The Harrowing of Hell, Andrea di Bonaiuto, Santa Maria Novella, Florence
Today’s reading from the Office of Readings put me in mind of the fresco of Christ’s descent into the limbo of the patriarchs in the chapter room of Santa Maria Novella in Florence. Note the demon crushed under the doors of hell at Christ’s feet and the other bewildered devils on the right. (Don’t feel sorry for them.) It’s what the Middle Ages had instead of superhero movies.
I was recently reminded of a post I wrote on the old Whosoever Desires blog eleven years ago. It was prompted by controversy over Mel Gibson and The Passion of the Christ, but the questions it asks are perhaps still worth considering this Spy Wednesday as well…
Nathan’s post on Mel Gibson’s The Passion of the Christ last year generated a lot of discussion and ended with an intriguing question: “Why does Pilate always get so much empathy from us?”
It would be easy, at this point, to start tossing around charges of anti-Semitism, charges which would allow us to feel a certain measure of moral superiority over those less enlightened than ourselves. Then we could pray like the righteous Pharisee, “God, I thank thee that I am not like other men, extortioners, unjust, anti-Semites like Mel Gibson over there” (Lk 18:10).
Throwing around such charges is a way of doing precisely the same thing that blaming the Jews for the crucifixion once did: deflecting guilt from ourselves. I would suggest a far more troubling answer to the question, “Why do we empathize with Pilate?”
Because Pontius Pilate is the character in the Passion who is most like us.
“True reverence for the Lord’s passion means fixing the eyes of our heart on Jesus crucified and recognizing in him our own humanity.
“The earth–our earthly nature–should tremble at the suffering of its Redeemer…. No one, however weak, is denied a share in the victory of the cross. No one is beyond the help of the prayer of Christ. His prayer brought benefit to the multitude that raged against him. How much more does it bring to those who turn to him in repentance… Everything that he did or suffered was for our salvation: he wanted his body to share the goodness of its head.
“First of all, in taking our human nature while remaining God, so that the Word became man, he left no member of the human race, the unbeliever excepted, without a share in his mercy. Who does not share a common nature with Christ if he has welcomed Christ, who took our nature, and is reborn in the Spirit through whom Christ was conceived?
“Again, who cannot recognize in Christ his own infirmities? Who would not recognize that Christ’s eating and sleeping, his sadness and his shedding of tears of love are marks of the nature of a slave? …
“The body that lay lifeless in the tomb is ours. The body that rose again on the third day is ours. The body that ascended above all the heights of heaven to the right hand of the Father’s glory is ours. If then we walk in the way of his commandments, and are not ashamed to acknowledge the price he paid for our salvation in a lowly body, we too are to rise to share his glory.”
Italy is such living sculpture that one could easily fill a coffee table book with pictures of otherwise mundane objects that, here, have have taken on artistic flare. You could fill a profitable day just searching out interesting door knockers or doorways, drinking fountains or the weeds that sprout from rooftop tiles. We owe much of this picturesqueness to the medieval spirit that allowed craftsmanship and creativity to flourish on a human scale–and which has become less common in our age of planned obsolescence and Made in China.
Making the station church pilgrimage this year, I’ve been looking at the ground. I wrote before of the marvelous Cosmatesque floors in so many of Rome’s churches. This style is named after the Cosmati family, the medieval craftsmen who made use of Rome’s overflow of broken marble to turn what would otherwise have been refuse into charming and sometimes Escher-esque designs. It’s especially appropriate that the Cosmati’s work paves Christian churches, where sins are absolved and, picking up the fragments left by our mistakes, we are reminded that, with the help of grace, we can still manage something beautiful.
So here’s a slideshow of a handful of Rome’s graceful floors…
This week we passed Lent’s midpoint, which always seems the most grueling part of the journey, the part where you’re most tempted to ask, “Are we there yet?” The excitement of starting something new has worn off, and the end still seems distant. It’s the part of Lent where hitting the snooze button one more time comes oh-so-easily.
