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Being Modern: Apostasy or sacred obligation?

 

In this article we discuss four pictures, two works of art from the fifteenth century, and two others from our times.

The two paintings - "The Annunciation of the Blessed Virgin Mary" and "Saint Dominic in Prayer" - are the work of the famous fifteenth century artist Giovanni da Fiesole, better known as Fra Angelico. The work in metal, also representing the Annunciation, was done in our times by the artist H. Breucker. The sculpture was done by A. Wider, another contemporary artist, who has attempted to portray Saint Benedict, patriarch of Western monasticism.

Fra Angelico's "The Annunciation"

Such striking (if not shocking) differences in the rendition of the same and similar subjects, i.e., the Virgin Mary and saints of the Catholic Church, demand some commentaries.

The famous scene of the apparition of the Archangel Saint Gabriel to the Blessed Virgin constituted a moment of grace for mankind. Heaven, which the guilt of Adam had closed, opened and a spirit of light and purity came down in angelic form, bearing a message of reconciliation and peace. This message was addressed to the most beautiful, most noble, most innocent, and most benevolent creature ever to be born of the race of Adam. The Gospels recount the elevated and ineffable simplicity of the dialogue between the two.

The artist's task, challenged by such a theme, consists in expressing the moral values of that incomparable event in his rendition of the faces, attitudes, gestures, and setting as well as in his choice of colors and shapes.

Since this is printed in color, our readers can gauge Giovanni da Fiesole's success in this objective. The nobility befitting the angelic nature, his light and totally spiritual fortitude, his intelligence and purity - all are admirably mirrored in this figure so highly expressive of Saint Gabriel.

The Blessed Virgin is less ethereal, less light. One could almost say less intangible. This effect is reasonable since she is a human creature. Nevertheless, something angelic is perceived in the whole composure of the Queen of Angels. Her facial features surpass those of the heavenly emissary himself in spirituality, nobility and innocence.

Something else is to be noted here; the attitude of one toward the other: By nature, the angel is superior to Our Lady. The Virgin, however, is superior to the angel by her sanctity and by her incomparable vocation as Mother of God. This accounts for the elevated dignity found in the rendition of both the Virgin and the angel and the reciprocal veneration with which they address each other.

There is, yet, a more profound reason for this attitude. Although unseen. God still manifests His Presence by a supernatural light that seems to radiate from both personages-a light that washes over all of nature with a splendor of pure, peaceful, and virginal happiness. One almost feels the most pleasant temperature, the very light and fragrant breeze, the joy that permeates the whole atmosphere.

How could a moment of grace be better painted? With a profound sense of the whole, Fra Angelico knew how to create the lines and colors needed to express all the theological and moral content of this Gospel episode famous a thousand times over. Indeed, his picture is more than just a painted scene. It is comparable to a sermon because it forms, elevates, and stimulates one who contemplates it toward the good.

Breucker's modern "Annunciation"

A garish opposite is Breucker's modern "Annunciation." If a feeble minded person or someone delirious with a high fever were to ramble about the Annunciation, he might have conceived something like this. See how extremely extravagant the work is. It lacks the most elementary values and is devoid of any expression that would denote not only that which is elevated and supernatural but anything balanced or healthy as well. In short, everything works together to make this modern work a brutal and shocking antithesis of the picture from the fifteenth century. One is a marvel of spirituality and faith; the other, a product of a mentality that only knows how to see what is material-a psychology closed to the supernatural, a temperament that finds pleasure solely in horizons without beauty, nobility or anything which provides light, oxygen, life, and hope of eternity for the soul.

In his allocution on May 24, 1953, the Holy Father Pius XII defined the so-called modern spirit as "materialistic thought transposed into actions." In like manner, the example of art

depicted here can be classified as materialistic thought transposed into art.

Fra Angelico's image of Saint DominicNow, look at the picture of Saint Dominic. Elements of the spiritual shine admirably forth in it. It is more a portrait of the soul than of the body. The effort of thought, the exertion required for reading, the serene but strong strain of intellectual work, a countenance befitting one who understands and takes pleasure in understanding all, ultimately, are expressed here with unequaled discretion, intensity and veracity.

And still other aspects of the soul appear: the liveliness and exuberance of a young man, the equilibrium, innocence, piety, and temperance of a perfect religious.

