Showing posts with label catholics. Show all posts
Showing posts with label catholics. Show all posts

Thursday, October 23, 2014

An Official Guide for Demon Hunters: Helpful Advice from Theologians and Witch-Hunters: Guest Post by Stephen T. Asma, PhD

http://morbidanatomy.bigcartel.com/product/monsters-on-the-brain-a-natural-history-of-horror
Following is a very helpful guest post for the demon hunters among you by friend of Morbid Anatomy Stephen T. Asma, PhD. Dr. Asma might already be known to some of you as the author of Stuffed Animals and Pickled Heads, the book which inspired me take to the road to photograph medical museums on a trip which led to the founding of this blog. He is also the author of the equally thoughtful On Monsters.

Next Thursday, October 30th, we hope you'll join us for a lecture by Dr. Asma at The Morbid Anatomy Museum entitled "Monsters on the Brain: A Natural History of Horror;" The after party will feature music by our DJ in residence Friese Undine. More information and tickets are available here.

And now, without further ado: "An Official Guide for Demon Hunters: Helpful Advice from Theologians and Witch-Hunters," compliments of the illustrious Dr. Stephen Asma:
Saint Anthony
The story of Saint Anthony of the Desert (c.251-356) had a huge impact on the development of demonology. He is sometimes referred to as the Father of Monks, having created a desert monasticism that drew Christian ascetics far away from the urban centers. But his famous fight with demons in the Egyptian desert also laid the groundwork for all subsequent thinking about demons and possession.(1) 

Questing after spiritual purification, Anthony left the pleasures of domestic life and moved to live in a tomb outside his village, where he was attacked by a “multitude of demons” who sliced him into a bloody mess. “For he affirmed that the torture had been so excessive that no blows inflicted by man could ever have caused him such torment.” But his faith revitalized him and he rallied back. After throwing off the temptations of the flesh, Anthony was revisited by the devil many times –but the devil always shape-shifted to appear as some creature. “Changes of form for evil are easy for the devil,” Anthony explained, “so in the night they make such a din that the whole of that place seemed to be shaken by an earthquake, and the demons as if breaking the four walls of the dwelling seemed to enter through them, coming in the likeness of beasts and creeping things.”

But most demons, Anthony assures us, have no real power in the physical world. They only seem to be causally efficacious. The trick is to acknowledge that you are having a frightening experience, but realize that the frightener is like a hallucination rather than a material creature. In fact, reading St. Anthony is like reading an early self-help treatise for schizophrenics.

In addition to demons who shape-shift into frightening phantasms –which are easily banished by a resolute sign-of-the-cross –Anthony acknowledges the phenomenon of real human possession. This is somewhat difficult to square with his persistent claim that demons have no real power. In the last half of the Life of Anthony, Athanasius tells of many terrible cases of people who have come into the custody of demon spirits. A man named Fronto, for example, had a madness that involved biting his own tongue and injuring his own eyes, a woman from Busiris had mucus fall from her nose that immediately turned into worms once it hit the ground, and “another, a person of rank, came to him, possessed by a demon; and…he even ate the excreta from his own body.” And this young man actually attacked Anthony, but the sage said, “Be not angry with the young man, for it is not he, but the demon which is in him.”

Anthony cured all these cases and many more, but it is unlikely that the man eating his own excrement would have agreed with Anthony’s refrain that demons are powerless. And, for that matter, if they are truly powerless, why would anyone need Anthony’s exorcising acumen? The logic here can be reconstructed perhaps by saying that demons do not have real power unless you become afraid of them, in which case you grant them entry into the cause-and-effect world. Our response to demon attack can either give them causal traction in our world or banish them from it. We are instrumental in the outcome of the encounter.

