Mary – The Mystical Spouse of the Holy Spirit and the Wife of Joseph

On September 10, 2012September 10, 2012 By Deacon Paul O. IaconoIn Christianity, Gospel Reflections, Mary, Mary - Our Blessed Mother, Religion, Roman Catholic, Uncategorized8 Comments

The question may be asked “How is the word “spouse” used in reference to Mary and the Holy Spirit?

We have all read the nativity accounts of St. Matthew and St. Luke and if you are a Roman Catholic you believe that Sacred Scripture is the foundation on which we build our theology; however, Sacred Tradition and the scholarship and teaching of the Magisterium of the Church are also very important.

Sacred Tradition, scholarship, and the Magisterium (the teaching authority of the Church) act as the counterbalance for our understanding of God’s Truth in Scripture. These elements, together with Sacramental grace, prayer, and good works help us live our life in Christ.

Theologians, saints, and mystics have used marital language to express the love of God for His Church and the mystical relationship between our Blessed Mother and the Holy Spirit. The use of marital language in relation to Mary, the Holy Spirit, and the Church has a long and varied history. A few recent examples of a pope and documents of the Church using this language are Pope John Paul 2 in numerous homilies and encyclicals, and the very important document that resulted from the Second Vatican Council entitled The Dogmatic Constitution of the Church – Lumen Gentium.

If we go back to the earliest writings of the Church, and quickly examine some sources, we see the “marital and spousal” aspect of this mystical language used in a second century AD document called the Odes of Solomon; and as we proceed up through history we see mention of it in the writings of St. Augustine (4th century), St. Ildephonsus, archbishop of Toledo, Spain (7th century), St. Germanus, patriarch of Constantinople (7th century), Cardinal St. Peter Damian (11th century), St. Bonaventure (13th century), Emmanuel d’Alzon (19th century), and, in the many scholars of the 20th century, such as Cardinal Joseph Suenens, Karl Rahner, Pope John Paul 2, Rev. Peter Damian M. Fehlner, F.F.I., and Pope Benedict 16th.

A few examples of how the word “spouse” is used in these theological contexts may be helpful. In 1979, on Pope John Paul 2 first pilgrimage to the United States, he gave a sermon on our Blessed Mother at the National Shrine of the Immaculate Conception and made this point in relation to Mary:

“…Through her, the Sun of Justice was to rise in the world. Through her, the great healer of humanity, the reconciler of hearts and consciences, her Son, the God-Man, Jesus Christ, was to transform the human condition and by his death and resurrection, uplift the entire human family. As a great sign that appeared in the heavens, in the fullness of time, this woman dominates all history as the Virgin Mother of the Son, as the Spouse of the Holy Spirit, and as the Handmaid of humanity.” (excerpted from Mary’s Yes – Meditations on Mary Through The Ages, edited by John Rotelle, O.S.A., Servant Press, Ann Arbor, 1988)

In his important 1986 encyclical on the Holy Spirit “The Lord and Giver of Life” (Dominum et Vivificantem) Pope John Paul 2 continues to use these expressions to help explain his insights:

“…It is the [2nd Vatican] Council that says to us: “The Blessed Virgin…overshadowed by the Holy Spirit…brought forth…the Son…, he whom God placed as the first-born among many brethren namely the faithful (cf. Romans 8: 29). In their birth and development she cooperates with a maternal love”; she is through “his singular graces and offices…intimately united with the Church…. [She/Mary] is a model of the Church” (Lumen Gentium, note 63). “The Church, moreover, contemplating Mary’s mysterious sanctity, imitating her charity,…becomes herself a mother” and “herself a virgin, who keeps…the fidelity she has pledged to her Spouse. Imitating the Mother of the Lord, and by the power of the Holy Spirit, she preserves with a virginal purity an integral faith, a firm hope, and a sincere charity” (Lumen Gentium note 64).

Pope John Paul 2 continues, “Thus one can understand the profound reason why the Church, united with the Virgin Mother, prays unceasingly as the Bride to her Divine Spouse, as the words of the Book of Revelation, quoted by the [2nd Vatican] Council, attest: “The Spirit and the bride say to the Lord Jesus Christ: Come!” (Rev. 22: 17).

The Church’s prayer is this unceasing invocation, in which “the Spirit himself intercedes for us”: in a certain sense, the Spirit himself utters it with the Church and in the Church.”

So, we see in these few examples that the Church has used this type of mystical language to help express and make meaningful the divine union of Mary and the Holy Spirit. This, of course, was made possible by Mary’s humility, and the grace of the Holy Spirit which fashioned Mary from the moment of her conception.

God has given Himself as a divine Gift to mankind. This mirrors the gift of self that a husband and wife make of themselves to each other; or, the gift that a consecrated virgin makes of him or herself to God. Our eternal destiny has been played out on this field, for with mystical insight we understand that a divine proposal was made to this young woman Mary, and using her free will and reason, she consented to the request to become the Theotokos – the Mother of God. It is important to remember that she consented, in humility, and out of her profound sense of love, service, and faith in God. These are the characteristics of all consecrated virgins, and the characteristics of all faith-filled wives and husbands who freely give the gift of themselves to their spouse in recognition of their marriage covenant.

At the moment of her “Let it be done to me according to your word,” her Spouse, the Holy Spirit, dwelt within her and uniting with her blood conceived the child Jesus in her womb. This was the divine act of conception – the miracle of the Incarnation – resulting in a natural child and the full flowering of Mary’s motherhood. In practical terms, her consecrated virginity was not disturbed. She was an immaculate virgin before, during, and after her pregnancy. During her pregnancy and after the birth of Jesus, the Holy Family was exactly that – a holy family. Her legal husband Joseph understood and respected her vow of consecrated virginity, and she dedicated herself to being a model wife and mother – a woman who supported her husband Joseph in his work and her Son, Jesus, in His future ministry.

Glory and Praise to God! Praise be to the Mother of God, Mary, most holy! May she always intercede with her Son for mercy on our behalf!

Notes on the paintings: The first painting of the Annunciation is by Fra Angelico (Brother John of Fiesole, died 1455) and is done in egg tempera on wood; completed between 1430-32 it is found in the Museo Diocesano in Cortona, Italy. The second painting is also by Fra Angelico it was painted between 1430-32 and is done in egg tempera on wood. It measures approximately 76 inches by 76 inches and hangs in the Prado Museum in Madrid. The third painting is by Benozzo Gozzoli entitled Madonna and Child Giving Blessings. Painted in 1449, it is egg tempera on silk and mounted on wood. It is currently located in the church of Santa Maria Sopra Minerva in Rome. It is approximately 100 inches high by 51 inches wide.

The Nativity of Mary – Our Blessed Mother

On September 7, 2012September 7, 2012 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

St. Gregory the Great – Laborer in Christ’s Vineyard

On September 3, 2012September 3, 2012 By Deacon Paul O. IaconoIn Faith, Popes, Religion, Roman Catholic, Saints, UncategorizedLeave a comment

Today is the feast day of Saint Gregory the Great, pope and doctor of the Church.

Gregory was born in the year 540 of a noble Roman family who believed in the value of education and public service.

At the age of thirty he was appointed mayor of Rome; but after his father’s death, he decided to leave politics and become a Benedictine monk. Around the year 575, he transformed his family’s home into a monastery dedicated to the Apostle St. Andrew; he also established several monasteries on his father’s estates in Sicily. But in the year 579, he was ordained a deacon. Historians have mentioned that ordination was not really what Gregory wanted for his life. He enjoyed studying Scripture and music, writing, praying, and living the life of a Benedictine monk. At that point in Church history, to be ordained a deacon meant that you were going to have a very public life assisting the local bishop in political, economic, and ecclesiastical affairs.

Pope Pelagius 2 saw Gregory’s talents and tapped him to become his papal ambassador to the imperial city of Constantinople. In Constantinople he gained a great deal of experience in both secular and ecclesiastical politics. Seven years later he was recalled to Rome and was appointed Deacon of Rome and acted as the Pope’s counselor. In 590 when Pope Pelagius died from the plague, the people elected Gregory to be the new pope.

Saint Gregory the Great is a model for all of us. For he, as today’s Gospel (Luke 4: 16-30) implies, also had the Spirit of God upon him. The Lord had anointed him as “the servant of the servants of God” to bring glad tidings to the poor and announce liberty to those captured by sin. The histories tell us that Gregory did not seek to be ordained a deacon or elected a pope; yet, once in those positions he valiantly labored in Christ’s vineyard to perform God’s will as he understood it.

He wrote beautiful and insightful works on theology and the pastoral care of souls. He implemented some liturgical reforms especially in the area of music. The music that we know today as Gregorian chant developed from his impetus; however, his true greatness is found in his humility, his gentleness in dealing with all types of people, his steadfast devotion and love of Christ, His Scriptures, and prayer. All of these traits, combined with God’s grace and Gregory’s love for the people, helped him solve the practical everyday problems of Christ’s Church in a manner that provided a path for others to follow.

St. Gregory the Great was able to establish a model of the papacy that we still have with us today – the model of the pope, yes, as a suffering servant, but one who is also filled with joy at the challenge of laboring for the people of God in all their various needs. St. Gregory the Great, pray for us.

The image of Pope St. Gregory the Great is from the Vatican grottos and is made available through the courtesy of orbiscatholicussecundus.blogspot.com.

Saint Monica – Patron of Mothers

On August 27, 2012August 27, 2012 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.

The Queenship of the Blessed Virgin Mary

On August 22, 2012August 24, 2012 By Deacon Paul O. IaconoIn Art, Catholic Art, Iconography, Icons, Mary, Religious Art, Roman Catholic, Sacred Art, Sacred Images, The Queenship of Mary, Uncategorized4 Comments

Today is the memorial of the Queenship of Mary.

Through the centuries, sacred icons and images have expressed the Queenship and Coronation of the Holy Theotokos – the Mother of God. The icon The Virgin Salus Populi Romani, a 5th century icon, displayed in the Church of Saint Mary Major in Rome, and seen below, shows the Blessed Mother dressed in typical first century Middle Eastern garb as she holds her Son who gives a blessing. This icon is reputed to

be a copy of one that was painted by St. Luke the evangelist who tradition states knew and spoke to the Blessed Mother.

A 6th century icon of Mary and Jesus displays a coronation theme portraying the Blessed Mother and her Son in Heaven. Mary sits on her throne with Her Son on her lap, surrounded by St. Theodore on the left and St. George on the right, while two angels look up as the hand of the Father gives a blessing. This icon is found in the Monastery of St. Catherine in the Sinai Peninsula.

Iconic images painted (“written”) by orthodox iconographers of both the Latin, Greek, Russian, Coptic, and other Rites agree with images found within our Holy Scriptures. For example, a Gospel passage tells us “… the Lord God will give to Him the throne of His father David; and He will reign over the house of Jacob forever, and of His kingdom there will be no end.” This Scripture explains that the Lord willingly takes the initiative to come forth, with hands extended, to meet us and share the reign of His kingdom.

In sacred art we visualize this not only in the extension of Christ’s hands on the cross – but also, in the extension of the infant Jesus’ hands, to give us a blessing as He sits in His mother’s lap, or is caressed in her arms, an image that is found not only in the above sacred images but in numerous statues found in Latin Rite churches throughout the world.

The prophet Isaiah also speaks of Christ in regal terms as Emmanuel (God is with us) and the “Prince of Peace.” We can even get apocalyptic and speak of the Books of Daniel and Revelation which recall the truth that the world will be transformed through the birth of the Redeemer, made possible by Mary. She is a “a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars… who gave birth to a son, a boy destined to shepherd all the nations with an iron rod. Her child was caught up to God and His throne.” So we see that Mary enables the incorporation of the reign of God into the world. She is the woman destined to crush the head of the apocalyptic serpent.

St. John of Damascus wrote about this in the 8^th century when he says of the Blessed Mother that she “has become the terror of demons, the city of refuge for those who turn to her. [He has her say:] Come to me in faith, O people, and draw as from a river of grace. Come to me in faith, without doubt, and draw from the mighty and certain source of grace.”

Last week, on the solemnity of the Assumption, we recalled Blessed John Paul 2 saying “…the Assumption of the Mother of Christ in Heaven forms part of [the Lord’s teaching about] His victory over death, the beginning of which is found in the death and resurrection of Christ.”

