liturgy, led to his murder and martyrdom for the Church. His enemies dubbed him “the thief of souls.”

St. Josaphat Kuncevych took today’s Gospel to heart. He is, as Pope Pius 11th said of him “the great glory and strength” of the Eastern Rite Slavic Church. He literally was a mover of the mountain of disunity, and energetically believed that there should be fraternal bonds of respectful love, liturgy, and unity between the Eastern and Western Rites of the Catholic Church.

Let us pray today for St. Josaphat’s intercession to obtain the grace of his strength, love, and sense of forgiveness so that we, too, may carry out the Lord’s desire to see the various Rites of His Church living in love and unity.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

St. Robert Bellarmine, Galileo, and the Glory of God

On By Deacon Paul O. IaconoIn Astronomy, Galileo, Religious Freedom, Roman Catholic, Saints, Science, Uncategorized8 Comments

Today, September 17th, the Church celebrates the memorial of Cardinal Robert Bellarmine. St. Robert was born into a noble Italian family during the crisis filled 16th century – a time of great artistic and scientific achievements and a time of heart breaking dissension within the Catholic Church.

In 1560, St. Robert entered the Society of Jesus, became a teacher, and was ordained ten years later. St. Robert’s Jesuit superiors sent him to the Catholic University in Louvain and there he developed a reputation for scholarship, disputation, and eloquence. When he returned to Rome in 1576, he became a professor of theology and began the systematic dismantling of the Protestant positions on faith and spirituality.

His book Disputations on the Controversies of the Christian Faith criticizing and refuting the Protestant errors was so effective, and caused such a stir throughout Europe, that special faculty positions were established in Protestant colleges in an attempt to refute Bellarmine’s positions.

So why is Saint Robert Bellarmine important for us today?

First, his witness as a scholar and cardinal expresses that the Church must always remain vigilant in its mission to promote the truth and protect its Apostolic and Sacred Tradition. Second, Robert Bellarmine as a Jesuit was loyal to its motto, which is “All for the greater glory of God.” In that motto, you have the structure of a Jesuit’s life, of Saint Bellarmine’s life, for through it he was able to weigh issues in the balance of whether or not they promoted the truth of God’s glory. Allow me to provide a very brief example.

Bellarmine was involved in the early stages of the astronomer Galileo’s difficulties with the Church. In 1615, Cardinal Bellarmine was interested in, and open to, various types of scientific research. He recognized that indeed, the Church’s own astronomers had validated many of Galileo’s scientific observations, and he was certainly knowledgeable of the fact that Cardinal Barberini (the future Pope Urban the 8th) had spoken with Galileo and gave Galileo his personal support.

So what was the problem?

Cardinal Bellarmine said in an open statement that, because Galileo’s scientific theories were not sufficiently supported with solid evidence, then Galileo should follow the position of the Church and call his theories a hypothesis and not scientific fact; and very importantly, he went on to say that, if Galileo’s theories were solidly proven to be true, then care must be taken to interpret Holy Scripture only in accordance with these new scientific truths.

Galileo rebelled against this common sense position. He demanded that his theories be acknowledged as scientific truth and publicly said so. The Holy Office, St. Bellarmine, and the other cardinals had no other choice than to censure him.

They did so not because they completely disagreed with his scientific theories, rather, the censure occurred because Galileo was promoting his ideas as scientific truth when, in reality, he did not have conclusive proof to do so. It should be remembered that St. Bellarmine, in dealing with Galileo, did so “in a sympathetic and not in a heavy handed way.” Bellarmine saw his duty to reason and ethics, and, the decision’s impact on a continent in social and religious turmoil.

Cardinal Bellarmine died in 1621. He was canonized in 1930 and made a Doctor of the Church  a year later.

Galileo had some virtues, however, prudence does not appear to be one of them. As the years went on he continued to do his research; but ultimately got himself into trouble again when he published a book which made his friend, Pope Urban 8th, look like a simpleton.

As a result of this insult, in 1632, he was called to Rome to stand trial for a second time. At that trial the ideas in his new book were examined, and sadly, the case was mishandled on both sides. It was unfortunate that Cardinal Bellarmine was not there to add his reason and judgement. Galileo died ten years later while under house arrest. Many of those years were spent in continued research and writing on various scientific topics.

Cardinal Bellarmine desired to see God glorified, and understood that science, music, art, and architecture were just a few of the ways to do it. He said in one of his essays: “May you consider truly good whatever leads to your goal of the glory of God and your eternal salvation with Him. May you consider truly evil whatever makes you fall away from it.”

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

Our Lady of Sorrows – Seven Sorrows – Seven Graces

On By Deacon Paul O. IaconoIn Art, Beauty, Catholic Devotions, Catholicism, Christianity, Mary, Mary - Our Blessed Mother, Motherhood, Mothers, Religion, Religious Art, Roman Catholic, The Blessed Virgin Mary, Uncategorized3 Comments

Today is the memorial of Our Lady of Sorrows.

The Roman Breviary tells us that in a sermon by St. Bernard of Clairvaux he explains that “The martyrdom of the Virgin is set forth both in the prophecy of Simeon and in the actual story of our Lord’s passion. The holy old man said of the infant Jesus: He has been established as a sign which will be contradicted. He went on to say to Mary: And your own heart will be pierced by a sword.”

Yesterday, we celebrated the feast of the Exaltation of the Cross. That feast asks us to remember that it was through the Cross, through the violent execution of our Lord, that our redemption took place. The triumph of the Father’s love for His creation, and the Son’s sacrifice, was able to reorder a sin filled world.

As St. Andrew of Crete reminds us “the legal bond of our sin was cancelled and through His death we obtained our freedom and death was trodden underfoot.” Today, the Church in its wisdom again reminds us of the scene of Christ’s victory – and the people that witnessed it.

St. Bernard of Clairvaux eloquently reminds us that along with the death of Christ you have Golgotha being the scene of the martyrdom of Mary. He stresses the phrase, the martyrdom of Mary, because Jesus, as Mary’s child, held a unique and special place in her heart. This is true of the relationship of every mother to their child or children.

All mothers will tell you that every one of their children is special to them; all the more so with Mary, who knew and understood the role that her child was to play in our lives. So when the lance tore through His chest and entered His heart, the prophecy of Simeon, uttered so many years earlier flooded into her mind: “He has been established as a sign which will be contradicted, and your own heart will be pierced by a sword.”

Mary witnessed the execution, she saw the spear tear through her Son’s lifeless body and the violence of that act ripped through her as well. Her body and soul filled with pain and, at that moment, she suffered the martyrdom of every mother who witnesses the death of an innocent child.

At Golgotha, watching the agonizing death of her Son, our blessed Mother, in obedience to the Father’s will for her life, stood by the Cross not only to witness the death of her obedient Son, but to hear her Son say that she was to now be the mother, not only of John, but all of us who believe in Him as Lord and Savior.

Through the sufferings of Mary, the mother of God, we have been made sharers in Christ’s passion. Through Mary’s original obedience to the Father’s will and invitation, we have be given the supreme gift of being able to participate in His Sacramental life, which enables us to share in His rising to everlasting life.

The Church has identified “Seven Sorrows” of Mary: 1) The prophecy of Simeon, 2) The flight into Egypt, 3) The loss of the child Jesus in the Temple, 4) The meeting of Jesus and Mary on the Way of the Cross, 5) The Crucifixion, 6) The taking down of the Body of Jesus from the Cross, 7) The burial of Jesus.

According to the 14th century visions of St. Bridget of Sweden, mystic and patroness of Europe, Our Blessed Mother Mary grants Seven Graces to all souls who honor her on a daily basis by saying seven Hail Mary’s and thinking about the above Seven Sorrows. The Seven Graces are: 1) Mary will grant peace to their families; 2) They will be enlightened about the divine mysteries; 3) They will be comforted in their sickness and assisted in their work; 4) They will be given additional graces as long as what the soul asks for does not violate the will of Jesus or the eventual sanctification of their own soul;  5) Mary will defend the soul in their own particular spiritual battle with the demons, and, will provide her protection to them; 6) The soul will be helped at the time of their death and will experience seeing the face of the Blessed Mother; 7) Mary told St. Bridget that she obtained these graces from Jesus so those souls who are in the state of grace and spread this devotion among their families and friends will be attain Heaven.

St. Paul’s 2nd Letter to Timothy (2: 10-12) directs us to the Scriptural truth of these ideas when he says, “I bear with all this for the sake of those whom God has chosen, in order that they may obtain the salvation to be found in Christ Jesus and with it eternal glory. You can depend on this: If we have died with him we shall also live with him; if we hold out to the end we shall also reign with him.” These words, while not said by Our Blessed Mother, were in reality, lived by her.

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Let us pray that through Our Lady of Sorrows, her love and grace shall bring the hearts of all of us to her Son, so that His Heart may reign in the hearts of all mankind.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved. Notes on the paintings: The first painting is an archetypal Gothic Lady of Sorrows from a triptych by the Master of the Stauffenberg Altarpiece, Alsace, c. 1455. The  second image is of a 15th century sculpture for a cathedral door showing the Seven Sorrows of Our Lady (by Adriaen Isenbrandt, circa 1490 – 1511). The third image, The Madonna in Sorrow, is by the 17th century Italian artist Giovanni Salvi (also known as Sassoferrato). The fourth painting is by William- Adolphe Bougereau, a French realist painter (1825 – 1905).

 

The Nativity of Mary – Our Blessed Mother

On By Deacon Paul O. IaconoIn Beauty, Catholic Art, Fra Angelico's Paintings, Mary, Mary - Our Blessed Mother, Mothers, Religion, Religious Art, Roman Catholic, Sacred Art, Uncategorized18 Comments

On September 8th the Church celebrates the feast of the birthday of Mary, our Blessed Mother.

Tradition tells us that Mary was the daughter of Saints Joachim and Anne. She was betrothed to and later married Joseph, a respected Jewish carpenter from Nazareth. Little is known of Mary’s life other than the references to her in the Gospels. She attended the wedding feast at Cana, was present at Jesus’ crucifixion, and was with the Apostles at the coming of the Holy Spirit on Pentecost.

St. Andrew of Crete puts this feast day, celebrated since the 5th century, in perspective for us when he says: “[In the great play of salvation] today’s festival, the birth of the Mother of God, is the joyful prelude, while the final act is the union of the Word [of God] with human flesh.  Through Mary’s birth we are led away from slavery and toward the Truth. We are led away from darkness and toward the Light. Therefore, let all creation sing and dance and unite to make a worthy contribution to the celebration of this day. Let there be one common festival for saints in heaven and people on earth. Let everything join in festive celebration, for today, [through the birth of Mary] this created world is raised to the dignity of a holy place for [her Son] who made all things. The creature is newly prepared to be a divine dwelling place for her Creator.”

We give praise to our Blessed Mother today. We celebrate her being the new Temple, the pristine Tabernacle, our Virgin Mother, who gave birth to our Redeemer. Mary, through her life, gave witness to the true meaning of trust and charity.

Father Joseph R. Upton, the chaplain for The Fra Angelico Institute for the Sacred Arts and assistant pastor in my parish, mentioned in a sermon a few years ago that three births are celebrated in the Church’s calendar: John the Baptist, Mary, and Jesus. All three of these people were devout Jews. It  is through them, and their understanding of trust and charity, that we can see that the Jewish people have always been a people who truly love God. Their love expresses a deep sense of trust, because in love we see that their devotion is based on the virtues of faith and hope which expresses itself in word and deed. Fr. Upton went on to say, “Mary is the bridge” that allows not only the Jewish people, but all people, to see that God has fulfilled the promise that He made to their ancestors.