Saint Augustine
Anthony’s demonology was further refined by many Church Fathers, including Saint Augustine and Saint Thomas Aquinas. Augustine, for example, took pains in his City of God to distinguish earlier positive uses of the term “demon” (by pagans like Socrates), from the only truly positive spirit beings –the “angels.” The pagans, he argued, were aware of angels and demons, but not as such. Heathens lacked the Christian truth and therefore misinterpreted their occasional encounters with the spirit realm –imagining a pagan theology where they should have seen a monotheism. But more interestingly, Augustine delved into the psychology or epistemology of the demon mind –arguing that demons have knowledge but their knowledge is not sanctified by a sense of charity. Citing Corinthians, Augustine says “Knowledge puffeth up, but charity buildeth up,” and he uses this point to connect demonic psychology with pride.(2)  In a tour de force of hermeneutics, he further shows that this is why human pride is empty of charity and indistinguishable (except perhaps by degree) from demonic psychology. Demons, he says, are capable of getting the outward shell of Christ’s message, but not the inner meaning. Demons have knowledge, but it is sterile. And the important difference between demonic and angelic knowledge is spelled out. “The good angels, therefore, hold cheap all that knowledge of material and transitory things which the demons are so proud of possessing.”(3)  Perhaps the good news for humans in this picture is that because demons focus, like humans, on the transitory changing world, they can be deceived. They, like us, live in the world of shadows, and passions can agitate them as well. That means their own emotions can be used against them, by the clever demon hunter. Angels on the other hand (and Saints), behold, in the wisdom of God, the eternal “cardinal causes” of things, and so they are never deceived.

Augustine instructs us about the imperfect minds of demons, but also offers some insight into their mysterious bodies. He asks the Christian reader not to feel envy about the demon’s amazing “aerial bodies” –capable of becoming invisible, floating, flying, shape-shifting, and even passing through walls. He points out that many animals too have greater bodily powers of strength, perception, and speed, but humans are more than compensated with the infinitely important faculties of rationality and virtue.  Okay, demons have really impressive magical bodies, but “divine providence gave to them bodies of a better quality than ours, that that in which we excel them might in this way be commended to us as deserving to be far more cared for than the body, and that we should learn to despise the bodily.”(4)

Saint Aquinas
Writing almost nine-hundred years later, Aquinas is still refining Christian demonology and giving nuance to the ideas first formed by St. Anthony. In his Summa Contra Gentiles, Aquinas considers whether demons are inherently evil. He offers some standard theological and scriptural ways of thinking about demons and monsters. “Nothing can exist unless it has existence from the first being, and the first being is the sovereign good. But since every being, as such, acts to the production of its own likeness, all things that come of the first being must be good.” And he caps this theological claim with some scripture –“This is also confirmed by the authority of Holy Scripture: for it is said, Every creature is good (1 Tim. iv, 4): God saw all things that he had made, and they were very good (Gen. I, 31).”(5)  This means demons are not intrinsically evil, and Aquinas gives a philosophical argument for this surprising view.(6)

He starts from an old premise about the way that conscious beings make decisions and act. Conscious beings, which would include humans but also aerial-bodied demons, and even angels (but not lower animals), always act for the sake of some perceived good. They may be wrong about it, but at least they are moving in a direction that seems beneficial to them in some way. Imagine, for example, that you’re late for an important event. You are pushing a crowd of people in the street in order to get to your destination, and some people are injured in the scuffle. Their suffering is not your intended goal or motivation. Their suffering is an unfortunate but unintended consequence of your over-zealous sense of punctuality. You are not guilty of knowingly and willfully hurting other people –but you are guilty of being careless and thoughtless about the safety of others. You’re not excused for the harm you’ve done, but you’re not an inherently harmful or intrinsically evil person either.

