Good Friday 2024 Photopost (Part 2)

Once again, we are very grateful to all those who contributed to this series, which is close to ending. Don’t forget that next week we have the Rogations and the Ascension, and we will be glad to include photos of both of those celebrations in our Pentecost photopost series, so you can send yours in to photopost@newliturgicalmovement.org. Keep up the good work of evangelizing through beauty!

Epiphany of Our Lord – St Petersburg, Florida (Ukrainian Greek-Catholic)

Procession with the shroud at Vespers of Good Friday

St Gianna Oratory – Tucson, Arizona (ICRSS)

Tradition will always be for the young.

Cathedral of Our Lady of Pilar – São João del Rei, Minas Gerais, Brazil

Tenebrae of Good Friday

Oratory of Ss Cyril and Methodius – Bridgeport, Connecticut (ICRSS)

Mary Immaculate of Lourdes – Newton, Massachusetts

St Michael the Archangel – Pittsburgh, Pennsylvania

Deposition and Burial Service on the evening of Good Friday

Ss Catherine of Siena and Francis of Assisi, Patron Saints of Italy

When an American pilgrim visits the ancient cities of Italy today, he may easily fail to realize that his own country is older than the modern state of Italy by nearly a century. From the fall of the Roman Empire until the mid-19th century, the Italian peninsula was divided into many countries, of varying size and importance, and the Pope himself ruled a fairly large one, with Rome as its capital. This country, variously called the Papal State or States of the Church, was the last to be conquered, in 1870, by the north Italian kingdom of Savoy, the consummation of the movement known as the “Risorgimento.” Perhaps even less well known today are the fiercely anticlerical character of the Savoyard government, and the long state of cold war that existed between it and the Church after the fall of the Papal State. For nearly 60 years, in fact, neither would officially recognize the other, and for much of that period, Catholics were forbidden under pain of excommunication from participating in the public life of Italy.

This unhappy situation was ended by the Lateran Pacts of 1929, whereby the Church formally recognized the Kingdom of Italy, which in turn recognized the sovereignty of the Pope over a tiny fraction of his former domains, the modern State of Vatican City. It was not however Pius XI, the Pope then reigning, who gave to modern Italy Saints Francis of Assisi and Catherine of Siena as her Patron Saints, but rather his successor, Pius XII. His decree to that effect was issued less than 3 months before the war that came after the War to End All Wars; prescient perhaps of the new catastrophe awaiting the peoples of Europe, including the Italians, Pope Pius writes of his choices:

Francis, poor and humble, truly the image of Jesus Christ, gave unlimited examples of the life of the Gospel to the very turbulent men of his age, and by establishing his three orders, opened to them a swift way towards the correction of morals both private and public, and to the true sense of the Catholic faith. In the same way did the most vigorous and devout virgin Catherine effectively work to encourage and establish harmony between the cities and towns of her land … (Licet commissa nobis, June 18, 1939.)

In this video, we see Pope Pius’ visit to the church of Santa Maria sopra Minerva, where the body of St Catherine rests under the high altar, shortly after the proclamation of the new Patron Saints. It is very much in the style of its times, and sadly rather blurry, but documents a truly moving display of popular devotion. In the second half, we hear the music of the Capella Sistina, directed by Lorenzo Perosi, (again, very much in the style of its times), followed by the voice of the Pope himself, as he calls Saint Catherine “Mother of her people, Angel of Peace,” and prays that she and Francis will protect Italy and lead her to God.

I have long thought that the choice of Francis and Catherine as joint Patrons of Italy was a particularly inspired one on the part of Pius XII, not only for their individual importance as Saints, but also as representatives of two religious orders whose impact on the fortunes of nearly every Italian city can hardly be overstated. A great part of the history of the Renaissance in particular is the history of the Franciscans and Dominicans, and of their patrons and parishioners, commissioning art works for their innumerable churches. Today, the Renaissance is too frequently spoken of as it were solely a Florentine affair, and the vital role of the Franciscans within it too easily forgotten. Much of the inspiration for the art of that period comes from St Francis and his love of creation, not for its own sake, but inasmuch as he saw every part of it as an expression of God’s love and mercy.