Mary, our Blessed Mother, enables that promise of redemption to be fulfilled through her “Yes” to the invitation to be the spouse of the Holy Spirit, which enabled the birth of her Son, Jesus to occur. Mary’s personal qualities of simplicity, humility, love, faith, and hope combined into a dynamic personality who, as she grew to adulthood, betrothal, and marriage to Joseph, enabled her to exemplify to all generations the meaning of a life that is full of grace.

Scholars remind us that “The angel Gabriel’s greeting to Mary is of great consequence for our understanding of Mary and Marian doctrine. The greeting has been variously translated as “Rejoice highly favored” and “Hail full of grace.” The object of the varied translations is the Greek word kecharitomene which refers to one who has been transformed by God’s grace. The word is used only one other time in the New Testament and that is in the Epistle to the Ephesians where Paul is addressing those who by becoming Christians are transformed by grace and receive the remission of sins. It is clearly significant that Mary is considered to already have been transformed by grace before the birth of Christ.”  So, we see that God intervened and did not allow the stain of original sin to be passed to Mary. She – as the pure vessel – would partake of the redemptive grace of God before the actual Redemption took place. Her “Yes” to God’s request that she become the Mother of the Incarnate God, Jesus, enabled our Redemption to occur. The scholar Origen (AD 185 -254) wrote: “Because the angel greeted Mary with new expressions, I do not, in fact, recall having read in any other place in the Sacred Scriptures these words: Rejoice, O Full of Grace. Neither of these expressions is ever addressed to a man: such a special greeting was reserved only for Mary.” (this quote is from http://www.ewtn.com/library/MARY/MARYINSC.htm 

We must remember that Catholics do not worship Mary. Worship is reserved for God alone. The Latin or Western Rite (Roman Catholics and those Eastern Rite churches in union with Rome), and the Eastern Rites  (Orthodox churches) pay respect and reverence to Mary but never worship her. We pay special reverence to her because, she as the mother of the Redeemer, deserves that respect and honor. We also acknowledge her in a special way because Mary intercedes (pleads for mercy on behalf of the Church) before the throne of God in the same way that a mother would intercede with the father on behalf of her children.

Thank you Blessed Mother for all you have done for us – and – Happy Birthday!

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved.  The above painting is by Fra Angelico. It is entitled Madonna with the Child and Angels, completed between 1435 and 1436. It is egg tempera on wood and measures approximately 27 inches by 4 feet 6 inches. It is in the Diocesan Museum in Camerino, Italy. Thanks to the Art Renewal Center website for the image: http://www.artrenewal.org/pages/artist.php?artistid=241&page=2
 

Saint Monica – Patron of Mothers

On By Deacon Paul O. IaconoIn Christian Spirituality, Christianity, Faith, Gospel Teachings, Hope, Motherhood, Mothers, Prayer, Religion, Roman Catholic, Sacred Art, Saints, Uncategorized6 Comments

Today is the memorial of St. Monica, the extraordinarily faith-filled mother of St. Augustine.

In the year 321, Monica was born in Algeria into a family that was devoutly Christian. As a child she was baptized a Christian and was raised to be a dutiful wife. She was given in marriage to a bad tempered, adulterous pagan official, by the name of Patricius.

In examining the life of Saint Monica one is struck by the extent of the abuse she and other women endured throughout their marriage. Under the laws of the time Monica’s husband could physically and emotionally abuse his wife. Compounding the problem was the fact that Patricius’ mother also lived with them and she, like her son, ridiculed his young wife. Monica had three children with this man and, of course the most famous was her oldest, the man that history now knows as Saint Augustine.

But it is important to reflect for a moment on how she dealt with all the stresses of her life: family relations that mistreated her, children that ignored her model of conduct and faith, a culture that looked the other way when her husband abused her. The circumstances of St. Monica’s life could easily have made her a miserable woman, a sour daughter-in-law, and a depressed parent, yet she didn’t become any of these; instead, she became a saint. A saint that is known for two major personal qualities: her love of Jesus Christ and her prayerful persistence in bringing her physical family into the family of God. This beautiful painting, by artist John Nava, (http://johnnava.com) eloquently captures her spirituality and desire for prayer and union with Christ.

Monica was upset to learn that Augustine had accepted the Manichean heresy and was also living an immoral life. Manichaeism stated, among other things, that there is no all knowing good power, so there is neither lord nor savior. She was so angered by his beliefs that she refused to let him eat or sleep in her house and became enraged when he explained to her that his belief trumped her faith in Jesus Christ. She threw him out of the house, but later pursued him and attempted to reason with him.

Monica took comfort in the fact that she had a dream that assured her Augustine would return to the faith. From that moment she vowed to continually pray and fast for her son and to remain close to him so that she would have the opportunity to discuss her faith with him. The histories tell us that she in fact stayed much closer than Augustine wanted.

One night Augustine told Monica that he was going to the docks to say goodbye to a friend. Instead, he himself set sail for Rome. Monica was stunned when she learned of Augustine’s trick, but she booked passage on the next boat. When she arrived in Rome, she learned that he had left to travel to the city of Milan in northern Italy where he hoped to obtain a teaching post. Monica pursued him to Milan, and it is in Milan that both mother and son came under the influence of the great saint Ambrose who was bishop of Milan.

Bishop Ambrose became Monica’s spiritual director, and ultimately, she accepted Ambrose’s advice. He advised her that what she was doing was correct – that prayer and fasting would have its affect on the situation. He commended her persistence and directed her to keep the faith, and in humility, accept her circumstances. Monica did exactly that, and in Milan, became a leader of devout women, some of whom were also being abused by their husbands.

Ultimately, Saint Monica won the day; her abusive husband, mother in law, and her youngest son and daughter were all baptized into the faith. Augustine, too, eventually saw the logic of his mother’s faith, became a catechumen, and took religious instruction from Ambrose. In the year 387, Bishop Ambrose baptized Augustine into the Catholic faith in Milan’s cathedral.

Saint Monica was an exemplary mother; a woman who perseveringly pursued her wayward family not with threats but with prayerful cries to heaven. Let us pray that she intercedes for all mothers in our day so that they may learn to guide their children to God. Let us also pray that she teaches mothers, through her example of prayer and fasting, to remain close to their children, even prodigal sons and daughters, who have sadly gone astray.

St. Monica, pray for us.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved. Painting of St. Monica is copyrighted by John Nava. All Rights Reserved.

The Assumption of Mary

On By Deacon Paul O. IaconoIn Assumption of Mary, Catholic Art, Christianity, Fra Angelico's Paintings, New Evangelization of the Catholic Church, Religious Art, Roman Catholic, Roman Catholic Beliefs, Sacred Art, Sacred Images, Uncategorized1 Comment

St. Paul’s Letter to the Romans (8:30), sets that stage for this great solemnity: “Those God predestined He likewise called; those He called He also justified; and those He justified He in turn glorified.”

Today we celebrate the solemnity of the Assumption/Dormition of Mary. This is an ancient celebration documented as occurring as early as the 400’s, probably soon after the Council of Ephesus in 431 declared Mary the Theotokos: the Mother of God.

In a homily on the solemnity of the Assumption, Pope John Paul II used  John 14:3 as a Scriptural foundation for understanding the dogma of the Assumption of Mary. In those verses Jesus tells his disciples at the Last Supper, “If I go and prepare a place for you, I will come again, and will receive you to myself; that where I am, you may be there also.” Our belief is that Mary’s rising to Heaven is the pledge of the fulfillment of Christ’s promise to His disciples: “…where I am, you will be also.” Mary, as our spiritual Mother, through Christ’s promise beckons us to follow her.

With this celebration comes the renewal of the truth that Mary not only belonged to Christ as His Blessed Mother, but that she was truly raised on high as our Queen of Heaven. Beautiful Mary, is in her simplicity, the true sign that informs the world of the humility, love, and mercy of her Messiah Son.

Today we acknowledge Mary as a Queen, who takes her place in the throne room of God, not to have power over us, but, rather, to intercede for us as the perfect mother and faith-filled disciple. We witness this truth in this exquisite painting by Beato Fra Angelico completed in the year 1430.

In the “fullness of time” after millennia of human history, the Father of Mercies saw in Mary a loving and lovable woman who possessed great courage. She is the person who in her simplicity and purity would be completely open, totally surrendering, and free from the pollution of pride or self-will.  She was the woman who would be the New Eve, the mother of the living, the mother of a new creation.

She is, as the Eastern Rite proclaims, the All Holy One, the Panagia, who as our spiritual mother shows us the way by guiding us to her Son who through His Redemptive Act and Redeeming Grace enables us to be reborn into eternal life. The Divine Office in Evening Prayer I for the Assumption (the second antiphon) reminds us: “Through Eve the gates of heaven were closed to all mankind; through the Virgin Mother they were opened wide again, alleluia.”

It is through our own rebirth, through water and the Spirit, that we are able to bear fruit and imitate Mary in bringing the newborn Christ to others. St. Maximus the Confessor speaks of this when he says “Every soul that believes, conceives and gives birth to the Word of God according to faith. Christ is the fruit, and all of us, are mothers of the Christ.” (from Vladimir Zelinsky’s  “Mary in the Mystery of the Church: The Orthodox Search for Unity” found in Mary CoRedmptrix, Mediatrix, Advocate – Theological Foundations II. M.I. Miravalle, S.T.D., editor).

The Catechism of the Catholic Church (paragraph 966) states, “The Immaculate Virgin, when the course of her earthly life was finished, was taken up, body and soul, into heavenly glory, and exalted by the Lord as Queen over all things, so that she might be the more fully conformed to her Son, the Lord of Lords, and the conqueror of sin and death”

This proclaims the wonderful news that the Assumption of Mary is a participation in the act of her Son being raised from the dead, and so is a Sign, a Sign that points to our own resurrection and union with God. The Eastern Rite liturgy says on  this solemnity: “In giving birth you kept your virginity; in your Dormition you did not leave the world, O Mother of God, but were joined to the Source of Life.”

Our Blessed Mother’s words in her beautiful Canticle, and her personal destiny, are inseparably linked to our own – for she is one of us; and by keeping our focus on her Son, we too, through the grace of God, will experience His mercy which lasts from age to age on those who fear Him.

In these very troubled times may Our Lady of the Assumption always keep us close to her heart.

(Additional sources: 1 Corinthians 15: 20-27;  Revelation, Chapters 12 and 19; Lumen Gentium, 59; and Pope Pius XII in his Munificentissimus Deus (November, 1950).  

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved.

St. Clare – Our Holy Friend and Lover of God

On By Deacon Paul O. IaconoIn Art, Beauty, Catholic Art, Iconography, Roman Catholic, Sacred Images, Saints, Uncategorized1 Comment

The Church honors today, August 11th, the holy woman, consecrated virgin, founder and Abbess of the religious order known as the Poor Clares, and dear friend of St. Francis of Assisi. We know her by her Anglicized name: Clare.

She was, however, born Chiara Offreduccio in Assisi, Italy on July 16, 1194.

