Rome – Tony Lusvardi, S.J.

Santa Maria dell’Orazione e Morte: a church for Rome’s forgotten

Of all the corporal works of mercy, the one which is perhaps easiest to forget is the last, burying the dead. Yet, both Christians and Jews have counted giving the dead a decent burial among the most laudable of charitable acts. The plot of the Book of Tobit–one of the Old Testament’s forgotten gems–revolves around the protagonist’s stubborn determination to see that his exiled countrymen receive a proper burial. Joseph of Arimathea is named in all four Gospels for the decency he showed the Lord’s body even after it seemed that all was lost. In the rabbinic tradition, burying the dead is considered especially praiseworthy because the dead have no ability to repay the favor.

Burying the dead shows a concern with human dignity–in contrast to a merely utilitarian concern with maximizing pleasure and avoiding pain–and I think that sense of dignity spills over into how we think about the living. We are both body and soul and to treat the body as something insignificant is to fail to appreciate the precious gift of being human. For Christians, showing the body reverence reflects the belief that our bodies become consecrated objects in baptism and confirmation and, as St. Paul says (1 Cor 6:19), temples of the Holy Spirit.

All of these reflections–on All Souls Day–are to introduce what might otherwise seem one of Rome’s strangest churches, the Church of Santa Maria dell’Orazione e Morte (St. Mary of Prayer and Death) located on the Via Giulia. It’s not one of the city’s better known churches and for many years was closed for restoration, but the skulls on its facade make it hard to forget.

Why literature?

I was delighted earlier this month to be able to speak at the book presentation of a legendary member of the Gregorian faculty, Fr. Joseph Carola, S.J. Fr. Carola recently published his first novel Dragons: A Roman Requiem this summer and invited me to say a few words at the book presentation. The talk gave me the opportunity not only to talk up a great novel, but also to reflect on why we read and write literature to begin with.

Thank you, Fr. Bagasse, for the introduction, and thank you, Fr. Carola, for the invitation to speak today and for involving me in the entire process of the production of Dragons. Outside of Tolkien or Game of Thrones, few people can say that they have witnessed the birth of dragons. But I can now say that I have.

I followed the book’s gestation via energetic reports at the breakfast table in the Gregorian Jesuit community. I heard descriptions of places that would appear in the novel—the aptly named Villa Mondragone in Frascati; the former Jesuit collegio in Orvieto; the famous breach in the wall near the Porta Pia as seen from Villa Bonaparte, the French embassy to the Holy See. I found out that more—many more—exploratory trips went into the production of the novel, including a ferry ride across the English Channel—it’s a good thing, none of the novel’s characters fell overboard or Father Carola might have tried to swim it.

Eventually, I read drafts and witnessed the dragons begin to spread their wings. I saw, as so often happens in that mysterious process by which literature comes into being, the author himself surprised as he realized what his own characters would do. I found myself noticing—Roman readers beware, because this is a side-effect of the novel—I started noticing dragons everywhere—on buildings, in fountains, on floors, in mosaics, looking down from windows, peaking around corners.

For me, seeing the book emerge from the quarry of Father Carola’s imagination was part of the fun of the project. And fun it was, and is. Appropriately so. The Roman poet Horace, after all, wrote that the purpose of literature is both to instruct and to delight. And even though the novel’s subtitle “A Roman Requiem” hints at the somber trajectory of the events it describes, the book is not without its moments of fun: the saucy dialogue of the Jesuit brothers—Brother Paglia, Brother Pampana, and Brother Azzopardi—who provide color commentary on current events, rolling their eyes at the fathers upstairs who remain lost in their theology while making the practical preparations necessary for the community’s survival amid the nineteenth century’s revolutionary violence.

Sant’ Andrea al Quirinale — Bernini’s favorite church

A few weeks ago I shared some reflections on taking my final vows as a Jesuit, a tremendously blessed moment for me. Today I thought I might add a few words and pictures about the place where I took those vows: the Church of Sant’Andrea al Quirinale.

Since Rome is packed with stunningly beautiful churches, sometimes those that would be at the top of the visitor’s itinerary anywhere else in the world end up being overlooked. Sant’Andrea al Quirinale is one of those. It should be numbered among the most important Jesuit churches in the world, but in Rome it has to compete with the Gesù–site of the body of St. Ignatius and the arm of St. Francis Xavier–and Sant’Ignazio–the onetime chapel of the Roman College, as the Gregorian University was first known. Both churches are enormous, paradigmatic examples of the baroque at its most overwhelming.