So in today’s memorial, Mary, the humble daughter of Joachim and Anna and the chosen daughter of our Heavenly Father, is garbed in the majestic robes of a queen. She takes her rightful place next to the throne of her resurrected and ascended Son.

Why?

Because the Church desires to teach us that Mary is privileged, beyond all other women and men, to be the first and most significant human being to participate in the glory, triumph, and reign of God. By her very willingness to become the Mother of God, the Theotokos, she agreed to become our spiritual Mother, too.

In this beautiful sacred image by Blessed John of Fiesole, also known as Fra Angelico the great Dominican artist of 15th century Florence, portrays the moment of Our Lady’s Coronation with the Heavenly court surrounding her.

We observe men and women saints that were alive thousands of years after Mary’s Coronation observing the event.

Why did the good Friar do that?

He is expressing the fact that Heaven is within the eternal now of the Trinity, so it follows that all the saints are knowledgeable of the truths of Heaven. If we carefully observe the painting we see that the knowledge of that coronation moment is known by St. Thomas Aquinas. We see him looking out at us (in the lower left corner), noting the truth, goodness, and beauty of God, and the fact that God desires this coronation for His beloved and humble human daughter, the Queen of Heaven.

The Blessed Mother, in her regal beauty, authority, and power, has not left us orphans. She is “the Living Temple of the Holy Spirit, the Inviolate Mountain, the ladder” that joins Heaven and earth. Mary is the “One who Shows the Way” (as the Greeks would say the Hodigitria) to her Son and to our Heavenly reward.

If we remain faithful and loyal to the teachings of Jesus Christ, as expressed through our Sacred Scriptures and our Church, and act on that faith, then we, too, will reign alongside our Heavenly Mother and give praise and glory to God. Our Lady, Queen of Heaven, pray for us.

The Assumption of Mary

On August 15, 2012August 15, 2012 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).

Saints Pontian and Hippolytus and Our Call to Duty

On August 13, 2012August 13, 2012 By Deacon Paul O. IaconoIn Christian Spirituality, Christianity, Ethics, Gospel Reflections, Gospel Teachings, Greek Orthodox, Jesus Christ, Marcellino D'Ambrosio, New Evangelization of the Catholic Church, Orthodox Christianity, Popes, Roman Catholic, Russian Orthodox, Saints, Uncategorized1 Comment

Today we celebrate the martyrdom of Saint Pontian, who was the lawfully elected successor pope to St. Callistus during the early 3rd century. St. Pontian was considered a criminal by the emperor Maximinius and banished to the silver mines in Sardinia – an exile which meant certain death. We also celebrate today a saint by the name of Hippolytus, who was a priest in the Church of Rome at this same moment in time.

Saint Hippolytus is recognized because of his brilliance and profound scholarship. He is considered to be one of the finest theologians of the 3rd century, and is the source of the 2nd Eucharistic Prayer recited at Mass. Hippolytus’ most important work is a treatise known as The Apostolic Tradition; and scholars such as Dr. Marcellino D’Ambrosio, (at http://www.crossroadsinitiative.com) tell us that it provides “an enlightening and extensive glimpse into the liturgical and devotional life of Roman Christians around the year 200.” The statue found below is of Roman origin, found in the mid 16th century. It has the name Hippolytus carved into it as well as references to works of other Apostolic Fathers. The image is presented through the courtesy of Dr. D’Ambrosio.

Controversy, however, erupted when St. Callistus, was elected to the papacy. St. Hippolytus considered Callistus to be a liberal since Callistus extended absolution to new converts who had committed mortal sins such as adultery and murder. Hippolytus contested the election, violently disagreed when Callistus was affirmed, and then made history by declaring himself pope, thus becoming the first anti-pope in the history of the Church!

As a result of his action he divorced himself from full communion with the Church. When Pope Callistus was martyred, in the year 222, Hippolytus began disagreeing with his successors – the last being Pope Pontian. Hippolytus’ theological differences and self-imposed actions didn’t mean anything to the Romans for they arrested him, too, and exiled him off to Sardinia; and there, St. Hippolytus – the anti-pope met St Pontian, the true pope and lawful successor to Pope Callistus.

In the silver mines of Sardinia, Pope Pontian abdicated his office, making way for a lawful successor to be elected, and Hippolytus renounced his anti-papacy and was absolved of his sins by Pontian. Fully reconciled they died together for the faith in the year 235.

So, what does this have to do with us?!

Our Gospel today (Matt 17: 22 – 27) provides the answer, for in it our Lord and the Apostles were confronted with the arrogance of the officials who implied they were evading the local taxes. Jesus attempts to clarify His position not only for St. Peter but for the officials as well.

Jesus is basically saying that, yes, they must pay the tax; the reason being they must not do anything to put a stumbling block in the way of people understanding His ministry and message. Again we see Christ not getting political. He is not ranting about the just or unjust qualities of the Temple tax, or Roman occupation. He is beyond that, and demands that the Apostles, as His successors, not give a bad example to the people.

This is a lesson that St. Hippolytus, for all of his brilliance never learned. He did give bad example to the Church of Rome in declaring himself an anti-pope. His dissension and attacks were not productive or helpful in a highly charged environment which constantly witnessed Roman persecution.

Yet, St. Hippolytus ultimately saw his sin, repented of it, and along with Pope St. Pontian, did his duty and defended the true faith with his life. We must always do the same, and whatever our calling or ministry may be, we must never become a stumbling block that prevents others from seeing and believing in Jesus and His Church.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved Images of all the popes are found in the Basilica of St. Paul Outside the Walls in Rome, Italy. The custom of having a mosaic of a deceased pope put on display was started by Pope Leo the Great.

St. Clare – Our Holy Friend and Lover of God

On August 11, 2012August 11, 2012 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.

St. Lawrence – Archdeacon and Servant of Christ

On August 10, 2012August 11, 2020 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).

1280px-Saint_Lawrence_stone — 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.

: 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.

Fr. Richard Reiser’s Beautiful Icon of the Transfiguration

On August 7, 2012April 2, 2021 By Deacon Paul O. IaconoIn Art, Iconography, Icons, Jesus Christ, Religious Art, Roman Catholic, Sacred Art, Sacred Iconography1 Comment

The article that is found below my opening comments, and the image of the Transfiguration, is reblogged, through the courtesy of Fr. Richard Reiser, pastor of St. James Catholic Church Omaha, Nebraska.

I really enjoy Fr. Reiser’s iconographic style. He is able to convey the Scriptural truth of the Transfiguration while, at the same time expressing it in artistic language accessible to contemporary Christians. Fr. Reiser studied with noted master iconographer Philip Zimmerman who founded the St. John of Damascus Icon Studio in Pennsylvania. Father Reiser pointed out to me in an email, that St. James is larger than the other saints. This resulted from the fact that he painted this icon for his parish church – St. James Parish.

God our Father in the transfigured glory of Christ your Son, You strengthen our faith by confirming the witness of Your prophets, and show us the splendor of Your beloved sons and daughters. As we listen to the voice of your Son, help us to become heirs to eternal life with Him who lives and reigns with You and the Holy Spirit, one God, forever and ever. Amen.

THE TRANSFIGURATION OF THE LORD

by Fr. Richard J. Reiser

A HISTORY OF ICONS

“An icon is a religious work of art done in a symbolic and stylistic manner. Its main focus is not with realism but with spiritual realities. The icon was a favorite art form that developed in the early Church and became the preferred style of religious representation for the Eastern Orthodox Church. In the Roman Catholic Church, mosaics and types of statuary were the prominent styles of art used for religious representation.

Realism or accurate perspective is not a primary concern in iconography. The main purpose of an icon is to draw the viewer into the realm of the holy through contemplation. An icon in this sense means to “see through to the divine,” or to be a “window to heaven”. In icons, the details of the eyes should draw the viewer into a vision beyond the present. The perspectives are more subject-centered as a way of focus, rather than relying on realistic horizon lines. The icon does not, after all, represent the material world, but the realm of the Divine.

The stoic faces on the figures in icons suggest that the holy ones, whose lives of service work are now accomplished on earth, now contemplate and rest in the presence of the Divine (signified by the light [halo] which surrounds the heads of the holy figures).

THE TRANSFIGURATION ICON

The two-panel icon of the Transfiguration has been done in a contemporary method and should be understood as a religious painting done in an iconographic style since it was not written (painted) following the strict rules of traditional icons that included rigorous fasting, special prayers, and special mixing of pigments with egg whites. This icon is written with acrylic paints.

The two oaken panels each measure 36″ x 54″, and their rounded tops echo the architectural detail found elsewhere in the church. The event of the Transfiguration is found in Matthew 17: 1 – 8 and Mark 9: 2 – 8. The naming of the icon (Transfiguration) is done in English, but in a contemporary Slavonic (Old Russian) style of lettering.

The images on the panels are of Jesus Christ, St. Elijah (1), St. Moses (1), St. Peter, St. James, and St. John. Jesus Christ and St. James are larger than the other figures to give them prominence; Jesus, since he is the main figure of the Transfiguration, and St. James, since he is the patron of the parish. The icon is designed to invite the viewer to participate in the event of the Transfiguration by allowing the light coming from Christ in the first panel to confront the viewer, then, inviting the viewer to connect the light of Christ to the apostles in the second panel. The rays of light that emanate from Christ were done in a stained-glass style that reflects the shape and colors of the stained glass found elsewhere in the church (2).

THE MOUNT TABOR PANEL (at right)

The central figure of the right panel is Jesus Christ, clothes in white and surrounded by light in the traditional manner which depicts Him in glory, along with the creedal statement of “Light from Light.” The aureole (the gold-leaf background) which surrounds the entire body of Jesus. Christ’s halo contains the traditional Greek letters that identify Jesus Christ as “I Am,” the title of God given to Moses in Exodus 3:14 and given human expression in Jesus as the divine Son of God. The Greek letters to the left and right of the aureole are the traditional abbreviations for “Jesus Christ.” High right hand is raised in the traditional gesture of blessing where the two joined fingers represent the two natures (human and divine) of Christ.

A scroll is held in Christ’s left hand and is symbolic of Christ being the Word that became flesh (John 1:14).

The haloed figure of Moses to the right of the Christ figure bows in deference towards Christ who is the completion and fulfillment of the law. Moses reverently holds the two tablets of the Ten Commandments without directly touching them. They symbolize the law with the word Torah (3) inscribed on them in Hebrew. Moses is represented as the younger man than he was at the time he received the tablets of the law. The garments of Moses are brownish red and blue.

The haloed figure of Elijah to the left of the Christ figure, also defers to Christ as the completion and fulfillment of the prophets. Elijah was taken up to heaven in a whirlwind. His garments are green and blue.

All three figures on the right panel stand atop Mount Tabor (4). The mountain suggests the place of God’s revelation to Moses in the Old Testament when he was given the law (Deuteronomy 5), and the place where Elijah the prophet experienced the voice of the Lord in the gentle breeze (1 Kings 19: 8 – 13). Icons of the Transfiguration show Jesus Christ as God’s full revelation by being presented on a mountain.

THE APOSTLES PANEL (at left)

The Apostles panel of the left is divided into three plateaus each supporting one of the apostles closest to Christ. The center plateau is larger and bright and it supports St. James. He is shown humbled on his knees, because of the experience of the Transfiguration. He is reaching forward while attempting to secure stability and balance on the rocky plane. He is presented with his hand shielding his face from the light. His outer garment flows in the wind generated by the force of the transfigured Christ. The trees representing creation also bend by the power of Christ’s transfiguration. He is attempting to seek Christ, but with difficulty. The halo surrounding his head marks him as a saint. His outer garment is purple and his undergarment is green.

The upper plateau supports St. Peter who is held back from the force of the Transfiguration by a ledge where his feet are supported. His outer garments flows in the win. As the leader of the apostles, he points to the light and to Christ. The haloed figure is presented with the traditional gray hair and beard suggesting wisdom. Positioned on the rock, he is named by Christ as the “Rock” on which Christ will build His Church. His outer garment is the traditional gold, and his undergarment is green.

The haloed figure of St. John is the bottom figure. He is the brother of St. James. His right hand shield his face from the light. His outer garment flows in the wind. His left hand reaches forward clinging to the rock. A ledge supports his forward right leg and holds him which his back leg waves freely with the force almost releasing his sandal. His beardless face is the traditional way of depicting his youth. He is said to be the youngest of the apostles. His outer garment is green and his undergarment is blue.