The Italian language has always been especially tuned to convey, through words and sounds, a delicacy and refinement of spirit. Her Italian name, Chiara, gives witness to this observation, since its English equivalent means – clear.

The image above by Simone Martini (1283 – 1344) conveys this quiet asceticism in his lovely fresco of her completed between the years 1312 and 1320 and found in the lower basilica of San Francesco in Assisi (image courtesy of  www.berthemorisot.org/index.htm ).  To the historical and spiritual observer, St. Chiara’s life is very clear in its direction and goal. It is well known that she was influenced by her fellow citizen of Assisi, Francis, yet, an examination of her life shows that she was directed and formed by her profound love for Jesus in Scripture and in His real presence in the Eucharist.

A letter from her to a close friend, Blessed Agnes of Prague, shows the depth of her own mysticism and the clear guidance that directs another onto the correct path: “Happy indeed is she who is granted a place at the divine banquet, for she may cling with her inmost heart to Him whose beauty eternally awes the blessed hosts of heaven; to Him whose love inspires love, whose contemplation, refreshes, who generously satisfies, whose gentleness delights, whose memory shines sweetly as the dawn, to Him whose fragrance revives the dead, and whose glorious vision will bless all the citizens of that heavenly Jerusalem. For He is the splendor of eternal glory, the brightness of eternal light, and the mirror without cloud.”

This great mystic of the Church also led a life of austere poverty, chastity, and obedience, yet, her life, as the Divine Office tells us, was “rich in works of charity and piety.”

St. Chiara, passed on to the heavenly banquet on August 11, 1253.

The following beautiful images are from the excellent website: http://www.sacred-destinations.com  I thank them for the courtesy of providing the images.

The first photo is the church of San Damiano, which St. Francis restored when, after praying before the crucifix within its broken down walls, heard the Lord’s voice saying “Francis, rebuild My Church.”

The second photo is the image of the interior of San Damiano Church. It is this crucifix, painted in a unique Byzantine icon style and which is known as the San Damiano Crucifix, that spoke the words that changed the direction of Francis’ life, and, the life of the Church.

The third photo shows the interior of the room that St. Clare died in on this day 759 years ago. Tradition states that her bed was in the upper right corner of the room.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

St. Lawrence – Archdeacon and Servant of Christ

On By Deacon Paul O. IaconoIn Art, Artists, Christianity, Fear Not, Fra Angelico, Religious Art, Sacred Art, Sacred Images, Uncategorized3 Comments

18956-st-lawrence-distributing-alms-fra-angelico
St. Lawrence, archdeacon of Rome, distributing alms to the poor; painted by  Fra Angelico, circa 1447.

Today we celebrate the feast of St. Lawrence, a deacon and third century martyr. St. Lawrence was one of the seven deacons of Rome who served as the Pope’s ministers during Holy Mass and as his administrators to the people of Rome. His execution occurred a few days after the martyrdom of Pope Sixtus II and four deacons (Januarius, Vincent, Magnus, and Stephen). At that time, all the deacons of Rome were executed.

The role of deacon is distinguished by service to the poor – both in mind and body. A deacon serves at “table” which results in his participating in the corporal works of mercy; and he performs service to “the Word,”  which are the spiritual works of mercy. These actions are given witness through various works: teaching the Faith, baptizing adults and infants, reading the Holy Gospel during Mass, distributing alms, admonishing sinners, feeding  and clothing those in need, praying for the living and the dead, serving and visiting the sick, administrating parish and diocesan needs, etc. The deacon is the first Order within the Sacrament of Holy Orders (the other two Orders being the priest and bishop).

De_Grey_Hours_f.56.r_St._Laurence
St. Lawrence depicted in a Roman Catholic Breviary (Book of Hours). circa 1300’s. He is holding a gridiron, the instrument of his torture and death (he was placed on the gridiron and roasted to death by his Roman executioners).

 

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According to Church tradition, this is the stone on which St Lawrence’s body was laid after his death. It is located in the church of San Lorenzo fuori le mura (St. Lawrence Outside the Walls) located in Rome. My wife and I were privileged to visit this church in 2007.

These frescoes, and illuminated miniatures are catechesis as well as beautiful art. Fra Angelico’s paintings portray St. Lawrence in an exquisite salmon rose colored dalmatic (the garment which signifies the deacon’s service and loyalty to his bishop). In liturgical use the color salmon rose represents the virtue of joy. This image was painted (fresco) between 1447 – 1449 and is approximately 9 by 7 feet.

18956-st-lawrence-distributing-alms-fra-angelico
St. Lawrence, deacon of Rome, distributing alms to the poor; painted by  Fra Angelico, circa 1447.

Praise be the name of Our Lord Jesus Christ and His faith-filled martyrs.

 

Copyright © 2011-2012 Deacon Paul O. Iacono – All Rights Reserved. Permission to reprint must be obtained from the author in writing. Students, and those interested, may quote small sections of the article as long as the proper credit and notation is given. Thank you.

The Transfiguration of Christ

On By Deacon Paul O. IaconoIn Christianity, Gospel Reflections, Iconography, Religion, Religious Art, Roman Catholic, Sacred Images, Uncategorized2 Comments

Today we celebrate the feast of the Transfiguration of the Lord. This feast has been celebrated since the 5th century.          It was inserted into the general calendar of the Church in 1457 by Pope Callistus III in order to celebrate the defeat of the advancing Moslem army in the Serbian city of Belgrade. Today’s feast was announced in Rome on August 6, 1457, and was placed in the calendar to occur forty days before the feast of the Triumph of the Cross, on September 14.

Let’s reflect for a moment on today’s Gospel account (Mark 9: 2-10). Jesus knew exactly what He was doing when He took Peter, James, and John to the top of Mount Tabor. He knew that His Passion and Crucifixion would be so absolutely terrifying, that when the complete horror of the crucifixion settled in over those three Apostles that they needed to have, in the back of their minds, this moment, this glorious moment, of the Transfiguration.

By remembering its truth, beauty, and power they would understand that Jesus walked to His death under His own free will.  No government, no authority – religious or secular – forced Him to go to the Cross. He went under His own power – a power that was completely obedient to His Father’s will. The Father sent Jesus to call and redeem humanity so that we, under our own power – under our own free will, could choose to enter back into relationship with the Father. After the Redemption occurred, Jesus in turn, sent the Holy Spirit to defend us, from all the various worldly and demonic forces arrayed against us.

The Transfiguration is so important to all of us because at the moment in which Jesus’ glory is manifested the identity of Jesus becomes clear not only for the Apostles but for us, too. When we reflect on this moment we recognize what the Apostles came to understand: that the Cross – is not the end of the story. There is something more that lies beyond the Cross – not only for Jesus – but for all who believe in Him and are baptized in the name of His Divine Family.

There is an ancient Church hymn, called the Kontakion of the Transfiguration, which has been sung in Greek for thousands of years, it declares:

“You were transfigured on the mount, and Your disciples beheld Your glory as far as they could bear it O Christ our God, so that when they should see You crucified, they would remember that Your suffering was voluntary, and could declare to all the world that You are truly  the radiant splendor of the Father.”

The glory of our faith is that the Holy Trinity desires  this transfiguration for us, too. If we cooperate with God’s grace, spend time with the Lord, and walk the narrow path of holiness, we too, will be resurrected and experience the power of His transfiguration.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved. The icon of the Transfiguration is through the courtesy of Fr. Richard Reiser, St. James Roman Catholic Church Omaha, Nebraska – Copyright © Richard Reiser.

A Sacred Image – The Sun of Justice, Jesus Christ

On By Deacon Paul O. IaconoIn Art, Artists, Beauty, Catholic Art, Christianity, Gospel Reflections, Iconography, Icons, Jesus Christ, Orthodox Art, Religious Art, Roman Catholic, Sacred Art, Sacred Iconography12 Comments

You are probably thinking, the poor old fellow has made a mistake in his spelling. Shouldn’t the title read “Son” of Justice?

One evening a passage from Evening Prayer in the Divine Office caught my attention. It was the final prayer and it read: “Father, yours is the morning and yours is the evening. Let the Sun of Justice, Jesus Christ, shine for ever in our hearts and draw us to that light where you live in radiant glory.” That phrase provided this image’s title: Sun of Justice, Jesus Christ.

My intent was to have the image direct the prayerful observer to meditate on the truth that Jesus Christ is metaphorically the Sun, which as a result of His obedient and willing sacrifice on the holy wood of the Cross, shines in our hearts. It is up to us to prevent its eclipse in our soul.

Through his death and resurrection He redeemed us of our sins and guides us back to the Father. He is the Son and the Word of the Father. He is the Light of the World. He is also the Sun of Justice, in that we as individuals will all surely have His light illumine our souls and be judged by His standards.

The face and garments of the sacred image are not  painted in the artistic language of traditional iconography. I made preliminary sketches and based them on the drawings and wood carvings of Brother Martin Erspamer, O.S.B.      I attempted to emulate woodcarving methods.

I am happy to say that when you are praying in its presence it does provide comfort to your soul.

This sacred image of The Sun of Justice, Jesus Christ was a gift to Fr. Joseph R. Upton. He is a wonderful and holy priest who serves as the Chaplain of the Fra Angelico Institute for Sacred Art.

Essay and photo of the above sacred image – Copyright © 2012. Deacon Paul O. Iacono All Rights Reserved

A Decisive Hour for American Catholics

On By Deacon Paul O. IaconoIn Catholic Spirituality, Christianity, Conscience, Ethics, Faith, Freedom, New Evangelization of the Catholic Church, Religion, Roman Catholic, UncategorizedLeave a comment

As we approach the conclusion of the Fortnight for Freedom, we draw near to the decisive hour, an hour of decision in the history of our great nation; an hour which truly challenges  American Catholics’ sense of discipleship.

It has been a fortnight in which our bishops have asked us to reflect upon our liberties, our history, and our current state of affairs. If you have thought about these issues at all you know that our history has not lied in this case: America is a nation that was built upon reverence for God, His natural law, and respect for the primacy of individual conscience and religious tradition.

In 1636, one hundred forty years before Jefferson penned the Declaration of Independence, the founder of the little colony of Rhode Island, Roger Williams, made freedom of conscience and religion the keystone of his community.

In 1776, The Declaration of Independence, and in 1789 the Constitution of the United States, all clearly stated the limitations of government; and in 1791, the Bill of Rights, carefully enunciated the rights of each individual citizen – the first right being, freedom of religion.

James Madison, a delegate to the Constitutional Convention and its secretary and recorder, described the legitimacy of conscience as “the most sacred of all property.” (1)   He wrote, “The religion then of every man must be left to the conviction and conscience of every man; and it is the right of every man to exercise it as they may dictate.” (2)

George Washington wrote, “the establishment of civil and religious liberty was the motive that induced [him] to the field of battle.” (3)

In 1804, President Thomas Jefferson assured the Ursuline Sisters of Louisiana – who had, for seventy-seven years, been serving an indigenous population by operating schools, hospitals, and an orphanage – that the principles of the Constitution were a “sure guarantee” that their ministry would be free “to govern itself according to its own voluntary rules, without, interference from the civil authority.” (4)

This is a matter of history. It is not a matter of conjecture, dispute, or equivocation; yet it is clear that the vast majority of our current state and federal government leaders do not accept this understanding of what the founding fathers of our nation wrote, lived, and established as our heritage.

