Iceland bishop voices concern over proposed circumcision ban

Northampton, England, May 30, 2018 / 12:09 am (CNA/EWTN News).- As an investigation into the life of Catholic apologist G.K. Chesterton nears a close, admirers of the English writer voiced hope that his sainthood cause could soon be opened.

“Che… […]

Reykjavik, Iceland, Feb 8, 2018 / 12:00 am (CNA/EWTN News).- A new bill proposed in Iceland that would make circumcision punishable by up to six years in prison is a “dangerous attack” on religious freedom, Cardinal Reinhard Marx has said.

“Protecting the health of children is a legitimate goal of every society, but in this case this concern is instrumentalized, without any scientific basis, to stigmatise certain religious communities. This is extremely worrying,” Marx said in a statement.

Marx commented on the issue as President of the Catholic Church in the European Union (COMECE). While Iceland does not belong to the European Union, it does have “privileged relations” with EU countries, COMECE noted.

“COMECE considers any attempt on the fundamental right to freedom of religion as unacceptable. The criminalisation of circumcision is a very grave measure that raises deep concern,” Marx added.  

Circumcision is a religious ritual for many, notably Jews and Muslims. Jews typically circumcise infant boys eight days after birth, while Muslim practices vary widely.

The proposed bill states that “Anyone who…causes damage to the body or health of a child or a woman by…removing sexual organs shall be imprisoned for up to 6 years.”

The bill specifically states that circumcisions on boys, if performed for non-medical reasons, would be banned in Iceland under the bill. Female circumcision has been banned in Iceland since 2005.

Male circumcisions used to be “generally encouraged…to prevent various disorders and behaviors,” the bill states.

“In recent years, this view has been expanding, and is quite widespread in Europe, that the execution of a construction for a purpose other than a medical is a violation of human rights boys because of irreversible interventions in their bodies,” it states, and carries a risk of infection.

The bill also states that circumcision of young boys violates “Article 12. UN Convention on the Rights of Children to Affect Your Own Life” as well as “paragraph 3. Article 24 which guarantees children protection against traditions that are harmful to children’s health.”

While the bill does not define at what age childhood ends, the age of sexual consent in Iceland is 15 years of age.

According to Mayo Clinic, circumcision may have some health benefits, including easier hygiene, decreased risk of urinary tract infections, decreased risk of sexually transmitted infections, and a decreased risk of penile cancer.

The American Academy of Pediatrics notes that the benefits of circumcision outweigh the risks, although they encourage parental discretion in the decision.

The health risks and benefits have been a topic of debate for several years in some European countries, although none have banned the practice outright.

Iceland, which has a population of around 334,000, has a small Muslim population of a few hundred people, and an even smaller Jewish population of around 100 people.

While Iceland has no designated Rabbi, Jewish news source ynetnews.com reports that Chief Rabbi of Denmark Yair Melchior and the Rabbi of Oslo, Yoav Melchior are campaigning against the bill on behalf of the Jewish population in Iceland.

“Iceland does not have a significant Jewish or Muslim population; therefore there are hardly any opponents to the bill. Only considerable international pressure can help,” the Rabbis told ynetnews.
 
“There is no country in the world now that bans circumcision. This sets a dangerous precedent that may affect other countries; the Danish parliament is now considering such a bill as well,” they added. The Danish Medical Association has advised against male contraception in boys for several years, though no ban has been enacted in the country.

The European Conference of Rabbis also voiced their opposition to the bill in a statement, as reported in ynetnews.  
 
“Circumcision is a critical part of Jewish life and no authority in the world can forbid Jews from carrying out this commandment,” they said.

Rabbi Pinchas Goldschmidt, president of the group, added that “although the Icelandic Jewish community is small, we cannot ignore the dangerous precedent that this law can set and the consequences that such legislation can cause in other countries.”
 
“We call on lawmakers to immediately rescind this miserable piece of legislation and continue supporting Jewish life without limits.”

It is unclear when the bill would be up for a vote.

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Rome Newsroom, Mar 7, 2022 / 04:00 am (CNA).

As war rages in Ukraine and the pandemic lingers, Michelangelo’s celebrated Vatican Pietà — and two lesser-known figures he also sculpted — can be deeply meaningful to a pain-wracked world, says a priest and art historian.

Michelangelo Buonarotti’s Pietà depicts a larger-than-life Virgin Mary as she mourns her crucified Son, Jesus, lying limp in her lap. The masterpiece, carved out of Carrara marble, was finished before the Italian artist’s 25th birthday.

Over the course of more than 60 years, Michelangelo created two more sculptures on the same theme — and a new exhibit in the Italian city of Florence brings the three works together for the first time.

The exhibit opened at the Museo dell’Opera del Duomo on Feb. 24, and includes the Florentine Pietà, also called the Deposition, which Michelangelo worked on from 1547 to 1555, and exact casts, or copies, of the Vatican Pietà and Milan Pietà — which could not be moved from their locations.

Msgr. Timothy Verdon, the director of the Museo dell’Opera del Duomo, told CNA by phone that the gallery wanted to do something to show its solidarity with a Feb. 23-27 meeting of mayors and Catholic bishops.