The maize-colored border of both panels reflects the color and stained glass of the central rose windows in the church (5). The medallion on the right panel border holds a piece of rock from Mt. Tabor. The medallion on the left panel border holds a relic of St. James.”

THE INSCRIPTION ON THE BACK OF THE ICON PANEL

“The inscription on the back of the icon panels reads: The Transfiguration Feast – August 6. Blessed by Fr. Richard Reiser August 6, 2006. Donated by Colleen Mahoney in memory of the William and Colleen Mahoney Family Fr. Richard Reiser, iconographer.”

“Notes:

(1) In the Orthodox tradition, both Elijah and Moses are considered saints.

(2) A similar technique with the fishing net was used by Brother Robert in the “Calling of James” icon in our (St. James) church.

(3) The first five books of the Old Testament’ they present all of the 613 laws and interpretations that are central to Judaism. In Jewish services the scrolls of the Torah are still extravagantly decorated and venerated with respect when they are proclaimed.

(4) Mount Tabor is more of a geographical mound in the area of Galilee and not a mountain as such.

(5) This border also is found on the “Calling of James” icon.”

We Receive and Give Awards – We Are Deeply Touched!

On August 6, 2012August 7, 2012 By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Christianity, Humor, Iconography, Religion, Roman Catholic, Sacred Art, UncategorizedLeave a comment

The Fra Angelico Institute for the Sacred Arts is truly honored to receive three blogging awards. Teresa Rice at Catholiclibertarian has nominated this blog for three awards: The Illuminating Blogger Award, The One Lovely Blog Award, and The Very Inspiring Blogger Award.

Teresa Rice’s blog at Catholiclibertarian is dedicated to discussing contemporary issues through the lens of being a faith-filled Catholic as well as a person who has a mixture of conservative and libertarian political views. Teresa’s columns are always well written, insightful, challenging and dogmatically faithful to the Catholic Church. We are proud, honored, and humbled by her confidence and support for our mission – which is to evangelize the truth, beauty, and goodness of God through the prayerful study and creation of sacred art.

We also received notification this morning that reinkat has awarded this blog an award, too. We are truly touched to the heart by these awards from our readers. We admit, however, that the entire impetus for the Fra Angelico Institute for the Sacred Arts, and this blog, is the work of the Holy Spirit. He deserves all praise, honor, and glory. Everything that we do here develops out of prayer, is performed in prayer, and hopefully, is sustained through prayer. Again, thanks very much. As part of the Award system I am happy to nominate fourteen other bloggers that I regularly read and find illuminating in various ways. Their names are found below.

The conditions for accepting The Illuminating Blogger Award are:

1) Add a picture of the award to your blog post.

2) Thank the blogger who nominated you and include a link to their blog.

3) Nominate 5 to 10 other Bloggers and inform those selected that they have been nominated.

4) Say seven interesting things about yourself to give some insight into what you are like, interested in, etc.

I am happy to award the writers of the following blogs The Illuminating Blogger Award because all of them make you think and provide illumination in various ways. Some of them promote the arts – in all of their various forms; others promote humor (in these days anyone that promotes clean intellectual humor deserves a prize!). A few are promoting the Catholic faith (which from my point of view is very good!), and some are just a lot of wacky fun.

The following blogs are not ranked in any order of one being better than another.

The blogs Catholiclibertarian, reinkat, and Biltrix would have been on the list but they have already received the award.

Here are the blogs that receive the most prestigious Illuminating Blogger Award from me.

1) Via Lucis Photography: http://vialucispress.wordpress.com/

2) Stephen Hipperson: stephenhip.wordpress.com

3) Matthew James Collins: matthewjcollins.wordpress.com

4) The Way of Beauty: http://thewayofbeauty.org/

5)A Reader’s Guide to Orthodox Icons: http://iconreader.wordpress.com/

6) Hearts on Fire: http://heartsonfire33.wordpress.com/

7) Dr. Boli’s Celebrated Magazine: http://drboli.wordpress.com/

8) carlausery: http://carlausery.com/

9) Chicquero: http://chicquero.com/

10) hesychastic: hesychastic.wordpress.com

11) Elliot in Gotham: http://elliottingotham.wordpress.com/

12) clotildajamcracker: http://clotildajamcracker.wordpress.com/

13) The Big Pulpit: http://bigpulpit.com/

14) knowsphere: http://knowthesphere.wordpress.com/

Here are the seven Award required “interesting things” I will divulge about myself:

1) I sing Christmas songs throughout the year.

2) I enjoy reading about British personalities, fictional and non-fictional. An example being Winston Churchill and what made him tick as a man and personality. Another character that I enjoy is Sherlock Holmes. Very few people are aware (ahem, or care!) that I wrote a definitive monograph in the early 1980’s on the True Location of 221B Baker Street. It was published in the Baker Street Journal to loud huzzahs.

3) I became fascinated with the French Impressionists in college, yet, today, have a deep affection for Cezanne as a man and as an artist.

4) I enjoy solitude, or, the company of very small groups of people.

5) I have had a deep affection for Scottish Terriers since I was in elementary school. Our third Scottie has a huge heart and an extraordinary sense of loyalty for close family members. He has a toughness that is quite admirable; he has been battling cancer for 15 months. Our vets are astounded by his longevity owing to the fact that veterinary science and experience said he had four to six months to live.

6) I would have absolutely no problem eating apple pie as a dessert for breakfast, lunch, and dinner. Let’s not forget snacks. You may ask: Who has a dessert for breakfast? Answer: interesting people.

7) I have a fascination for the woodcuts and drawings of Brother Martin Erspamer, O.S.B.; yet, I have a deep interest and desire to emulate the artistry of Italian painters from the 12th through the mid 15th centuries. There is a spiritual purity in their work; however, I am far from even approaching some sense of true understanding of them and would appreciate anyone who knows of specific research and tomes that could assist me in the understanding of their techniques.

The Transfiguration of Christ

On August 6, 2012August 6, 2012 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.

Thank You! Our One Year Anniversary!

On August 1, 2012August 1, 2012 By Deacon Paul O. IaconoIn Annunciation of Mary, Art, Artists, Beauty, Catholic Art, Iconography, Icons, New Evangelization, Religion, Religious Art, Roman Catholic, Sacred Art, Sacred Images, Spirituality10 Comments

We are so very grateful to everyone who has visited this website over the past year. It was on August 1, 2011 that I posted my first essay. By midnight tonight over 13,000 people, from 106 nations, will have visited this site and, hopefully, been spiritually fed by the discussion on issues concerning sacred images and iconography, prayer, and reflections on the Holy Scripture.

May God continue to bless all those who have an interest in sacred art and move them to deepen their prayer life by using sacred art as a focal point in their meditations.

Thank you!

May the Blessed Mother continue to intercede for all of us.

Peace and Victory in Christ!

Deacon Paul and Jackie Iacono

Roman Catholic Diocese of Providence, Rhode Island

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved. The above image on The Annunciation was painted by the great American painter Henry Ossawa Tanner. It may be seen at the Philadelphia Museum of Art.

St. Peter Chrysologus’ Appeal By Christ To Be Transformed

On July 30, 2012July 30, 2012 By Deacon Paul O. IaconoIn Christianity, Gospel Reflections, Gospel Teachings, Jesus Christ, Roman Catholic, Sacred Iconography Guild, Sacred Images, Saints, UncategorizedLeave a comment

Today is the memorial of Saint Peter Chrysologus.

Peter was born in the late 4^th century in northern Italy. In 424, after serving as a deacon and priest in Emilia, he became bishop of the Italian city of Ravenna. Little reliable information about St. Peter’s life survives, except that he successfully drove heresy and the remnants of Roman paganism from his diocese by doing two things: providing exceptional pastoral care to the people and by giving practical yet passionate sermons. St. Peter’s brief sermons were so inspiring that he was given the title “Chrysologus” which means “of golden speech.”

He was declared a Doctor of the Church in the 18^th century. In order to be called a Doctor of the Church the Pope and Cardinals must agree that the individual possessed three main characteristics during his or her life: truly outstanding holiness; a depth of doctrinal insight; and a body of writings which the Church recommends to people as authentic and life giving. These three qualities contributed to Peter’s success in ministering to the people of his diocese.

Our Gospel today speaks of the tiny mustard seed growing into a large bush, or the tiny yeast germ enabling the flour to rise. This theme of transformation is at the center of the story of the Incarnation. In a homily on this theme, St. Peter beautifully describes how Jesus is able, through His two natures, to touch and transform us. Christ meets us on a daily basis in prayer, and especially through the Scriptures and His real presence in the Holy Eucharist.

By means of these two marvelous gifts St Peter explains that we are able to identify with Jesus and be converted like the mustard seed and yeast germ, into something so much greater – we are transformed and divinized into the life of Christ Himself. In one of his homilies, he has the Lord speaking and appealing to His people. He says,

“Listen to the Lord’s appeal: In me, [your Lord] I want you to see your own body, your members, your heart, your bones, your blood. You may fear what is divine, but why not love what is human? You may run away from me as the Lord, but why not run to me as your father? Perhaps you are filled with shame for causing my bitter passion. Do not be afraid. This cross inflicts a mortal injury, not on me, but on death.

These nails no longer pain me, but only deepen your love for me. I do not cry out because of these wounds, but through them I draw you into my heart. My body was stretched on the cross as an icon, not of how much I suffered, but of my all-embracing love. I count it no less to shed my blood: it is the price I have paid for your ransom. Come, then, return to me and learn to know me as your father, who repays good for evil, love for injury, and boundless charity for piercing wounds.”

May the Lord continue to raise up men and women with St. Peter Chyrsologus’ gifts to feed and care for His people.

Image of St. Peter Chrysologus courtesy of info@crossroadsinitiative.com

Summer 2012 Workshop in Painting Sacred Images – A Few Reflections

On July 27, 2012August 3, 2012 By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Christianity, Education, Iconography, Religion, Roman Catholic, Sacred Artists, Sacred Iconography, Uncategorized5 Comments

Over the past six years I have participated in numerous workshops in sacred art and have produced a number of sacred images, each of which helped me understand the techniques of this sacred art.

In 2006, I participated in my first workshop at St. Michael’s Institute of Sacred Art at St. Edmund’s Retreat in Mystic, CT. The instructor was Peter Pearson, an Episcopal priest from Pennsylvania. He introduced the class to the beautiful and prayerful experience of painting a sacred image in the Russian Orthodox tradition; however, rather than using egg tempera paints (in which you mix the yolk of an egg with natural earth and mineral pigments) he taught the techniques using acrylic paints.

A note on acrylics versus egg tempera pigments. I personally believe that they are both valid materials to use. I have studied and painted images in each of these techniques and I personally do not have a solid preference, although, I believe it is helpful for a student to learn the techniques in acrylic first and then study sacred imagery using egg tempera pigments. I find both materials – natural or synthetic colors – enjoyable.

There are some people in the Internet community who become quite exercised over the fact that there are artists creating sacred images using acrylic paints. It is not necessary to get into, as Pearson would say, “the egg wars” debate, other than to mention that all sides are respectfully entitled to their opinion. Neither the Catholic or Orthodox faith exclusively owns sacred art, imagery, or iconography. Church art has always been (for at least the last 1500 years) an outgrowth of the Catholic and Orthodox creative spirit desiring to unite art with prayer. It was certainly part of the early tradition of the Roman Catholic Church prior to the winds of Western civilization moving the Catholic artists’ barque into Gothic, Renaissance, and Baroque ports of call.

In the late 20th and early 21st century, a growing element of the sacred art tradition of the Roman Catholic (and the Eastern Rites churches which are in union with Rome) has revolved around reestablishing traditional sacred imagery and iconography as part of the Catholic artistic heritage. Sacred iconography has always been a part of the Orthodox churches liturgical tradition, and they are to be saluted and commended for keeping the bright light of this sacred art tradition alive within the Church community.