It was this that lead Franciscans scientists and others associated with the Order, (Robert Grosseteste and Roger Bacon are the most famous examples), to investigate how light, the beginning of creation, enables us to see and know the rest of it; and this in turn lead to the rediscovery of perspective in painting. Likewise, St Francis’ love for and interest in the created order also inspired the search for a more realistic depiction of it, leading Italian painting away from the hieratic styles of the low Middle Ages. It is not a coincidence that so much of the great Italian art of the 14th and 15th centuries is found in churches built by Franciscans, from the Basilica of St Francis in Assisi to the Sistine Chapel in Rome. Nor is it mere chance that one of the greatest Italian painters of all time, Fra Angelico, was a Dominican friar.

Of the innumerable images of St Francis in the basilica in Assisi, surely one of the most beautiful is the so-called Sunset Madonna, by Pietro Lorenzetti. This is a fresco on a west-facing wall in the left transept of the lower church; it is called “the Sunset Madonna” because there is a window directly opposite it, through which the rays of the setting sun illuminate it for about an hour at the end of each day. The fresco was painted around 1320 above an altar (now removed) dedicated to St John the Evangelist, who is seen on the right side. One of the donors is depicted beneath him, in prayer before a Crucifix, and his wife was probably in the part now missing on the left side; the donor may very well have been named John, which was also St Francis’ baptismal name.

The traditional story about the arrangement of the remaining figures is that the Christ Child is asking his Mother, “Which of My Saints loves Me the most?”, to which the Madonna answers by pointing at St Francis, as if to say “He does.”

An Altarpiece of St Peter Martyr

For the feast of St Peter Martyr, here are some pictures of a particularly elaborate altarpiece dedicated to him. This was originally painted for the church of St Dominic in the Italian city of Modena by the workshop of the brothers Agnolo and Bartolomeo degli Erri, the third generation of painters in their family. They also did altarpieces for the same church dedicated to Ss Dominic, Thomas Aquinas and Vincent Ferrer. As has happened to so many works of its kind, this one was later removed from its original frame; it is now in the museum of the Palazzo della Pilotta in Parma. (All images from this page of Wikimedia Commons, by Sailko, CC BY-SA 4.0; unfortunately, close up photos are available for only some of the panals.  

The scenes are as follows:

top left: St Peter as a child, disputing with his uncle and other Cathar heretics; his vesting as a Dominican; praying before an image of the Virgin Mary.

top center: portrait of the Saint

top right: his corporal penances and fasting; at Cesena, he heals a young man who had cut off his own foot to punish himself for striking his mother; the healing of a nun.

middle left: he puts the devil to flight by showing it a consecrated Host; the raising of a dead child; the healing of a dying man

middle center: St Peter praying before a Cross

middle right: he heals a baby that had fallen into a fire; while preaching, he tames a crazed horse, and restores speech to a mute boy; at Milan, he heals a paralyzed woman.

lower left: Pope Innocent IV makes him an inquisitor against the Cathar heresy; he receives a message from the Pope, and causes a very hot sun to dim while he was preaching outdoors, so the faithful would not be discomforted while listening to him; he departs for his mission. 

lower right: his martyrdom; his funeral cortege; miracles at his tomb.

The center middle panel of St Peter and members of the faithful praying before a Crucifix.

First panel, center right: St Peter heals a small child that had fallen into a fire.

Second panel, middle right: he heals a mute boy, and stops a crazed horse.

Third panel, middle right: at Milan, he heals a paralyzed woman. In the background is the church of St Eustorgius in Milan, where his relics have reposed since shortly after his martyrdom in 1252.

