The Church of St. Mary of Prayer and Death in Rome, Italy. / Daniel Ibáñez/CNA.
Rome, Italy, Nov 2, 2021 / 14:00 pm (CNA).
On one of Rome’s most important Renaissance-era streets lies a historic church dedicated to prayer for the dead, especially the poor and unknown.
On the church’s facade can be found stone slabs with holes just large enough to slip coins into, decorated with images of winged skeletons holding a scythe or hourglass.
Daniel Ibáñez/CNA.
“Alms for the poor dead who are taken in the countryside” is written on one. “Alms for perpetual lamps in the cemetery” is written on another, and “alms for Masses” on yet another.
Daniel Ibáñez/CNA.
One winged skeleton reminds passersby of their mortality, as it holds a sign with the Latin phrase “Hodie mihi, cras tibi” (“Today me, tomorrow you.”)
Daniel Ibáñez/CNA.
Santa Maria dell’Orazione e Morte (the Church of St. Mary of Prayer and Death) is the final resting place of the physical remains of more than 8,000 people buried by a charity dedicated to that cause.
Daniel Ibáñez/CNA.
For much of its 483-year-old history, the Archconfraternity of St. Mary of Prayer and Death provided the poor — sometimes the unidentified bodies found in streets, fields, or even the Tiber River — with a funeral, burial, and prayers of suffrage.
The group still meets today to pray for those who have died and have no one to pray for them.
Daniel Ibáñez/CNA.
In the 1500s, when the confraternity was founded, the bodies of those who were too poor — or whose families were too poor — to pay for a burial, could be left to decay in circumstances unworthy of their human dignity. The confraternity was created to provide this spiritual work of mercy to those most in need.
Daniel Ibáñez/CNA.
For several decades, the Catholic group was hosted by various churches on Via Giulia, a road of just over 3,000 feet which runs on the east bank of the Tiber and is named for its patron, Pope Julius II.
Daniel Ibáñez/CNA.
Eventually, the confraternity built its own church. But in the first part of the 18th century it was torn down and the bigger Church of St. Mary of Prayer and Death was built in its place. This church and many of those used by the confraternity can still be visited today.
Daniel Ibáñez/CNA.
Records show that at least 8,600 bodies were buried in the church’s crypt and a cemetery on the banks of the Tiber from 1552 to 1896.
Daniel Ibáñez/CNA.
The outdoor cemetery was almost completely destroyed in 1886, however, when the walls of the Tiber River were constructed.
Daniel Ibáñez/CNA.
On its website, the confraternity recalls its “confrères who, with sacrifice, devotion, faith, courage, humility, abnegation, mercy, and fear of God, in the nearly 500 years of life of the confraternity, have observed this pious work of Christian charity.”
Daniel Ibáñez/CNA.
Today, on the wall of the crypt can still be read a prayer in Italian for the souls of those who have departed: “Eternal repose give to them, O Lord, and perpetual light shine upon them. May they rest in peace.”
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A close-up of the copy of Michelangelo’s Vatican Pietà, usually kept at the Vatican Museums. / Ela Bialkowska/OKNO studio.
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 Three Pietà of Michelangelo exhibit at Museo dell’Opera del Duomo in Florence, Italy. Museo dell’Opera del Duomo
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.”
A close-up of the copy of Michelangelo’s Vatican Pietà, usually kept at the Vatican Museums. Ela Bialkowska/OKNO studio.
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.
Michelangelo’s Florentine Pietà, part of the permanent collection at the Museo dell’Opera del Duomo in Florence, Italy. Museo dell’Opera del Duomo in Florence, Italy.
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.
A perfect cast of Michelangelo’s unfinished Rondanini Pietà, on display at the Museo dell’Opera del Duomo in Florence, Italy. Museo dell’Opera del Duomo
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 Three Pietà of Michelangelo exhibit at Museo dell’Opera del Duomo in Florence, Italy. Museo dell’Opera del Duomo
The artist’s last Pietàs were created, instead, in the context of the Counter-Reformation.
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.
In Michelangelo’s Pietà, the Virgin Mary holds her Son as she did at his birth. . Paweesit via Flickr.
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 Three Pietà of Michelangelo exhibit at Museo dell’Opera del Duomo in Florence, Italy. Museo dell’Opera del Duomo
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.
The dome of St. Peter’s Basilica. / Luxerendering/Shutterstock.
CNA Staff, May 11, 2021 / 09:00 am (CNA).
The Vatican has told the bishops of England and Wales that it is amending the Code of Canon Law so that “crimes against minors are considered under a different title than crimes against the obligations of celibacy on the part of clerics.”
The Pontifical Council for Legislative Texts shared the information in a letter dated April 19, responding to the English and Welsh bishops’ request for adjustments to canon law concerning clerical sexual abuse.
In the letter, addressed to bishops’ conference president Cardinal Vincent Nichols, it said: “After review of the information and recommendation Your Eminence submitted to this Pontifical Council, I am pleased to inform you that the concerns you have expressed have already been taken into consideration in the revision of Book VI of the 1983 CIC [Code of Canon Law], which is currently in process.”
“In the revised Book VI of the 1983 CIC, crimes against minors are considered under a different title than crimes against the obligations of celibacy on the part of clerics. The revised title will be ‘Crimes against the life, dignity and freedom of man’ and will include a canon that is specific to crimes against minors.”