So, we are at a decisive hour – an hour of decision – an hour that will determine the depth of our discipleship and test our understanding of who we are as American Catholics.

Many pundits, commentators, and yes even Catholic politicians, have remarked that there is nothing to worry about with this now Supreme Court approved Health Care Law. Yet our Church leaders – our bishops – are united in telling us that there is something drastically wrong with this law.

The American bishops have been united and clear on this issue and they clearly tell us that the Fortnight for Freedom has been about getting American Catholics – all 52 million of us – to understand that our federal government will force our Church to provide for certain types of medical procedures even though it is in direct violation of our collective conscience. My brothers and sisters, the Federal government’s actions are wrong and must be opposed.

So society may ask, “What do you want?”

Our Church responds, we respond, that as Catholics we ask nothing more than what Saints Peter and Paul and all the martyred saints and true disciples of Jesus Christ wanted; and as Americans we want nothing more than what Roger Williams, George Washington, James Madison, Thomas Jefferson and all true American statesmen and women have wanted: the right to follow our conscience, worship our God as we see fit, and to live out our faith by making a contribution within the public square.

We ask nothing more of our government than what our history has told us is our patrimony, our heritage: our blessed liberties.

This is a decisive hour – for it is the hour of discipleship in Christ Jesus. We must not shrink back in fear; for our sense of commitment to our nation’s heritage, and our loyalty to Jesus Christ and our Church, demands that we do not compromise on this issue.

We believe that all Americans, of all religious persuasions, and not just Federal or state government, must be allowed to have a contribution to the common good as prescribed by their faith and sense of duty. This is a liberty that has always been granted under our system of laws – until, until this critical moment in time.

So you may ask, “What do we do?”

We rise up my brothers and sisters and use all the law abiding and peaceful means at our disposal to inform our elected officials of this singular outrage against freedom of conscience. If they don’t address and rectify our concerns – we must remember it, and respond accordingly when we select our state and federal representatives. We can do no less.

Let us pray that through the intercession of the Holy Spirit we may have the courage to act as disciples of Christ – peaceful, courageous, and steadfast in the face of imperial tyranny.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

Quotations taken from: United States Conference of Catholic Bishops Ad Hoc Committee for Religious Liberty – their document: Our First, Most Cherished Liberty – A Statement on Religious Liberty

1. James Madison, “Property,” March 29, 1792, in The Founding Fathers, Eds. Philip B. Kurland and Ralph Lerner (Chicago: The University of Chicago Press, 1987) accessed March 27, 2012. http://press-pubs.uchicago.edu/founders/documents/v1ch16s23.html.

2.  James Madison, “Memorial and Remonstrance Against Religious Assessment,” June 20, 1785, in The Founding Fathers, accessed March 27, 2012. http://press-pubs.uchicago.edu/founders/documents/amendI_religions43.html.

3. Michael Novak and Jana Novak, Washington’s God, 2006.

4. Anson Phelps Stokes, Church and State in the United States (Harper & Brothers Publishers, 1950), 678.

When People Or Governments Get In Our Face

On By Deacon Paul O. IaconoIn Art, Artists, Christianity, Ethics, Faith, Freedom, Gospel Reflections, Jesus Christ, Photography, Religious Freedom, Roman Catholic, Uncategorized1 Comment

Recently I received a rather funny email from a friend concerning a God loving Marine coming to terms with an atheist professor. It triggered, however, a serious reflection on how we, as Christians, are to confront those who “get in our face” about issues of spiritual beliefs, sacred art, religious freedom, and personal liberty.

The passage from St. Matthew’s Gospel, chapter 5: 38-42, on “an eye for an eye and a tooth for a tooth” gives us an insight into who Jesus is as God. The behaviors that He explains, and asks us to imitate, are actions that He would perform; so in this passage on “an eye for an eye” we are getting a glimpse into the personality of God.

Jesus explains that the old Jewish law of “an eye for an eye and a tooth for a tooth” is no longer appropriate or virtuous in God’s eyes, it doesn’t reflect the behavior and actions that the Lord is trying to teach His people to follow, actions which reflect the Lord’s own mind and heart.

The following photo by talented photographer Kenny Lindstrom found at www.flickr.com/photos/kennylindstrom/ provides meaning, visual imagery, and the clarity of a typical traffic stop sign. We instantly recognize what the creator of this sculpture is trying to say (by the way, is this image done in sand, stone, or clay?). We get the message; but, as in all art, its interpretation depends on the values and beliefs of the viewer. Lindstrom’s photograph is a wonderful example of how a piece of art can display an impression that is both a teaching and reflective moment for the viewer.

The Holy Scriptures, however, are not to be viewed as artistic reflections or suggestions to the reader and listener. The Holy Spirit divinely inspired the Bible; thus, the faithful understand (sometimes better than many of the academics) that Jesus, as the Son of God, came to teach, preach, and heal mankind. His words are not suggestions, they are directions for living within His Sacred Heart; and that demands fortitude, perseverance, and most importantly, His grace.

Over the last two thousand years the Catholic Church has taught that we have a right to defend ourselves – a right to resist the evil that is done to us. But Jesus teaches that we should not resist evil with an evil response or by an evil means  – in other words we should not resist evil with a spirit of vengeance, rage, anger or with an unlawful or excessive physical or verbal response.

So, Jesus is teaching us that the tribal law of an “an eye for an eye and a tooth for a tooth” is destructive and directly opposed to the Father’s plan of a loving spiritual family living within a shared community.  Yet, not everyone in the world is a Christian; and the 20th and 21st centuries are showing themselves to be much more personally and collectively violent than many of the other centuries combined.

So what do we do? Jesus teaches us that our response to evil and insult, as difficult as this may be, should be measured; that is, it should be filled with patience and grace. For if we confront and attempt to defeat evil with an evil or vengeful response, then, we are weakening ourselves and empowering that which we hope to defeat. This does not mean, however, that we are to deny a sense of righteous and justifiable anger over injustices that are done – the Lord Himself gave witness to that when He drove the moneychangers and polluters of His Father’s Temple into the street.

The world can slap us on the cheek, it can take our belongings, it can take away our religious, political, and artistic freedoms and prevent us from speaking out against injustice, and it can even take our lives, but it can never touch our hearts or souls because the Lord God Himself has forever claimed us as His own children.

Let us pray that when we do have to correct our own actions or those of another, we do it based on Jesus’ spirit of graceful moderation, love, and kindness.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

Seeds of Faith and Art

On By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Gospel Reflections, Gospel Teachings, Greek Orthodox, Orthodox Art, Roman Catholic, Sacred ArtLeave a comment

In our Gospel today, from St. Mark Chapter 4: 26-34, we have two important parables concerning the reign of God: the first concerns the farmer’s sowing of seed and the second refers to the growth of the seed.

When we examine the threads running through these parables we hear  Jesus explaining not only the functions that the farmer performs, but the nature of the seed that is sown, as well. This first parable is found only in Mark’s Gospel and explains that through the ministry of Jesus, God’s sovereign and all-powerful rule over mankind is made visible.

This is similar to a passage from the book of Ezekiel, chapter 17: 22-24, where we hear God asserting His sovereignty; the prophet Ezekiel concludes his passage with God saying, “As I, the Lord, have spoken, so will I do.” God is telling the ancient Hebrews that they will see what He can do – He will manifest and make Himself visible to them.

In the first parable the evangelist Mark explains that God is the Divine Sower, the Divine farmer, and that God’s power and fruitfulness appears throughout the history of the Jewish people. Mysteriously, at a time known only to God, His reign would suddenly be made visible and manifest – like a seed which was nestled in the warm soil, suddenly appearing one morning as a young shoot – ready to grow into a fruitful plant.

Jesus is that fruitful plant – that vine – that cedar – that shoot of Jesse that developed out of  the family of King David, and suddenly appeared in ministry to all of Israel.

If we are open to its influence, spiritual and natural growth in the life of Jesus Christ is the process  of entering into the rhythm of God’s beating Sacred Heart; with every beat there is growth. We may be unaware of it – but it occurs – it goes on all around us – it sustains us in our very being –  it sustains the very existence  of the universe.

In the second parable from this passage from Mark’s Gospel, we again hear Jesus speak of a growing plant and tell His disciples that the Kingdom of God works like the natural growth process of a typical mustard seed.

Jesus is emphasizing that the growth of the Kingdom of God, and the reign of God in our individual hearts through faith in Him, is exactly like a natural process. A mustard seed is small but when it matures it becomes a large shrub – and the same is true with faith.

When I was younger, my wife and I enjoyed planting a  large garden. we quickly learned that in order to have a successful garden, we needed to thoroughly pastor the soil, sow the seed in a specific way to allow it to germinate, and then water and feed the plants when they sprouted.

I mention this because the Divine Sower must also pastor the seed of faith in order for it to grow. St. Mark explains that Jesus tells His disciples that the Kingdom of God will sprout and  grow in their hearts. Like a garden, their hearts, as well as  ours – must be tilled, warmed, and watered, to receive the seed of His Son who is Sower, Servant  and Savior. Once that is done, the people of the Kingdom of God – the Church – will grow into a mighty plant, a mighty tree, one in which there will be many branches. That tree, as Ezekiel tells us, will be fed and watered with God’s graces.

So, how does this Gospel challenge us – especially those of us who are artists?

Our faith is like an unmarked packet of seeds – God sows – we grow; and sometimes we stand in astonishment at what has – or has not – taken root. As the faith of a child grows and receives the good, or, bad food that the family, Church, and society provides, he or she ultimately begins to make choices – choices which may, unbeknownst at the time, have a dramatic impact on whether their faith bears fruit abundantly, moderately, or not at all.

God is the Divine Sower of the seeds of faith. Each seed that He sows is good, each soul that receives it is good – and we, as pastors of that seed, must do all that we can to assist God in its growth in our own hearts and the hearts of those around us. If you are Christian, you may have been taught to believe that we must never tire of carefully tending the vine of faith that has enwrapped our hearts. God the Father’s witness is our model. He continuously gives of Himself to His Son, who in turn, gives of Himself to us through Scripture and Sacrament, and sends the Spirit to shower His Gifts upon our hearts.

But this blog reaches many people throughout the world. As of the last count, people in 65 different nations have stopped by and read some of these posts. I am sure that there may be many people who are not Christian who read this blog for one reason or another, Some artists may be  attracted to it because of a “prompting” within their soul to see and read about the truth, goodness, and beauty of God, others may just be curious, and that’s fine, too.

So as artists, I believe that the promptings that we follow to create something new, to experiment with color, clay, sound or image, are sprouts of the divine vine that blooms within our own soul. Our art, whether we realize it or not, is an expression of the fruitfulness of that seed that Jesus speaks of in His parable. The problem that many of us face is that we want the vine to “fruit” as quickly as possible. The virtue of Patience is an absolute necessity for the successful artist. We are not born with this virtue, it must be developed, and cultivated. How many artists have been frustrated and irritated by the fact that some thing, some person, some event has gotten in their way to start or finish a project or piece – whatever it might be. Yet, many times, it is the artist him or herself, that is the cause of the delay. For we forget that the seed, when planted, is a good seed. The concept, the idea, the score or sculpture, is a good idea – we just have to follow through with it and have confidence in our own abilities, that it will “sprout.”