And here the Church again gives us a little boost with Laetare Sunday and the simple joy that comes from listening to your parish priest insist that his vestment is not pink, not mauve, not pepto-bismal, but rose, darn it, it’s rose.
Santa Pudenziana.
My own personal mid-Lent boost came this week from the remarkable apse mosaics in the week’s station churches. I’ve always found mosaics mesmerizing, the fragments that make up a greater whole, the way the light glistens off each piece. The mosaics in Rome’s station churches are particularly precious because they are so old. Santa Pudenziana’s dates from the 5th century, Ss. Cosma e Damiano’s from the 6th.
You may understandably object that I project too much into a scant fifteen-minute encounter passed almost entirely in silence. I concede the complaint. Yet the Spirit radiates where he wills. And the new Eve leads a multitude of daughters (and sons) to compassionate being, which manifests itself in courteous demeanor and directness of gaze. Mary continues both to enchant and to challenge.
Indeed, let me insist: bodily demeanor and gaze. For in an incarnational spirituality the body assumes a dignity and importance that is unique. It is no rarefied “spiritual” assent that we celebrate on Mary’s feast: but a fully embodied “yes” to God’s call.
There are a lot of churches in Rome. I’ve heard 900-something, but I’m not really sure. There are eight or nine chapels in the building I live in, but I might be forgetting some. Needless to say, it seems a little too late for a master plan to ensure efficiency.
Santa Maria in Trastevere
The closest Rome ever came to an efficient program of church construction was probably right at the beginning, with the tituli, which were really just the houses of prominent Christians where the faithful gathered to worship, sometimes in secret. Titulus refers to the name of the owner, usually written on a plaque by the door. These centers weren’t laid out in any logical plan, but depended on whoever had a big enough living room (well, courtyard) to accommodate the whole proto-parish. When Christianity came out into the open after the Edict of Milan, the city’s faithful erected church buildings on the site of the tituli, which often enough coincided with sites of martyrdom. A few of the station churches are also built on the site of an old diaconia, basically an early Christian charitable distribution center.
Today’s station church, San Clemente, marks something of a milestone. San Clemente was where the station liturgy broke off two years ago in what was to become the longest fortnight in human history, “two weeks to flatten the curve.” In fact, in my experience of the station pilgrimage, the second Monday of Lent at San Clemente seems associated with portentous events. It was to San Clemente that I trudged through the slush in 2018, the last time that Rome got snow.
I’ve noted before the prevalence of former soldiers among the saints of Rome, a fact especially evident in the first week of Rome’s station liturgy, when day two is celebrated at a church dedicated to St. George and St. Sebastian and day three at the site two other former soldiers, the brothers John and Paul, were martyred in 360.
The prominence of these soldier saints is especially striking while war rages in the Ukraine. Though the signs were all there ahead of time–this was not the first time Vladimir Putin invaded Ukraine–the attack and the resistance to it has seemed to jolt the West from a deep and dangerous torpor. A friend recently showed me a poll asking the people of various nations if they would be willing to fight for their country; less than half of Americans said yes–and that was high for the West. In his inaugural address, John F. Kennedy, pledged to the world, “Let every nation know, whether it wishes us well or ill, that we shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe, to assure the survival and the success of liberty.” Today, in the face of crisis, presidents compete to issue stimulus checks because, hey, free money. Something seems to have been lost.
Rising from the ashes is, I suppose, the theme of every Lent and Easter season, though it appears especially appropriate this year. On a personal note, this will be the first time since 2020 that I will be able to return to one of Rome’s great Lenten traditions, the station churches.
I managed to complete the full itinerary my second year here in Rome–and my first Lent as a priest–and wrote about the experience in a series of articles for America Magazine, the first of which gives some background on the tradition: A Jesuit’s Lenten pilgrimage through the station churches of Rome.
The following year, balancing other obligations, I hit about half the churches, and then in 2020, in the second week of Lent, Rome’s churches closed. It seemed as if Nero had gotten his way at last.