Tuesday 27 February 2024

 

WE HAVE TO TALK ABOUT SEBASTIAN...


Detters we have to talk about Sebastian. He's now fifteen? And like all teenagers of that age very impressionable.

First of all Detters let me congratulate you and Delia on your parenting. You have my unbounded admiration. From everything I gather Sebastian has had a wonderful upbringing and is fortunate in this day and age to grow up with such solicitous care for his moral and spiritual welfare. Recently Detters you wrote that when you and Delia visit The Bay Food Bank with donations you take Sebastian along with you. Such good example. Well done!

However, it's not all plain sailing. Sebastian must encounter some difficulty in you being eighty or thereabouts. No doubt many of his friends mistake you for his grandfather.

Also there is the issue of you being Protestant* and your wife being Catholic. 

I don't mind if you attend Catholic Mass with Sebastian and Delia but there are problems if they attend C of E Eucharist with you. Firstly you of course cannot receive Holy Communion at the Catholic Mass. Under no circumstances at the C of E Eucharist must Sebastian and Delia receive communion - it is of course not communion but an unconsecrated wafer. Henry VIII and the break in Apostolic succession has seen to that. C of E bishops and priests are not validly ordained. How correct was Pope Benedict XVI when he declared that the Anglican Church had no legitimacy.

Finally, please do not allow Sebastian to come under any Gay Lobby influences or ideas. I do not have to elaborate. Likewise please direct him away from any acceptance of abortion or assisted dying. 

Please Detters and Delia keep up the good work.


GENE


* I used to have arguments with the Church of England Busybody R.I.P. about this. She maintained that she was not Protestant. I countered with that because the C of E accepted the 39 Articles she was ergo Protestant.



Monday 26 February 2024

 

The keeper of the Vatican’s secrets is retiring. Here’s what he wants you to know


VATICAN CITY (AP) — The Vatican has been trying for years to debunk the idea that its vaunted secret archives are all that secret: It has opened up the files of controversial World War II-era Pope Pius XII to scholars and changed the official name to remove the word “Secret” from its title.

But a certain aura of myth and mystery has persisted — until now.

The longtime prefect of what is now named the Vatican Apostolic Archive, Archbishop Sergio Pagano, is spilling the beans for the first time, revealing some of the secrets he has uncovered in the 45 years he has worked in one of the world’s most important, and unusual, repositories of documents.

In a new book-length interview titled “Secretum” to be published Tuesday, Pagano divulges some of the unknown, lesser-known and behind-the-scenes details of well-known sagas of the Holy See and its relations with the outside world over the past 12 centuries.

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In conversations over the course of a year with Italian journalist Massimo Franco, Pagano delves into everything from Napoleon’s sacking of the archive in 1810 to the Galileo affair and the peculiar conclave — the assembly of cardinals to elect a pope — of 1922 that was financed by last-minute donations from U.S. Catholics.

“It’s the first time and it will also be the last because I’m about to leave,” Pagano, 75, said in an interview with The Associated Press in his archive office, ahead of his expected retirement later this year.

Pope Leo XIII first opened the archive to scholars in 1881, after it had been used exclusively to serve the pope and preserve documentation of the papacies, ecumenical councils and Vatican offices dating from the 8th century.

With 85 kilometers (53 miles) of shelving, much of it underground in a two-story, fireproof, reinforced concrete bunker, the archive also houses documentation from Vatican embassies around the globe as well as specific collections from aristocratic families and religious orders.

While often the source of Dan Brown -esque conspiracies, it functions much as any national or private archive: Researchers request permission to visit and then request specific documents to review in dedicated reading rooms.

Pagano keeps a close eye on them from a giant television screen perched to the side of his desk, which provides a live, closed-circuit feed to the reading rooms downstairs.

Most recently, scholars have been flocking to the archive to read through the documents of the pontificate of Pope Pius XII, the wartime pope who has been criticized for not having spoken out enough about the Holocaust.

Pope Francis ordered the documents of his pontificate opened ahead of schedule, in 2020, so scholars could finally have the full picture of the papacy.