So if the Lord is the Divine Sower, who has planted and enabled the seed to germinate, sprout, and take root, it is now our job – as His servants, to model His work, and tend the seed, tend the gift of our faith and our art, as well as we can; and then, know when to get out of the way, and trust God to do the rest.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved.     The painting of The Sower is by Harold Copping. Copping was a British artist who was born in 1863 and died in 1932. He was especially known for his Biblical scenes and travelled to the Middle East on a number of occasions to study the people and places of the Bible. Thanks to Bing images and Wikipedia for the reference.

St. Matthias and the Renewal of Easter Hope – The Lord Loves His Friends

On By Deacon Paul O. IaconoIn Art, Artists, Christianity, Gospel Reflections, Roman Catholic, Sacred Images, SaintsLeave a comment

Today is the feast day of St. Matthias. The Acts of the Apostles relate that Matthias was chosen by lot to replace the disciple who had betrayed Jesus in the garden.

In chapter 18 of our Gospel, St. John speaks of Judas, who was in collusion with the Romans and the Jewish elders, and brought them to the place where Jesus was staying in the garden; the betrayal took place and the deaths occurred.

In the period after Jesus’ death the Apostles were known as the Eleven.

The Eleven. A title which causes us to pause, even today, two thousand years later. They were twelve, but then the betrayal took place. Judas hung himself; and the Romans hung Jesus on a cross. Even in those anxiety filled days after the death of Jesus, and before His resurrection, the Eleven knew in their hearts that Judas was not the only one, who had betrayed Jesus. For in cold terror they ran from the garden – they ran from the Cross – abandoning their Master and betraying His friendship.

It was only John, and the women, who had the courage to stand there and minister in silence, in tears and sobs, to their dying master. We wonder, that as they stood before the Cross, was there a crisis of trust in their own hearts? Did they wonder about the other ten who were not there? Did they wonder about their own possible betrayal? Yet, all of their self doubts and agony would be washed away through the truth of the Resurrection.

Today’s feast of St. Matthias gives us renewed hope in this, the sixth week, of the Easter season; for it directs us to the great love of God for His friends. It also reminds us that He never leaves His friends alone in their mission of building His Church.

After the Ascension of Jesus into Heaven, Peter, as the great leader of this little group of friends, realized that something had to be done to fill the hole, the gaping hole, that echoed with the cries caused by the betrayal of trust,  friendship, and fidelity to God Himself.

Peter knew that this cavity had to be repaired because Jesus Himself had filled the hole in Peter’s heart. It was Peter’s realization and trust that Jesus could heal him that led to his putting the mantle of leadership back on.

Peter knew that the grace of Jesus could heal them,too, and that they could become the ambassadors of the Good News who would carry out Jesus’ commands. Their group of twelve, by mirroring the twelve tribes of Israel, could evangelize Israel itself.

So, they cast lots – “because they did not think themselves worthy to make the choice of their own accord, and wanted some sign [from the Holy Spirit] for their instruction.”

Matthias was chosen.

St. Matthias was a disciple of Jesus who loved much, he witnessed the resurrection, he lived in the Father’s love, he followed Jesus’ commands, and was willing to lay down his life for the Lord and His Mission.

May God grant that we have Matthias’ courage to be open to the grace of Christ and use it to  build-up His Church.

Quote taken from a 4th century homily by St. John Chrysostom on the Acts of the Apostles found on pages 1822-24 of The Divine Office volume 2.

The sacred image of St. Matthias is from the workshop of Simone Martini the 14th century painter from Siena whose style influenced the Gothic movement. Martini portrays Matthias wrapped in the red mantle of martyrdom holding  a book that is painted green. Green is the color used by sacred iconographers and sacred artists to represent hope, life, and renewal. The book he is holding is a  reference to the truth of Christ’s Gospel preached by St. Matthias. This painting is dated between 1317-1319. Maestro Martini died in France at the age of 60 in 1344.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

ORO et CREO: PART THREE – A Personal Reflection

On By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, New Evangelization, New Evangelization of the Catholic Church, Orthodox Art, Religious Art, Roman Catholic, Sacred Art, Spirituality, Uncategorized5 Comments

This is the third part of a three part series on a Spirit filled idea called Oro et Creo (“I Pray – I Create”). This idea was started by artists Jamie Medeiros and Deacon Tom Lambert. Please check out the first two parts of this series which have already been posted in order to get a full perspective on what they are accomplishing on the parish level.

What is wonderful about what Jamie and Deacon Tom are doing is that they are providing a simple, no anxiety-no pressure structure through which the  Holy Spirit can move the person to unite their artistic and creative impulses to their desire for union and communication with God. This is done in a silent, communal, setting, but it can also be done in an individual setting.

Creativity and prayer go hand-in-hand – it just takes the desire of the individual artist, regardless of the medium, to take the simple step of uniting the creative moment to their spiritual life. How is that done? Simply, it is an affirmation of the will to prepare yourself through short silent prayers, and then to consciously say, “Lord God – I offer this moment of creativity to you, help me to create something which gives You glory;” and  then, you create: poetry, stories, visual art, cosmetic design, fashion design, music, photography – whatever appeals to you.

St. Benedict of Nursia, when he established his community of Benedictine monks at Monte Cassino in 6th century Italy, was concerned that his monks balance their life between work and prayer. He developed his Rule which ordered their day into specific moments of prayer, work, and relaxation. Even in the 21st century we can relate to the significance of this type of structure within our busy day.

The point being that we must be balanced and make time for the important things of our life and not be a slave to the world, materialism, or current fads. St. Paul speaks of this in Colossians 3: 23-24 when he says: “Whatever you do, work at it with your whole being. Do it for the Lord rather than for men, since you know full well you will receive an inheritance from Him as your reward. Be slaves of Christ the Lord.” 

As I perceive it, when we are involved in the Oro et Creo process we have made the decision  to unite ourselves to the Holy Spirit – the Sanctifier – and then, we allow the Holy Spirit to guide us in our creative work. It is through the process of this creative effort that we speak to God and tell Him we love Him.

This process occurs when we are silent, and caught up in the moment of doing our work. It is at these times of intense concentration that we are taken “out of ourselves” (only to come back when we realize that we have been so focused on the creative work that we have forgotten the experience of time).

Our conscious prayerful effort at the beginning of the process expresses to God our love and thanks. From my experience, we don’t have to be consciously involved in constantly praying as we are creating. When your mind reflects on the need to pray – it is then appropriate to say a short prayer – such as “Jesus Christ, Son of God, have mercy on me a sinner” or, “Holy God, Holy Mighty One, Holy Immortal One have mercy on us,” or, just simply, “Jesus, I love and trust you.”

Jamie and Deacon Tom use the phrase Oro et Creo (I Pray – I Create) which was inspired by the Benedictine motto Ora et Labora (Pray and Work). To this I would add another section of the Benedictine Rule:  ut in omnibus glorificetur Deus, “that in all [things] God may be glorified” (Rule, chapter 57.9) which was also adopted and adapted by St. Ignatius of Loyola in his Jesuit motto: All for the Greater Glory of God. So, in our prayer/creative efforts – our intent – whatever results, should always be our desire to give honor, thanks, love, and glory to God. If we enter into these moments with an open heart and pure soul – it will.

Bravo and thank you, Jamie Medeiros and Deacon Tom Lambert, for your faith, prayer, and creativity! I am sure you have inspired many to continue your ideas in their own settings.

Thanks to ad-orientem.blogspot.com/200 for the icon of St. Benedict.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved


ORO et CREO: “I Pray – I Create” – Part One

On By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Christianity, New Evangelization, Orthodox Art, Prayer, Roman Catholic, Sacred Art, Uncategorized1 Comment

Soon after an article appeared in our Diocesan newspaper (The Rhode Island Catholic) in June 2011 on the Fra Angelico Institute for the Sacred Arts, I spoke on the phone with a talented artist by the name of Jamie Medeiros. We talked about the mission and goals of the Fra Angelico Institute and then she explained to me the mission of a group that she started at her parish in Tiverton, RI. Her group’s name is Oro et Creo (I Pray – I Create). I was fascinated by her description since it clearly was another example of the Holy Spirit’s continuing witness to get Catholics, and Christians of all denominations, interested in uniting the dual impulse of prayer and the creation of sacred art in all its various forms.

The following interview (the first part of a three part series) with Jamie Medeiros and Deacon Tom Lambert illustrate how their combined efforts and continuing positive influence have opened up the creative and spiritual impulses of many people.

The Lambert/Medeiros model can easily be replicated in your parish – regardless of where you are in the world. As of last week, this website/blog on The Fra Angelico Institute for the Sacred Arts, is read by people in 63 nations and on every continent except Antarctica. As far as I am concerned, these numbers are a clear example of how the Holy Spirit utilizes all resources to touch people’s hearts and move them back into a closer relationship with Him. Regardless of where you live in the world, and whether your parish is Roman Catholic, Greek or Russian Orthodox, Middle Eastern Catholic, or one of the Protestant denominations, the Lambert/Medeiros model of Oro et Creo, which unites personal prayer and the creative impulse within a church setting and in community with other artists, is a powerful tool of evangelization.

The Interview:

1) What inspired you to establish the Oro et Creo community?

Jamie Medeiros (St. Theresa’s Parish Tiverton, Rhode Island):     In Chicago at Our Lady of Mt.Carmel I had befriended one of the deacons [Deacon Tom Lambert] who had picked up art in his retirement.  He asked if I would meet one of the RCIA candidates [Belinda Cook Blakely] who was a student at The Art Institute of Chicago.  All three of us met after Mass one day and began a discussion about this common thread of art and God.  We discussed the fact that there seemed to be a lot of artists in our parish.  We joked, “we should start a group!”  The Deacon didn’t miss a beat.  He said, “We SHOULD start a group.”  We proceeded to discuss what it might “look like” if we started one.  This was just at the beginning of Lent [2008].  We all saw the movement of the Holy Spirit and thought the timing of this discussion was remarkable.  We picked a day, wrote up a blurb for the bulletin and decided to see if anyone would show.  They did.  We named it Oro et Creo after the Benedictine motto Ora et Labora (Pray and Work).  It is a time to pray while creating.  We continue to sit in wonder of the role of it as ministry for its participants.

Deacon Tom Lambert (Our Lady of Mt. Carmel Parish Chicago, Illinois): Oro et Creo started at Our Lady of Mt Carmel Church, Chicago when I introduced Jamie [Medeiros] and Belinda [Cook Blakely], two artists, to each other. They then approached me to start Oro et Creo because they didn’t find much connection between art and God in their work environments. Although both have moved on, Jamie to start an Oro et Creo group in Rhode Island, the group they started [here in Chicago] is still going on. For the translation of Oro et Creo I applied its meaning of ” I pray – I create” which says (to me) out of my prayer comes my creation. It is an invitation, a prayerful desire for one to create not a command to others, which is how I see Benedict’s Ora et Labora applying to his monks. [Deacon Tom and Jaime are using the phrase differently then St. Benedict, since St. Benedict was speaking in the imperative, that is, he was giving a command to his monks: “Pray and Work.” Deacon Tom and Jaime, however, are using Oro et Creo, the Latin is spelled differently because it  applies to an individual who prays and then creates, or creates while they are in a prayerful state – I Pray – I Create].

2) How long has your Oro et Creo sessions been in existence, what Church did it begin in, and is it taking place right now – name and geographical location?