First panel, lower right: St Peter is ambushed and assassinated.

Second panel, lower right: his body is taken to Milan for his funeral.

Third panel, lower right: miracles at his tomb.

The Sunday of the Samaritan Woman

Having come in faith to the well, the Samaritan woman beheld Thee, the water of wisdom, and having drunk abundantly thereof, she the renowned one inherited the kingdom that is above forever. (The Kontakion for today in the Byzantine Rite, the Fifth Sunday of Easter, on which is read the Gospel of the Samaritan woman, John 4, 5-42.)

Jesus and the Samaritan Woman, depicted in a 16th fresco in the Stavronikita Monastery on Mt Athos, by Theophanes the Cretan. (Public domain image from Wikimedia Commons.)

The Ikos Let us hear the venerable mysteries, as John teacheth us the things that happened in Samaria, how the Lord conversed with the woman, asking for water, even He who gathered the waters together, that shareth His throne with the Father and the Spirit, for He the renowned one came seeking His own image forever.

“Aquae Sanctae Terrae”: The Spiritual Signification of the Waters of the Holy Land (Conclusion)

“Aquae Sanctae Terrae”: The Spiritual Signification of the Waters of the Holy Land

A Seminarian from the Midwest

Conclusion: The Devil and the Dead Sea

(Part 1 may be read here, Part 2 here.)

Aerial view of Dead Sea shore (source)

The Dead Sea

Now there is only one more lake in the Holy Land to discuss — the Dead Sea. Its name betrays where it represents on the spiritual map. The Dead Sea represents Hell. The geographic features alone make a strong case for this theory. The Dead Sea, at -1,411 feet below sea level, is the lowest place on earth. Scripture is filled with allusions to Hell being a place where the damned will go down to. The region around the sea can also be odorous due to the high sulfur concentration. The Dead Sea is about nine times saltier than the ocean, and is unable to support any life.[46] The average summer temperatures around the lake are about 105 F, but at times have been recorded over 120 F.

The Dead Sea is also an endorheic lake, which means it has no outlet. This accounts for its high salinity. Whatever minerals the Jordan pumps into it will never leave unless they are physically extracted, which means the lake will only get saltier over time. It is also worth noting that the only entrance into the Dead Sea is from the north, or the top of the lake. This is fitting, because the only way to get to Hell is to go down to it from earth. Lake Hula and the Sea of Galilee, on the other hand, are exorheic lakes, which means they have both an entrance and an exit point. This mirrors how there are entrances at each end of earth and Purgatory. For earth, you can either go up to Purgatory or Heaven, or down to Hell. For Purgatory, there is an entrance coming from earth and an entrance going up to Heaven. Heaven only has a door at the bottom, which Saint Peter faithfully guards, for those coming up from earth or Purgatory.

The Dead Sea also features negatively in the scriptures. In Deuteronomy, the Dead Sea is referred to as the Salt Sea or the Sea of the Arabah, which means Sea of the Desert or Wasteland in Hebrew.[47] Scholars debate the exact locations of Sodom and Gomorrha, but there is a general consensus they were located somewhere on the shores of the Dead Sea. These cities are synonymous for immorality and are fitting symbols for Hell. We also read that God destroys Sodom and Gomorrha with fire and brimstone (which is the same thing as sulfur).[48] Lot’s wife is also turned into a pillar of salt.[49] The Dead Sea and the surrounding region abounds with these two hellish symbols — salt and sulfur. The wicked city Jericho is only seven miles from the Dead Sea.

Debris beside the Dead Sea (source)

Jerusalem is also only about fifteen miles from the Dead Sea which is striking. One may ask why the holy city of Jerusalem is so close to a place that represents Hell? The answer can once again be found in the topography/geography of the landscape. Although relatively close to the Dead Sea and Jericho, Jerusalem towers nearly 4,000 feet above the Dead Sea and sits about 3,200 feet higher than Jericho. Jerusalem is not part of Hell, but is almost its gate. This is fitting because Jerusalem is where Christ triumphed over Satan and Hell.