Aquinas thinks this point extends to the demons as well. The wider popular culture believes demons to be inherently evil beings that intentionally seek the pain and suffering of others as their only real goal and purpose. But Aquinas thinks demons are confused and weak-willed --accidentally evil, not essentially evil.(7)  When those demons tortured St. Anthony, for example, they were motivated by their (admittedly selfish and wrongheaded) sense of good. Like other cases of evil and sin, the suffering of St. Anthony is the result of a “false judgment” rather than a “bad will.” The only other way, theoretically, for a demon’s will to be truly bad would be if it were tied to a faulty faculty of understanding --one that would always misjudge, always make a false judgment. But, according to Aquinas, “false judgments” (e.g. thinking heroin might be good for one’s children, or thinking hemlock would make a good snack, etc.) are actually freakish occurrences, not the norm. “False judgments in acts of the understanding” he says, “are like monsters in the physical universe, which are not according to nature, but out of the way of nature: for the good of the understanding and its natural end is the knowledge of truth.”

One suspects that Anthony, and other victims of demon torture, would have found this nuanced theory to be cold-comfort. This more sophisticated view of conscious agency hardly takes the sting out of the demon’s venom. A demon’s victim might retort: So, if they’re not intrinsically evil, then why are they causing me so much pain and misery? In fact, more crucially, if there’s no real “bad will,” then whence comes sin? The answers are interesting. With impressive consistency, Aquinas claims that the demon’s volitions are still only good (by definition), but the demon has failed to submit his own personal good to the higher, superior good (God’s will). The demon’s sin is the failure to restrict his own agenda of perceived personal goods to the cosmic perfect good of God’s benevolence.

Aquinas analyzes the fall of the prince of demons himself, Lucifer, and finds a perfect illustration of his general theory. Even the devil is not naturally or essentially evil. Referring to Isaiah (chapter xiv), Aquinas says that the devil did not properly impose the Higher Good upon his own. Lucifer’s will “was not regulated by any higher will, a position of independence proper to God alone. In this sense we must understand the saying that he aimed at equality with God, not that he ever expected his goodness to equal the divine goodness: such a thought could never have occurred to his mind. But to wish to rule others, and not to have one’s own will ruled by any superior, is to wish to be in power and cease to be a subject; and that is the sin of pride.”(8)
  
Now we know what makes demons tick, so to speak. There is no evil “force” or “power” skulking about in the shadows of our world. Demons are not, contrary to popular opinion, embodiments of this imaginary evil energy.(9)  They are instead, aerial-bodied agents with conscious volition who confusedly seek their own self-aggrandizement –in other words, they are meaner versions of ourselves, who can also shape-shift and turn invisible. Strangely, the issue of sadism (actually taking pleasure in another’s pain) does not seem to have occurred to Aquinas. At least he prefers to analyze demonic deeds in the context of prideful power struggles for recognition –the torture techniques of demons are just their means to the end of “conversion to the dark side” or their coercive attempts to get reverence, and other similar sins of pride. Aquinas does not seriously entertain the idea that the misery of the tortured human is the pleasurable end goal of the demon’s activity.(10)  

The Witch-Hunter, Institoris
In 1484 Pope Innocent VIII gave Dominican inquisitor Heinrich Institoris wide ranging legal powers to pursue and eradicate witches (Papal Bull Summis desiderantes affectibus). The Bull was used as a justificational preface for Institoris’ famous demon hunting guide Malleus Maleficarum.

The Malleus Malificarum argues throughout for a “middle-way” position between witchcraft that’s too real (and therefore in violation of God’s goodness and power) and that which is not real enough (purely imaginative and fictional). Earlier demonologists, like Aquinas and the authors of the influential Canon Episcopi,(11)  argued that the frightening visions and shape-shifting episodes associated with witchcraft were really just quasi-dream-like phantasms. If any mischievous manipulation is occurring to a man who thinks he’s a werewolf, or experiences aerial lift-off on a broom, then the cause would have to sneak in, according to these more skeptical demonologists, at the physiological juncture where his “imaginative faculty” meets his “interior senses.” The imaginative faculty is described as a “treasure house” in each person that stores or preserves visible shapes, like the images of animals for example. It’s a treasure house of memories. If some evil spirit were to trigger this storage faculty just right, then it would flood the perceptual senses and give the person the illusory experience of real external stimuli outside the body. A mundane version of this happens all the time, when bodily humors trigger the “treasure house” in sleep and we subsequently dream.

