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Philadelphia, Pa., Feb 6, 2020 / 07:00 am (CNA).- The U.S. bishops’ conference praised a Trump administration plan to expand school choice Wednesday, as Vice President Mike Pence paid a visit to a Catholic school in inner-city Philadelphia. … […]

Michelangelo’s The Creation of Eve, from the Sistine Chapel ceiling, c. 1510. / null

Denver, Colo., Nov 15, 2022 / 09:00 am (CNA).

Michelangelo’s artistic masterpiece in the Sistine Chapel broke new ground in portraying the dynamic creative acts of God, but his work also depicts the combined importance of men and women through all of sacred history, art historian Elizabeth Lev has said.

“The spirit of artistic adventure led the artist to experiment with a completely new vision of creation,” Lev said Nov. 12. “He took a book that had been painted, sculpted, mosaiced, and illuminated over and over again in the history of art and created something completely new.”

She spoke at the closing keynote Saturday evening at the fall conference of the University of Notre Dame’s de Nicola Center for Ethics and Culture. Lev teaches at the Rome campus of Duquesne University and the Pontifical University of St. Thomas Aquinas. Her speech, “Creation, Complementarity, & St. John Paul II in Michelangelo’s Sistine Ceiling,” focused on one of the key artistic treasures of Vatican City.

The 16th-century Florentine artist Michelangelo was commissioned by Pope Julius II to paint the Sistine Chapel’s ceiling and the upper section of its walls. This was the artist’s focus from 1508 to 1512. He later finished the Last Judgment above the chapel altar from 1535 to 1541.

The ceiling frescoes show the creation of the heavens and the earth, the creation of Adam and Eve, their expulsion from the Garden of Eden, the great flood, and the rebirth of humankind through Noah.

Lev cited St. John Paul II’s description of Michelangelo’s work in his poem “Meditations on the Book of Genesis at the Threshold of the Sistine Chapel.”

“It is the book of the origins — Genesis,” the pope said. “Here, in this chapel, Michelangelo penned it, not with words, but with the richness of piled-up colors. We enter in order to read it again, going from wonder to wonder.”

Lev reflected on the first three panels depicting the creation of the world. These show “the mighty dynamic figure of God the Father at work.”

“It’s not what God creates, it’s that God creates,” she said. Michelangelo broke ground in portraying God as “physically engaged in creation.” For Lev, this offers “a preview of the Incarnation.”

Turning to Michelangelo’s famous depiction of the Creation of Adam, Lev noted that the artist depicts “just God and the creature formed in his likeness.” Adam is shown as “somewhat listless” in contrast with God’s energy. Adam is “sentient and awake but he has no will or strength or purpose to rise,” she said. “He looks completely passive and dependent despite that incredibly beautiful form.”

“It’s God who reaches towards man,” she continued. For Lev, the outstretched finger of God makes the viewer “almost lean forward in his seat waiting for that final Act of Creation, the divine spark, the Breath of Life that will release that latent energy and allow Adam to take his place as the greatest of creations.”

“This is the joy in humanity that permeates the Renaissance,” Lev said.

There is academic debate over a female figure shown in the Creation of Adam. As God the Father stretches out one arm to Adam, his other arm curls around a female figure. Some have identified this figure as Wisdom, some as Mary.

Lev suggested it is best to identify this figure as Eve, both because the figure provides visual balance to Adam and because her gaze “connects her more intimately with Adam.”

The creation of Eve from Adam, depicted next on the chapel ceiling, shows Eve emerging from Adam’s side with her hands clasped in prayer, an image of the Church and the personification of Mary, the “Second Eve.”

Lev cited St. John Paul II’s 1999 homily inaugurating the newly restored Sistine Chapel, after centuries of grime and soot were removed. The pope called the chapel the “sanctuary of the theology of the human body,” alluding to his catecheses offered from 1979 to 1984. The pope suggested that Michelangelo allowed himself to be guided by the Book of Genesis’ depiction of mankind in Eden: “the man and his wife were both naked and they felt no shame.”

Before the fall, Lev commented, Michelangelo depicted Adam and Eve in the state of grace as “two of his most beautiful figures.”

“They are filled with dynamism. They’re buoyant. They’re luminous,” Lev said, adding that their bodies “suggest immortality.” After the fall, however, both of their bodies “lose their luminosity” and appear heavier, like a burden. Adam’s shoulder seems to force Eve into the background, “subjugating her.”

For Lev, the artistic depiction of the genealogy of Jesus Christ also deserves attention. The portrayal of the ancestors of Jesus Christ shows “a genealogy of men and women struggling from generation to generation.” These figures seem “more approachable” and “much more similar to candid family photographs.” Even though 22 women in Jesus’ genealogy are not named, Michelangelo pairs them with their husbands.

Lev noted that Michelangelo broke with artistic convention both by including mothers and by showing them as busy, everyday women “tending to toddlers, toilettes, and tasks.” His style of painting them with “incredible immediacy” adds observations of human nature: Eleazar’s wife holds the purse strings and the key to the house, and her husband looks “startled” as she surveys their son. Other depictions are “tender and intimate,” like the portrayal of the wife of Manasseh, who cradles a swaddled son while rocking an infant’s cradle.