Jamie: Oro et Creo first met during Lent 2008.  We began it at Our Lady of Mt. Carmel Church in Chicago, Illinois.  They are still meeting weekly on Monday nights.  Here in Tiverton, Rhode Island, Oro et Creo began the summer of 2010, meeting weekly, and now meets once a month on Mondays (7 pm) at St.Theresa’s Church in Tiverton.

Deacon Tom:  We meet weekly at Our Lady of Mt Carmel Parish 708 W  Belmont, Chicago, IL

3) Is the clergy involved in any way? Can people in your area join at any time and who would they contact and when would they show up?

Jamie: Here in Tiverton, our Pastor approved the program and likes to hear updates.  People are welcome to show up.  We meet at St. Theresa’s in Tiverton, RI on the first Monday of every month at 7 pm, unless it is a Faith Formation GIFT week.  People are welcome to email me with questions.

Deacon Tom: I am involved as a participant and [Parish] staff representative. The leader of the group is a layperson who is an artist.

4) How often do you come together to pray and create? Where do you actually meet – in the Church Hall, in the Church, at someone’s home?

Jamie: We currently meet once a month on Monday nights from 7 – 8:30ish pm.  This is open to change, depending on the seasons/ availability.  We meet in the Church.

Deacon Tom: We meet weekly. We start at the parish ministry center where we gather until everyone arrives. Then we have an opening prayer and then go in silence to the church or chapel. We sketch in silence for about an hour or more. People can sit anywhere in the church outside the sanctuary and sketch whatever they choose to do. Some bring pictures with them to sketch. We then go back to the ministry center where people may or may not choose to show the group what they were working on. Then a closing prayer is said. [Italics and boldface are my emphasis – Deacon Paul Iacono].

Part Two of this Interview with Jamie Medeiros and Deacon Tom Lambert will soon follow. In it they provide additional insights into this wonderful model which can easily be applied in your setting. Come on, what are you waiting for?!! Call one of your friends or church members who is creative, approach the parish clergy for permission to use the church for one hour a week, apply their model and get started!

 Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

Our Living Hope: The Tomb Cannot Hold Us

On By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Christianity, Hope, Jesus Christ, Joy, Orthodox Art, Roman Catholic, Sacred Art5 Comments

Catholics, Orthodox, and Protestants  – we are all an Easter people. For two thousand years we have – through faith in historical documents and human witness – been invited to believe in a divine act of revelation: the Easter resurrection of our Lord and Savior; for it is in that act that our God shows us who He truly is.

We believe that the resurrection of Jesus is a historical and spiritual fact; and that the resurrection of Jesus not only explains the truth of His promises but it demonstrates what has been promised to us.

On the first Easter morning, Mary Magdalene, Peter, and John saw that the stone had been rolled away from Jesus’ tomb; and as they looked in  – they came face to face with their eternal destiny. Since no stone could have stopped the resurrected Jesus, it was pushed away not to let Jesus out – but to let them – and us – in.

Like Mary, Peter, and John, and all the others, we come to realize that we are an Easter people – which means that we are an eternal people – members, through our holy baptism, of the family of the eternal high God. The tomb could never hold the resurrected Jesus, and – as a people of faith – it cannot hold us.

St. Paul tells us in his epistle to the Hebrews that “faith is the assurance of things hoped for, the conviction of things not seen.” (11: 1)

But what is hope? Hope is trust based on a divine promise. We have hope because we trust the words and deeds of Jesus Christ. We trust in His promises to us.

Our hope interacts with our faith in Him – and we are forever changed because of it. You and I are certain of our faith, because we understand and rejoice in the hope that our God does not lie – our Scriptures do not lie  – our Sacred Tradition does not lie; so as an Easter people we possess the hope that St. Peter speaks of when he says: “…we have been born anew to a living hope through the resurrection of Jesus Christ from the dead.   (1 Peter 1:3).

As we celebrate the Easter season, let us – as our Lord tells us today – “Be not afraid”  – let us be joyful and thankful for the gift of faith and the willingness, in the face of all odds, to share our faith and joy with others.

May God grant you a joyous and creative Easter season!

The attached sacred image was painted by Fra Angelico in 1441 and is entitled “The Women at the Tomb.”       Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

What Does The Silence Of Christ Say To Us?

On By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Christianity, Jesus Christ, Orthodox Art, Religious Art, Roman Catholic, Sacred Artists, Spirituality, Uncategorized2 Comments

In the passage from the first Epistle of Peter known as the Canticle of Peter (1 Peter 2: 21-24) Peter describes Jesus’ acceptance of His passion. He explains:

“Christ suffered for you, and left you an example to have you follow in His footsteps. He did no wrong; no deceit was found in His mouth. When He was insulted He returned no insult. When He was made to suffer, He did not counter with threats. Instead He delivered Himself up to the One who judges justly. In His own body He brought your sins to the cross, so that all of us, dead to sin, could live in accord with God’s will. By His wounds you were healed.”

In this morning’s first reading we have Isaiah tell us, “He [the suffering servant] does not cry out or shout aloud, or make his voice heard in the streets.”

We can picture Jesus carrying the Cross, carrying the weight of our sins through the streets of Jerusalem to His place of execution.

After receiving a savage beating and scourging at the hands of the Roman soldiers, He said nothing; after having the weight of the Cross thrust upon His raw and bleeding shoulders – He said nothing; as He stumbled and zigzagged through the streets of Jerusalem, being hounded every step of the way by sadistic soldiers and a callous mob, He said — nothing.

What does His silence say to us?

Possibly, if we unite ourselves to His sufferings, we can see that our own life consists of spiritual, physical, and emotional beatings, scourgings, sufferings, and crosses that are thrust upon us.

Like Jesus, we may feel that we are being ground into the street by the suffering we are experiencing – but like Him – we must rise up – to carry our personal cross as best we can.

As Catholic Christians – actually, all Christians regardless of denomination – have as our calling the duty to carry our trials and troubles in the same way that Jesus did. Like Him, we will zigzag through the streets, we too, will stumble and fall; but Holy Week reminds us that we must always see Jesus’ composure, humility and strength in the face of unbelievable pain and extraordinary adversity as a model that we must strive to emulate.

Jesus was not a masochist; nor are we. But we understand that the mystery of suffering contains within it the seed of our redemption – the seed of our spiritual rebirth – for a seed must fall to the ground and have its outer shell stressed, broken, and yes, pulverized, so that its center may take root and give birth to new life.

This week we must make a silent prayer, to join our trials and sufferings, those of our loved ones, and those of our nation – to His, and to implore the Father to help us raise up our nation, family, and ourselves as best we can, so that we may, as Saint Peter tells us, “follow in His footsteps” and silently and without complaint, carry our own cross – as well as the crosses of others.

Special thanks to Fernando Mario Paonessa a contemporary artist for providing the images of Jesus suffering the Way of the Cross. Fernando created these stunning sculptures (reliefs); more images may be found on his website: http://fernandomariopaonessa.eu/pages/via_crucis.htm

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

The Solemnity of the Annunciation – The Confident Sacrifice Of A Pure Heart

On By Deacon Paul O. IaconoIn Annunciation of Mary, Art, Catholicism, Christian Spirituality, Christianity, Mary, Roman Catholic, Sacred Art, Sacred Artists, The Blessed Virgin Mary, Uncategorized1 Comment

Many years ago, Blessed John Paul 2 spoke to the seminarians of Rome on this, the Solemnity of the Annunciation. He began his homily with the phrase: “Fear not!”  Echoing the archangel’s comments to our Blessed Mother he was trying to calm the natural anxiety of those young men as they  prepared for their Gospel ministry in the world. The Pope counseled them that “We must all accept the call. We must listen [to the Holy Spirit],  and use the grace that we have received from God. We must shore up our strength, and say, “Yes” in confidence and certainty to the call that we hear from the whispers of the Holy Spirit.”

Upon hearing the message of the archangel Gabriel, the ultimate decision by Mary that “Let it be done to me according to your word” conclusively and forever changed cosmic and spiritual history. For at the moment she said “Yes” to Gabriel, our salvation and redemption, through the Cross, began.

Let us not forget, however, that Mary’s “Yes” had a tremendous affect on her, too.  It required a great cost from her personally because it resulted in the Crucifixion – it resulted in the sacrifice of her own son Jesus – and – the sacrifice of her own heart.

Blessed John Paul 2 speaks of this when he says:  “Mary in a particular way – unlike any other – experienced mercy, and at the same time, made her participation in the revelation of the Divine Mercy possible with the sacrifice of her own heart.  Such a sacrifice is closely bound up with the Cross of Her Son, at which she was to stand at Calvary… No one has experienced the mystery of the Cross as did the Mother of the Crucified…. Mary is therefore the person who knows the Divine Mercy most deeply. She knows the price; she knows how high it is.”

He goes on to say, “Maybe there is another point: for all people are born at Mary’s “Yes.” This must be understood: such a Yes in imitation of Mary creates joy, a new life, a breath, a blessing;” it creates opportunities for us to  sacrifice our own hearts in imitation of her and the Holy Family.

So as we enter the 5th week of Lent let us celebrate this Solemnity by trying our best to live like our Blessed Mother – a person with complete confidence in the Lord. Let us say Yes to God in imitation of Mary and allow the Lord to work wonders in our own lives, as well.

Images in order of appearance: A 13th Century Byzantine icon of the Annunciation from St. Catherine’s Monastery in the Sinai; Henry Ossawa Tanner’s Annunciation (1898); John William Waterhouse’s Annunciation (1914); and Bartolome E. Murillo’s Annunciation completed between 1660 -1665, and please don’t forget to do some research and take a closer look at one of Fra Angelico’s versions of the Annunciation! Please also notice that in Waterhouse’s and Murillo’s renditions both artists have included the tradition that Mary was in the process of sewing the veil that separated the Holy of Holies from the outer room which housed the Altar of Incense in the Temple in Jerusalem; other artists, such as El Greco, do that too.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

The Artist As Contemplative – Part 4 – A Meditation on the Scourging of Christ

On By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, New Evangelization, Prayer, Roman Catholic, Sacred Images, St. Teresa of Avila, Uncategorized4 Comments

In this series on the Artist As Contemplative it is my hope that you are exposed to some different techniques that may assist you in your prayer relationship with Our Lord.

The last post in this series specifically mentioned that we do not need to use many words during prayer. This may be uncomfortable for us at first since we have developed into a species that appears to constantly need some type of noise, talk, music, or in some cases, cacophony going on inside our mind. I am not a social psychologist so I will not venture a reason for such a trend within American society, other than to say that it may be an attempt to buffer the anxiety that people, especially the young, feel.

We must reduce the amount of noise, superfluous talk, and loud dissonant music that hammers our nervous system. We have to do this in order to allow sacred silence the opportunity to blanket us with its warmth so we can settle into a comfortable conversation with Christ.

St. Teresa of Avila is very helpful in this regard. Fr. Peter-Thomas Rohrbach, O.C.D.  clearly states in his wonderful book Conversation With Christ that the prayer doctrine of St. Teresa is clear: “Prayer does not consist in involved, complicated reasoning, but in thought which is productive of conversation with Christ.” So prayer, productive prayer, is conversation with Jesus.

Fr. Rohrbach then goes on to provide an actual demonstration of true meditation provided by St. Teresa of Avila in her own autobiography.