Institoris breaks with this more benign version of witchcraft, and offers a clever way to get demons back in their threatening positions. Works of evil, according to Institoris, are not just indigestion-like fabrications of the body. They are real and they are happening in the external world; children really are being eaten by demonic were-wolves, the witches are actually taking flight. But how is it done, if only God has true creative power like this?

Demons according to Institoris do not make something from nothing when they enact their transgressions –that would truly violate a cardinal notion of the monotheistic God. It may seem that demons and their witches conjure monsters and terrors from thin air, but they do not really create in such an absolute manner. Instead, the demons have an amazing understanding of the Book of Nature. They grasp the first principles, fundamental springs, and material trajectories of physical nature itself. Demons are manipulative “scientists” long before this term even existed. They are the ultimate alchemists.(12)  

When demons do shape-shifting and other seemingly supernatural marvels, they are not “creating” so much as “altering” nature. According to Institoris, the evil ones sift the matter of nature to find the seeds (semina) of transformation, and then use these micro-agents as catalysts for their own nefarious inventions.(13)  Demons transform nature more by chemistry than by magic. Just as the form of the oak tree exists like a germ in the acorn, so too all of nature is filled with micro-seeds that when triggered alter the perceivable world in significant ways. Demons understand these mechanisms, which are invisible to humans, and they engineer outcomes in ways that look miraculous to us. By this subtle knowledge of nature, witches appear to predict the future, but they cannot really see the future (as God can). (14)  In this way, Institoris explains how demons and witches “create” mayhem in the world, but he avoids the heresy regarding ex nihilo creation. Demons simply alter nature in ways that scare and frighten us, and seem supernatural.(15)  But now we see why “God’s acquiescence” is frequently intoned in the Malleus explanation of witchcraft. The logic is this. Even if witchcraft is only altering nature, rather than “creating” it, it’s still doing significant damage in the world. Nature is being altered by demons in ways that allow witches to kill their neighbors with effigies and pins. And letting insignificant chump-demons and their paltry witch covens undo the beautiful divine cosmic plan would reflect very badly on God, unless God was actually giving his permission for this suffering. Why God gives His permission to let demons and witches turn someone against his neighbor is really beyond the speculative power of the demonologist. Institoris doesn’t really need to understand his target, he only needs to punish him.

Those who were possessed, however, were considered differently than witches. In the case of possession, the person afflicted was not considered to be evil or malicious, but rather set-upon (not entirely responsible for their actions). In these cases, their demonic behavior could be exorcised and they could be restored to fully human status. Interestingly, Institoris notes that when exorcism fails after multiple attempts, then the victim may have been misdiagnosed and probably deserves their condition as a divine punishment.

If your demon hunting catches a possessed person, a typical exorcism is outlined by Institoris.(16)  It’s best if a cleric performs the function but anyone of good character can do it if necessary. First, make the afflicted person give a confession. Next do a careful search of the home to detect any magical implements (e.g., amulets, effigies, etc.) and burn these. It’s important to get the afflicted into a church at this point, and make he/she hold a blessed candle while righteous witnesses pray over her. This should be sustained three times a week to restore grace, and the victim should receive the holy sacrament. In stubborn cases, you should write the beginning phrases of John’s Gospel on a tablet and hang it around the person’s neck --holy water should be applied liberally. If exorcism ultimately fails, then either the person is being punished by God and has to be surrendered, or your faith, as the exorcist, is not strong enough (and new administrators should be brought in).

    In closing then, always remember to employ the three tried-and-true weapons of the demon hunting arsenal; prayer, fasting, and faith. Anthony first recommended these low-tech strategies, and they remain the bread-and-butter of demon hunting. But new armaments, especially the antipsychotic Clozapine, have also proven themselves crucial in 21st century demon management. Go forth and mollify.