 

Prefect of the Archivio Apostolico Vaticano, Bishop Sergio Pagano reflects on the glass protection of the original 1530 letter kept in his office at The Vatican, Wednesday, Feb. 14, 2024, and signed and sealed by the overwhelming majority of the House of Lords that attempted to pressure Pope Clement VII into granting the divorce to King Henry VIII of England from his wife Catherine of Aragon that was famously denied. (AP Photo/Domenico Stinellis)

The Vatican has long defended Pius, saying he used quiet diplomacy to save lives and didn’t speak out publicly about Nazi crimes because he feared retaliation, including against the Vatican itself.

Pagano is no apologist for Pius and stands out among Vatican hierarchs for his willingness to call out Pius’ silence. Specifically, Pagano says he cannot square Pius’ continued reluctance to publicly condemn Nazi atrocities even after the war ended.

“During the war we know that the pope made a choice: He could not and would not speak. He was convinced that an even worse massacre would have happened,” Pagano said. “After the war, I would have expected a word more, for all these people who went to the gas chambers.”

Pagano attributes Pius’ continued, post-war silence to his concerns about the creation of a Jewish state. The Vatican had a long tradition of supporting the Palestinian people and was concerned about the fate of Christian religious sites in the Holy Land if the territories were turned over to the newly created state of Israel.

Any word from Pius about the Holocaust even after the war “could have been read in political terms as a support for the foundation of a new state,” Pagano said.

In the book, Pagano doesn’t hold back about his disdain for the incomplete research behind Pius’ sainthood cause, which is now apparently on hold as scholars dissect the newly available documentation.

The two Jesuit researchers who compiled Pius’ sainthood dossier, the late Revs. Peter Gumpel and Paolo Molinari, relied only on the partial, 11-volume compilation of the papacy’s documents that was published in 1965, Pagano revealed.

“Neither Father Gumpel nor Father Molinari ever set foot in the Apostolic Archive,” he says in the book. He said he believed Pius’ sainthood cause should have waited until the full archive of the pontificate was catalogued and available, and scholars had time to draw conclusions.

“Written documents must weigh heavily on the life of a servant of God, you can’t ignore the archives,” Pagano told Franco, the journalist. “But the postulation by the Jesuits wanted to bypass it.”

Aside from the well-known stories of Vatican intrigue, the book also reveals some novelties, including the origins of the important financial relationship between the U.S. church and the Vatican that continues today and dates back to the 1922 conclave.

Pagano said that after Pope Benedict XV died, the camerlengo — the cardinal in charge of the papal treasury and accounts — went to his safe and discovered it was “literally empty. There wasn’t a paper, bank note or coin.” It turns out Benedict wasn’t terribly responsible fiscally, and left the Holy See somewhat in the red when he died on Jan. 22 of that year.

Papal coffers were always used to fund the conclave to elect a new pope, meaning the Holy See was in a cash crunch at a time when Europe was still reeling financially from World War I.

The book, for the first time, reproduces the encrypted telegrams in which the Vatican secretary of state asked his ambassador in Washington to urgently wire “what you have in the safe” so that the vote could take place.

According to the telegrams, the Vatican embassy sent what U.S. churches had collected from the American faithful, down to the cents: $210,400.09, allowing the vote that eventually elected Pope Pius XI.

Pagano suggests that Francis’ 2019 decision to remove the word “Secret” from the archive’s name and rename it the “Vatican Apostolic Archive” was perhaps another financial nod to the wealthy U.S. church — a rebranding to remove any negative connotations and thus encourage potential donations, primarily via “Treasures of History,” a new U.S.-based foundation that supports the archive.

At the end of the interview, Pagano proudly showed visitors one of the archive’s prized possessions, which he keeps in an otherwise nondescript wooden armoire near the entrance of his office. There, behind plate glass and illuminated with special lights, is the original 1530 letter from British nobles urging Pope Clement VII to grant King Henry VIII an annulment so he could marry Anne Boleyn.

As is well known, the pope refused and the king went ahead and got married, breaking with Rome.

“You can say that here we are at the birth of the Anglican Church,” Pagano says as he holds up a light-tipped pointer to show off the red wax seals of some of the signatories.

