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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 July 23, 2019

Behold Jesus Christ crucified, Who is the only foundation of...

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July 23

 

Behold Jesus Christ crucified, Who is the only foundation of our hope;
He is our Mediator and Advocate; the victim and sacrifice for our sins.
He is goodness and patience itself;
His mercy is moved by the tears of sinners, and
He never refuses pardon and grace to those who ask it
with a truly contrite and humbled heart.

St. Charles Borromeo


PLEDGE REPARATION TO OUR LADY HERE!

Saint of the day

SAINT OF THE DAY

St. Bridget of Sweden

Her favorite son became entangled with Queen Joanna I who wa...

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St. Bridget of Sweden

Bridget was nobly born, her father was Birger, the governor of Upland in Sweden, and her mother, Ingeborg, was the daughter of the governor of East Gothland.

At fourteen she was married to young Ulf Gudmarsson, to whom she was happily married for twenty-eight years and had eight children, four boys and four girls, one of whom was St. Catherine of Sweden.

In 1335, she was appointed lady-in-waiting to King Magnus II’s bride, Blanche of Namur, and she spent years at court trying to reform Magnus’ weak, and at times, wicked ways, and the queen’s often well-meaning, but irresponsible, bend.

Though Bridget’s famous visions were already under way at this time, spanning subjects from personal hygiene to politics, she did not have great success with her royal “charges”, and was often seen as a “dreamer.”

After her husband’s death in 1344, she founded an order of women and another of men to support them spiritually. When her order was established, she traveled to Rome accompanied by her daughter Catherine and some disciples, to seek approval of her Rule. But she was never to return to her native Sweden.

In Rome, she worked to bring back the Papacy, then in the French city of Avignon, to the Eternal City. Her visions and prophecies, dealing with the burning political and religious issues of her time, continued and so increased that, alarmed, she submitted them to the direction of Canon Matthias of Linkoping who pronounced them to be of God. Peter, Prior of Alvastra, recorded these visions in Latin.

Her order was only approved by Pope Urban V in 1370.

In 1373 she made a pilgrimage to Jerusalem, with Catherine and three of her sons. At Naples, Charles, her favorite son, became entangled with Queen Joanna I who wanted to marry him despite both being already married (Joana thrice). Anguished, Bridget stormed heaven, and Charles, struck by a fever, after two weeks died in his mother’s arms.

Returning from Jerusalem, Bridget, already ailing, received the last rites from her faithful friend, Peter of Alvastra, and died on July 23 at the age of seventy-one.

Bridget was canonized in 1391, and is the patron saint of the Kingdom of Sweden. She is also considered one of the patron saints of Europe.

Weekly Story

WEEKLY STORY

In the days of yore, when travel must be had on foot or by h...

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The Virgin Mary Rewards a Bandit

In the days of yore, when travel must be had on foot or by horse, many were the dangers to be found along the roadways. Bandits plagued travelers and made their living by depriving others of their goods and often their very lives.

A young woman in the Papal States, who was very devout towards Mary, met in a certain place a chief of the bandits. Fearing some outrage, she implored him, for love of the most holy Virgin, not to molest her.

"Do not fear," he answered, "for you have prayed me in the name of the mother of God; and I only ask you to recommend me to her." Moved by the woman’s mention of the Blessed Virgin, the bandit accompanied her himself along the road to a place of safety.

The following night, Mary appeared in a dream to the bandit. She thanked him for the act of kindness he had performed for love of her. Mary went on to say that she would remember it and would one day reward him.

The robber, at length, was arrested, and condemned to death. But behold, the night previous to his execution, the blessed Virgin visited him again in a dream, and first asked him: "Do you know who I am?"

He answered, "It seems to me I have seen you before."

"I am the Virgin Mary," she continued, "and I have come to reward you for what you have done for me. You will die tomorrow, but you will die with so much contrition that you will come at once to paradise."

The convict awoke, and felt such contrition for his sins that he began to weep bitterly, all the while giving thanks aloud to our Blessed Lady. He asked immediately for a priest, to whom he made his confession with many tears, relating the vision he had seen. Finally, he asked the priest to make public this grace that had been bestowed on him by Mary.

He went joyfully to his execution, after which, as it is related, his countenance was so peaceful and so happy that all who saw him believed that the promise of the heavenly mother had been fulfilled.

From the Glories of Mary, by St. Alphonsus Maria de Liguori.

In the days of yore, when travel must be had on foot or by horse, many were the dangers to be found along the roadways.

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