Footnotes:
  1. Anthony’s marvelous episodes have also fueled the pictorial tradition, from the medieval period to the present. Paintings by Heironymus Bosch, Matthias Grunewald, and Salvadore Dali, for example, have helped to keep Anthony’s tribulations in the popular imagination. Anthony’s battle with monsters comes to us via his famous biographer Athanasius of Alexandria (c.293-373). Athanasius chronicled Anthony’s life in a work titled simply Vita Antonii, or Life of Anthony. The book was eventually translated into Latin and set the template for subsequent medieval monastic biographies. Athanasius is revered in all the major sects of Christianity as the first Church Doctor. He served under Alexander of Alexandria, until succeeding him as Patriarch of Alexandria, and may have accompanied Alexander to the First Council of Nicea in 325. Athanasius was adamant to stamp out the popular theory about Christ, called Arianism, named after another Alexandrian theologian named Arius (c.250-336). Arians believed that God created Christ –Christ is not the same substance as God. This was anathematized by the Nicene Creed, which makes Christ, and the Holy Spirit, consubstantial with God the Father. Athanasius’ position, that the holy trinity is the same being (homoousia in Greek, or essentia in Latin) and all are eternal, became the orthodox theology for Christianity. But this orthodoxy was not established until after a sustained attack on Arianism as heresy, some of which occupies the later sections of the Life of Anthony.
  2. See I Corinthians, Chapter 8, 1.
  3. See Book IX, 22.
  4. See Book VIII, 15.
  5. See Aquinas’s Summa Contra Gentiles, Chapter CVII. Quotations are drawn from Joseph Rickaby’s, translation (London: Burns and Oates, 1905).
  6. The starting premise of this argument, indeed this entire way of looking at agency, is derived from Aristotle’s (and even Socrates’) view that conscious action is always teleologically arranged toward the perceived good of the actor. Aquinas, and most Christian theologians adopt this starting point, but also add unique considerations (that did not trouble the ancients) about the relevant mechanisms of sin.
  7. To get the full sense of Aquinas’ argument we have to understand his rather different notion of “causality” and the old essential/accidental distinction. Causes produce effects that are similar in kind to their causes. Conscious goals are causes of actions/effects. Since a conscious goal is by definition a kind of “good” (a perceived good at the very least), and since such goals are causes, then Aquinas thinks it follows that a person’s intentions can only cause evil “accidentally.” The cause is essentially good, and therefore no evil can flow from it –so any evil that results is incidental. Finally, he thinks, this proves that evil (which is always caused incidentally) is not a real metaphysical presence in the world (a real causal force), but only a kind of unpleasant epiphenomenon. “For no agent acts except with some intention of good: evil therefore cannot be the effect of any cause except incidentally. But what is caused incidentally only cannot be by nature, since every nature has a regular and definite mode of coming into being.” (Chapter CVII).
  8. See Chapter CIX.
  9. Here Aquinas tows a line first laid out by Augustine against the Manicheans. The Persian notion of evil is this idea of a cosmic metaphysical force or power –something outside of God and His control. In silencing this heresy, Augustine redefined “evil” to mean a “privation” or “lack” of a good. Evil is not a positive reality, but a purely negative adjective that people mistake for a “thing.” The word “evil” might be considered more like the word “shadow” in the sense that it picks out something particular, but in reality a shadow is just the absence of light. It is nothing in itself.