Pagano delights in revealing how the document survived: When Napoleon Bonaparte famously seized the Vatican archives in 1810 and carted them off to Paris, Pagano’s predecessor as chief archivist rolled up the 1530 letter and hid it inside a secret drawer in a chair in the archive antechamber.

“The French never found it,” Pagano says proudly, keenly aware that an archivist’s main job is to preserve the archive.

 

Sunday 25 February 2024

 

Confessions: A Life of Failed Promises 

Known for his journalism, biographies and novels, A. N. Wilson turns a merciless searchlight on his own early life, his experience of sexual abuse, his catastrophic mistakes in love (sacred and profane) and his life in Grub Street – as a prolific writer.

Before he came to London, as one of the “Best of Young British” novelists, and Literary Editor of the
 Spectator, we meet another A. N. Wilson. We meet his father, the Managing Director of Wedgwood, the grotesque teachers at his first boarding school, and the dons of Oxford – one of whom, at the age of just 20, he married, Katherine Duncan-Jones, the renowned Shakespearean scholar.

The book begins with his heart-torn present-day visits to Katherine, now for decades his ex-wife, who has slithered into the torments of dementia.

At every turn of this reminiscence, Wilson is baffled by his earlier self – whether he is flirting with unsuitable lovers or with the idea of the priesthood. His chapter on the High Camp seminary which he attended in Oxford is among the funniest in the book.

We follow his unsuccessful attempts to become an academic, his aspirations to be a Man of Letters, and his eventual encounters with the famous, including some memorable meetings with royalty.

The princesses, dons, paedophiles and journos who cross the pages are as sharply drawn as figures in Wilson's early comic fiction. But there is also a tenderness here, in his evocation of those whom he has loved, and hurt, the most.

Saturday 24 February 2024

 

Matthew 5:43-48
Pray for those who persecute you

Christian Martyrs in the Colosseum,

Painted by Konstantin Flavitsky (1830-1866),

Painted in 1862,

Oil on Canvas

© The State Russian Museum, St Petersburg

Gospel Reading

Jesus said to his disciples: ‘You have learnt how it was said: You must love your neighbour and hate your enemy. But I say this to you: love your enemies and pray for those who persecute you; in this way you will be sons of your Father in heaven, for he causes his sun to rise on bad men as well as good, and his rain to fall on honest and dishonest men alike. For if you love those who love you, what right have you to claim any credit? Even the tax collectors do as much, do they not? And if you save your greetings for your brothers, are you doing anything exceptional? Even the pagans do as much, do they not? You must therefore be perfect just as your heavenly Father is perfect.’

Reflection on the painting

From today's Gospel passage it is clear that Jesus wants us to go beyond what we could do on our own. He calls us to love our enemies. He lived this out when he was crucified. Even at that very moment he loved everyone around him and showed unconditional love. It is easy to love the people who love us and who bring blessings on us; it is a whole lot harder to love people we don't particularly warm to or even like. But those are exactly the people Jesus is asking us to love too. Especially during Lent, our Lord can help lift us beyond what we think possible.


The first Christians had to put this into practice in a very real way, during the Roman persecutions. Our artist, Konstantin Flavitsky, depicts Christians about to be killed in the Colosseum in Rome. They are all gathered in the corridors of the arena. Flavitsky depicts the moment when the guards open the doors and push the Christians out, to be fed to the lions or be killed in any other cruel way for the entertainment of the Romans. The moral strength of the early Christians is on full display. The man on the left holding aloft a cross has resolve and is ready to face death in the name of Christ. That small cross in our painting is one of the first things we notice. It is set against the brightness of light. Christian children, women, men are ready to give their lives for their faith. They prayed for those who persecuted them and put today's Gospel reading into practice in a very tangible way.


‘Love your enemies and pray...’: Jesus suggests that to pray for those who persecute us is to do something that has a divine quality to it. It is to give expression to the love of God which goes out to all, even to those whom we think least deserve it.

