A Palestinian team from the Mosaic Center, Jericho, restores a mosaic in Jerusalem’s Church of the Holy Sepulcher, the traditional site of Jesus’ crucifixion, burial and resurrection. Photo courtesy of Mosaic Center, Jericho
From Religion News Service
JERUSALEM (RNS) The tens of thousands of Christians who visited the Church of the Holy Sepulchre this month got a special Easter treat: the chance to view the newly cleaned and restored mosaic that covers the ceiling and walls of a Franciscan chapel dedicated to Calvary, or Golgotha, the hill where Jesus was crucified.
They might also pause to marvel at this: the work of restoring those mosaics involves a joint effort of Palestinian Christians and Muslims.
On Thursday, March 3, 2016 Berta Caceres was murdered in Honduras.
Honduran indigenous leader Berta Caceres, who won the 2015 Goldman Environmental Prize for her role in fighting a dam project, was shot to death Thursday by attackers who broke into her home, authorities said.
Caceres, a 40-year-old Lenca Indian activist, had complained of receiving death threats from police, soldiers and local landowners because of her work.
Tomas Membreno, a member of her group, the Indian Council of People’s Organizations of Honduras, said at least two assailants broke into the home and shot Caceres in the town of La Esperanza. http://wapo.st/21jlQvj
As we consider the role of girls and women in the Global Goals established by the United Nations, let us remember the courage and the work of Berta Caceres.
It was a casual conversation, yet as it went on, it became more and more difficult to listen to. Now I like a good story, but when a story is being spun in a way that suggests it is verifiably factual, but it’s not, my inner skeptic alarm goes off. Again, tell me a tall tale, entertain me with wit and embellishment, share something that leads to a deeper meaning or truth, I’m good. Yet to suggest something is unequivocal truth, when you know it’s not, is challenging.
I am working with a great group of people on an upcoming retreat which will focus on The Word and words. The daily themes of the retreat will include: the stories we have been told, the stories we tell others, the stories we tell ourselves, and the stories we will tell. As such, I have been thinking a lot about the stories…
Paul Kowalewski publishes a daily essay on his blog Desert Retreat House. In the post for Monday, February 22nd he writes:
On this ordinary Monday, plenty of people are off to work or school or off to the market or perhaps off to the gym, off to accomplish the everyday tasks of their routine lives. This sure doesn’t sound very exciting, but in fact if we just pay attention to the seemingly uneventful moments in life and work at being ordinary, a whole world of miracles unfolds without end.
The essay is an extended invitation and a meditation to “pay attention” as we move along the Way into our week. Read the entire post.
Genesis 15:1 The word of the LORD came to Abram in a vision, “Do not be afraid, Abram, I am your shield; your reward shall be very great.”
The Story of Abraham 1425-52 Gilded bronze, 79 x 79 cm Baptistry, Florence GHIBERTI, Lorenzo (b. 1378, Firenze, d. 1455, Firenze)Click image for more information.
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Commentary by Hovak Najarian
The Story of Abraham, detail of the “Gates of Paradise,” 1425-52, Gilt Bronze, Lorenzo Ghiberti, 1378-1455
In 1401, the wool merchant’s guild of Florence announced a competition that would lead to a commission for a set of bronze doors for the Baptistery of San Giovanni (Saint John). Lorenzo Ghiberti won the competition and was given the commission. Upon completion, he was given a commission to design a second set of doors for the Baptistery. The doors and a few other pieces of sculpture would become his life’s work. “The Story of Abraham” is one of ten panels from the second set of doors which now is referred to as the “Gates of Paradise.” According to Giorgio Vasari, Michelangelo was looking at the doors when a companion asked his opinion. Michelangelo said allegedly the doors were so beautiful they were worthy to serve as the gates of paradise.
Ghiberti’s training as a goldsmith and metalworker was invaluable as he solved the technical problems of casting the bronze doors. Other sculptors were eager to learn from him. Also, he read widely, was a humanist, and was open to the changes during a time of cultural and artistic rebirth. Just as early Renaissance painters sought to create an illusion of depth, Ghiberti studied perspective and applied it to his relief sculpture. Rather than his reliefs being figures attached to a flat background, he sculpted the entire surface to create an illusion of pictorial depth. With regard to the “Gates of Paradise” he said “I sought to imitate nature as closely as possible.”