  10. Aquinas can counter the sadism point (and maybe even the more difficult masochism issue) by pointing out that the true telos (end goal) is the pleasure enjoyed, not the harm. But the modern mind finds this protest somewhat naïve in the sense that sadism means that a certain kind of pleasure is only attainable in the harming. To use his own lingo, there may be an essential causation between the harm and pleasure.
  11. The Canon Episcopi is probably a ninth century Frankish document (sometimes thought to originate in the fourth-century), and its short text on witches had become Canon Law by the time of the Malleus. It characterizes the more “psychological” theory that I’ve been sketching, and that Institoris was reacting against. Roughly speaking, witches are just very confused about their own powers and experiences (delusions), but this still makes them dangerous heretics because they tend to infect other innocents with their promises of Satanic power and that betrayal is still real (even if the magical powers are imaginary). The Canon Episcopi famously formulated the scenario of groups of women (hallucinating themselves to be) riding through the air for great distances.
  12. Alchemy had been a positive part of Islamic scientia for centuries, but when the texts and ideas flowed into Europe (after the Moor expulsion) it came to be seen as a threatening alternative knowledge base (with infidel origins). Alchemy became associated with the black arts and heresy, but ironically many of the “research programs” of alchemy (e.g., the transformation of natural substances) became the foundations of later chemistry. Dominicans like Aquinas and Albertus Magnus, together with Franciscan Roger Bacon, originally tolerated alchemy, trying to submit its claims to rational criteria. But by the fourteenth-century alchemy was outlawed in many places. See Chapter One of Roslynn D. Haynes’ From Faust to Strangelove (Johns Hopkins University, 1994).
  13. The idea that nature is filled with invisible seeds of transformation (rationes seminales) was very useful to theologians like Augustine, who used the concept whenever he needed to explain natural growth, development, or evolution in a monotheistic paradigm of “fiat creationism” that precluded such transformation. Ecclesiasticus 18:1 states that all things were created by God simultaneously (qui vivit in aeternum creavit omnia simul), but Genesis gives us a staggered creation over time. Augustine’s idea of “germs” of forms existing within other forms helped to make consistent the unrolling of creation and the simultaneous miracle of creation. Institoris seems to be drawing on this tradition to help him explain demon “creative” power.
  14. Institoris, in defense of his demonology, cites a gloss on Exodus 7 (when Pharao’s magicians also made serpents from staffs), which says, “When workers of harmful magic try to do something by chanting [the names] of evil spirits, they [the spirits] run off in different directions through the world, and in a very short time bring back the seeds of those things with which they stimulate this [process], and in this way, with God’s permission, produce new forms from these.”
  15. Institoris points out that such demonic “alterations” of nature can never violate the ways of nature (e.g., bring a dead man to life), but only speed-up, slow-down, mix or otherwise mutate changes that could happen anyway (theoretically).
  16. See Chapter 6, Part II.
Images:
  1. Attributed as copy by the young Michelangelo after an engraving by Martin Schongauer around 1487-9, The Torment of Saint Anthony. Oil and tempera on panel. One of many artistic depictions of Saint Anthony's trials in the desert. Via Wikipedia