It is probably part of the Western European/American mindset to accept and utilize new developments in artistic materials and techniques. This is why I believe some of us do not have any problem using acrylic paints. Acrylics are synthetic paints (composed in a lab) rather than natural earth or mineral pigments. My personal spirituality does not think that the Lord is concerned with the materials used in prayer, rather, He is interested in the intent and the creative outcome of that sincere prayer. You use what you think works, have fun with, and is readily available. There are many ways to catch a fish – as the Lord said to Peter – “throw out your nets again!”

So, on a practical level acrylic paint can be fun to work with, but it can also be problematical. Years ago Peter Pearson recommended a line of paints to us from the Chroma company called JoSonja. These paints are primarily used in the decorative crafts, yet, because of their color lines, they fit the bill for painting in a more traditional way – similar to the Russian tradition. By this I mean that the Russian Orthodox colors are primarily muted, unlike the Greek Orthodox who had a wide range of brilliant colors to choose from for their artwork. Geography and geology play an important part in understanding the color palette and artistic techniques of a civilization.

The nice thing about the JoSonja line of paints (available at DickBlick.com and other outlets such as Jerry’s Artarama) is that they are inexpensive but of surprisingly good quality. They also have an entire range of mediums, (such as flow medium and glazing medium) which are essential in getting the results you want, especially for the multi thin layering and highlights of the image’s face. The JoSonja line has also produced a polyurethane satin varnish that compliments the chemistry of the paints and mediums in their line. It was used on my sacred image for the recent workshop and went on without any problem. I applied this varnish with a one and one-half inch flat wash brush from Princeton Art and Brush Company (item # 4050 FW). It has very fine and soft bristles – perfect for streak free varnishing. I must give you a warning: work quickly as the varnish dries rapidly. It is non toxic and cleans up with soap and water.

I produced a manual for the workshop which explained each step, yet, found myself talking more than I really wanted to, owing to the fact that this was the participants first sacred image, and for many, their first venture into art in many years. A sacred image workshop should be a place in which the participants can enter into prayer while they paint; hopefully, the next workshop will more conducive to this necessary element.

All the adult participants were very good sports and reacted with quite a bit of patience to some of the more difficult parts of the process. They were all happy with the results and want to embark on another workshop – which is good news! Please find below a few photos from the workshop and the Mass at which the sacred images were blessed. You can see the images in the sanctuary in front of the altar. I am behind the altar to the left vested in a green dalmatic, and Father Joseph Upton the Institute’s chaplain, has his hands raised as he recites the blessing over the sacred images. Thanks again to everyone who participated and see you soon!

A Sacred Image – The Sun of Justice, Jesus Christ

On July 26, 2012October 16, 2024 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.

Robert Henri – Artist and Teacher

On July 21, 2012December 30, 2024 By Deacon Paul O. IaconoIn Art, Artists, Christianity, Education, Ethics, Healing, Roman Catholic, Teaching, Uncategorized2 Comments

One of the great pleasures of life is discovering and becoming friends with people who have a similar philosophy of life – especially when it comes to understanding truth, goodness, and beauty.

We are fortunate if we had the experience of five teachers on a combined high school, college, and graduate school level whose influence on us was greater than simple superficiality.

I spent thirty years in the field of education. Two of those years were in an administrative role, and twenty-eight were in the classroom. During that time I had the opportunity to study not only the philosophy of education but implement it as well.

In the process of the great adventure of being a classroom teacher, you come across individuals and books that have a marvelous impact on your own style and understanding of the art and craft of teaching. For example, Gilbert Highet first introduced me to viewing teaching as an art, and the truth that all who desired to be great teachers must become artists of their craft. Another who molded my teaching behavior (literally like a potter molding a vase) was Haim Ginott. Ponder this beautiful and critical phrase as it presents the power that a teacher has over the lives of their students (from Ginott’s book Teacher and Child):

“I am the decisive element in the classroom. It is my personal approach that creates the climate. It is my daily mood that makes the weather. As a teacher I possess tremendous power to make a child’s life miserable or joyous. I can be a tool of torture or an instrument of inspiration. I can humiliate or humor, hurt or heal. In all situations, it is my response that decides whether a crisis will be escalated or de-escalated, and a child humanized or de-humanized.”

Robert Henri was also an important influence on me. Henri was an influential artist, art teacher, and critical force in the American art community during the early 20th century. In his wonderful book, The Art Spirit (1923), I find a brother in arms. He teaches us that our weapons are the tools of our art and our helmet are our words that inspire others to see themselves as artists.

He challenges us:

“Art when really understood is the province of every human being. It is simply a question of doing things, anything, well. It is not an outside, extra thing. When the artist is alive in any person, whatever his [or her] kind of work may be, he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those who are not artists are trying to close the book, he opens it, shows there are still more pages possible. Art tends towards balance, order, judgment of relative values, the laws of growth, the economy of living – very good things for anyone to be interested in.”

Highet, Ginott, and Henri implore us to see ourselves as people who desire to create beauty, express truth as we understand it, and to always keep the book open in a spirit of charity and goodness. Specifically, the spirit of Robert Henri continues to teach and prod me to create everyday. Maybe he will touch your mind and heart, too. 2008_NYR_02058_0141_000(045104)-442857698

Photo of Robert Henri courtesy of the Parrish Art Museum:http://www.parrishart.org/.

Ken Jan Woo – sacred artist

On July 9, 2012July 9, 2020 By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Christianity, Education, Hope, Iconography, Icons, Ken Jan Woo, Martyrs, Religious Art, Roman Catholic, Sacred Art, Sacred Images, Uncategorized5 Comments

Please see my post of July 9, 2020 entitled Chinese Martyrs and the Art of Ken Jan Woo. Thank you.

A Decisive Hour for American Catholics

On July 2, 2012July 4, 2012 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.

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.

3rd Century Bronze Medallion of Saints Peter and Paul

On June 26, 2012June 26, 2012 By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Roman Catholic, Sacred Art, Sacred Images, Saints Peter and Paul, Uncategorized3 Comments

In response to a valuable comment made about my post – Part 2 – Icons, Icon Painters, and Praying with Sacred Images, I thought everyone would enjoy seeing one of the oldest images in existence of Saints Peter and Paul: a bronze medallion found in an excavation of the cemetery of Saint Domitilla in Rome.

The Domitilla cemetery is fascinating because it is the oldest of the Roman catacombs and, according to one source, still contain bones. The Domitilla catacombs are very well preserved and contain a second century (AD 101 – 200) fresco of the Last Supper.

This image of the 3rd century bronze medallion is provided through the courtesy of Dr. Margherita Guarducci. It is found in her book The Tomb of Peter, which was published in 1960 through Hawthorn Books. The 1911 edition of the Catholic Encyclopedia verifies the authenticity of this bronze medallion and identifies other sources for the likenesses of Saints Peter and Paul. This bronze medallion is in the Vatican Museum in Rome.

The medallion is unique, not only because of its age, but for its iconography; for it shows us the typical images of Peter and Paul that we know through our Church’s sacred art. St Paul (on the left) is portrayed with bald head and full beard, and St. Peter is portrayed with a full head of hair and a full beard.

The artistry of the medallion maker in crafting this piece is superb, since we can see that Peter has high cheek bones, a steady gaze, and pleasant facial expression. St. Paul also has unique features, with a specific cast to his nose and gaze in his eyes. The Scriptures tell us that St. Paul was afflicted with a number of ailments, and it appears, that the maker of this medallion was aware of that fact. One of the key features that St. Paul projects in this medallion is the steadiness of the gaze, and what appears to be the readiness to enter into debate and preach the word of God to all that would listen to him.

This is a fine image to pray with and meditate on this week, especially owing to the fact that this Friday, June 29th, is the Solemnity of Saints Peter and Paul. The Depositio Martyrum (dated to the year AD 258) places the solemnity of these two men on that date. They are also the patrons of my Diocese – Providence, Rhode Island, U.S.A.

Saints Peter and Paul, pray for us.

When People Or Governments Get In Our Face

On June 21, 2012June 25, 2012 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.

Seeds of Faith and Art

On June 17, 2012June 17, 2012 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.

Icons, Icon Painters, and Praying With Sacred Icons: PART 3

On June 5, 2012February 14, 2017 By Deacon Paul O. IaconoIn Aidan Hart, Anna Gouriev Pokrovsky iconographer, Art, Artists, Greek Orthodox, Iconography, Marek Czarnecki iconographer, New Evangelization of the Catholic Church, Orthodox Art, Peter Pearson iconographer, Prayer, Religious Art, Roman Catholic, Russian Orthodox, Sacred Art, Sacred Artists, Sacred Iconography, Spirituality, Vladimir Grygorenko iconographer3 Comments

My favorite sacred icon of Our Lord Jesus Christ is the 6th century encaustic icon of Christ Pantocrator (Christ The Almighty One) from St. Catherine’s Monastery in the Sinai Peninsula.

This sacred image was a paradigm shift in the way early Christians viewed and portrayed Jesus Christ. This icon (shown below) is not the thin young Messiah of the Catacombs, or the Roman nobleman presentation of the first four centuries of Church art (for examples confer Pierre du Bourguet’s book on Early Christian Painting). The Sinai Christ Pantocrator is portrayed as a robust Semitic man, who knows exactly what He is about, what His mission is, and what He expects of His followers in their living out of His Gospel life.

Interestingly, recent research has shown that when the image from the Shroud of Turin is compared to the image of Christ in this icon of Christ Pantocrator there are many points of similarity between the two images; possibly implying that the painter of Christ Pantocrator had seen the facial image found on the Shroud of Turin.

Allow me to suggest that when we are painting a sacred image/icon we must prayerfully enter into conversation with the Heavenly person we are representing, we must research his or her life, and then view what the Traditional forms of their representation has been in the history of sacred iconography.

We should then explore how we could make the truth of the Lord’s or a saint’s holy witness speak – using the language of the palette – to the 21st century. We should learn from the past, and absorb and pass on the beauty that is found within Holy Tradition.

Yet, at the same time, we need to constantly examine the work of some of the fine icon painters in the world today, people like my teachers: Peter Pearson, Marek Czarnecki, Anna Gouriev Pokrovsky, and Dimitri Andreyev. I have recently been influenced by the work of Ksenia (Xenia) Mikhailovna Pokrovskaya, originally from Moscow, and now living in Massachusetts. Not to be missed is the work of Vladimir Grygorenko from Dallas, Texas. His sacred icons have a richness and luminous quality that is very beautiful and spiritual. We must also become familiar with the work of British iconographers Brother Aidan Hart, and David Clayton; the Norwegian Solrunn Nes, and the Russians: Archimandrite Zinon from the Pskov-Caves Monastery, and Philip Davydov and Olga Shalymova from St. Petersburg, Russia – all of these people, and many others, prayerfully create beautiful icons that speak to 21st century people who are willing to listen. The wonderful news is that there are many sacred artists and iconographers – known and unknown – that are prayerfully engaging the ancient traditions of Catholic and Orthodox art, and prayer from the heart, throughout the world.

As we enter into our study of sacred art and iconography we need to first start with a survey book which gives us an overview of the sacred artistic tradition of the Eastern Church. We should first examine the great little book Icons and Saints of the Eastern Orthodox Church (ISBN 0-89236-845-4; translated by Stephen Sartarelli and published by the J. Paul-Getty Museum, 2004) and use it as a starting point to observe the styles and techniques of the various regional traditions over the last 1500 years.

We don’t have to “like” all the styles of the images that icon painters, from various cultures, have portrayed down through the centuries. But, we must respect their efforts because, hopefully, they were created in the true spirit of prayer, and each of them can teach us something about technique, color, symbol and theology.

When we begin our studies with a teacher of iconography, and sit down to draw the sacred image and apply the paint and gold-leaf, we must remember that we have a sacred responsibility to the faithful who view our sacred icons and images. These images must be correct from a theological, semantic, and aesthetic point-of-view. Our call, our ministry, is to lead the viewer to prayer and communion with Christ and His Saints, not to a secular admiration for an avant-garde or cavalier attitude toward our Holy Faith, or the people who died witnessing to it.

Part Two: Icons, Icon Painters, and Praying With Sacred Icons

On May 30, 2012May 30, 2012 By Deacon Paul O. IaconoIn Art, Greek Orthodox, Iconography, Orthodox Art, Prayer, Roman Catholic, Russian Orthodox, Sacred Art, Sacred Artists, Sacred Images6 Comments

The sacred icon is a visual aid that helps the person enter into a conversation with God, an angel, or a saint. If a sacred icon is to be painted with this purpose in mind then it it is a major responsibility of the sacred artist to construct the icon so that it may serve, rather than interfere with or destroy, that purpose. Thus, it is necessary for the sacred artist to curb the desire for ornateness, since it might detract from the prayer itself by focusing the viewer’s eyes on embellishment versus Person, or saint.