In comparison to this second masterpiece from the fifteenth century, consider the statue from the twentieth century. Certainly there are considerable factors bearing on such a comparison: a) the materials of a painting and those of a sculpture are not the same; b) the talents and temperaments of the artists are alsoWider's statue of Saint Benedict different; c) finally, the spirit of the two subjects. Saint Dominic and Saint Benedict also differ.

Is there a shock, a violent contrast? By no means. Does Wider's sculpture merit the censures that we made of the work by Breucker? No. On the contrary, Wider's statue expresses-with much propriety, precision and strength-the idea that one may have of the patriarch of Western monasticism, who was a model of gravity, austerity, manly tranquility, profound recollection and great wisdom.

No one can deny that this sculpture corresponds satisfactorily to the requirements of an authentic artwork marked by orthodox and well-balanced piety.

Are we against the modern? By this word one understands that which not only pertains to but is typical of our times but rather something a) inherent to it b) different from the past, and c) distinct from the future.

More and more - not only in the field of art but in other areas as well - clever, pertinacious, and all encompassing propaganda is introducing a certain spirit of materialism, sensuality, and delirious extravagance. The style animated by this spirit masterminds the construction and reconstruction of entire cities; it marks the external design and interior decoration of the majority of new buildings of great, medium, or even small importance, in all parts of the world. It exhibits its works in universal art expositions, and so on.

The man in the street instinctively reacts against it ... but only slightly. Thus, this spirit already is - or is on the way to becoming-the style of our twentieth century, which distinguishes it from the past, and God willing, from the days to come.

If it is this and only this that one calls modern, if to be modern is to accept the mark or stigma of materialism-not only of radical materialism but also of "moderate" materialism with all its hues and misrepresentations-then it is undeniable that we are anti-modern because we are Catholic.

However, if one takes into account that alongside this offensive current of our century there are still artists animated by another spirit, and if one means by modern that everything contemporary is modern-whatever be its inspiration, then we cannot be anti-modern because we are not idiots. There is no other name for anyone who, in the ocean of cultural productions of the twentieth century, would judge everything preconceivedly and indiscriminately bad-both the works engendered by the children of light and the works influenced by the neopagan spirit, that is, the spirit of darkness.

Considering these two definitions of modern, which is the more true? It is a problem of semantics. However, one thing is certain: if the materialistic style should not be called "modern," then another name should be devised for it, which has not happened yet. And this name ought to take into account that the modern torrent contains not only the materialistic ingredients we are talking about, but also gnostic and satanic elements (which are the subject matter for another article).

To give a name to this current is an interesting assignment on which we invite our readers to test their wits. However, naming this phenomenon is not the most urgent thing. The twentieth-century man in the street still does not accept the "modern" in the depths of his soul. Let us preserve him from this disgrace. Let us be "modern" in the sense that we behave in accordance with the problems and dangers of our century.

This is what we are trying to do in these articles, amidst the clamor of much applause and to the muffled and furious snarls of hatred of some-certain though, whatever the case, of fulfilling a sacred obligation.

 


  

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Quote of the day

DAILY QUOTE for April 2, 2020

Do not grieve over the temptations you suffer. When   ...

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April 2

Do not grieve over the temptations you suffer.
When the Lord intends
to bestow a particular virtue on us,
He often permits us first to be tempted by the opposite vice.
Therefore, look upon every temptation as an invitation
to grow in a particular virtue and
a promise by God that you will be successful,
if only you stand fast.

St. Philip Neri


My Mother, I will stand with you on OCTOBER 10, 2020

Saint of the day

SAINT OF THE DAY

St. Francis of Paola

Francis explained that the lives of kings are in the hands o...

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St. Francis of Paola

Born in Paola, a small town in Calabria, Francis’ parents were humble, industrious people, dedicated to the service of God. Childless after several years of marriage, the couple prayed earnestly for a son, and when, at last a boy was born to them, the grateful parents named him Francis after the Poverello of Assisi.

At age thirteen Francis was placed in the Franciscan friary of S. Marco where he learned to read and where he began to tread the austere life he was later to live.

Two years later, after a pilgrimage to Assisi and Rome, and with his parents’ consent, Francis retired to a remote location by the sea where he lived in a cave. Before he was twenty, he was joined by two others who also sought a life of prayer in solitude. With help from some neighbors, they built for themselves three cells and a chapel where they sang the divine praises.