Here, Lev drew on John Paul II’s 1995 “Letter to Women.” He wrote that womanhood and manhood are complementary at the physical, psychological, and even ontological level.

“It is only through the duality of the masculine and the feminine that the human finds full recognition,” the pope said. “To this unity of the two, God has entrusted not only the work of procreation and family life but the creation of history itself.”

Lev noted that the passing of generations “necessarily emphasizes the begetting of children.” This means that the complementarity of the sexes is essential for a population to form and for creation to continue.

In Michelangelo’s portrayal of the Last Judgment, the artist still looks back to creation but also breaks new ground. He placed Mary next to Christ, as “a foil to Christ’s sternness.”

“She is the picture of mercy gazing down towards the elect, placed by the wound in Christ’s side whence the Church sprang,” Lev said. “Mary is transfigured into the Bride of Christ, for whom he gave his life and to whom he cannot say no. She is the conduit to Christ, as Eve was the link between God and man in the creation of woman.”

For Lev, the Sistine Chapel shows the “incredible gift of creation” from the beginning of the world down through the generations, “through which all of us today are a part of that continuation of creation.”

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Pope Francis gives his homily at the Easter Vigil Mass in St. Peter’s Basilica on April 8, 2023. / Daniel Ibanez/CNA

Vatican City, Apr 8, 2023 / 13:40 pm (CNA).

At the Vatican’s Easter Vigil Mass, Pope Francis urged people to “roll away the stones of sin and fear” to experience the power of Christ’s resurrection.

In his Easter homily on April 8, the pope issued an invitation to “rediscover the grace of God’s resurrection within you!”

“Today, brothers and sisters, the power of Easter summons you to roll away every stone of disappointment and mistrust. The Lord is an expert in rolling back the stones of sin and fear … return to Him,” he said in St. Peter’s Basilica.

“Look with confidence to the future,” he said. “For Christ is risen and has changed the direction of history.”

The Easter Vigil, which takes place on Holy Saturday night, “is the greatest and most noble of all solemnities,” according to the Roman Missal.

The liturgy began in darkness with the blessing of the new fire and the preparation of the Paschal Candle. The candle symbolizes the light of Christ, which “shines in the darkness” that “has not overcome it” (John 1:5).

Pope Francis arrived at the basilica in a wheelchair dressed in white and gold vestments. He presided over the vigil Mass from a white chair placed at the side of the main altar in the presence of 8,000 people.

Forty cardinals, 25 bishops, and about 200 priests processed through the dark church carrying lit candles to signify the light of Christ coming to dispel the darkness.

At the beginning of the liturgy, a cantor sang the Exsultet Easter Proclamation, which tells the story of salvation from the creation, the testing and fall of Adam, the liberation of the people of Israel from slavery in Egypt, and culminates in Jesus Christ, who died for our sins and leads us to salvation.

The basilica was lit up gradually until it was fully illuminated at the Gloria, when the bells of St. Peter’s tolled.

In his homily, Pope Francis asked people to remember the place where they came to know Jesus personally and to interiorly “return to that first encounter.”

“Remember that powerful experience of the Holy Spirit; that great joy of forgiveness experienced after that one confession; that intense and unforgettable moment of prayer; that light that was kindled within you and changed your life; that encounter, that pilgrimage,” he said.

“Each of us knows the place of his or her interior resurrection, that beginning and foundation, the place where things changed. We cannot leave this in the past; the Risen Lord invites us to return there to celebrate Easter.”

During the Easter Vigil Mass, Pope Francis baptized eight people from the United States of America, Nigeria, Albania, Italy, and Venezuela.

The congregation prayed the Litany of the Saints and renewed their baptismal promises as the candidates prepared to be received fully into the Catholic Church.

Pope Francis recalled the sorrow that the disciples must have experienced when Jesus’ tomb was sealed with a stone. He noted that there are also “sealed tombs” in the present, like the “tombs of disappointment, bitterness and distrust, of the dismay of thinking that ‘nothing more can be done,’ ‘things will never change,’ ‘better to live for today,’ since ‘there is no certainty about tomorrow.’”

“At times, we may simply feel weary about our daily routine, tired of taking risks in a cold, hard world where only the clever and the strong seem to get ahead,” he said.

“At other times, we may feel helpless and discouraged before the power of evil, the conflicts that tear relationships apart, the attitudes of calculation and indifference that seem to prevail in society, the cancer of corruption– there’s a lot –the spread of injustice, the icy winds of war.”

In these moments of discouragement, Christ’s resurrection “motivates us to move forward,” he said, “and to leave behind our sense of defeat, to roll away the stone of the tombs in which we often imprison our hope.”

“Dear brothers and sisters, let us follow Jesus to Galilee, encounter him and worship him there, where he is waiting for each of us. Let us revive the beauty of that moment when we realized that he is alive and we made him the Lord of our lives. … Let us rise to new life!” the pope said.

Pope Francis is also scheduled to preside over Mass on Easter Sunday morning in St. Peter’s Square, after which he will give the traditional “Urbi et Orbi” blessing.

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