Vatican City, Sep 8, 2020 / 05:00 am (CNA).- Pope Francis paid tribute Monday to a cardinal whose life was intertwined with that of St. John Paul II.
The pope said in a telegram Sept. 7 that Cardinal Marian Jaworski would be remembered as an “extraordinarily just, sincere, courageous man who, above all, loved the Church.”
“He left a worthy testimony of priestly zeal, of erudition, of fidelity to the Gospel and of responsibility for the community of believers,” the pope wrote.
Jaworski died Sept. 5, two weeks after his 94th birthday. He was the first rector of the Pontifical Academy of Theology in Kraków. Later, as the archbishop of Lviv, he helped to restore the Catholic Church in Ukraine following the collapse of communism.
The pope’s condolence message was addressed to Archbishop Marek Jędraszewski of Kraków, the Polish city where Jaworski died and was an honorary citizen.
Pope Francis recalled the close ties between Jaworski and John Paul II.
“He was the close friend of St. John Paul II. He supported him in the labors of his episcopal and papal ministry. He also administered the Sacrament of Anointing to the dying pope,” he wrote.
Jaworski became friends with Karol Wojtyła, the future pope, after his priestly ordination in 1950. When Wojtyła was named a cardinal in 1967, Jaworski agreed to replace him at an event in Olsztyn. But while traveling to the Polish city, Jaworski lost his left hand in a train crash. Wojtyła was reportedly deeply affected by the accident.
Pope Francis noted that both he and Jaworski received their red hats at the same consistory in 2001. Three years earlier, John Paul II had named Jaworski a cardinal in pectore, meaning that the appointment was initially kept secret.
In his condolence telegram, the pope also highlighted Jaworski’s intellectual achievements, recalling that he served as a professor of theology and philosophy in Warsaw, Kraków and Lviv, and built up the Pontifical Academy of Theology in Kraków.
He added that Jaworski’s episcopal motto, Mihi vivere Christus est (“For me to live is Christ”), from Philippians 1:21, had defined his way of thinking and decision-making.
The pope concluded: “May the merciful Christ, to whom Cardinal Marian dedicated his life, receive him in his glory.”
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Apostolic Nuncio to the European Union Archbishop Noël Treanor at the EU council headquarters on May 27, 2024, in Brussels, Belgium. / Credit: Thierry Monasse/Getty Images
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Saints Peter and Paul, the patron saints of Rome, guard the entrance to Ponte Sant’Angelo, welcoming pilgrims as they begin their journey toward St. Peter’s Basilica. / Credit: Daniel Ibáñez/CNA
Rome Newsroom, Apr 18, 2025 / 15:10 pm (CNA).
Each year, thousands of faithful pilgrims purposefully pass over the Tiber River via Rome’s Ponte Sant’Angelo, where marble messengers lining the bridge recall Christ’s passion through the sacred symbols they solemnly hold.
In 1535, Pope Clement VII ordered the placement of statues of Sts. Peter and Paul, the patrons of Rome, at the bridge’s entrance. However, it wasn’t until 1669 that Pope Clement IX commissioned a new balustrade designed by the renowned Gian Lorenzo Bernini.
Ten angels, each bearing an element of the Passion, were placed atop this structure, sculpted by Bernini’s students under his meticulous direction.
Today, on Good Friday, the Catholic Church commemorates the crucifixion of the Lord. The bridge has undergone extensive restoration in recent months, and this jubilee Holy Week unveils its newly refreshed marble.
The name “Ponte S. Angelo” etched in the bridge’s travertine stone, a testament to its centuries-old identity in the heart of Rome. Credit: Daniel Ibáñez/CNA
The iconic bridge, connecting the “Ponte” district with the Borgo and the castle that once served as a papal residence, a fortress in times of war, and a prison for criminals was reopened to pedestrians in January to mark the beginning of the Jubilee of Hope and the inauguration of the new Piazza Pia, which now links Via della Conciliazione directly to Vatican City.
The angels of Ponte Sant’Angelo were designed to serve as a spiritual guide for pilgrims on their journey toward St. Peter’s Basilica.