In the panel called “The Story of Abraham,” Ghiberti combined two accounts from the Book of Genesis. At the lower left is the story found in Genesis 18:2-10; a time when three men (Ghiberti interpreted them as heavenly beings with wings) came to Abraham. Sarah is at the doorway of their tent while Abraham is kneeling before the men with a pan of water with which they may wash their feet. The men tell him his wife, Sarah, will have a son. Ghiberti’s narrative composition continues with images from Genesis 22:3-13; the sacrifice of Isaac. At the lower center is a donkey and to its right are Abraham’s two servants who wait while he and Isaac go to a higher level of the mountain. Above them, Isaac is kneeling on an altar and Abraham has raised his knife. An angel has arrived just in time to hold back the knife and stop him from killing his son. Behind the feet of Abraham is a ram caught in a thicket; it will be sacrificed in place of Isaac.
Note
Because the rite of baptism was regarded to be a door to heaven, a baptistery was symbolically a “gateway to paradise.” Michelangelo’s alleged description of Ghiberti’s doors, if true, could have meant simply that the doors were worthy of the Baptistery of San Giovanni, not paradise itself.
Early scholars were interested in the many parallels found in the story of Abraham and the passion of Christ. Both stories deal with father, son, and sacrifice.
Luke 4:1 Jesus, full of the Holy Spirit, returned from the Jordan and was led by the Spirit in the wilderness, where for forty days he was tempted by the devil
Baptism and Temptation of Christ 1580-82 Oil on canvas, 248 x 450 cm Pinacoteca di Brera, Milan VERONESE, Paolo (b. 1528, Verona, d. 1588, Venezia) Click image for more information.
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Commentary by Hovak Najarian
Baptism and Temptation of Christ, Oil on Canvas, 1580-1582, Paolo Veronese, 1528-1588
During the Italian Renaissance of the fifteenth and sixteenth century, the cities of Florence and Rome were major centers of art. Venetians also could boast of their art during this period; Titian, Tintoretto, and Veronese were among the finest artists in Europe. Being at the northern tip of the Adriatic Sea, the people of Venice were seafarers and their merchant ships sailed eastward to trade with ports throughout the region. Through trade, Venetians acquired great wealth and as was the practice (then and now), people of means acquired possessions to enrich their lives and serve as symbols of status. Inasmuch as expensive sports cars and private jets were not available, their possessions were sumptuous palaces and fine art. They also were generous in their support of public projects and the Church. Because of favorable working conditions and an opportunity to earn fine salaries, many painters, sculptors, and artisans made Venice their home. Veronese (given name Paolo Caliari), studied initially in the city of his birth, Verona, but soon was living and working in nearby Venice. In Venice, he became known simply as “Veronese,” a person from Verona.
As Renaissance art continued from the fifteenth century to the sixteenth there was a tendency toward mannerism and then from mannerism, art developed into the baroque style of the seventeenth century. “Baptism and Temptation of Christ,” painted by Veronese in the latter part of the mannerist period is baroque-like in its dramatic composition. As we enter the painting at the lower left, we see John the Baptist in shadow but we do not linger. Instead, we move past him immediately to the upper torso of Christ which is bathed in light emanating from a dove representing the Holy Spirit. Not only does Christ receive our immediate attention but also all figures in this section of the painting are focused on him. Included in this drama are a cherub and angels hovering excitedly. The dove illuminates the foreground figures while shadows of the trees close off pictorial depth.
The narrative continues as we leave the baptism and move to the right where after forty days and nights of fasting, Christ is with Satan in a clearing. A forest is in the middle ground and then in the background beyond the trees are buildings representing the kingdoms of the world and their splendor. Unlike the animated scene of the baptism, the temptation of Christ is calm. Satan is not depicted with horns or forked tail but appears as an old bearded and seemingly harmless figure in a gray robe.
Note
A visitor to Venice today may still feast visually on its art but they will not see evidence of shipping and trade. The city is supported financially now by tourists who dine at fine restaurants, ride the canals in gondolas, and feed pigeons after lunch at McDonalds in St. Mark’s Square.
Luke 9:28-29 Now about eight days after these sayings Jesus took with him Peter and John and James, and went up on the mountain to pray. And while he was praying, the appearance of his face changed, and his clothes became dazzling white.
Transfiguration Fresco “Dark church” ( Karanlik kilise ) 11th century Göreme district, Nevşehir Province, Turkey. Click image for more information. Click here for more Göreme district churches.
