On Saturday October 26, pilgrims to the Summorum Pontificum pilgrimage in Rome processed to St. Peter’s Basilica led by his Excellency Marian Eleganti, bishop emeritus of Chur, Switzerland.

Last weekend for the Feast of Christ the King, Catholics from around the world gathered in Rome for the Summorum Pontificum Pilgrimage to demonstrate their devotion to the Traditional Liturgy of the Church.

On Friday Evening, October 25, Solemn Vespers of the Blessed Virgin Mary were celebrated in the Pantheon, Basilica of St. Mary and the Martyrs, in Rome. The celebrant was Bishop Marian Eleganti O.S.B., auxiliary bishop emeritus of Chur, Switzerland.

An Exhibition at the Metropolitan Museum of Art (now through January 26, 2025)

This new exhibition covers artworks created in a relatively short time span – mostly between 1300 and 1350. It was a period when Siena advanced to share leadership in Italian art with Florence. Sienese art is more “conservative, ” preserving strong links with the Byzantine tradition. Yet, at the same time it displayed innovations that were points of departure for the future of Western art. Siena, as a major trading center, was well situated to foster the fruitful interaction of these influences. It maintained contact with Constantinople as well as with Rome. At the same time art from the Gothic world north of the Alps made its way to the city. The exhibition includes examples of works from these other traditions that influenced Siena. For example, there are samples of fabrics with elaborate designs – some imported from Asia – that are reproduced in the 14th century paintings.

Sienese art maintained many Byzantine artistic conventions – most notably, the gold background on most of the paintings. The lighting of this exhibition is very precise and subdued, yet it cannot capture the magic effect that candlelight one had on this art. In addition, the paintings continue to reflect traditional Byzantine compositions. Yet in no way could these works of Duccio, the Lorenzetti brothers, Simone Martini and others be confused with the Byzantine originals. Architectural frameworks with incipient three-dimensional effects appear. New compositions are developed, now more emotional, realistic and even monumental, now more elegant in the Gothic tradition. And finally there is a developing awareness among these artists of the desirability of capturing, not just a timeless image, but a specific moment in time. The visitor has the opportunity to study these paintings up close and to marvel at the glowing colors, the innumerable details and the extraordinarily refined brushstrokes. The contrast with the modern, cartoon-like “Eastern” art in favor in certain Catholic ecclesiastical circles – and among some of the Orthodox as well – could not be greater.

Sienese art is of course intensely religious. In this age of Christendom, the Church, the state and various private associations offered major commissions for public display. This exhibition includes one large altarpiece and some panels from Duccio’s incredibly complex Maesta for the high altar of Siena cathedral. Indeed, some of the multipanel artworks have been reunited here for the first time in ages.

Yet much of what we see are smaller scale works intended for private devotion. For in Siena, as elsewhere in 14th century Europe, there was a growing receptivity to individual devotion, to mysticism. Later, in the second half of that same century, was not Siena the home of one of the greatest mystics of all, Saint Catherine? But we must not exaggerate a contrast between public and private devotion. St. Catherine of Siena herself hardly lived withdrawn from the presssing issues of her day! She might have seen with her own eyes a number of the works currently on display in this exhibition.

All in all, this exhibition testifies to the power and refinement of Christian art in an age when Christendom itself was at the summit of its creative power. A creativity, that, in the case of Siena, was associated with respect for tradition. Sienese art demonstrates that cultivating tradition is no hindrance to originality and innovation.

Overview of the Exhibition

(Above) In the exhibition are public works commisioned for secular buildings and churches – one panel of an altarpiece for the Palazzo Pubblico (town hall) of Siena by Simone Martini (ca. 1326- 30) (Below) Yet a large part of the exhibits are smaller paintings intended for private devotion. Lippo Memmi, Virgin and Child with Saints and Angels ( ca. 1350).

On Saturday morning , the National Latin Mass Pilgrimage took place, with a 7-mile procession from St. Thomas More Cathedral, Arlington to St. Matthew Cathedral in Washington DC.

On Saturday, November 9, the Society of St. Hugh of Cluny will sponsor a lecture by the distnguished scholar Dr. Marie Meaney on:

The Beauty that Saves – Simone Weil on Beauty, the Supernatural and the Liturgy

Simone Weil is a towering figure of 20th century spirituality. She profundly influenced such literary figures as Cristina Campo, who, after 1965, organized the first petitions to preserve the traditional liturgy. We are looking forward to hearing about Weil’s insights on beauty and the liturgy!

The event will start at 3 PM and will include a reception. The location is the Stuart and Jill Chessman at 2 Tamarack Pl, Greenwich, CT 06831. We would appreciate if you would let us know if you are coming by emailing:

hughofcluny@gmail.com

Dr. Marie Meaney is a specialist on the French philosopher and mystic Simone Weil, on whom she has written two books. She holds graduate degrees in modern languages and philosophy from Oxford University and the IAP in Liechtenstein. She taught at the University of Villanova in Philadelphia before the birth of her daughter. Since then, she’s been an independent scholar, giving lectures, penning academic but also popular articles, working on a book on totalitarianism from the perspectives of Simone Weil and Hannah Arendt, and teaching courses, for example, at the International Theological Institute in Trumau, Austria. She’s also written a book on infertility, When Expecting doesn’t Happen: Turning Infertility into a Journey of Hope, that was published by Emmaus Press but has appeared in other languages as well ( French, German, Croatian, Hungarian, and Spanish).

The Connecticut Right to Life Conference will take place on Sunday Sept. 29 at St. Patrick’s Oratory in Waterbury, following the 10:30 am Sung Traditional Mass.

I found I had overlooked one sad item of recent news, of special significance to those familiar with Bay Ridge, Brooklyn. Visitation Monastery and its all-girls academy have closed after 169 years. The convent and school were established in Brooklyn in the 1855; at least initially the nuns taught both Catholic and Protestant girls. The monastery moved to its location in Bay Ridge after 1900. The site has over seven acres, a lake – but only two remaining nuns. For those of us with no family connections to anyone studying or teaching there, the walled Visitation compound was a mysterious presence in Bay Ridge.

The closure of Visitation Academy was announced earlier this year.

“The Diocese of Brooklyn is truly saddened by the impending loss of the presence of the Sisters of the Visitation of Holy Mary in Brooklyn.”

Parents and alumnae organized against it, but, as usual in such cases, the opposition seems to have been unsuccessful. The neighborhood feels understandably threatened by the sale of such a valuable property. Fears for the continued existence of other Catholic schools are also rising. For Visitation Academy is just one more example of the ongoing decline of Catholic education in both the Brooklyn Diocese and the Archdiocese of New York.

For more details see:

Camille, Jada, “Nun you can do about it! Visitation Academy to shut down at end of school year,” Brooklynpaper.com (2/7/2024

Youtube, “Historic all-girls Catholic school closing Brooklyn campus after 170 years,” CBS NEWS NY

For complete details and information: National Latin Mass Pilgrimage (TLMPILGRIMAGE.COM)