Friday 23 February 2024

 

Matthew 5:20-26
Go and be reconciled with your brother first

The Confession,

Painted by Giuseppe Molteni (1800-1867),

Painted in 1838,

Oil on canvas

© Pinacoteca di Brera, Milan

Gospel Reading

Jesus said to his disciples: ‘If your virtue goes no deeper than that of the scribes and Pharisees, you will never get into the kingdom of heaven.


‘You have learnt how it was said to our ancestors: You must not kill; and if anyone does kill he must answer for it before the court. But I say this to you: anyone who is angry with his brother will answer for it before the court; if a man calls his brother “Fool” he will answer for it before the Sanhedrin; and if a man calls him “Renegade” he will answer for it in hell fire. So then, if you are bringing your offering to the altar and there remember that your brother has something against you, leave your offering there before the altar, go and be reconciled with your brother first, and then come back and present your offering. Come to terms with your opponent in good time while you are still on the way to the court with him, or he may hand you over to the judge and the judge to the officer, and you will be thrown into prison. I tell you solemnly, you will not get out till you have paid the last penny.’


Reflection on the painting

The theme of our Gospel reading today captures one of the most basic themes of Lent: reconciliation. Jesus asks us not to reconcile ourselves only with our fellow brothers and sisters, but also to reconcile ourselves with God. Etymologically the word ‘reconciliation’ comes from the Latin words ‘re’, meaning ‘again’ and ‘concilare', meaning ‘to make friendly’. It is the act of making two people or groups to become friendly again after an argument or disagreement. It is easy to see how that works between people. We can all probably think of examples of where people have been reconciled. However, thinking of reconciliation with God is harder to do, as often our lack of humility prevents us from seeing that there is anything broken or ruptured in our relationship with God in the first place.


Only when we start to recognise that our relationship with God needs mending do we grow closer to the heart of God. Did he not reach out to us first by sending his Son in our midst, nailed to the cross for our sake? Of course we also have the Sacrament of Reconciliation to help us. The Catechism of the Catholic Church (§§1423-24) gives various names for this sacrament: the sacrament of Conversion; the sacrament of Penance; the sacrament of Confession; the sacrament of Forgiveness; and the sacrament of Reconciliation. These names encapsulate the graces that we receive through the sacrament.


Our painting by Giuseppe Molteni depicts a well-dressed young woman going to confession. At the time this was painted, critics thought that the lady was a young mother who had yielded to the advances of an admirer. But we don’t know for sure who she is. The artist never revealed who she was. A Catholic art critic at the time, Pietro Estense Selvatico, simply stated that the painting was designed to illustrate the moral beauty of everyday life. However we may read this painting, it is a beautiful depiction of the Sacrament of Reconciliation… there to make us friendly again with God.

Thursday 15 February 2024

  OVERHEARD IN HARRIS & HOOLE...

(An occasional feature)





14th February 2024 (Ash Wednesday)

Myself , Mary Winterbourne, Sebastian D'Orsai and Tony of the Big Saloon got together this morning in Harris & Hoole. The following conversation could be overheard:

Mary Winterbourne: I hear nothing but good about Granny Barkes Fell in Woolworth's these days.

Gene: Thanks Mary,  I think those reviews helped - especially the Huffington Post one. Also I just loved what AN Wilson wrote about Granny Barkes Fell in Woolworth's.  As I have said my ambitions for the book are modest. One never knows how a new literary form may be received so all this has been exceedingly good news.  Overall on sales I've got to say that I really don't mind whether it sells just a few hundred copies in Uxbridge or goes to number one on the New York Times best seller list. Appreciation amongst the literati is much more important.

Mary Winterbourne: Gene let's once again all raise our cappuccinos. Here's to Gene. Here's to Uxbridge. Here's to Granny Barkes.

Tony of the Big Saloon:  I see that the Canting Old Phony has deserted your blog.

Gene: Yes. I don't think any of us realise what a cataclysmic effect the publication of Granny Barkes has had on Detters. I think he is still in shock. Of course no review by him has appeared. I always said such a task would be quite beyond Detters' capabilities.

Still, I wish Detters, Delia, Sebastian and Cuthbert all the best. I shall be writing Detters an open letter soon. Sebastian is now a teenager and no doubt like all teenagers very impressionable. I don't want Sebastian coming under the pernicious influence of the Gay Lobby-driven Church of England.