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Commentary by Hovak Najarian
Transfiguration, Fresco, 11th Century, Unknown artist of Cappadocia
“And after six days Jesus took with him Peter and James and John his brother, and led them up a high mountain apart. And he was transfigured before them, and his face shone like the sun, and his garments became white as light. And behold there appeared to them Moses and Elijah, talking to him.” (Matt. 17:1-3)
A large portion of the Eastern Roman Empire spoke Greek and by the seventh century it was the primary language used by the Byzantines. The Byzantine Empire extended eastward from Constantinople and included Asia Minor where Greek speaking Orthodox Christians often had to seek protection from invading tribes. In a region known as Cappadocia, the ash and lava of a volcanic eruption created rock formations that were soft and could be carved easily. By carving into the rock, Christians hollowed out spaces that would shelter them from the elements and offer protection from invaders. The soft rock also was carved out for churches.
In a monastic compound known as the “Dark Church,” The interior walls and the ceilings are covered with frescos and among the paintings is “The Transfiguration.” In it, Moses and Elijah are with Jesus in an event interpreted as a revelation that Christ is the fulfillment of the law and prophets. Moses represents the law and often he is shown holding the Torah or a stone tablet. Elijah represents the prophets. In this fresco, neither Moses nor Elijah has been given an identifying symbol but we can assume the gray-haired bearded man is Moses and the un-bearded figure is Elijah.
Mt. Tabor is the traditional site of the transfiguration but other places have been proposed. One of the suggested sites is Mt. Hermon which has three distinct peaks and in paintings of the event often three peaks are shown; Christ is always in the center. In the “Dark Church” fresco, Moses is standing on the right peak and Elijah is on the left. Below them are the disciples kneeling and crouching. At the bottom left is Peter with white hair and a beard. He is pointing upward toward Christ. The disciple John is depicted in the center as a beardless youth (his face is partially obscured by damage) and James is to the right with brown hair and a beard. Linear rays indicate a direct connection between Jesus and each of the figures.
Note
The “Dark Church” is so named because it has only a small opening (oculus) for light, thus the interior is dim.
Among the various people of ancient Cappadocia were the Armenians who were known at one time as being horse breeders. “Cappadocia,” the historic name for the region was derived likely from “Kapatuka,” an Old Persian term meaning, “Land of beautiful horses.” The Crusaders referred to the region as Terra Hermeniorum: “Land of the Armenians.”
Luke 4:25-26 But the truth is, there were many widows in Israel in the time of Elijah, when the heaven was shut up three years and six months, and there was a severe famine over all the land; yet Elijah was sent to none of them except to a widow at Zarephath in Sidon.
Elijah Increases the Oil of the Widow 1/69-70 Pewter-lead alloy, height 173 cm (without socle) Liechtenstein Museum, Vienna MESSERSCHMIDT, Franz Xaver (b. 1736, Wiesensteig, d. 1783, Bratislava Click image for more information.
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Commentary by Hovak Najarian
Elijah Increases the Oil of the Widow, Pewter, 1769-70, Franz Xaver Messerschmidt, 1736-1783
The title of Franz Messerschmidt’s, sculpture, “Elijah Increases the Oil of the Widow,” sets up an expectation of the biblical story (1 Kings, 17:7-16). The work only alludes to the story, however, and an occasional reference to it as the “so called Zarephath fountain” is fitting. It is primarily a fountain sculpture of a woman pouring water in the style of figures seen in courtyards and gardens throughout Europe.
The biblical account of Elijah and a poor widow tells of a time of famine. God told Elijah to go to the city of Zarephath to meet the widow. There he saw the widow gathering wood near the gate of the city. She was going to build a fire and use the last of her flour and oil to prepare bread. Then she and her son would have a final meal and it was likely they soon would die. Elijah, a stranger to the widow, asked her for water but then, as she was going to get some for him, he also asked for a piece of bread. She hesitated but Elijah promised that if she prepared bread for him she would never run out of oil and flour. The widow had faith and fed Elijah; thereafter provisions were miraculously provided for her.
Franz Messerschmidt, an Austrian, established a successful career sculpting busts of dignitaries in a fashionable baroque manner but in 1765 his studies in Rome brought him in direct contact with classical art. His visit to Italy coincided with a time when there was great interest in the excavations at Herculaneum, a Roman city covered and preserved by the ashes of Vesuvius. Upon his return to Austria, he completed several full-sized figures that were influenced clearly by classicism. Among these commissions was a courtyard fountain sculpture for a palace in Vienna. In its typical Roman niche setting, Elijah and the widow’s son are nowhere to be seen. The widow’s stance, clothing, hair style and the amphora from which she is pouring water are all from Greek and Roman sources. At the widow’s feet, Messerschmidt places two cherubs to do God’s work. One is lifting a food storage urn to the widow and another has his arms around an urn ready to offer it as well. The offering of storage urns by cherubs informs us that ongoing provisions from God are being supplied to the widow.