The letter, received by Nichols on April 23, was signed by the Pontifical Council’s president Archbishop Filippo Iannone and secretary Bishop Juan Ignacio Arrieta.
The English and Welsh bishops made their request to the Vatican in a letter dated March 15.
The correspondence between the bishops and the Vatican was published on the bishops’ website on May 9. It was included in a 21-page document detailing how the Catholic Church has responded to the seven recommendations of a highly critical independent report on child abuse within the Church in England and Wales.
In the report, published on Nov. 10, 2020, the Independent Inquiry into Child Sexual Abuse (IICSA) urged the bishops to “request that the Holy See redraft the canonical crimes relating to child sexual abuse as crimes against the child.”
The recommendation related to Canon 1395 of the 1983 Code of Canon Law.
Under the subheading “Delicts against special obligations,” the second part of the canon says: “A cleric who in another way has committed an offense against the sixth commandment of the Decalogue, if the delict was committed by force or threats or publicly or with a minor below the age of sixteen years, is to be punished with just penalties, not excluding dismissal from the clerical state if the case so warrants.”
The English and Welsh bishops raised detailed concerns about the phrase “against the sixth commandment” — “contra sextum” in Latin — in their letter to the Vatican.
The letter, signed by Cardinal Nichols and bishops’ conference general secretary Canon Christopher Thomas, said that while the term “contra sextum” was part of canonical tradition, “it is no longer adequate to meet the demands of a contemporary canonical approach to sexual offenses against minors and their equivalent in law.”
The bishops suggested that the term was difficult to reconcile with other aspects of canon law, was only recently used by the Eastern Catholic Churches, and was a source of confusion for civil authorities.
Referring to a vademecum “on certain points of procedure in treating cases of sexual abuse of minors committed by clerics,” issued by the Vatican last year, the letter said: “It seems reasonable that the categories delineated in Section I of the Vademecum of 16 July 2020 could be used to formulate a delict [a crime in canon law] without making use of the term ‘contra sextum.’”
“The Bishops’ Conference feels that this would be a significant step to rectifying the very real problems and consequent misunderstandings that its officers are faced with when engaging with colleagues in the civil authorities.”
The English and Welsh bishops also asked that the “reformulated delict” be placed “into a discrete category of offenses against minors, and their equivalents in law, and their dignity.”
In their 21-page document, the bishops outlined how they were responding to IICSA’s six other recommendations, which included mandatory safeguarding training for those working with children or abuse victims and the publication of a national complaints policy related to safeguarding cases.
The document, dated April 30, was prepared by the Catholic Council for the Independent Inquiry into Child Sexual Abuse.
In an introduction to the text, council chair Nuala O’Loan, wrote: “The Catholic Church is committed to this work and will continue to develop its structures and processes so that the Church is a safe place for all who worship in, or engage in any way with, it.”
“This report marks a significant step on the continuous journey of improvement.”
Lisbon, Portugal, Feb 20, 2020 / 06:29 pm (CNA).- Lawmakers in Portugal debated five pieces of legislation Thursday to decriminalize euthanasia and assisted suicide, and doctors in the country are joining with the Catholic Church in opposing the potential change.
Each of the bills, which are not substantially different, were approved by the unicameral parliament Feb. 20.
“The most dignified option against euthanasia is in palliative care as a commitment to proximity, respect and care for human life until its natural end,” the Portugese bishops’ conference said Feb. 11, urging support for a referendum on the topic rather than a legislative change.
The Portuguese Doctors’ Association says the legislation violates key principles of the medical profession, MailOnline reports.
“Doctors learn to treat patients and save lives. They are not prepared to take part in procedures leading to death,” PDA president Miguel Guimaraes said after meeting with Portugese President Marcelo Rebelo de Sousa, who has expressed reluctance to signing the legislation.
Euthanasia and assisted suicide are currently legal in Belgium, Luxembourg, Colombia, Canada, the Netherlands, and the Australian state of Victoria, while Switzerland and some U.S. states allow assisted suicide.
The Socialist Party, one of the left-of-center parties leading the charge to push the legislation in Portugal, also led proposals to permit same-sex marriages and abortion in Portugal, the AP reports.
Hundreds of protestors gathered Thursday outside the parliament building in Lisbon to oppose the changes.
The bill would apply to patients over 18 who are “in a situation of extreme suffering, with an untreatable injury or a fatal and incurable disease.” According to the AP, two doctors, at least one of them a specialist in the relevant illness, and a psychiatrist would need to sign off on the patient’s request to die. The case would then go to a Verification and Evaluation Committee, which could approve or turn down the procedure.
The bills also stipulate that those seeking euthanasia or assisted suicide must be Portuguese citizens or legal residents.
Pope Francis speaks out frequently against the practice of euthanasia; in September 2019 he called it “a utilitarian view of the person, who becomes useless or can be equated to a cost, if from the medical point of view, he has no hope of improvement or can no longer avoid pain.”
This is not the first time Portugal has considered decriminalizing euthaniasia and assisted suicide.
After heated debate, the Portuguese Parliament voted during May 2018 to reject multiple proposed laws that would legalize euthanasia in the country, drawing praise from local bishops.
Pro-life groups had been protesting the euthanasia bills in the weeks leading up to the vote in the nation’s capital of Lisbon, where they held signs saying, “We demand palliative care for ALL,” and “Euthanasia is a recipe for elder abuse.”
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