Travel – Tony Lusvardi, S.J.

The Vatican Nativity Scene, 2025

Vatican Nativity Scene 2025, St. Peter’s Square

While the tradition of a Nativity display dates back to St. Francis of Assisi, today such scenes are most associated with the city of Naples. There such displays came to include not just the figures of Mary, Joseph, and baby Jesus in a manager, but whole surrounding countrysides and cityscapes crowded with figures and replete with detail. These Neapolitan scenes reached their heyday in the 17th and 18th century and today provide a view into what life was like at that time. They feature all strata of society from nobles and servants to shopkeepers and children.

On the road with St. Augustine

It seems like I’ve been on the road–or more precisely in the air–a lot this summer. Some of the journeys have been planned, others unexpected; some have involved meeting old friends, others making new ones. One was to bury my grandfather (that was tough); others involved planting new seeds (both spiritually and literally). My retreat for Jesuits on praying the liturgy got off the ground; I was able to return to St. Isaac Jogues and Rapid City and to Cloisters on the Platte to give a retreat; and for the first time I participated in the marvelous Free Society Seminar in Slovakia. St. Augustine’s words from the Feast of Martha, Mary, and Lazarus a few weeks ago struck me in a particular way this year, a reminder of the journey we all are on…

“Our Lord’s words teach us that though we labor among many distractions of this world, we should have but one goal. For we are but travelers on a journey without as yet a fixed abode; we are on our way, not yet in our native land; we are in a state of longing, not yet of enjoyment. But let us continue on our way, and continue without sloth or respite, so that we may ultimately arrive at our destination.”

St. Augustine, Sermo 103

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

M.C. Escher in Rome

We’re now smack in the middle of another busy semester at the Gregorian University, which doesn’t leave much time for getting out in Rome. (Seeing the hordes of tourists you might not believe it, but not everyone in Rome is on vacation!)

The Eternal City remains eternally fascinating, however, and every once in a while will throw something at you that you weren’t expecting. I thought I’d share a few pictures from a visiting exhibition at Palazzo Bonaparte from last year on M.C. Escher (1898-1972). The Dutchman is perhaps not who you think of when picturing an Italian artist, yet his travels in Italy between 1925-1935, especially in Calabria, were particularly formative for him. When you realize this, you begin to notice that the impossibly fantastical geometric architecture in so many of his works bears a striking resemblance to the look and feel of an Italian hilltop village.

(Below: Inside St. Peter’s [1935]; Mummified Priests in Gangi, Sicily [1932]; San Giorgio in Velabro [1934]; Still Life with Mirror [1934]. Note the holy card of St. Anthony in the corner of the mirror.)