St. Peter's – Tony Lusvardi, S.J.

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.

The Vatican Nativity Scene, 2024

Merry Christmas to all! I am spending Christmas at the church of the Santa Vergine degli Angeli in Maracalagonis, Sardinia, where I was fortunate to spend Holy Week earlier this year.

Before I left Rome, I was able to check out this year’s Nativity scene in St. Peter’s Square, always a source of discussion (and sometimes critique) among Romans. (For comparison, here are pictures of the Vatican Nativity scenes from the past two years: 2022 and 2023.) Last year was the 800th anniversary of this tradition, attributed to St. Francis–more about its origins in the town of Greccio here and here.

This year’s Vatican scene has a river theme, with the three kings making an aquatic landing in Bethlehem. As I noted last year, the point of such popular devotions, like Ignatian contemplation, is not to recreate history–or geography–but to help us find ourselves in the story. To that end, I found this year’s Nativity attractive and I especially liked the ducks in the foreground!

Wishing everyone many blessings and much happiness this Christmas!

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.

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)

Faces of Medieval Rome

Visitors to St. Peter’s Basilica in Rome often don’t realize that the magnificent baroque church is built over the site of a still more ancient basilica, built by Constantine and then torn down completely by Pope Julius II during the Renaissance. Over the course of the next century, today’s basilica was rebuilt by the likes of Bramante, Giulio da Sangallo, Raphael, Michelangelo, Carlo Maderno, and Bernini.

Surprisingly little of the original church remains, so I was fascinated this week to see a few of the mosaics saved from the first basilica at a special exhibition on medieval Rome at the Museo di Roma. The exhibition displayed work from the other four major basilicas, each of which has a unique history. The complex around St. John Lateran, another Constantinian construction, has changed greatly over the centuries and the interior of the church was redone by Francesco Borromini in the 17th century, though the shape of the basilica remains basically the same. St. Mary Major preserves the magnificent mosaics from its Roman days, but St. Paul Outside the Walls was entirely rebuilt after a fire burnt it down in the early 1800s.

Here are a few pictures form the papal basilicas’ medieval past.

Bernini’s beads

When I reached the end of the station pilgrimage the last time around, I was struck by the details.

For the sacramental theologian such as myself, there’s a deep lesson in the details of the journey. The Son of God’s Incarnation meant entering fully into the reality of human life, with all its diverse moments of suffering and disappointment, of hope and joy, of sometimes just getting by. The Passion narrative is the most vividly detailed part of the Gospels, and the Resurrection stories too, though reflecting the discombobulation of that utterly unprecedented event, also retain the sort of vivid details that stick out in one’s mind even when the world has just gone outside-in. Mary thinks Jesus is the gardener. Jesus eats a bit of fish. The sacraments depend on the details of the Lord’s life, too, on what he ate at his last meal.