She says: “We begin to meditate upon a scene of the Passion – let us say upon the binding of the Lord to the columns. The mind sets to work to seek out the reasons, which are to be found for the great afflictions, and distress, which His Majesty must have suffered when He was alone there.

It also meditates on the many other lessons, which, if it is industrious, or well stored with learning, this mystery can teach. This method should be the beginning, the middle, and the end of prayer for us: it is a most excellent and safe road until the Lord leads us to other methods, which are supernatural…   it is well to reflect for a time and to think of the pains which He bore there, why He bore them, Who He is that bore them and with what love He suffered them.

But we must not always tire ourselves by going in search of such ideas; we must sometimes remain by His side with our minds hushed in silence. If we can, we should occupy ourselves in looking upon Him Who is looking at us; keep Him company, talk with Him; pray to Him; humble ourselves before Him; have our delight in Him, and remember that He never deserved to be there. Anyone who can do this, though he may be but a beginner in prayer, will derive great benefit from it, for this kind of prayer brings many benefits; at least, so my soul has found.”

The beauty of this approach is that it is completely natural for us to do what she directs in prayer. If we look again at the passages that I have highlighted in bold face you will see that this prayer behavior is the same we would express if we were with a close friend or relative experiencing a troubled or stress filled moment in their life.

So the watchwords here are sensitivity, awareness, and humility. Sensitivity because we need to be willing to listen, and humility in knowing we don’t have all the answers, and the awareness to know that sometimes it is necessary just to keep someone company, and quietly talk to them, without trying to provide solutions.

But it is more than that, isn’t it; because in our prayer we are talking to God. We are talking to the Son of God who suffered for us, because it was the Father’s desire, which He willingly accepts in order to accomplish the salvific act of our Redemption. Our ability to keep ourselves humble before God, delight in His Divine Presence, and remember His Life and Death is critical for a healthy prayer experience.

Our intellect and will working with the faculty of our memory of scenes from Sacred Scripture provide us with the ability to soak ourselves in the meaning of Christ’s great sacrifice. For this is who we are as Catholics, Orthodox, or Protestants – people who bring the images and truth of Scripture and the saints of our traditions into our prayer life.

Does any of this apply to sacred art? Yes, as sacred artists, St. Teresa of Avila would probably say, “Paint and use the best quality and Scripturally correct icons, paintings, sculpture, etc as prayer aids. We need these aids to help the entire person: mind, heart, soul, and body to be focused on Him.”

I’d also venture to suggest that she would say “If you are a sacred artist produce a piece of sacred art that correctly portrays the Scriptural Jesus, the Blessed Mother, His angels, and saints. Remember, a sacred artist must be a person of deep prayer.”

St. John Damascene (Damascus), thirteen hundred years ago, in his writings and teachings very clearly stated that when we do this it is not idol worship. We believe that the Son of God became man; therefore, He became the icon – the image – of God for us to see, hear, touch, scourge, and crucify – “The Word became flesh and dwelt among us.”

This is not idol worship, just as it is not idol worship when you have a picture of your deceased parents on your bureau – you are not making an idol of them – your are not worshipping them – rather, you are remembering them through a celluloid image – an image which helps you relive what they taught and how they loved you – and still do from beyond the grave. So never fear your imagination – or images of the Lord – as long as you guard yourself with images and imagination that are focused with correct theology, semantics, and aesthetics.

I’ll let Father Rohrbach have the last word, he says: “St. Teresa presents us a crystal-clear picture of meditation: the mind furnishing matter for the heart’s talk with Christ. And above all, her fundamental rule that prayer consists not in thought, but in love.”

The above image of St. Teresa of Avila is considered to be the closest likeness to her. It was painted in 1576 when she was 61 years old.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

The Feast of St. Joseph – Universal Patron of the Church

On By Deacon Paul O. IaconoIn Beauty, Catholic Art, Catholic Spirituality, Catholicism, Christian Spirituality, Christianity, Religious Art, Roman Catholic, Roman Catholic Beliefs, Sacred Art6 Comments

At the birth of Christ, the seven hundred year old messianic prophecies of the prophet Isaiah became an historic reality. On a yearly basis, we celebrate and remember that moment on the Feast day of St. Joseph, the patron of the universal Church; for we see in Joseph not only a loyal husband and foster father of Jesus – our Savior – but also a man of conviction and prayer.

Upon hearing that Mary is pregnant Joseph is filled with pain and anger. Understandably, at first, he is not ready to say “yes” to Mary and her story of divine intercession – there are few men that would.  But through divine intervention and the sending of His angel, God makes another request, for the angel relates God’s message: “Joseph, Joseph, do not be afraid to take Mary your wife into your home.”

We call St. Joseph a confident man because – ultimately – he, like Mary, says “Yes” to God. He has confidence because he proclaims his trust in God. With Joseph’s “Yes,” his anger subsides and is replaced with a joyful nurturing spirit that enables him to exert leadership and act as a faith-filled father and loving husband.

Joseph, from that moment, grows in love for his wife and unborn child and through the years, like all fathers, he grows in love and intimacy with Jesus.

An intimacy not only of physical closeness and rapport – but of soul – an intimacy of prayer and meditation that filled his heart and mind with awe; this intimacy and proximity to Jesus meant that he was constantly exposed to the same grace that Jesus gives us in our Eucharistic adoration of Him.

Pope Pius 11th, in his teaching on St. Joseph in March 1928 said, “All Joseph’s sanctity lies precisely in the completely faithful accomplishment of his great and humble mission, so high and so hidden, so splendid and so surrounded with shadows.”

We are truly graced if we realize, like St. Joseph, that we must make ourselves vulnerable to God -– vulnerable to the gifts of God – by exposing our heart, and soul to God’s love – and trusting God – through His Sacramental grace, to turn our hearts, so that we, too, may fulfill the mission – simple or profound – that we are asked to complete in life.

Saint Joseph, pray for us.

Sacred image of St. Joseph and Jesus by Pietro Annigoni. It hangs in the Church of St. Lawrence in Florence, Italy. It was painted in 1963. Thanks to the website of the Oblates of St. Joseph for the painting by Annigoni.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

Christ Child by Fra Angelico

On By Deacon Paul O. IaconoIn Art, Catholicism, Christian Spirituality, Christianity, Images of the Infant Jesus, Jesus Christ, New Evangelization, Religious Art, Roman Catholic, Sacred Art1 Comment

To all the friends, followers, and members of the Fra Angelico Institute for the Sacred Arts,

We wish you all a very Merry and Holy Christmas Season and a grace filled New Year!  May the blessings of the child Jesus and the adult Savior remain with you, and your loved ones, throughout the coming months.

We thank you so very much for your support, advice, and participation, and we look forward to sharing new artistic adventures with you during the next year! Thanks again for all that you have done to make the Institute meaningful and helpful in the promotion of the sacred arts and in the evangelization of the truth, goodness, and beauty of God, His angels, and His saints.

Warm regards,   Deacon Paul and Jackie Iacono

This image is an extreme close-up of a painting of the Madonna and Child Jesus with assorted saints painted by Fra Angelico in Florence during the early 15th century.

Copyright © 2011 Deacon Paul O. Iacono All Rights Reserved

 

Sacred Artists Must Be Empty Vessels

On By Deacon Paul O. IaconoIn Catholic Art, Fra Angelico's Paintings, Gospel Reflections, Iconography, Jesus Christ, Orthodox Art, Roman Catholic, Sacred Iconography, Sacred Images, Uncategorized2 Comments

In this morning’s Gospel St. Luke is clear that Jesus is carefully listening to the argument that breaks out among His disciples as to who is the greatest among them. One translation has St. Luke saying, “He perceives the thoughts in their hearts.” 

It would be prudent to say that we are all psychologically and theologically hardwired to look for approval. King David wrote of this in the Psalms when he said:  “You have made them a little lower than God, and crowned them with honor and glory.”  David recognized the fact that we are something special in the grand scheme of creation, but Jesus has come to set even the wisdom of King David straight. (Psalm 8 verse 5).

He tells His disciples,  “… for he who is the least among you – is the one who is great.” The disciples must have done a double take when He said this, for it went counter to their understanding of reality. But Jesus uses a child to demonstrate this truth; for  children in ancient times were socially at the bottom of the barrel, they had no rights, and basically were – if a family was lucky enough to have them – equivalent to  domestic staff and servants. Children were expected to be seen and not heard – the watchwords for them were humility, listening, and service. An honorable Jewish child of the first century AD would not be bold enough to assert any supposed rights, or demand anything of their parents. There was no self-seeking here, there was no expectation of a mandatory trophy given to raise self-esteem.

Jesus is telling His disciples to see in the child standing next to Him the model for their own behavior. For they, too, should view themselves as servants; as James would say in a later epistle “God opposes the proud, but gives grace to the humble.” (James 4:6).  Jesus explains that we must eliminate from our life everything that blocks our spiritual progress – vanity, self-aggrandizement, power-grabs – and the greatest of all sins – pride. St. Paul tells us very clearly in the 2nd epistle to the Corinthians that the Lord wants us to be empty vessels so that He can fill us up with His love, grace, and power.

We cannot leave this day without mentioning two men who were “empty vessels” for the Lord. They were early martyrs of the Church – Sts. Cosmas and Damian – excellent models for all of us who aspire to be sacred artists. They met their death at the hands of the Emperor Diocletian in the late 3rd century BC.

The above two icons are of the twin brothers Saints Cosmas and Damian. The very top icon was done many centuries ago, and the icon right above these lines is a more contemporary interpretation.  Unfortunately I was not able to locate the names of the artists that “wrote” these two beautiful icons.

Sts. Cosmas and Damian are models for us because they were not interested in making a name for themselves (even though because of their medical skills they were known throughout the Eastern Roman Empire). They were not interested in making money in return for their remedies (they were called the “moneyless ones” since they did not accept money for their services).

The above image is by Fra Angelico. It is his interpretation of Saints Cosmas and Damian miraculously treating the emperor Justinian after he prayed for their help, three hundred years after their death. The leg was healed, and Justinian attributed it to his prayers for their intercession. The icon shows them practicing their skills, following through and using their knowledge (they studied at the famous medical centers in Arabia). As artists (for we can say “the art of medicine”) they confronted all illness head on and relieved suffering, not by just turning to past remedies, but willingly using their common sense and their ability to adapt remedies to new situations. They were “with-it” as the current parlance would say. Yet, they were novel in their approach since they were practical men who “emptied themselves of self,” had a deep love and faith in Jesus, while at the same time, doing all they could to increase their skills for the benefit of their fellow man.

Thus, they apply to our desire to be sacred artists by showing us that we must make the effort, as St. Paul says, to be empty vessels: to allow our own ego to be overwhelmed by the power of the Lord, to confidently go about the process of learning the art form(s) that we are called to concentrate on, keeping our sense of humor as to the rate of our improvement, steadily practicing the art, and prayerfully putting our trust in Jesus to help us be the best artists we can be.

Sts. Cosmas and Damian were committed Christians, and the early Church regarded them with great honor from the moment of their martyrdom. They truly are a symbol of what our Gospel speaks about this morning – for they made it their duty – especially in the manner of their deaths – to empty themselves – and be filled beyond measure with God’s gifts.