Sant’Andrea is tiny by comparison, but don’t let size mislead you. It was the chapel of the first Jesuit novitiate; in an adjoining room, one can visit the relics of St. Stanislaus Kostka, patron of Jesuit novices and of students, who died there in 1568 at the age of 17.

While it stood on the site of an early church dedicated to Andrew the Apostle, the present Sant’Andrea (built in 1658) was designed by Gian Lorenzo Bernini. Bernini, who was busy at the time decorating the interior of St. Peter’s Basilica and building the colonnade for St. Peter’s Square, refused to take a commission for Sant’Andrea. It was said to be his favorite work, and, as he aged, the great artist was sometimes seen sitting alone inside the church, enjoying its peaceful atmosphere.

Buildings that speak to us: Homily for the dedication of the Lateran Basilica

Homily for the Feast of the Dedication of the Lateran Basilica (2023).

From the cloister of St. John Lateran, Rome

The feast we celebrate today is particularly special for us in Rome. We celebrate the dedication of our cathedral. It is a magnificent building, and probably all of us have been there to appreciate the beauty of this splendid and ancient church.

The anniversaries of church dedications are important in the Church calendar because churches are the places where we gather to celebrate the Christian liturgy, the holy mysteries of salvation. Here in Rome, however, we live in an unusual situation because there are many beautiful and ancient churches–but when we enter them, often we find few of the faithful.

We should not be discouraged; instead we should remember the faithful who still speak to us through these monuments of their faith. The churches they built and left us are not mere buildings; they are their testimony. There is a message in these buildings that the saints of past times wanted to convey to us.

But more than a message, there is still a presence. When we celebrate the liturgy, we are not alone; we enter into the presence of the saints. They are with us. On November 1, we entered the season in which we remember the saints. Churches–from St. John Lateran to this little chapel–are more than museums where we learn from the past; they are places where we encounter the saints, where eternity becomes the present.

(Original: Italian)

Readings: Ez 47:1-2, 8-9, 12; 1 Cor 3:9c-11, 16-17; John 2:13-22

Gregorian University Chapel

November 9, 2023

Pope Leo: an ever-ancient, ever-new beginning for the Church

Just over a week ago I stood among the throng in St. Peter’s Square waiting for Pope Leo XIV’s Mass of installation. As the new pope emerged on the back of a white truck and made the rounds through the square, one of the priests who was with me to concelebrate whispered, “It still feels surreal.”

It still does.

The one iron-clad rule of papal elections, after all, used to be that the cardinals would never elect an American pope. And now we have a pope who grew up cheering for the Chicago White Sox. Going into the conclave, the Church seemed tired and divided. Yet Pope Leo has managed to evoke good will on all sides, and he hasn’t had to resort to any particular gimmicks to do so. Rome is elated.

What is perhaps most striking about our new Holy Father is the paradoxical way in which he seems both totally at ease in his new role–as if he’d been pope-ing for years already–and at the same time totally unassuming. One could imagine sitting next to him at a baseball game and him introducing himself as “Bob from Chicago.” At the same time, seeing him on the balcony of St. Peter’s Basilica or meeting world leaders in the robes of his office, one senses the quiet dignity of a successor of the Apostles.

A lot has already been written about Pope Leo on the basis of relatively scant pre-conclave writings and interviews. I was particularly impressed by the first homily he gave to the cardinals after his election. His brief address to the Synod of Bishops on evangelization more than a decade ago equally impressed me because he seemed to grasp one of the central problems facing the Church: the role of the media in communicating–and sometimes miscommunicating–our message. I remember an interview given by the late Cardinal Avery Dulles to Charlie Rose, in which the cardinal observed that the biggest problem faced by the Church was that most Catholics learn what they know about Catholicism not from the Church herself, but from the media. Leo XIV understands that dynamic–and he is alert to the equally challenging frontiers now being opened by artificial intelligence.

Guercino, Rome, and the Jesuit baroque

One is always discovering new artists in Rome, and earlier this year, thanks to a special exhibit at the Scuderie del Quirinale and the recommendation of a friend, I discovered Guercino (1591-1666). Born Giovanni Francesco Barbieri in Cento (Emilia-Romagna), he worked in Rome when baroque art was at its zenith.