Note
In the eighteenth century, one of the metals alloyed with tin to make pewter was lead. Messerschmidt used pewter and as he became older he began exhibiting peculiar behavior; it is very likely this was due to lead poisoning.
In Christian art, plump rosy-cheeked cherubs were the counterparts to small Roman cupids. In appearance, cherubs often were not discernable from cupids and they were used in a similar manner. By the seventeenth century the question of whether a figure in art was a sacred cherub or a secular cupid depended on the theme of the work. As cupids, they were agents of secular love and as cherubs they represented the omnipresence of God.
“Let’s walk together” wisdom from my friend, the Bishop of the Episcopal Diocese of Minnesota in response to the Communiqué from the Anglican bishops on January 15, 2016
With friends at Calvary Episcopal Church in Rochester
We are blessed to live in a great neighborhood. There are lots of young families and there is an ever-increasing level of diversity. The kids literally play in the street, in everyone’s yard (including ours), and in the neighborhood park. Being regular dog walkers, it’s fun through the seasons for us to interact with the kids and families and watch them grow. There is a real sense of community.
With this being said, and consistent with my experiences with other places I have called home, there are distinct differences in what families value. Some kids roam at a pretty young age, virtually free without a parent in sight. Other children have either a much older sibling or a parent nearby at all times. Some kids ride all sorts of things with helmets and padding, while others wear none. Curfews are all over…
John 1:1 In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum.
Hurault Gospels Portrait of Saint Jean and beginning of his Gospel Reims, 2nd quarter of the 9th century Bibliothèque nationale de France, manuscripts, Latin fol 265. 176-177 school of the Palace of Charlemagne attributed to Greek artists of North Italy. Click image for more information.
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Commentary by Hovak Najarian
Portrait of Saint Jean (John) and the Beginning of His Gospel, 9th Century, Illuminated Manuscript, Monastery at Reims, France
In the fifth century, Rome was sacked by Visigoths and Vandals, and threatened by Huns; it was conquered finally in AD 476 by Odoacer, a barbarian from a Germanic tribe. The eastern portion of the Roman Empire remained free from invasion, however, and its culture continued. Europe, on the other hand, faced very troubled times. By the ninth century, Latin was being lost as a unifying common language and literacy had declined greatly. Greek and Roman culture was almost forgotten. Small kingdoms and tribes fought to control their territories and the Church tried to hold on to its power and influence. During these unstable times, monasteries were places where literature, knowledge and Christian history was preserved. They were centers of learning.
In the eighth century, Charles I – a Frank known as Charlemagne – fought numerous wars, formed an empire, and was determined to re-establish literacy and culture among his people. Art played a key role in the renaissance he had in mind. Under Charlemagne, copying and originating illuminated manuscripts was a priority and at the monastery in Reims, under Archbishop Ebbo’s direction, gospel books such as “Saint John” were made. The portrait of John depicted at the front of his book shows him looking out at the viewer; his seated position is a much repeated pose copied from Byzantine sources. Although a quill and scroll are being held to indicate he is the writer of the gospel that bears his name, an eagle, the animal associated with him and included usually as an identifying feature, is missing. The Latin text starts with the very large decorative first letter “I” and to its right the letter “N.” The letter “N” also is large but almost hidden beneath its embellishment. Though spaced apart, the two letters spell the word “IN” which begins the introductory words of John’s Gospel; “IN PRINCIPIO ERAT VERBUM” (“In the beginning was the word”). The lacy designs, vines, and animal decorative work of the middle ages are not from Greek or Roman sources but the result of the assimilation of images brought into Europe by barbarian tribes.
Note
Making books at a monastery required a team of artists with specialized skills; these included not only calligraphers and painters but also people who prepared vellum, ground pigment, mixed inks, and bound books, Often goldsmiths were employed to create a book’s cover and embellish it with precious jewels.
The city of Byzantium was founded by Greeks in the fifth century BC and named after their king, Byzas. When the Roman Emperor Constantine moved his capital east to Byzantium in AD 330, the city was renamed Constantinople (now called Istanbul). The eastern portion of the Roman Empire was not called the “Byzantine Empire” during its time. Historians of the sixteenth century were responsible for that designation.
With friends at Calvary Episcopal Church in Rochester 
Hear what the Spirit is saying 