Copyright © 2011 Deacon Paul O. Iacono All Rights Reserved

The Triumph of the Cross and Our Lady of Sorrows by Jed Gibbons

On By Deacon Paul O. IaconoIn Catholic Art, Iconography, Jesus Christ, Mary, Orthodox Art, Roman Catholic, Sacred Art Guild, Sacred Images, The Blessed Virgin Mary1 Comment

Today we celebrate the feast of the Exaltation – or Triumph – of the Holy Cross.

The early Catholic Church was intensely persecuted during the first 280 years of its life – so the symbol of the Cross – the symbol of public humiliation and excruciating death – was rarely used in our Christian iconography. But this doesn’t mean that the early Christians were reluctant to express their devotion to the Cross. Writing in the year 204, the Christian theologian Tertullian said: “At every going in and out, when we put on our clothes, when we sit at table, in all the ordinary actions of daily life, we trace upon our forehead the sign [of the Cross].”

In the year 313, the Emperor Constantine signed the Edict of Milan, which proclaimed toleration for the Christian faith within the Roman Empire. Constantine’s mother, Helena, made a pilgrimage to the Holy Land, and with the support of the local bishop – excavated the area known as the site of Golgotha. Tradition states that portions of the true Cross, with a partial nameplate still attached was found, resulting in Constantine ordering that the Church of the Holy Sepulcher be built over the site. The church was dedicated nine years later, with a portion of the Cross placed inside it. So the feast that we celebrate today marks the dedication of the Church of the Holy Sepulcher in the year 335. That Church was unfortunately destroyed by the Muslims in the year 1009, only to be rebuilt centuries later, with the new occupants – all Christians – vying for control of the site! Unfortunately even among our brother Christian Churches there have been numerous clashes and conflicts over the control of this holy site. It is as if all of us – as guardians of the Church’s holiest site – had not internalized the meaning of the true Cross – the meaning of what happened on that site 2000 years ago – the meaning of the Father’s supreme sacrifice of His Son for the sake of His creation. God’s love was raised up on Golgotha that day and Satan’s venom was forever neutralized, but the sting of Satan’s original bite in the Garden of Eden still remains.

The truth of our Scripture readings tell us that Moses lifted up the bronze serpent, a sign of sin, and the people were healed. Jesus makes an analogy of the serpent with the healing power of the Cross – since it is a sign of our sin and our redemption. When the Father, through the Holy Spirit, lifted up Jesus in the resurrection, the Holy Cross was no longer viewed as a sign of evil and sin – rather it became a sign of Christ’s victory and our salvation.

Our Savior, through the instrument of the Holy Cross, shows us the level of His love for His  creation. The Father shows His love for us by giving us the best He has  – His Son – and His Son shows His obedience and trust in the Father – through His willingness to take upon Himself all sin and become a perfect offering back to the Father on our behalf. The Fra Angelico Institute for the Sacred Arts chaplain, Fr. Joseph Upton, gave a beautiful homily today at morning Mass in which he emphasized that every day, we too raise up Jesus on the Cross. In every Mass, we have re-presented the sacrifice of Jesus for us. We commemorate His act and we thank Him for it in His gift of Himself to us in the Eucharist. We unite ourselves to the Triumph of the Cross through the Mass.

As sacred artists, on a daily basis, we must attempt to imitate this profound love of God in our creation of artistic works, and in our families and community. Our love must be strengthened by the truth of our faith – and by the triumph of the Cross; when we do this we will understand that the crosses that we carry, and the sufferings that we endure, unite us to the Lord, and help us transform our lives into His. Our Blessed Mother is our model for this transformation.

Tomorrow, September 15th, is the memorial of Our Lady of Sorrows. The Invitatory prayer that begins the Office of Readings in the Liturgy of the Hours says, “Let us adore Christ, the Savior of the world, who called his mother to share in his passion.” Those words reminded me of a beautiful illuminated miniature by Jed Gibbons, a very fine artist from Chicago. I met Jed when he was teaching at the St. Michael’s Institute for the Sacred Arts at Enders Island in Mystic, CT. Jed has produced some truly inspirational work (his Stations of the Cross in the chapel on Enders Island are exquisite) and this piece that you see below captures not only the theme of the Triumph of the Cross but the truth of the Church’s teaching that Mary shared in the passion of her  Son. This piece is entitled   Maria, Mater Misericordiae (Mary, Mother of Mercy); it was completed in 2006, and was done in historic earth pigments and 23 karat gold. It measures 6.75 by 9.25 inches. I thank the Foundation for the Sacred Arts website for the image.

Copyright © 2011 Deacon Paul O. Iacono All Rights Reserved. Image copyrighted by Jed Gibbons All Rights Reserved

 

The Birth of Mary – The Pure Disciple Who Shows Us the Way

On By Deacon Paul O. IaconoIn Catholic Art, Gospel Reflections, Mary, Roman Catholic, Sacred Art Guild, Sacred Iconography, Sacred Images1 Comment

We cannot allow this day, September 8th, to slip by without celebrating the nativity of  our Blessed Mother. For as the Invitatory in the Roman Breviary says for today’s feast: “Come, let us celebrate the birth of the Virgin Mary, let us worship her Son, Christ the Lord.”

It is right, and proper, and good that we do this. Inspired by divine Wisdom, the Holy Church of Jesus Christ, has through the years been fractured, tempted, and bruised by the assaults of Satan. Yet, in this feast we remember that we are saved, that Satan, ultimately, has been defeated by the willingness of a young woman to be the Mother of our Savior. It is through the grace filled moment of Mary’s conception and birth that we have the Scriptural road diverge toward final fulfillment of the Divine Will.

As Saint Luke tells us in chapter 1 of his gospel verses 26 ff., her birth began the dramatic shift in the theological paradigm since it provided the opportunity for her to ultimately see, understand, and say a quiet “Yes” to the truths that Gabriel announced to her. Mary, is the pure disciple, and because of that she “… found favor with God… the Holy Spirit will come upon you and the power of the most high will overshadow you.”  For what end? The end is clear, Gabriel tells her “You shall conceive and bear a son and give him the name of Jesus. Great will be His dignity and he will be called Son of the Most High… hence, the holy offspring to be born will be called the Son of God.”

The sacred image below is by the late 19th century American artist Henry Ossawa Tanner. Of all the sacred art that has been done through the centuries, I believe, this is the best image of that moment of the Annunciation, the moment in which the Old Testament became the New, because it is correct in the manner in which it presents the theological, symbolic (semantic) and artistic truth of that instant in historic time (I thank freechristimages.org/index.htm for the clarity of Tanner’s painting). 

So it is at her birth that we have the road of our spiritual journey fork to the right. Mary’s decisions and actions allowed us to ultimately come to the point in our own life in which we, too, must make a decision. Mary shows us the way (as our Orthodox brothers and sisters would say – hodegetria) to Christ her Son, as she lovingly holds Him in her arms.

The ancient sacred icon, that you see below, is the earliest image of the Blessed Mother holding the Christ child. It is found in the catacombs of Priscilla, on the Via Saleria in Rome, and is dated to circa AD 225.

The sacred art of the early Church desired to express the beauty of the Scriptural truth. As you can see from the following two images – the first a Byzantine icon, and the second a painting by the great 13th century master painter – Duccio, from Siena, Italy. Duccio led a school of painters to infuse a strong sense of the humanity of Jesus and Mary into their figures.

These images, and others like them, continue to have an impact on the hearts and minds of those who are open to their Truth. As simple human beings, and as Catholic artists, it is our delight to not only appreciate them, but, to venerate and delight in the Truth that they convey – all of which was made possible by the birth of a humble Hebrew teenager two thousand years ago.

May she continue to show us the way.

Copyright © 2011 Deacon Paul O. Iacono All Rights Reserved

Sacred Iconography and Personal Creativity – Do Not be Afraid!

On By Deacon Paul O. IaconoIn Catholic Art, Iconography, Orthodox Art, Sacred Art Guild, Sacred Iconography, Sacred Iconography Guild, Sacred Images1 Comment

What is iconography?

The Sacred Iconography Guild is one of the twelve Sacred Arts Guilds that is sponsored by the Fra Angelico Institute. As of this post we have six members of this Guild who have expressed interest in learning this particular artistic tradition of the Church. Unfortunately, many people in the 21st century do not know the traditions of the Western (Latin, that is the Roman and affiliated rites of the Church) or the Eastern (Orthodox, that is the Coptic, Greek, Russian, and other Middle Eastern Rites) of Christ’s Church. All of these Rites have beautiful liturgies, the Sacraments – Holy Mysteries, and traditions – of which sacred iconography is one. This Institute hopes to be one more voice – among many – bringing these traditions to light to a new generation of people. So this post hopes to begin the survey of what sacred iconography is and how we can participate in it.

The word icon is Greek for “image.” Specifically, as it is applied in our usage, it refers to a sacred image that has been painted by a trained iconographer in a way that portrays the sacred presence of Jesus Christ, His mother – “the Theotokos,” His angels, and the saints. Icons in both the Latin Rite and Eastern Rite Churches are venerated – never worshipped. They act as sacred windows or doorways that allow us to view the heavenly realm of divinized humanity or the visual representation of Scriptural truth.

Iconography is simply the study of icons, their development through the centuries (the first iconographer is considered to be St. Luke the Evangelist), the techniques and methods used by various “schools” of iconography within specific cultural regions – and within specific national areas. By “school” I mean a collection of iconographers working under a master iconographer that has a specific style through which they portray Our Lord and the sacred people, mysteries, and historic occurrences within the Church’s history.

Sacred icons portray theological reality. So, it is mandatory that a sacred iconographer follows the “canon” of iconography that developed through the centuries. The “canon” consists of the rules that an iconographer must follow in painting, that is, “writing” an icon. I say “writing” because the tradition states that an iconographer must be aware of the great responsibility that he or she has in conveying the “Scriptural truth” within the image itself. In other words, the iconographer must not change Holy Scripture. He or she paints (“writes”) what is in Holy Scripture, or within Church history and Tradition, because as Pope Benedict 16th has said: sacred images have an important role to play in the “catechesis of the people.” So the iconographer cannot be portraying his or her version of Scripture – or Church history – to do so would be as bad as one of the Evangelists changing the words of the Gospel as he writes or prints a new copy because he desires to be creative or “express” himself.

So this brings up the question of the role that an artist’s personal creativity and skill plays in the development and expression of the written icon. I highly recommend that you go to the websites of my teachers (Peter Pearson; Dimitri Andreyev (Prosopon School); Marek Czarnecki (Seraphic Resorations); and Anna Pokrovskaya Gouriev (Izograph School) to examine their galleries and to see the beauty of their work. Examine an icon of our Lord Jesus or our Blessed Mother by Peter, Dimitri (or his father Vladislav), Marek, Anna (or her mother Xenia) and you will see not only the display of creativity of these iconographers, their skills, their color choices, their simplicity and purity, but also, the truth, goodness, and beauty that is the theological truth of their icons. Their icons are 20th and 21st century pieces of sacred art – yet – they are firmly within the “canon” of the Church’s perception of iconography and serve as models for the expression of Truth, Goodness, and Beauty.

As our Lord said to His disciples in the boat as they were being tossed about by the sea – “It is I. Do not be afraid.” This applies to us, too, as spiritual travelers, artists, and novice iconographers – the Lord is with us – we have nothing to fear because we have put our trust in Him.

Copyright © 2011 Deacon Paul O. Iacono All Rights Reserved