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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 May 22, 2019

O loving Jesus,  increase  my  patience according as my ...

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May 22

 

O loving Jesus,
increase my patience
according as my sufferings increase.

St. Rita of Cascia


GOD, ALWAYS! SATANNEVER! 

PROTEST the "Hail Satan?" Movie

 

 

 

Saint of the day

SAINT OF THE DAY

St. Rita of Cascia

Her husband proved to have an explosive temper, and became a...

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St. Rita of Cascia

Rita was born in Roccaborena, Italy in 1381 to aged parents who were known for their charity, and who fervently thanked God for the gift of a daughter so late in life.

Extraordinarily pious from an early age, Rita set her heart on entering the Augustinian convent in Cascia, but her parents had plans for her to marry the town’s watchman, Paolo Mancini, and she submitted to their desires in the matter.

Her husband proved to have an explosive temper, and became abusive, but Rita bore with his ill-treatment patiently for eighteen years bearing him two sons, who fell under their father’s pernicious influence.

She wept and prayed for her husband and children unceasingly. Finally won over by her virtue, Paolo had a change of heart and asked her forgiveness. Soon after, involved in a local feud, he was ambushed and brought home dead. His two young sons vowed to avenge their father’s slaying, which was a new source of affliction for Rita, who begged God to take them before they committed murder. The Lord heard the saint’s heroic plea and her sons contracted a disease from which both died, not before being reconciled to their mother and to their God.

Free from all earthly cares, Rita turned to the Augustinians seeking admittance only to be told that she could not be accepted by reason of having been married. Rita prayed and persisted and it is said that one morning she was found inside the walls of the convent though none knew how, the doors having been locked all night. She was received then at age thirty-six.

In religious life she was a model of virtue, prayer and mortification. One day, after hearing a sermon on Our Lord's crown of thorns, she felt as if one of the thorns was being pressed to her forehead. On the spot, an open wound developed, and the stench it emitted became so offensive that she had to be secluded. She bore this wound until her death.

Rita died on May 22, 1457 and her body has remained incorrupt to this day.

So many miracles were reported after her death, that, in Spain, she became known as “la santa del impossible”, the saint of impossible cases, a title that spread throughout the Catholic world.

Weekly Story

WEEKLY STORY

Fatima custodians often meet people who know little or nothi...

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Visiting a Muslim Family

Fatima custodians often meet people who know little or nothing about the Catholic faith.  A few years ago I had such an experience in Florida. 

Upon arrival at the home, an elderly grandmother with a group of young children and teens met me at the door. The group was sullen as I brought in the statue, set up the projector and began the introduction.  Unknown to me, I was speaking to a Muslim family.

At a certain point, one of the teens vehemently objected to the phrase “Mother of God” and accused me of blasphemy since Jesus was not God. Quickly the visit became an interesting defense of the Catholic faith. After answering several more objections to the best of my ability, my Islamic hosts allowed me to explain the Rosary, with an attentive audience, I proceeded to pray alone.

After reciting the Rosary, the attendants and I listened to the hostess, who explained why she had assembled the family for the visit.

Several weeks ago, she was hospitalized for a serious illness. She felt alone and abandoned until one day a stranger walked in with a bouquet of flowers, placed it by the bedside and stayed to listen to all of her concerns. The stranger returned repeatedly to renew her flowers, fix her pillows and talk to her. Then the Muslim mother questioned the stranger’s motives, explaining that her own family wasn’t visiting her. The stranger replied that she was a Catholic and Catholics are encouraged to visit the sick.

Requesting more information about the Catholic faith, the mother was told that it was against hospital policy to discuss religion and therefore she would have to search for information on her own.

Upon her release from the hospital, my hostess entered a nearby Catholic church and encountered an America Needs Fatima flier about Our Lady of Fatima. She called the number and set up a home visit to which she then invited her family.

I may never know what has happened to the family, but I regularly pray that their interest in Catholicism has brought them into the folds of the Catholic Church. Of one thing I am certain: Our Lady will never abandon those who invite her into their homes.

By Michael Chad Shibler

Click HERE to get your Free 8 X 10 Picture of Our Lady of Fatima

Fatima custodians often meet people who know little or nothing about the Catholic faith.  A few years ago I had such an experience in Florida

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