The exhibit was of particular interest to me because Guercino’s time in Rome corresponded to the period when the Jesuits were also at their zenith. The pope who proved to be Guercino’s great patron, Gregory XV (Alessandro Ludovisi), also favored the Society of Jesus, especially in its mission of spreading Catholicism around the globe.

The Jesuits have often been associated with the baroque because it was the artistic style in vogue around the time of our founding, so our great Roman churches, the Gesù and Sant’Ignazio — and all the other Jesuit churches around the world built to imitate them — are classic examples of baroque architecture.

Guercino, St. Peter Raising Tabitha, 1618

The Vatican Nativity scene, 2023

Nativity scene, St. Peter’s Square, 2023

Over the past few weeks, I’ve noted (here and here) that 2023 marks the 800th anniversary of the first Nativity scene set up by St. Francis in the little town of Greccio. The Vatican’s Nativity scene this year also reflects that anniversary.

This year’s scene doesn’t aim for historical accuracy–thus, St. Francis alongside Mary and Joseph and the three friars replacing the three kings. (Oh, and there’s a priest celebrating Mass in the background too.) The fresco on the wall behind them is a replica of the one in the cave in Greccio.

The figures, perhaps, aren’t exquisitely beautiful. (And, come to think of it, the priest in the background seems a tad confused about what he’s supposed to be doing–too much realism?) But at least this year’s Nativity scene isn’t aggressively weird (like the aliens from 2020) or trying too hard to be modern (like… well, there are too many examples).

You’ll notice that the manger itself is empty. As per the tradition, the Baby Jesus doesn’t arrive until Christmas itself. This year he won’t find a perfect Nativity scene, a perfect Church, or a perfect world, but he’ll come nonetheless and we need him all the more because of it.

Rome for the holidays

Advent is one of my favorite times of the year to be in Rome. What they call winter here is nothing to a Minnesotan, and the shortening days are counterbalanced by the city’s delightful display of Christmas lights. These generally don’t start appearing until after the Immaculate Conception (December 8) and they don’t come down until after the Epiphany (January 6).

Rome’s Christmas tree, Piazza del Popolo

The city’s official Christmas tree, like the Vatican Nativity scene, is often the subject of local critique and Roman wit. This year, the tree got a new location due to construction work on Rome’s mythical new subway line–scheduled to open a few years after the Second Coming of Christ. The tree’s usual home, Piazza Venezia, is now a construction site, but its new location in Piazza del Popolo is a calmer setting away from the traffic. The official tree also has some competition from a glitzy counterpart at the Spanish Steps, given to the city by the fashion designer Dior.

I’d also be remiss not to mention what a delightful time of year Advent is to be at the Gregorian University, where the university’s international richness is on full display. Student groups from different countries take turns singing in the atrium between classes. It gives them an excuse to duck out of class early (ahem), but you’d have to be Ebenezer Scrooge not to appreciate the festive atmosphere. The Mexican college usually wins the prize for the best show not only because of their charm and energy but because you just can’t top a piñata. It’s a time to be grateful for our young priests, seminarians, religious, and lay students who are such a source of hope for me and for the Church.

Merry Christmas

Since St. Francis of Assisi introduced the idea 800 years ago, Italy has been the land of Nativity scenes. And there is no more prominent location for a Nativity scene in the world than St. Peter’s Square. The scene is different every year and–along with the Christmas tree in Piazza Venezia–is usually subject to intense comment and critique from Romans and visitors alike. There’ve been a few doozies in my years here, but this year’s scene from Friuli Venezia Giulia does not seem to have aroused great protests.

Here’s a peak at the scene, still waiting for the child who makes all things complete.

Christmas blessings to one and all!

“In the fullness of time, chosen in the unfathomable depths of God’s wisdom, the Son of God took for himself our common humanity in order to reconcile it with its creator.” (Pope St. Leo the Great)

Advent lights

One of the reasons I find the season of Advent so compelling is its central symbol of light growing in the darkness, as simple as it is powerful. The fifth of the O antiphons always strikes me as particularly poignant:

O Radiant Dawn, splendor of eternal light, sun of justice: come shine on those who dwell in darkness and the shadow of death.

Mid-December also coincides with a slight lull in the crush of tourists here; between the Immaculate Conception and Christmas the streets are a tad calmer and one can get out and enjoy the decorations. In the northern hemisphere it is one of the darkest times of the year, but that only makes the lights all the more delightful.

Here are a few shots of Rome’s lights…