Sebastian D'Orsai: Any news about Detterling's memoirs?

(Loud laughter from all)

Wednesday 14 February 2024

 

Sinéad O'Connor nominated for Rock & Roll Hall of Fame


I strongly object to this. This lady tore up on stage a photo of Pope John Paul II and insulted him.

For this outrage she was some weeks later booed off the stage at a concert in New York.


GENE

 


Ash Wednesday by T. S. Eliot

 

I

Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
Desiring this man's gift and that man's scope
I no longer strive to strive towards such things
(Why should the agèd eagle stretch its wings?)
Why should I mourn
The vanished power of the usual reign?

Because I do not hope to know
The infirm glory of the positive hour
Because I do not think
Because I know I shall not know
The one veritable transitory power
Because I cannot drink
There, where trees flower, and springs flow, for there is
nothing again

Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessèd face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice

And pray to God to have mercy upon us
And pray that I may forget
These matters that with myself I too much discuss
Too much explain
Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us

Because these wings are no longer wings to fly
But merely vans to beat the air
The air which is now thoroughly small and dry
Smaller and dryer than the will
Teach us to care and not to care Teach us to sit still.

Pray for us sinners now and at the hour of our death
Pray for us now and at the hour of our death.


II
Lady, three white leopards sat under a juniper-tree
In the cool of the day, having fed to sateity
On my legs my heart my liver and that which had been
contained
In the hollow round of my skull. And God said
Shall these bones live? shall these
Bones live? And that which had been contained
In the bones (which were already dry) said chirping:
Because of the goodness of this Lady
And because of her loveliness, and because
She honours the Virgin in meditation,
We shine with brightness. And I who am here dissembled
Proffer my deeds to oblivion, and my love
To the posterity of the desert and the fruit of the gourd.
It is this which recovers
My guts the strings of my eyes and the indigestible portions
Which the leopards reject. The Lady is withdrawn
In a white gown, to contemplation, in a white gown.
Let the whiteness of bones atone to forgetfulness.
There is no life in them. As I am forgotten
And would be forgotten, so I would forget
Thus devoted, concentrated in purpose. And God said
Prophesy to the wind, to the wind only for only
The wind will listen. And the bones sang chirping
With the burden of the grasshopper, saying

Lady of silences
Calm and distressed
Torn and most whole
Rose of memory
Rose of forgetfulness
Exhausted and life-giving
Worried reposeful
The single Rose
Is now the Garden
Where all loves end
Terminate torment
Of love unsatisfied
The greater torment
Of love satisfied
End of the endless
Journey to no end
Conclusion of all that
Is inconclusible
Speech without word and
Word of no speech
Grace to the Mother
For the Garden
Where all love ends.

Under a juniper-tree the bones sang, scattered and shining
We are glad to be scattered, we did little good to each
other,
Under a tree in the cool of day, with the blessing of sand,
Forgetting themselves and each other, united
In the quiet of the desert. This is the land which ye
Shall divide by lot. And neither division nor unity
Matters. This is the land. We have our inheritance.



III

At the first turning of the second stair
I turned and saw below
The same shape twisted on the banister
Under the vapour in the fetid air
Struggling with the devil of the stairs who wears
The deceitul face of hope and of despair.

At the second turning of the second stair
I left them twisting, turning below;
There were no more faces and the stair was dark,
Damp, jaggèd, like an old man's mouth drivelling, beyond
repair,
Or the toothed gullet of an agèd shark.

At the first turning of the third stair
Was a slotted window bellied like the figs's fruit
And beyond the hawthorn blossom and a pasture scene
The broadbacked figure drest in blue and green
Enchanted the maytime with an antique flute.
Blown hair is sweet, brown hair over the mouth blown,
Lilac and brown hair;
Distraction, music of the flute, stops and steps of the mind
over the third stair,
Fading, fading; strength beyond hope and despair
Climbing the third stair.


Lord, I am not worthy
Lord, I am not worthy

but speak the word only.