Of all the physical features in an icon, in my opinion, the most important are the eyes. The eyes of the person represented in the icon – Our Lord, the angels, or the saints – are critical. They normally look out at the viewer. They are painted this way because icons, which should be painted in a spirit of deep prayer, are trying to establish or renew our relationship with the Heavenly person portrayed. So, as in typical conversation, we look at the person and they look at us. Yet, in many cases the eyes of the Blessed Mother, as the greatest of the saints, do not look at us; they are usually looking at her Son, or, are looking away from the viewer, or present us with a “distant gaze.” These particular types of steady and intense looks of the Blessed Mother may also be seen in statues – especially those of medieval France. Please note the following link to an excellent site which shows some of these gazes in statues of Mother Mary and the Christ Child:

vialucispress.wordpress.com/2012/05/04/the-thrones-of-wisdom-dennis-aubrey/ By the way, I highly recommend Dennis Aubrey and PJ McKey’s site for your subscription.

Sacred icons are the traditional form of artistic expression of the Eastern and Western Rites of the Catholic Church from approximately the 6th century on. The Western Rite moved away from purely painting sacred icons in approximately the 12th century and moved into the Gothic Period of sacred art. The Eastern Rite continued to develop its devotion to sacred icons with differences being seen within the various cultural areas of Orthodoxy – from Greece, to Serbia, Russia, Crete, etc.

As mentioned above, the use of a sacred icon is of practical spiritual value in that it is an aid in prayer. On an additional note, when we pray with a sacred icon, we are doing the same thing as when we speak to someone that we know and love. We speak to them, we may be in their physical presence, or we may be on a phone or computer connection with them, but we are with them in the sense that we are focusing on them at that moment in time – either physically facing them – or – on a phone or computer screen. So when we pray to an icon we are looking at it in the same way we would look at someone in a face-to-face conversation; for that is what prayer is: conversation with God, Our Blessed Mother, the angels, or a particular saint.

Some people have a tendency to get themselves upset over the use of the term iconographer (icon writer) versus icon painter. The word graphein in Greek means “to write,” and it also means, “to paint.” A linguist and museum curator by the name of David Coomler informs us that in the Russian language the English word “write” is pisat, and the word “paint” is pisat. So, in Greek and Russian we have a double meaning for one word that represents both “to paint” and “to write;” however, this doesn’t transfer into the English language since in English we obviously have two different words to express graphein and pisat: write and paint.

I have no problem with people saying “I am a sacred icon painter.” The reason being – it is correct English. The term iconographer, however, is used and you see it in numerous books and in conversation in non-Russian or Greek formats. When people ask me how I identify myself – as an icon painter or an icon writer – I respond that I am a simple “sacred artist”!

Yet, we have an obligation to be truthful to our Holy Faith, so, when we paint icons we need to be attentive to and follow Sacred Scripture and Sacred Tradition. In that sense, we are “writing” icons because we are scribing into visual form – using paint rather than just ink – the images from Sacred Scripture and Tradition. I may be breaking a grammatical rule in saying that; yet, I feel that it is appropriate owing to the nature of what we are trying to do in painting sacred icons.

May I suggest that as icon painters we must be conscious of the truth that the images that we copy of Our Lord, Our Blessed Mother, the angels, and the saints (saints prior to the 14th century) were and are built on our human imagination, for we do not have an actual authentic portrait of Our Lord, or Our Blessed Mother. There is consensus that St. Peter had a full head of hair and full beard, while St. Paul had a bald or balding head and full beard. I can say that because recent archaeological discoveries in Rome have continued to show those pictorial images for these two saints.

Still, that being said, we cannot be absolutely sure of this because we have no photographs, or, first century portraits of them; but, we do have a sacred tradition that portrays them that way; but this is not true for many of the saints – unfortunately, we just don’t know what they looked like. So we have to be very careful in our portrayal of saints, and remember, that basic cultural and historic research will help us in painting a quality sacred icon or image.

The above photo shows a recent interesting archaeological discovery that occurred in June 2010: The link below shows the cameraman filming paintings of some of the earliest known images of the Apostles Peter and Paul (these ceiling paintings date from between AD 350 and 400) in a catacomb located under a modern office building in Rome. The images were uncovered using lasers and were under thick deposits of calcium carbonate. ((AP Photo/Pier Paolo Cito)) Click on this link below to see more photos:

http://www.foxnews.com/scitech/2010/06/22/ancient-icons-apostles-peter-paul-rome/#ixzz1voqaPpKJ Thanks to this site for the information.

A New Class of Iconographers Begin Their Studies: The Work of The Holy Spirit

On May 24, 2012May 24, 2012 By Deacon Paul O. IaconoIn Art, Artists, Christianity, Greek Orthodox, Iconography, Roman Catholic, Uncategorized2 Comments

On Wednesday evening, May 23rd, ten members of the Fra Angelico Institute for the Sacred Arts here in the Roman Catholic Diocese of Providence, Rhode Island USA were commissioned and blessed to begin their study, here at the Institute, and work to become competent painters of sacred icons.

As we approach the Solemnity of Pentecost we can certainly see the movement of the Holy Spirit in this work. We are reminded of a commentary by St. Cyril of Alexandria, the bishop and patriarch of Alexandria, Egypt during the years of 412 to his death in 444. He was a man of great learning, holiness, and courage who defended the divinity of Christ and the specific role of Our Blessed Mother – the Holy Theotokos – in the plan of salvation.

In one of his commentaries he summarizes what we see in the early history of our Church, and continue to experience in our own time. He says: “After Christ had completed His mission on earth, it still remained necessary for us to become sharers in the divine nature of the Word. We had to give up our own life and be so transformed that we would begin to live an entirely new kind of life that would be pleasing to God. This, was something we could do only by sharing in the Holy Spirit.” [bold, mine, DPI]

He continues: “It was most fitting that the sending of the Spirit and His descent upon us should take place after the departure of Christ our Savior. As long as Christ was with them in the flesh, it must have seemed to believers that they possessed every blessing in Him, and to dwell in our hearts through faith. Only by His own presence within us in this way could He give us confidence to cry out, Abba, Father, make it easy for us to grow in holiness and, through our possession of the all-powerful Spirit, fortify us invincibly against the wiles of the devil and the assaults of men. It can easily be shown from examples both in the Old Testament and the New that the Spirit changes those in whom He comes to dwell; He so transforms them that they begin to live a completely new kind of life.”

I briefly mentioned this in passing on Wednesday night to the class of sacred artists. The statement being that the work of the sacred artist is the work of the Holy Spirit. The Spirit is involved in their training, work, and prayer and He is involved in transforming their lives as well. Why? Because they opened their hearts, and accepted the challenge that was spoken to them in the recesses of their soul.

All sacred artists are intimately involved in Pentecost. They are involved in having their lives changed through the love of the Holy Spirit who comes to dwell in their hearts so their art may give glory to God.

St. Cyril of Alexandria says to us that “….the strength that they [the Apostles at Pentecost] received from the Spirit enabled them to hold firmly to the love of Christ, facing the violence of their persecutors unafraid. Very true, then, was our Savior’s saying that it was to their advantage for Him to return to Heaven: His return was the time appointed for the descent of the Holy Spirit.”

Christian sacred artists throughout the world have been graced by the Lord to create prayer focused art works that have, as their very purpose, to promote prayer and to give glory to God. In this weekend of Pentecost, let us open our hearts, enter into this effort, and together say, “Come Holy Spirit, fill the hearts of your faithful and kindle in them the fire of Your love. Send forth Your Spirit and they shall be created. And You shall renew the face of the earth.”

Sacred Beauty has saved the world.

Icons, Icon Painters, and Praying With Sacred Icons: Part One

On May 22, 2012June 26, 2012 By Deacon Paul O. IaconoIn Art, Artists, Catholic Art, Christianity, Greek Orthodox, Iconography, Orthodox Art, Prayer, Religious Art, Roman Catholic, Russian Orthodox, Sacred Art, Sacred Artists, Sacred Images, Uncategorized11 Comments

A few issues have come up in discussing some basic terms with people. I would like to be clear on how I have come to understand these words because it may affect how we view our “ministry” to be painters of sacred icons and or sacred images.

From my understanding, the word icon in English, Greek, and Latin, is the word for image. In our usage as sacred artists, it refers to a sacred image of Our Lord, Our Blessed Mother, angels, or specific saints. The purpose of a sacred icon is that, as a piece of sacred art, it focuses an individual in prayer. A sacred icon is a specific type of sacred art. It is created following certain traditions – tradition with a small “t” and a large “T.”

Many sacred icons are presented with a simplicity of style, the use of color, the types of colors used, the use of symbols, etc. A sacred icon is different from a sacred image, in that the sole purpose of the sacred icon is that it is to be used as a focal point for personal or communal prayer.

A sacred image, however, may have been commissioned by a patron for personal prayer, but it may also have been commissioned for the pure enjoyment of its beauty. In the case of Renaissance sacred art, the Roman Catholic Church became the patron of many pieces of sacred art in order to affect the communal prayer of the faithful who came to the small churches and the great basilicas for Holy Mass.

With a sacred image (such as a religious image painted by Michelangelo or Leonardo) you have the artist’s personal imagination heavily influencing and entering into the creation of the beauty of the image, possibly even manipulating and combining Scriptural passages for the purpose of the story the artist would like to tell. Yet, even though I have just made that statement, the truth of the matter is that it is not always so clear cut. We do have icons, such as the famous Nativity icon of the birth of Christ, in which you have numerous Scriptural passages – conveying different events – being used to convey a catechetical sequence surrounding the birth of Our Lord – and all of this is done on the same icon panel!

In a sacred icon, the imagination of the artist is present, yet, it is supposed to be subordinate to his/her faith’s perception of Sacred Scripture and Sacred Tradition (how the early Church viewed their beliefs and expressed them within their specific cultural tradition). So, if a sacred artist is painting a sacred icon, he or she is aware of the theological, aesthetic, and semantic rules that have been developed and followed through the centuries. These rules – “the Canon of Iconography” – are affected by cultural area and religious Sacred Tradition.

For example, a Coptic sacred icon (see image below), by a painter of the Egyptian Coptic Church will express the image of Christ and a saint (in the icon below an abbot of the Coptic Christian Church) somewhat differently than a Greek or Russian Orthodox painter; and yet, there is nothing wrong with this, as long as the painter is not fomenting apostasy or heresy.

All of that being said, sacred images, for example, by Renaissance painters, can certainly be used to focus an individual in their personal prayer, as do the beautiful stained glass windows of the great Gothic cathedrals. Care must be taken, however, in selecting appropriate images for use in personal prayer. It is my perception that the type of image a soul uses in personal prayer – sacred icons (from the Eastern Rite) or sacred images (from the Western Rite) – is a matter of personal preference and certainly does not indicate that one type is better or “more truthful” than another. Eastern and Western sacred artists are both working off of their own perceptions and spirituality; there are disagreements with this, but we must always remain charitable with each other.

Within the last twenty years there have been many Western sacred artists that have rediscovered the beauty of painting sacred icons, and are trying to be sensitive to the Eastern Rites’ traditions, as they bring it back into the consciousness of the Roman Catholic Church. The Eastern Orthodox Churches, thankfully, never lost appreciation for their tradition.

I will post Parts Two and Three on this same theme in the upcoming days. Be sure to look for them on-line or in the archives. Thanks.

The image of Christ and the Abbot – a panel depicting a monk with Christ. It was excavated in the early 20th century from a monastery in Egypt and is located in the Bawit room at the Louvre. Thanks to: Photo by Clio 20, CC attribution share-alike 3.0. I believe the icon dates to about the 7th century.

St. Matthias and the Renewal of Easter Hope – The Lord Loves His Friends

On May 14, 2012May 15, 2012 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.