“The images of suffering that the Pietà always implies I think will deeply touch people. I think that visitors will be moved to see these works,” he said. The image of the Pietà evokes “the personal suffering of mothers who hold their children not knowing if their children will survive.”

The 75-year-old Verdon is an expert in art history and sacred art. He was born in Hoboken, New Jersey, but has lived in Italy for more than 50 years.

“So many of the issues that face the Mediterranean world today are forms of suffering,” he said, “and so this ideal series of images of the God who becomes man [and] accepts suffering, and whose Mother receives his tortured body into her arms, these are deeply meaningful.”

“All human situations of suffering and exclusion invite a comparison with the suffering of Christ, the death of Christ. And [the Pietà] condenses and concentrates a devout reflection on that,” the priest said.

The lesser-known Pietàs

Many years after Michelangelo completed the Pietà displayed in St. Peter’s Basilica, he began his Florentine Pietà, which depicts Nicodemus, Mary Magdalene, and the Virgin Mary receiving the body of Christ as it is removed from the Cross.

The 72-year-old Michelangelo worked on the sculpture for eight years before eventually abandoning it in 1555.

He probably began the Rondanini Pietà, which is in Milan, in 1553. Michelangelo continued to work on the piece until just days before his death in 1564.

According to a press release from the city of Florence, “near his own death, Michelangelo meditated deeply on the Passion of Christ.”

One way this is known is because shortly before his death, Michelangelo gave a drawing of the Pietà to Vittoria Colonna, the Marquess of Pescara, on which he wrote: “They think not there how much of blood it costs.”

The line, from Canto 29 of Paradiso, one of the books of Dante’s “Divine Comedy”, is also the subtitle of the Florence exhibition.

Bringing the three Pietàs together into one exhibit gives the viewer the chance to see “the full range of Michelangelo’s reflection on this subject across 60-some years,” Verdon explained.

Not only is the Renaissance artist’s stylistic evolution on display, but also his spiritual development.

“We know that [Michelangelo] was a religious man,” Verdon said. “His interpretation of religious subjects, even in his youth, is particularly sensitive and well informed.”

According to the priest, Michelangelo seems to have had a range of theological influences.

“His older brother was a Dominican friar and in Michelangelo’s old age we’re told that he could still remember the preaching of Savonarola,” Verdon said.

Girolamo Savonarola was a popular Dominican friar, preacher, and reformer active in Renaissance Florence. He spoke against the ruling Medici family and the excesses of the time, and in 1498 he was hanged and his body burned after a trial by Church and civil authorities.

According to the Catholic Encyclopedia, “In the beginning Savonarola was filled with zeal, piety, and self-sacrifice for the regeneration of religious life. He was led to offend against these virtues by his fanaticism, obstinacy, and disobedience. He was not a heretic in matters of faith.”

“That’s an interesting page in cultural history,” Verdon said, “because the early Pietà is done in effect shortly after the Savonarola period, or in the Savonarola period.”

“So we’re talking about an artist to whom this subject means a great deal, and which he is also equipped to treat.”

The artist’s last Pietàs were created, instead, in the context of the Counter-Reformation.

The Florentine Pietà was carved during the same period as the Council of Trent, when the Catholic Church issued its decree concerning the Holy Sacrament of the Eucharist, Verdon pointed out.

The council, he explained, “had to rebut the heretical ideas of Protestant reformers, and so it insists, in a decree on the Eucharist published in 1551, that indeed in the bread and wine, Christ’s Body and Blood are truly present.”

“So Michelangelo, who was personally religious, and who, especially in his later period, worked exclusively for the Vatican, was therefore very close to the changes occurring in Catholic thought, Catholic theology, Catholic devotion,” Verdon said.

The exhibit “really gives us the opportunity to gauge the evolution of a theme from one time to a very different one, from the end of the 15th, to the mid- 16th century.”

The St. Peter’s Basilica Pietà

Verdon said that the Vatican Pietà is the only one of the three to remain in the place it was intended for — above an altar in St. Peter’s Basilica.

The sculpture was originally created for the 4th-century Constantinian basilica, the “Old St. Peter’s Basilica,” which was replaced by the Renaissance basilica standing today.

Viewing art in a church is not the same as viewing it in a museum, the art historian noted.

“Obviously it is different, especially for the fact that the Vatican Pietà has remained on an altar, above an altar, and so the body of Christ depicted by Michelangelo would have been seen in relation to the sacramental body of Christ in the Eucharist.”

“This was true of the first situation in the Old St. Peter’s, the work was on an altar, and it’s true of the present collocazione [position],” he said.

“And actually,” the priest continued, “the same thing was true of both of the other Pietàs. They were intended by Michelangelo to go on an altar in a chapel in a Roman church where he expected to be buried. We think the church was Santa Maria Maggiore.”

“So the relationship of the image of Christ’s body with the Eucharistic Corpus Christi is very important,” he said.

The copies of the Vatican and Milan Pietàs are on loan from the Vatican Museums, and will be in Florence for the Three Pietàs exhibit through Aug. 1.

“And in our museum, in the Florence Opera del Duomo Museum, we have put the Pietà, our Pietà, on a base that evokes an altar, as the very specific Church meaning [of an altar] has to do with the Sacrament,” Verdon said.

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