IV
Who walked between the violet and the violet
Whe walked between
The various ranks of varied green
Going in white and blue, in Mary's colour,
Talking of trivial things
In ignorance and knowledge of eternal dolour
Who moved among the others as they walked,
Who then made strong the fountains and made fresh the springs

Made cool the dry rock and made firm the sand
In blue of larkspur, blue of Mary's colour,
Sovegna vos

Here are the years that walk between, bearing
Away the fiddles and the flutes, restoring
One who moves in the time between sleep and waking, wearing

White light folded, sheathing about her, folded.
The new years walk, restoring
Through a bright cloud of tears, the years, restoring
With a new verse the ancient rhyme. Redeem
The time. Redeem
The unread vision in the higher dream
While jewelled unicorns draw by the gilded hearse.

The silent sister veiled in white and blue
Between the yews, behind the garden god,
Whose flute is breathless, bent her head and signed but spoke
no word

But the fountain sprang up and the bird sang down
Redeem the time, redeem the dream
The token of the word unheard, unspoken

Till the wind shake a thousand whispers from the yew

And after this our exile


V
If the lost word is lost, if the spent word is spent
If the unheard, unspoken
Word is unspoken, unheard;
Still is the unspoken word, the Word unheard,
The Word without a word, the Word within
The world and for the world;
And the light shone in darkness and
Against the Word the unstilled world still whirled
About the centre of the silent Word.

O my people, what have I done unto thee.

Where shall the word be found, where will the word
Resound? Not here, there is not enough silence
Not on the sea or on the islands, not
On the mainland, in the desert or the rain land,
For those who walk in darkness
Both in the day time and in the night time
The right time and the right place are not here
No place of grace for those who avoid the face
No time to rejoice for those who walk among noise and deny
the voice

Will the veiled sister pray for
Those who walk in darkness, who chose thee and oppose thee,
Those who are torn on the horn between season and season,
time and time, between
Hour and hour, word and word, power and power, those who wait
In darkness? Will the veiled sister pray
For children at the gate
Who will not go away and cannot pray:
Pray for those who chose and oppose

O my people, what have I done unto thee.

Will the veiled sister between the slender
Yew trees pray for those who offend her
And are terrified and cannot surrender
And affirm before the world and deny between the rocks
In the last desert before the last blue rocks
The desert in the garden the garden in the desert
Of drouth, spitting from the mouth the withered apple-seed.


O my people.


VI
Although I do not hope to turn again
Although I do not hope
Although I do not hope to turn

Wavering between the profit and the loss
In this brief transit where the dreams cross
The dreamcrossed twilight between birth and dying
(Bless me father) though I do not wish to wish these things
From the wide window towards the granite shore
The white sails still fly seaward, seaward flying
Unbroken wings

And the lost heart stiffens and rejoices
In the lost lilac and the lost sea voices
And the weak spirit quickens to rebel
For the bent golden-rod and the lost sea smell
Quickens to recover
The cry of quail and the whirling plover
And the blind eye creates
The empty forms between the ivory gates
And smell renews the salt savour of the sandy earth

This is the time of tension between dying and birth
The place of solitude where three dreams cross
Between blue rocks
But when the voices shaken from the yew-tree drift away
Let the other yew be shaken and reply.

Blessèd sister, holy mother, spirit of the fountain, spirit
of the garden,
Suffer us not to mock ourselves with falsehood
Teach us to care and not to care
Teach us to sit still
Even among these rocks,
Our peace in His will
And even among these rocks
Sister, mother
And spirit of the river, spirit of the sea,
Suffer me not to be separated

And let my cry come unto Thee.

 

Tuesday 13 February 2024

 

Mark 8:14-21
Be on your guard against the yeast of the Pharisees and Herod

Still Life with Figs and Bread,

Painting by Luis Meléndez (1716-1780),

Painted circa 1770,

Oil on canvas

© National Gallery of Art, Washington

Gospel Reading

The disciples had forgotten to take any food and they had only one loaf with them in the boat. Then he gave them this warning, ‘Keep your eyes open; be on your guard against the yeast of the Pharisees and the yeast of Herod.’ And they said to one another, ‘It is because we have no bread.’ And Jesus knew it, and he said to them, ‘Why are you talking about having no bread? Do you not yet understand? Have you no perception? Are your minds closed? Have you eyes that do not see, ears that do not hear? Or do you not remember? When I broke the five loaves among the five thousand, how many baskets full of scraps did you collect?’ They answered, ‘Twelve.’ ‘And when I broke the seven loaves for the four thousand, how many baskets full of scraps did you collect?’ And they answered, ‘Seven.’ Then he said to them, ‘Are you still without perception?’