Stones that Sing – The Photography of Dennis Aubrey and PJ McKey

On May 10, 2012May 11, 2012 By Deacon Paul O. IaconoIn Art, Artists, Beauty, France, Photography, Roman Catholic, Sacred Artists, Sacred Photography, Uncategorized4 Comments

A few months ago I discovered the exquisite photography of Dennis Aubrey and PJ McKey. They have a blog here on WordPress called Via Lucis.

Their post of May 10th discusses and shows the beauty of a Romanesque church (Our Lady of the Assumption) located in the Burgundy region of France. Dennis entitles the church as “The Great Survivor.” When you read the fascinating history of this church (a priory church was first built on this site in the 9th century) you see that it is, indeed, a great survivor. For it has survived the onslaughts of man’s barbarity in the name of religion, or in the case of the secularists of the French Revolution, desecration in the name of “The Citizen.”

Like a magnificent athlete who has taken a punishing series of blows, blocks, and beatings this church still stands tall. Quietly proclaiming to the world that no matter what it does, short of hauling her down in a pile of rubble, it will remain standing giving witness to the glory of God and the faith of the men and women who with their sweat, toil, and treasure built it in the name of love and honor of God.

Even if future generations haul it down and reduce it to a pile of rubble, those stones will continue to sing, will continue to give glory to God – as they should – for the love that went into building the church remains – embracing the stones – caressing the stones like ancient mortar.

Please visit Dennis and PJ’s beautiful site (it contains their magnificent sacred photography). You will be inspired by the artistry of their photography. The link is here: vialucispress.wordpress.com/2012/05/10/anzy-le-duc-the-great-survivor-dennis-aubrey/

Thanks to Dennis Aubrey for allowing me to paste the photo: Église Notre-Dame de l’Assomption, Anzy-le-Duc (Saône-et-Loire) Photo by Dennis Aubrey. Photo Copyright © Dennis Aubrey. All Rights Reserved.

ORO et CREO: PART THREE – A Personal Reflection

On May 8, 2012May 8, 2012 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.

ORO et CREO: I Pray – I Create – Part Two – A Wonderful Idea For Your Church

On May 5, 2012 By Deacon Paul O. IaconoIn Art, Artists, Christianity, New Evangelization, Orthodox Art, Prayer, Roman Catholic, Sacred Art, UncategorizedLeave a comment

This is the second part of a three part series with Jamie Medeiros, an artist whose parish is in Tiverton, Rhode Island, and Deacon Tom Lambert, a Permanent Deacon within the Diocese of Chicago, and whose parish is Our Lady of Mt. Carmel in Chicago, Illinois.

Please be sure to read Part One of this two part interview in order to obtain a complete understanding of what the Lambert/Medeiros model of prayer and the creation of art is trying to accomplish. It is a model easily applicable to any Christian parish, within any Christian denomination, in the world.

The Interview: continued…

5) Is there any specific format that you use – such as – do you gather after Sunday Mass, do you say specific prayers together, or do you say prayers in individual meditation? Are all the participants Catholic?

Jamie: We begin in the church with some music (to help us transition from our busy days to awareness of God’s presence) and a brief reflection or guided meditation (usually a quote from Scripture or contemplative reading, followed by questions to think about). We then begin our hour of prayerful creation. We each go to an area of the church we are drawn to and create for an hour. As we create, we let the images, questions, and movements guide us in our conversation with God. Sometimes getting in the creating “zone” helps us rest in His presence. After one hour of prayerful creation, we meet in the front of the church and discuss our prayers (if we feel comfortable doing so). Everyone places their artwork out for others to see and each of us explains what was going on, what we were thinking about, how it lead us to our results, etc. There is a closing prayer.

Not all participants are Catholic, but all are Christian.

Deacon Tom: [He answered the format question in the previous post]. It is a parish ministry offered for members of our parish. We do occasionally get non-parishioners.

6) Does the “create” side of the session happen simultaneously with your prayer, or have you divided it – such as 10 minutes for prayer, 50 minutes for “create” after the communal or individual prayer session? Or do the participants desire for it to happen spontaneously? What types of art are being produced: sketches, paintings, literary, etc. Have you ever had any formal or informal showings of the art that has been produced? Would your parish be open to displaying the art produced?

Jamie: For Oro et Creo, the prayer IS the creation (the Benedictines use the motto Ora et Labora – Pray and Work, we use Oro et Creo – I Pray – I Create, because creating can be prayer). Our format is basically– an opening prayer, one hour of prayerful creation, and a closing prayer. The opening prayer varies in length depending on what reflection I find for the week (usually having to do with current liturgical season, daily readings, or creation [the creative process]).

The type of art that is being produced are drawings, paintings, poetry, photography, and mixes of all of these. We have not had any exhibition of works yet. We have talked about it. I’m sure our parish would be open to it.

We definitely want to make sure that the practice remains prayerful and that participants are not pressured toward “perfection” of a work because others will see it, but it remains a space for a deep listening and responding to God’s voice.

Deacon Tom: [See previous post, question # 3]. We haven’t had any formal showings of the participants artwork. We have talked about the possibility of displaying the art but most are content to do this as a form of personal prayer

7) Do you have any guidelines that would be important for other parishes within the Diocese or other Dioceses around the world to be conscious of so that it would develop with the minimum number of personal or organizational potholes?

Deacon Tom: We are open to movement of the Spirit and the priority of art as a prayer experience. Silence [during the creative moments] is an important aspect [of what we are doing].

Jamie: I second what Deacon Tom said, “We are open to movement of the Spirit and the priority of art as a prayer experience.” Silence is an important aspect [of the creative moment].

8) Would you mind having people contact you – through your blog or email – about the process?

Jamie: Not at all. They can email me at: medeirosjamie@gmail.com, at my website: www.iliveinhope.com, or blog: jamiedmedeiros.wordpress.com

Deacon Tom: People can contact me at olmcinfo2@aol.com or Deacon Tom Lambert Our Lady of Mt Carmel Parish 708 W Belmont, Chicago, IL 60657 773-525-0453 x 21.

In the third and last post of this series I will offer a personal reflection on what they have accomplished.

ORO et CREO: “I Pray – I Create” – Part One

On May 2, 2012May 5, 2012 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!

Shaped By The Potter’s Hands

On April 24, 2012April 24, 2012 By Deacon Paul O. IaconoIn Art, Catholic Art, Christianity, Gospel Reflections, Jesus Christ, Roman Catholic, Sacred Artists, Spirituality, UncategorizedLeave a comment

All of us struggle with the reality that the experiences of our life may harden our hearts and deafen our ears to God’s truth. We may be similar to the disciples in this past Sunday’s Gospel (Luke 24: 35-48), who were filled with anxiety – until – – the moment “He opened their minds to understand the Scriptures.”

Jesus shows them the nail wounds in His hands and feet. He explains to them that the Scriptures teach that we cannot have glory and honor without the willingness to suffer and die to our own sinful will and perceptions.

He teaches them that they need to see the connection between His passion and death with His resurrection. He explains this so that they can understand what He is truly about, and that their mission, “as witnesses to these things” is to go out and preach the truth of His words and resurrection. Jesus explains, if they cooperate with and are open to His teaching, then they will realize that life’s events will shape them into what they are truly meant to be and the Father’s plan will end in glory for them, too.

We can relate the shaping and opening of the disciples’ minds to the creation of a beautiful piece of pottery or a favorite coffee mug or tea cup that we may own. That cup started out as a simple lump of clay. Its creator – the artist – put it on a potter’s wheel, moistened his or her hands, and began to firmly and patiently mold the lump of clay into a cup.

The cup had to be put into a kiln and heated – then taken out, allowed to cool – painted – put back into the kiln again – and then, at the right moment – taken out of the heat and allowed to cool – to eventually be used for the purpose it was created.

The cup – a few days or weeks before – was just a soggy lump of clay – all closed in on itself; but now, after all the pounding, shaping, heat, and stress of its experience – it is open to serve the purpose intended for it by its creator – its ceramic arms now open to embrace and hold what it was intended to receive – and thus, be a useful instrument – a good and faithful servant.

This analogy helps to explain a thread running through the fabric of Holy Scripture, a thread, Jesus probably repeated to His disciples which is from the prophet Jeremiah, it says “As clay in the potter’s hand, so are you in My hand…” (Jer.18.6);

Our creator, God the Father – has spoken to us through His Son and laid His potter’s hands on us – His chosen vessels. We are all lumps of clay. We have all been pounded and shaped on the wheel of life.

We are a people who have been put into the furnace of life’s circumstances, suffered through sickness or various types of torments and troubles, and who sometimes find ourselves hanging on by a mere thread, but with Jesus’ help – in the end – even though we have suffered much – we are made stronger in our faith – and are viewed as beautiful in the eyes of God because we have not given up. The clay of our life has been moistened by God’s Holy Scriptures and Sacraments – and because we have patiently kept the faith – we have not cracked in the heat of the kiln of life.

Like the disciples in today’s Gospel let us be willing during this Easter season, to have our hearts and minds opened, shaped, and molded through the patient and loving hands of Our Lord in His Words and Sacraments. If we allow Him to do this, even though we have experienced the wheel of life and the kiln of adversity, we will emerge as beautiful and faithful servants of our Lord.

Special thanks to http://blog.lablanchepoterie.com/ for providing the image of the potter cutting the cup away from its base.

Our Living Hope: The Tomb Cannot Hold Us

On April 9, 2012April 9, 2012 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!

Holy Saturday Meditation: Something Strange Is Happening

On April 7, 2012April 7, 2012 By Deacon Paul O. IaconoIn Art, Catholic Art, Christian Spirituality, Christianity, Jesus Christ, Meditation, Prayer, Religious Art, Roman Catholic, Sacred Art, Sacred Images, UncategorizedLeave a comment

“Something strange is happening – there is a great silence on the earth today, a great silence and stillness. The whole earth keeps silence because the King is asleep. The earth trembled and is still because God has fallen asleep in the flesh and he has raised up all who have slept ever since the world began. God has died in the flesh and hell trembles with fear.

He has gone to search for our first parent, as for a lost sheep. Greatly desiring to visit those who live in darkness and in the shadow of death, he has gone to free from sorrow the captives Adam and Eve, he who is both God and the son of Eve.

The Lord approached them bearing the cross, the weapon that had won Him the victory. At the sight of Him Adam, the first man He had created, struck his breast in terror and cried out to everyone: “My Lord be with you all.” Christ answered him: “And with your spirit.” He took him by the hand and raised him up, saying: “Awake, O sleeper, and rise from the dead, and Christ will give you light.”

I am your God, who for your sake have become your son. Out of love for you and for your descendants I now by my own authority command all who are held in bondage to come forth, all who are in darkness to be enlightened, all who are sleeping to arise. I order you, O sleeper to awake. I did not create you to be held a prisoner in hell. Rise from the dead, for I am the life of the dead. Rise up, work of my hands, you who were created in my image. Rise, let us leave this place, for you are in me and I am in you; together we form only one person and we cannot be separated.

…For the sake of you, who left a garden, I was betrayed to the Jews in a garden, and I was crucified in a garden.

See on my face the spittle I received in order to restore to you the life I once breathed into you. See there the marks of the blows I received in order to refashion your warped nature in my image. On my back see the marks of the scourging I endured to remove the burden of sin that weighs upon your back. See my hands, nailed firmly to a tree, for you who once wickedly stretched out your hand to a tree.

…a sword pierced my side for you who slept in paradise and brought forth Eve from your side. My side has healed the pain in yours. My sleep will rouse you from your sleep in hell. The sword that pierced me has sheathed the sword that was turned against you.

Rise, let us leave this place. The enemy led you out of the earthly paradise. I will not restore you to that paradise, but I will enthrone you in heaven… the kingdom of heaven has been prepared for you from all eternity.”

The above quotation is from an ancient homily of the Catholic Church from its earliest centuries and is found within the Divine Office of the Roman Catholic Church. It is taken from the Office of Readings for Holy Saturday.

The first image of “The Harrowing of Hell” was painted by the Florentine painter Fra Angelico between the years 1437-46. The second image on this same subject was completed around the year 1315 by an artist of the Orthodox Church who painted this wall icon in fresco. It is presently found in the Chora Church in Istanbul, Turkey. The third image of the “Harrowing of Hell” is by the head of the Moscow school of icon painters from the late 15th century – the master Dionysius. This Russian Orthodox icon was completed around 1481.