Seventeen years later a church and monastery were built on the spot for them with the approval of the bishop of Cosenza. The hermits were so beloved of the people that the whole countryside joined in the work.

Penance, charity, humility. This trinity formed the foundation of Francis of Paola’s rule, which was particularly austere. In addition to the vows of obedience, poverty and chastity, he imposed a fourth binding them to observe a perpetual Lent, abstaining not only from meat, but also from eggs and milk products.

The community received Papal approval in 1474, and in 1492 from being called Hermits of St. Francis of Assisi, they became the “Minims” from their founder’s desire to be known as the least (minim) in the kingdom of God.

Francis of Paola became universally renowned as a wonderworker and prophet. In 1481, King Louis XI of France, who was slowly dying, sent a messenger to the saint begging him to hasten to France to heal him. Francis only acquiesced at the command of the Holy Father to whom the monarch ultimately appealed. At the French court the king fell on his knees before the humble hermit begging for his healing. Francis explained that the lives of kings are in the hands of God and have their appointed limits; prayer should be addressed to God. Ultimately, changed in heart, the king died resignedly in the saint’s arms. In gratitude, his son, Charles VIII, became a great sponsor of the Order.

Francis spent twenty-five years in France and died there on Good Friday of the year 1507 at the age of ninety-one. He was canonized in 1519.

Weekly Story

WEEKLY STORY

I turned to God, but God seems to remain deaf to me. Why is...

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Why Doesn't God Answer My Prayer?

Question:  I pray and pray, but I feel as if God is not listening. We always had a good, peaceful family life, but these last years have been tough. We don’t seem to be getting along and our finances have taken a turn for the worse.

I am so anxious about this situation that, not having anyone to turn to, I turned to God.

But God seems to remain deaf to me. Why is that? In addition, what do I say to certain people, agnostics and atheists, who laugh at prayer, saying it is nonsensical and only a figment of the imagination with no real value?

Answer:  God is faithful to His promises, and God promised to answer our prayers. “And I tell you, ask, and it will be given you; seek, and you will find; knock, and it will be opened to you. For every one who asks receives, and he who seeks finds, and to him who knocks it will be opened” (Luke 11:9–10).

If God promises to answer our prayers, He will do so infallibly. But in prayer there are two sides: he who asks and He Who gives.

Our part is to ask. How must we ask?

Saint Alphonsus Liguori, a Doctor of the Church, teaches in his book Prayer, the Great Means of Salvation that prayer must be persevering and humble.

So many times we hear people saying: “Oh, I used to ask God for this and that and the other, but He never gave it to me. Now, ten years later, how glad I am that He didn’t!”

One thing is certain: God will not fail to answer a humble and perseverance prayer. Whether He chooses to grant what we ask immediately or make us wait, we must trust that He, regardless of appearances, is doing us good. What we think is good and what He thinks is good may be two different things: “My thoughts are not your thoughts, nor your ways My ways” (Isa. 55:8), but here is where we must abandon ourselves to His beneficent will. Our part is to be patient, calm and, above all, faithful, because this is the time for testing and later will come the time for full enjoyment.


Answering Atheists and Agnostics
As for atheists and agnostics, their skepticism proceeds from the fact that they, respectively, deny God’s existence or deny men’s capacity to know God.

In this case, we can only express our regret over their ignorance of this Supreme Being, our omnipotent Creator and loving Savior.

We may direct them to a few sources that may help in their search for the truth of His existence. Atheism and agnosticism can only be sustained in ignorance or ill will because the evidence of God’s existence is overwhelming.

Moreover, God will not hide Himself from those who seek Him sincerely and unconditionally.

Another consideration pertaining to non-believers is this: If God were to grant us absolutely everything we ask at a moment’s notice, such people might start believing purely out of self-interest.

They would look at God as a wand-wielding wizard. And God Our Lord is infinitely more than that. He wants us to know, love, and serve Him for Himself so that He can treat us as children and heirs and grant us unending happiness in Heaven.

"My impression is that the Rosary is of the greatest value not only according to the words of Our Lady of Fatima, but according to the effects of the Rosary one sees throughout history. My impression is that Our Lady wanted to give ordinary people, who might not know how to pray, this simple method of getting closer to God."  Sister Lucia, one of the seers of Fatima.

 

Order Your Rosary Guide Booklet today!

 

I turned to God, but God seems to remain deaf to me. Why is that? In addition, what do I say to certain people, agnostics and atheists,

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