Reflection on the painting

In today's reading we see how at times Jesus and his disciples were on completely different wavelengths. His disciples were only focused on having their hunger satisfied, whilst Jesus gets annoyed at their self-focus. He fires nine questions at them in this short passage!


Jesus warns His disciples: 'Watch out; beware of the leaven of the Pharisees and the leaven of Herod'. They need to watch out for the Pharisees' teachings and discern what effect the these have on them. Yeast is a raising agent. In the baking process, yeast is mixed and worked through the entire dough. The yeast becomes one with the dough. Good yeast will make the dough rise and turn the though into a splendid loaf of bread (such as the one in our painting). Bad yeast will result in bread that is flat and inedible. Jesus' comparison suggests that letting false teachings enter our minds will prevent us from rising to our full potential.


Luis Meléndez was one of the the greatest still life painters of 18th century in Spain. Meléndez's Still Life with Figs and Bread contains many elements characteristic of the master's works. His talent for rendering everyday objects with exact detail is evident, as are his marvellous effects of color and light, and subtle variations of texture. Look at the dew on the figs, the glossiness of the bottle and the bread that looks all crispy and fresh. The bone handle of a kitchen knife projects over the edge of a rough wooden tabletop into the viewer's space.

Thursday 8 February 2024

 

Mark 7:24-30
The astuteness of the Syro-Phoenician woman

Jesus and the Syro-Phoenician woman,

Engraving by Pietro del Pò (1616-1692),

after a painting by Annibale Carracci (1560-1609),

Mid 17th century,

Engraving on paper

© Welcome Collection

Gospel Reading

Jesus left Gennesaret and set out for the territory of Tyre. There he went into a house and did not want anyone to know he was there, but he could not pass unrecognised. A woman whose little daughter had an unclean spirit heard about him straightaway and came and fell at his feet. Now the woman was a pagan, by birth a Syrophoenician, and she begged him to cast the devil out of her daughter. And he said to her, ‘The children should be fed first, because it is not fair to take the children’s food and throw it to the house-dogs.’ But she spoke up: ‘Ah yes, sir,’ she replied ‘but the house-dogs under the table can eat the children’s scraps.’ And he said to her, ‘For saying this, you may go home happy: the devil has gone out of your daughter.’ So she went off to her home and found the child lying on the bed and the devil gone.


Reflection on the engraving

In our Gospel reading today we read how a woman of non-Jewish background can teach us something about praying: persistence!  In her spontaneous interaction with Jesus, she takes the attitude of continuing to ask Christ, even though at first she didn’t get the response she wanted. The depth of the woman’s faith, like a trusting child, is an example to us. She has not physically brought her daughter to Jesus, but in her eyes the prospect of long-distance healing presents no difficulties. Christ can do anything and everything from anywhere!


Our etching, by Pietro del Po after Annibale Carracci, depicts the Syrophoenician woman kneeling in front of Jesus and pointing towards the dog who is trying to find food. The lady is in an act of supplication, looking desperate and placing all her trust in Jesus. Saint Peter looks upon the scene at a distance raising an eyebrow, suggesting that the woman’s persistence was probably very intense, and might even have annoyed him. Jesus lifts his cloak gently to fully reveal his left hand which is empowering the distant healing and expresses compassion for the Syrophoenician woman.


The Syrophoenician woman was, in a sense, wrestling with Jesus. There can be an element of wrestling with God in our own faith. In fact, God is quite used to people struggling and wresting with him! Our faith can be put to the test when the Lord does not appear to hear our prayer. At such times we need to be as tenacious in our faith as the Syrophoenician woman was.