Good Friday Meditations

On April 6, 2012April 6, 2012 By Deacon Paul O. IaconoIn Art, Catholic Art, Catholic Spirituality, Christian Spirituality, Christianity, Good Friday, New Evangelization of the Catholic Church, Prayer, Roman Catholic, Spirituality, UncategorizedLeave a comment

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.

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.

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.”

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.

What Does The Silence Of Christ Say To Us?

On April 2, 2012April 2, 2012 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

The Artist As Contemplative – Part 4 – A Meditation on the Scourging of Christ

On March 20, 2012March 21, 2012 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.

The Feast of St. Joseph – Universal Patron of the Church

On March 18, 2012March 18, 2012 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 11^th, 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.

The Artist As Contemplative – Part 3 – Prayer Tips

On March 13, 2012March 13, 2012 By Deacon Paul O. IaconoIn Art, Artists, Catholic Spirituality, Catholicism, Christian Spirituality, Prayer, Roman Catholic, Spirituality, Uncategorized2 Comments

Today, we are asking our good friend, St. Teresa of Avila to help us in the process of thinking clearly about prayer. She is a worthy mentor – for she cuts to the heart of the matter in a practical and meaningful way.

In her Book of Foundations, she makes many important observations that will help us become more focused on what we are doing in prayer. This focus will in turn help us with our artistic creativity.

A few examples of her perceptive thoughts:

“The first thing I wish to discuss, as far as my limited understanding will allow, is the nature of the essence of perfect prayer. I have come across people who believe that the whole thing consists in thought, [but] if they become distracted and their efforts to think of good things fail, they at once become greatly discouraged and suppose themselves to be lost. It must be recognized that not everyone has by nature an imagination capable of meditating, whereas all souls are capable of love.”

It is my belief, however, that as creative people, artists are very capable of meditation because it involves the imagination. It is crucial, however, that they learn the proper process, and especially for them to remember, if they are a Catholic Christian, that St. Teresa of Avila happily gives sound advice and clear direction to conversation with Christ.

St. Teresa continues, “I am anxious to explain that the soul is not thought, nor will it be controlled by thought – it would be great misfortune if it were. The soul’s profit, then, consists not in thinking much, but in loving much.”

“Do not imagine that I want you to make long meditations on our divine Savior or much reasoning or profound and subtle conceptions. If you cannot do more, [just] keep your eyes fixed for some moments on your adorable Savior [really present in your church’s tabernacle, or, who as Love personified, was nailed to a cross for our Redemption].”

“[Rather than] spending time in prayer profoundly investigating some subject on which they are meditating [you should] place yourself in the presence of Our Lord and converse with Him, heart to heart, without fatiguing the understanding, and tasting the happiness of being in His company.”

The Lord doesn’t need many words from us – less, truly is, more; but He does thirst for our creative and heartfelt love.

As creative people, we necessarily have many things on our “to do” lists. You don’t need me to tell you that 21st century life is exhausting. With that in mind, St. Teresa’s advice is all the more relevant. For we should avoid at all costs making our prayer life another intellectual challenge – another task – that saps the little energy we have left!

She counsels us to meditate using some simple techniques of, at first, opening our mind and heart to the stillness – the quiet – that two friends experience in which they can be in each other’s company and not have to constantly be talking. The subconscious – or conscious – stress of having to keep up the conversation is gone. It is like a husband and a wife, who after many years of marriage, can be in each other’s company, enjoying moments that could stretch on for some time, and yet, not needing to say more than some words of awareness, support, agreement, or recognition.

My next post will provide a meditation by St. Teresa on Our Lord’s Passion.

The Artist As Contemplative: Part 2: A Simple Step Into Prayer By St. Teresa of Avila

On March 6, 2012March 6, 2012 By Deacon Paul O. IaconoIn Art, Artists, Catholic Spirituality, Christianity, New Evangelization of the Catholic Church, Prayer, Roman Catholic, St. Teresa of Avila, Uncategorized1 Comment

In our last post, The Artist as Contemplative – Part 1: The Proper Approach, we discussed the need to have the proper approach to prayer. One of the assumptions that I have is that if you are reading these posts you are a creative person. You may be an actual working artist, or, you may be attracted to art in one of the various forms it takes and are considering taking the first step in its exploration. Even if you are just beginning to explore a specific art form it is important for you to consider yourself an artist. This is not a fraudulent act. It is the perception of yourself as you truly are as a creation of God – a naturally creative person.

The Lord has made all of us creative beings, and regardless of our job or profession we should make time in our life to develop this creativity and allow it to be expressed. If we have no time for prayer and personal creative growth then we may be in a situation that is truly unhealthy for us. Our Sacred Scriptures tell us that our God is a jealous God – He specifically said that He wants “no other gods before Him” – that is a very sobering thought. So, quiet, prayer time – even if it is only thirty minutes a day – is critical to our spiritual, physical, and creative health.

If we make time for prayer, God’s grace and energy will cascade over into our creative life. This is very important to artists, regardless of what media or medium we work in, since it demands that we focus our attention on one thing: talking to God in a natural way – talking to Him as we would talk to a close and intimate friend.

This is difficult for many people. Childhood ignorance or anxieties may still be with us. There may have been bad influences from teachers, members of the clergy and religious life, and others (including, at times, parents) who took a limited view of prayer and taught a specific prayer style to the detriment of other approaches.

By remaining positive we see that a key idea in the prayer process is to remember that when we have a conversation with someone our intellect is remembering ideas and images. We are using those ideas and images in our actual conversation. This allows the conversation to proceed from one point to another and allows ideas or issues to be shared. This is also true in conversation – that is, our prayer – with God. Our intellect, memory, and silent conversation skills within our mind cooperate together to naturally express ourselves to God. Just like the story, in my preceding post, of the little girl receiving her first Holy Communion. She expressed her prayer to God in a natural manner, which made sense and allowed her to share the concerns or ideas with the Lord that were on her mind at that time. Her prayer was a perfect natural prayer.

In examining the teachings and prayer process of St. Teresa of Avila (1515-1585), the Spanish Carmelite, Father Peter Thomas Rohrbach, O.C.D. breaks her basic prayer technique into a simple step formula. He says the goal of prayerful meditation is conversation with Jesus. You achieve this by engaging your visual memory with a specific spiritual passage. This con-versation with Jesus about the passage moves to consideration of events within your own life. This process is actual conversation with Jesus in which He, like a good friend, is quietly listening to you.

St. Teresa of Avila (seen above in the portrayal by Gérard) is not promoting a prayer life which is filled with complexities, intellectual knots, and unnatural irritations, rather, she is presenting a style which reminds us of a wise old person who has no need of thinking about numerous paragraphs of words to say to God in prayer. The wise one enters their prayer time thinking about God, and specifically His Son, Jesus – the true icon (image) of God. They then allow their love of Him to take over – and fill the blessed silence of that present moment – not with many words – but with much love. You see this is the goal: to move from quiet conversation to quiet meditation – in love – of God’s truth, goodness, and beauty.

In my next post I will provide you with a meditation taught by St. Teresa of Avila. With this Lenten meditation you should easily exercise your spiritual muscles. Also, it will help you take some time to reflect on St. Teresa of Avila’s approach and application to other moments in Jesus’ life and yours, too.

The Artist As Contemplative – Part 1: The Proper Approach

On February 28, 2012May 8, 2012 By Deacon Paul O. IaconoIn Art, Artists, Beauty, Catholic Spirituality, Christian Spirituality, Christianity, New Evangelization, New Evangelization of the Catholic Church, Roman Catholic, Sacred Art, Spirituality, Uncategorized4 Comments

All artists, by their very nature, contemplate. They are natural born contemplatives.

In its dictionary definitions we see that the word contemplate means: 1) “to intently look at something, 2) to study carefully, and 3) to have in mind the possibility or a plan of action.”

A person whose artistic skills are expressed through photography or the enhancement of physical beauty through fashion or cosmetics can certainly contemplate the meaning of beauty and maintain its traditions or break out and establish new ones. The same is true of a sculptor, painter, musician, needlework artist, poet, writer or any person working within other artistic mediums. For they, too, can “look intently at, study carefully, or have in mind the possibility of a plan” to create beauty or a new interpretation of it. As you see, at first glance there is no overt mention of religious or spiritual themes in these definitions.

Now let’s go a step further and ask a few questions: 1) Can the Christian artist (who has a natural contemplative spirit by virtue of being an artist), establish the artistic process as a vehicle for authentic prayer and union with God? 2) For example, did our friends Vincent Van Gogh or St. Andrei Rublev experience authentic prayer moments in their creative process? 3) When we look intently at Starry Night or Christ the Redeemer – the Savior of Zvenigorod (seen below) do we feel comfortable using them in our conversation with God, and if not, why not?

Okay, as the old saying goes, “What does this have to do with the price of eggs?”

Young or old, there are times in our lives when we put up barriers in our minds to pursuing some study or some plan of action. This is especially true when it comes to the whole idea of prayer, and specifically, meditation and contemplation. People have a tendency to say, “Oh, that’s for holy people. I’m a sinner. I could never do it nor do I have the skills to do it. Bottom line, no one has ever taught me how to pray other than saying rote memory prayers.”

Good point. That perception is held by many people, especially Christians that have fallen away from the church of their ancestors. But is that belief just another mind barrier?

It is an established fact of being a Christian that we can be in touch with God, specifically His Divine Son, Jesus. We do believe, if we are Christians, that we all have the ability to enter into deep spiritual union and friendship with God by virtue of our Baptism. Baptism was the first very important step, and then, after that, the friendship of Christ is developed through our weekly worship and daily prayer life, our Scripture study and our Sacramental life. It takes effort, yes; but as Christians we understand that we enter into that relationship with Christ by walking with Him through His ministry and onto the path to Calvary.

The reader might say, however, “I am not a Christian. What does this have to do with me?” Even if the artist is not Christian they have the ability to enter into deep spiritual union with God through their own faith traditions. All the major religions of the world speak of and promote prayer; and all artists, even if they are not Christian, can enter into spiritual union with the Divine through the creative process.

But there is a little known maxim in Catholic Christian prayer practice: if you can think and if you can read (at the second grade level) you are capable of meditation; let me repeat, you are capable of experiencing authentic, prayer filled, and profound contemplation of God.

A quick example of this is the story that Father Peter-Thomas Rohrbach, in his important and delightful book Conversation With Christ that I discovered forty-five years ago. He tells of a young Catholic girl’s experience on receiving her first Holy Communion. He says, “The story is related of a small girl who, after the reception of her first Holy Communion, was questioned tenderly by her parents as to what she had done when she arrived back at her pew and prayerfully bowed her head. The girl hesitated momentarily, and then said in her thin, small voice: “‘I prayed to Our Lord for Mommy and Daddy, and for my sister Helen, and my brother George; and then I recited the alphabet to Our Lord and told Him a ghost story.'”

Father Rohrbach continues, “We, of course smile indulgently at the naivete and innocence of the small child; but after reflecting on the story, we might suddenly wake to the realization that the girl possessed the proper approach to prayer – she was actually talking to Our Lord. What she said to Christ was relatively unimportant, what she did was decidedly important: she entered into immediate contact with her Friend, Christ. If we could learn to converse with Christ as she did, we would be making successful prayer; if we could adopt her attitude for the conversation period of our meditation, our problems in this regard would be at an end.”

So, this is what we hope to accomplish in this blog’s series on The Artist As Contemplative – to learn and develop the proper approach to prayer. My posts over the next month or two will deal with different approaches to prayer that an artist might use to assist in their artistic creativity and in their prayer life; and ultimately, to explore and apply the idea that contemplative prayer is unspoken prayer of the highest order; for it is in contemplative prayer that a person is united to God and ponders His truth, goodness, and beauty.

My next post will discuss the eight simple steps of prayer that has been promoted by the spiritual studies and athleticism of the nuns, brothers, and priests of the Roman Catholic Order of Carmel – Discalced Carmelites – over the last four hundred and fifty years. It is my perception that these simple steps are essential in mastering the procedure of spiritual contemplation and meaningful prayer with Our Lord. Subsequent posts will demonstrate other approaches to Christian prayer, some new, some very creative, and others ancient tried and true techniques that the Church – both Eastern and Western Rites – have expressed over the last two thousand years of its history.

Whose Star Do We Follow?