An angel embraces the column of Christ’s scourging, illustrating Antonio Raggi’s interpretation of “Tronus meus in columna” (“My throne is upon a column”). Credit: Daniel Ibáñez/CNA
Looking up while walking along the bridge, visitors first encounter an angel holding a column in its arms, a reminder of Christ’s scourging. At its base, the inscription reads: “Tronus meus in columna” (“My throne is upon a column”), a work attributed to Antonio Raggi.
Directly opposite stands an angel carrying whips, with the inscription: “In flagella paratus sum” (“I am ready for the scourging”), sculpted by Lazzaro Morelli.
An angel bearing the scourging whips, sculpted by Lazzaro Morelli, dramatically captures the suffering of Christ’s passion. Credit: Daniel Ibáñez/CNA
Further along, an angel holds the Veil of Veronica, the cloth used to wipe Christ’s sweat and blood, on which His face was imprinted. The base of this sculpture, created by Cosimo Fancelli, bears the inscription: “Respice faciem Christi tui” (Look upon the face of your Christ).
An angel holding the cloth representing the Veil of Veronica. Credit: Daniel Ibáñez/CNA
Notably, its pedestal bears a dent from a cannonball impact during the defense of the Vatican in 1870.
A visible cannonball dent marks the pedestal of an angel statue on Ponte Sant’Angelo, a battle scar from the defense of the Vatican in 1870. Credit: Daniel Ibáñez/CNA
On the opposite side, an angel holds the crown of thorns placed on Christ’s head, sculpted by Paolo Naldini and completed by Bernini himself. The original sculpture is now housed in the Roman church of Sant’Andrea delle Fratte. The inscription reads: “In aerumna mea dum configitur spina” (In my affliction, while the thorn is driven in).
An angel holding the crown of thorns gazes heavenward, showcasing the delicate craftsmanship of Bernini’s design against the Roman sky. Credit: Daniel Ibáñez/CNA
Next, an angel presents Christ’s tunic along with the dice used by the soldiers to cast lots for His garments. The inscription on this sculpture reads: “Super vestimentum meum miserunt sortem” (They cast lots for my tunic), a work by Paolo Naldini.
Another angel carries a cross, a piece sculpted by Ercole Ferrata, inscribed with “Cuius principatus super humerum eius” (And the dominion is upon His shoulder), referring to Christ as the prophesied Messiah and King.
An angel bearing the cross, created by Ercole Ferrata, stands as a centerpiece among the ten statues lining the bridge. Credit: Daniel Ibáñez/CNA
Following this, a second Bernini-designed angel holds a plaque with the inscription INRI. The sign above the cross explains the reason for His execution: Jesus of Nazareth, King of the Jews.
The inscription at the sculpture’s base reads: “Regnavit a ligno Deus” (God has reigned from the tree), referring to Christ’s cross. The original piece was also moved to Sant’Andrea delle Fratte.
Another angel holds a set of nails, symbolizing those used to pierce Christ’s hands and feet. The accompanying inscription, “Aspicient ad me quem confixerunt” (They will look upon the one they have pierced), frames this sculpture by Girolamo Lucenti.
An angel bearing the sponge used to give vinegar to the crucified Christ, with the inscription ‘Potaverunt me aceto’ (They gave me vinegar to drink) visible on its pedestal, with Castel Sant’Angelo in the background. Credit: Daniel Ibáñez/CNA
Opposite stands an angel carrying a sponge, recalling the one used by the soldiers to give vinegar to Jesus. Its inscription reads “Potaverunt me aceto” (They gave me vinegar to drink), a piece by Antonio Giorgetti.
Finally, there is the angel sculpted by Domenico Guidi, holding a lance—the weapon used by St. Longinus to pierce Christ’s side, from which blood and water flowed. At its base, the inscription reads: “Vulnerasti cor meum” (You have wounded my heart).
The angel with the lance of St. Longinus, sculpted by Domenico Guidi, bears the inscription ‘Vulnerasti cor meum’ (You have wounded my heart). Credit: Daniel Ibáñez/CNA
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