Through His passion and death, Christ tore down the gates of Hell and harrowed it. Jerusalem and the gates of Hell serve as a counterpoint to Caeserea Philippi and the gates of Heaven. This image of gates is referenced in Matthew’s gospel, “And I say to thee: Thou art Peter; and upon this rock I will build my church, and the gates of hell shall not prevail against it.”[50] The gates of Hell shall not prevail against the Church because Christ has vanquished them through His passion and death just outside Jerusalem.

The devil’s hatred for water

The final point to note is the Devil’s hatred for water. Although this theory is more speculative, there is evidence to support it. The storm on the Sea of Galilee can be viewed as a challenge from the Devil. He uses water to try to frighten Christ and the Apostles. The Devil is threatened because Christ is on His way to exorcise the Gerasene demoniac (Mark 5). Our Lord is encroaching on what the Devil thinks is his territory. The water in the symbolic Hell (the Dead Sea) is so polluted with salt, it is useless and cannot support life. Moreover, the Dead Sea itself is shrinking at a steady pace.

The real Hell is likely going to be a place without any water. We can deduce this from the story of the rich man in Saint Luke’s gospel. The rich man, languishing in Hell, begs for a single drop of water, “And he cried, and said: Father Abraham, have mercy on me, and send Lazarus, that he may dip the tip of his finger in water, to cool my tongue: for I am tormented in this flame.”[51] The Devil hates God and God’s creation and is constantly seeking to destroy it. His favorite way to do this is by stealing souls away from Heaven.

The waters of baptism are a painful reminder to him of souls who are escaping from his grasp and of God’s supreme power. Through baptism, God stamps an indelible mark on a man’s soul. The Devil does all he can to sully this mark, but he cannot erase it. Christ’s side during the passion also sprayed water alongside blood. Saint Thomas says this is appropriate because it signifies the purifying effect of the passion.[52] Water is also used at every Mass which is yet one more small reminder to Satan of his defeat at Calvary.

God is eternal wisdom; nothing He does is arbitrary. The geography of the Holy Land is no exception. Although the historical events that occurred in this region tell us it is important, the land and water themselves tell a story through their physical structure. The physical features of the Holy Land were designed in such a way that they would reflect spiritual places and realities:

• The beautiful region around the Jordan’s headwaters with its fresh mountain air signifies Heaven.
• The malarial swamp of Lake Hula and the scorched land around it, cleared of infidels, represents Purgatory as a place of penance and purgation.
• The sometimes tranquil and sometimes turbulent waters of the Sea of Galilee reflect the many ups and downs we experience in our earthly lives. Christ’s abiding presence, however, always pervades the stormy world. Our Lord is always ready to extend a hand to save us or calm the storm when we call on Him.
• The Jordan River, flowing from its heavenly heights, sanctified by Christ Himself, is a symbol of baptism and the grace which flows down to us on earth. It is a life-giving highway connecting Heaven with earth. It also washes the filth of our sins down to the dregs of Hell.
• Finally, the lifeless Dead Sea, sitting at the lowest place on earth, represents Hell in all its hot and sulfurous misery.

The Jordan and its watershed, therefore, are more than just a sliver of Palestine; they also signify the whole physical and spiritual world.

NOTES

[46] Learning Lesson: A Funny Taste — National Oceanic and Atmospheric Administration, www.noaa.gov/jetstream/ocean/ll-taste.

[47] Deuteronomy 3:17

[48] Genesis 19:24

[49] Genesis 19:26

[50] Matthew 16:18

[51] Luke 16:24

[52] Saint Thomas Aquinas, Summa Theologica, III, q. 76, a. 6, corpus, trans. Fathers of the English Dominican Province, (New York, NY: Benziger Brothers, Inc., 1947), 2443.