On January 8, 2012January 23, 2012 By Deacon Paul O. IaconoIn Art, Artists, Beauty, Catholic Art, Catholicism, Jesus Christ, Roman Catholic, Sacred Art, Sacred Artists1 Comment

St. Thomas, in his Summa Theologiae, has a wonderful meditation on today’s Solemnity of the Epiphany. He says that “Salvation was to be through Christ and apply to all sorts and conditions of men because in Christ Jesus there cannot be Greek or Jew, slave and free man. In order that this should be foreshadowed in Christ’s birth, he was made known to men and women of all conditions, because as St. Augustine says, the shepherds were Israelites, the Magi were Gentiles, the first were near, the latter from afar: both hastened to Christ the cornerstone…. The Magi were wise and powerful, the shepherds, simple and lowly. He was also manifested to the just, Simon and Anna, and to sinners, namely the Magi. And also both to men and to women… so as to show that no human condition was barred from His salvation.”

Dominican Father Andrew Carl Wisdom, OP adds to these observations the following prayer: “Newborn King, you show no partiality in your love for us. Young or old, rich or poor, educated or uneducated, you could not love us any more in the next moment than you do in this moment. But my witness wavers at times, Lord. I lose track of the real Star, caught up in becoming one myself. Help me to once again kneel before you like a little child and open up my treasuries of time and talent on behalf of the work which I was sent.”

As you know, this blog is dedicated to evangelizing the truth, goodness, and beauty of God through the study and creation of sacred art in His honor. As artists the meaning of the Epiphany is very important solemnity to us. Why? Because it reminds us and redirects our creative efforts away from following the supposed light and friendship of the secular world, the television, the political party, or the glow of the computer screen, to the true Light – the Light emanating from the face of Christ.

Yes, we have to exist within our particular culture. We have to make a living and provide for ourselves and our loved ones. Yet, as Christians, Jesus Christ’s manifestation to the Magi asks us to remember that we must live in the world but not have our souls be overcome or compromised by it. The shepherds and Magi were changed by the Light of Christ’s face – may His Light and Presence change us, too.

Image of Jesus Christ by Blessed Fra Angelico (1387 – 1455).

Christ Child by Fra Angelico

On December 23, 2011October 2, 2020 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.

Sacred Artists Must Be Empty Vessels

On September 26, 2011September 26, 2011 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 2^nd 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.

The Triumph of the Cross and Our Lady of Sorrows by Jed Gibbons

On September 14, 2011September 14, 2011 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.

The Birth of Mary – The Pure Disciple Who Shows Us the Way

On September 8, 2011September 8, 2011 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.

Sacred Iconography and Personal Creativity – Do Not be Afraid!

On September 2, 2011September 19, 2011 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 16^th 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.

The Eternal Now and the Coronation of the Blessed Virgin Mary

On August 22, 2011August 22, 2011 By Deacon Paul O. IaconoIn Catholic Art, Fra Angelico's Paintings, Gospel Reflections, Iconography, Mary, Orthodox Art, Sacred Iconography, Sacred Images, The Blessed Virgin Mary, The Coronation of Mary, The Queenship of Mary, Uncategorized4 Comments

Today is the memorial of the Coronation of our Blessed Mother. Sacred icons and images have expressed the Queenship and Coronation of the Holy Theotokos – the Mother of God – for at least 1500 years. The icon The Virgin Salus Populi Romani, a 5th century icon, displayed in the Church of Saint Mary Major in Rome, and seen below, shows the Blessed Mother dressed in typical first century Middle Eastern garb as she holds her Son who gives a blessing. This icon reputed to

be a copy of one that was painted by St. Luke the evangelist who tradition states knew the Blessed Mother and spoke and listened to her .

A 6th century icon of the Blessed Mother and Child displays a coronation theme – in which the Blessed Mother and her Son are in Heaven. Mary sits on her throne with Her Son on her lap, surrounded by St. Theodore on the left and St. George on the right, while two angels look up as the hand of the Father gives a blessing. This icon is found in the Monastery of St. Catherine in the Sinai Peninsula.

Our iconic images painted (“written”) by orthodox iconographers of both the Latin, Greek, Russian, Coptic, and other Rites agree with the ideas found within our Holy Scriptures. For example, today’s Gospel passage tells us “… the Lord God will give to Him the throne of His father David; and He will reign over the house of Jacob forever, and of His kingdom there will be no end.” This Scripture explains that the Lord willingly takes the initiative to come forth – with hands extended – to meet us and share the reign of His kingdom.

In sacred art we visualize this not only in the extension of Christ’s hands on the cross – but also, in the extension of the infant Jesus’ hands, to give us a blessing, as He sits in His mother’s lap – or is caressed in her arms – an image that is found not only in the above icons but in numerous statues found in Latin Rite churches throughout the world.

Our first reading – from Isaiah – also speaks of Christ in regal terms – as Emmanuel (God is with us) – the “Prince of Peace.” And we can even get apocalyptic and speak of the Books of Daniel and Revelation which recall the truth that the world will be transformed through the birth of the Redeemer, made possible by Mary, (“a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars… who gave birth to a son – a boy destined to shepherd all the nations with an iron rod. Her child was caught up to God and His throne”). – This woman, our Blessed Mother, enables the incorporation of the reign of God into the world. She is the woman destined to crush the head of the apocalyptic serpent.

St. John of Damascus speaks about this in the 8^th century when he says of the Blessed Mother that she “has become the terror of demons, the city of refuge for those who turn to her. [He has her say:] Come to me in faith, O people, and draw as from a river of grace. Come to me in faith, without doubt, and draw from the mighty and certain source of grace.”

On the solemnity of the Assumption – we recalled Blessed John Paul 2^nd saying “…the Assumption of the Mother of Christ in Heaven forms part of the [Lord’s teaching about] His victory over death – the beginning of which is found in the death and resurrection of Christ.”

So in today’s memorial – Mary, the humble daughter of our Heavenly Father, garbed in the majestic robes of a queen takes her place next to the throne of her resurrected and ascended Son.

Why?

Because the Church desires to teach us that Mary is privileged – beyond all other women and men – to be the first and most significant human being to participate in the glory, triumph, and reign of God. By her very willingness to become the Mother of God – the Theotokos – she agreed to become our spiritual Mother, too.

In this beautiful sacred image by Blessed John of Fiesole, also known as Fra Angelico, the great Dominican artist of 15th century Florence, portrays the moment of Our Lady’s Coronation – with the Heavenly court surrounding her. Interestingly, you see men and women saints that were alive thousands of years after Mary’s assumption observing the event. Why did the good Friar do that? He is expressing the fact that Heaven is within the eternal now of the Trinity – the knowledge of that coronation moment is known by St. Thomas Aquinas – who looks out at the observer (in the lower left corner) – and notes the truth, goodness, and beauty of God in desiring this for His beloved and humble human daughter – the Queen of Heaven.

The Blessed Mother, in her regal beauty, authority, and power, has not left us orphans – for she is “the Living Temple of the Holy Spirit, the Inviolate Mountain, the ladder” that joins Heaven and earth – the “One who Shows the Way” (Hodigitria) to her Son and to our Heavenly reward.

If we remain faithful and loyal to the teachings of Christ – as expressed through our Sacred Scriptures and our Church – and as the Epistle of St. James teaches – “Act on that faith…” then we, too, will reign alongside our Heavenly Mother as we give praise and glory to God.

Our Lady – Queen of Heaven – pray for us. Sources: John Paul 2, L’Osservatore Romano, August 15, 1983; Pope Pius 12^th – encyclical Ad Caeli Reginam, October 11, 1954.

The Dormition – Assumption of Mary

On August 14, 2011September 14, 2011 By Deacon Paul O. IaconoIn Assumption of Mary, Catholic Art, Gospel Reflections, Iconography, Mary, Orthodox Art, Sacred Iconography, Sacred Images, The Blessed Virgin Mary4 Comments

Over the past two weeks, our Sunday Gospels have stressed the truth that to be a faithful disciple of Christ we must keep our focus – in good times and bad – on Jesus. On August 15th, the solemnity of the Assumption/Dormition of Mary, the Church again directs our gaze – for in focusing on Mary we see not only our Queen – but the one true sign – the Great Sign – who points the way to her Son.

Her signature was that of a perfect disciple – for she possessed the confident competence and the courageous commitment – of true faith.

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 – 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 – and through His grace – enables us to be reborn into eternal life.

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.” (quote found in Vladimir Zelinsky’s “Mary in the Mystery of the Church: The Orthodox Search for Unity” which is contained in Mary CoRedmptrix, Mediatrix, Advocate – Theological Foundations II. M.I. Miravalle, S.T.D., editor).

This beautiful sacred icon was done by one of my teachers – the master Marek Czarnecki of Seraphic Restoration Studio in Meriden, Connecticut. It is done in the traditional egg tempera and measures 13 by 17 inches. It is different from one of the most famous sacred images of the Italian Renaissance – The Assunta by the master – Titian – yet Czarnecki’s sacred icon is theologically, aesthetically, and semantically correct. Titian painted his Assunta between 1516-18.

Our Catechism (of the Catholic Church, paragraph 966), proclaims that “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 its August 15th celebration of 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.

Below Titian’s masterpiece is a traditional Orthodox icon of the Dormition (or falling asleep) of Mary with the grieving apostles surrounding her bed. This icon was painted (“written”) by Irina Kolbneva.

One of the purposes of this blog is that we will explore how a sacred icon is painted (“written”) in the Eastern Church’s tradition and how the Western Church began to explore new avenues of visual expression after being in harmony with the Eastern Church for the first thousand years of our existence.

(Additional sources: The Book of Revelation, Chapter 19; Lumen Gentium, 59; and Pope Pius 12^th in his Munificentissimus Deus (November, 1950). Our Lady of the Assumption, pray for us.

Welcome to the Fra Angelico Institute

On August 1, 2011August 3, 2012 By Deacon Paul O. IaconoIn Catholic Art, Orthodox Art, Sacred Art Guild, Uncategorized4 Comments

Our First Post

As our first post – on August 1, 2011 – I would like to explain that the mission of the Fra Angelico Institute for the Sacred Arts is to promote the creation of Christian sacred art and unite the creative process to the artist’s personal prayer life. Over the coming months we will be discussing various topics within the sacred arts, the creation of sacred art, important sacred artists from the past and present, and the development of our personal prayer life in union with our personal creative efforts.

The Fra Angelico Institute for the Sacred Arts was founded by myself and my wife Jackie in 2009. I am an ordained Roman Catholic deacon in the Diocese of Providence, Rhode Island. Professionally, before my retirement, I was a teacher of history and the humanities. I have studied and created sacred art since 2006. I am a sacred image painter.

An Amazing Revelation!

In my very first sacred art workshop, that was conducted by the talented and very fine teacher, Rev. Peter Pearson, I was profoundly struck by the impression that the actual creation of sacred art was of great importance to the improvement of my own personal prayer life. As I followed Peter’s directions in the creation of a sacred image, I realized that the truly spiritual connection I was experiencing was not the result of anything artificial, rather, it was the yearning of my soul to “connect” with the Person coming into view on the wooden panel (the image that I was painting was an interpretation of St. Andrei Rublev’s icon of Jesus). It became very clear to me, as it had to so many other artists down through the centuries, that the creation of sacred art, regardless of what medium or form it takes, is a profoundly spiritual and prayerful act – IF – the artist decides to open up their mind, heart, and soul to the whispers of the Holy Spirit.

Join Us In This Exciting Adventure!

We think that the Institute is an exciting adventure in art and prayer. Currently we have over twenty people from the Diocese of Providence who are members, and, a few from out of state. The ideas and images that you will be seeing are meant to be educational, inspirational, and practical in the improvement of your development as a sacred artist. You may be a seasoned artist – secular or sacred, or, you may be a complete novice – all are welcome. In future posts I will explain the different categories of art you may want to explore and – if you are an experienced artist – display and express your creativity in the galleries on this site.

As Roman Catholics we have a specific theological perspective and faith tradition, however, please consider following us if you are from a different Christian denomination. After all, my teachers of sacred art are Episcopalian, Russian Orthodox, and Roman Catholic; and the participants in the sacred arts workshops that I have attended have been from many different Christian and non Christian denominations. Thanks for your interest and we look forward to your comments.

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