Monday, January 20, 2014

Detail of Calvary, Ebony and Ivory, Late 17th–Early 18th Century, From the Metropolitan Museum of Art

From the Metropolitan Museum of Art website:
Calvary, late 17th–early 18th century (detail)
German or Netherlandish(?)
Ivory, ebony; (a) H. (with cross)
The Metropolitan Museum of Art, New York

Calvary was the hill outside Jerusalem where Christ was crucified. Here, the traditional group of the Virgin, the Magdalene, and Saint John includes the Good and Bad Thieves. The suffering expressed in the contorted poses would have aided in the viewer's efforts at private devotion. In an unusual iconographic touch, the Virgin kneels at the foot of the cross, a place usually reserved for the Magdalene, who is shown in a posture more typical of the Mourning Virgin. The bearded Saint John is also uncommon, as is the oriental (Turkish?) hairstyle of the thief at the left. The distinctive carving style produced delicate but highly expressive features on comparatively small heads set against broad, flat classical draperies and heavy bodies with unusually stout wrists and ankles.
You can learn more--and see the piece in its entirety--by clicking here.

Wednesday, May 15, 2013

Reasons to Love Paris #638: Candlelit Statue of the Virgin Mary, Église Saint-Paul-Saint-Louis

You can find out more about the church by clicking here; click on image for larger, more detailed version.

Saturday, May 11, 2013

"Vision of Ezekiel," Giovanni Batista Britano Ghisi or Mantuano, 1554

Title: 'Dabo super Vos Ner Vos Et Succrescere Facia sup Vos Carne'
Maker: Giovanni Batista Britano Ghisi or Mantuano
Year: 1554, published by Gio Iacomo de Rossi in Roma alla Pace in ca.1660
Description: Rare antique print  (copper engraving) of the Vision of Ezekiel by Giovanni Batista Britano Ghisi also called Mantuano (1520-1582), printed by Gio Iacomo de Rossi in Roma alla Pace.
The text on the ribbon is ’Dabo super Vos Ner Vos Et Succrescere Facia sup Vos Carne’ (I will lay sinews and flesh upon you) The tablet (lower left) shows the inscription ‘Io: Baptista Britano Mantuan In’. The water mark of the paper shows a ‘fleur de lis’ in a circle 
Subject: Antique religious prints / Vision of Ezekiel
For sale at ISCRA antiquarians in The Netherlands; more here. Click on top image to see larger, finer version.

Monday, April 1, 2013

Happy Belated Good Friday! Our Lady of Sorrows Good Friday Procession, Carroll Gardens, Brooklyn : Guest Post by Tonya Hurley, Author of "ghostgirl" and "The Blessed"


Following, please find a second fascinating guest post from Morbid Anatomy Library's Writer in residence Tonya Hurley, authoress of the New York Times bestselling ghostgirl series and The Blessed Trilogy. Here, she reports on her visit to the Our Lady of Sorrows Good Friday procession, taking place annually in the largely Italian-American neighborhood of Carroll Gardens, Brooklyn. All of the evocative photos you see above were also provided by Tonya.
THE BLACK PARADE

It is an incredible sight, one straight out of a Fellini movie.

A statue of Jesus encased in a glass casket carried by men dressed as pall bearers march somberly ahead of a large group of mourning women holding candles; praying and singing dirges in Italian through the winding streets. They make way for the Mater Dolorosa, the Our Lady of Sorrows statue, hoisted up into the night sky on a bier, veiled in black, a single dagger through her heart. Wood crosses are erected – draped in purple, red or white silk. The marching band plays “There is No Death.” No, this is not happening in a village in Italy, this is Good Friday in Carroll Gardens, Brooklyn.

The faithful have gathered at the Sacred Hearts Church of Jesus and Mary and Saint Stephen for this annual funeral-like procession in Brooklyn since 1948 to honor Our Lady of Sorrows, the patron saint of Mola di Bari, Italy. Thousands from the town immigrated to Carroll Gardens and the surrounding South Brooklyn neighborhoods in the mid-20th Century and brought this somber Holy Week tradition with them.

Our Lady of Sorrows symbolizes the suffering we feel at the loss of a loved one. The dagger through Mary’s heart is a symbol of the pain a parent feels when they lose a child. The procession calls devotees to mourn not just Mary’s loss, but their own. It brings the death of Jesus out from the churches, from the museum galleries, from the pages of the Bible, and literally into their own backyards. A reminder that death is ever present, and though it may be the end of life, it is not the end of faith.

The procession is an old world spectacle seemingly out of place in this modern age. A throwback on these tree-lined blocks, yet hundreds of people, both believers and rubberneckers struck by the sight, line the brownstoned streets silently, reverently, as the worshippers march by. They pray along with the women in the procession, waving vintage handkerchiefs in sympathetic grief, and some even raise glasses of wine as a toast to the sad celebration.

Participant Sal DiMaggio explains that this is the result of two Italian clubs coming together -- the Jesus statue comes from Sicilian Club Nights of Columbus and Our Lady comes from the Pugliese club Our Lady of Loretto. He goes on to explain that it is considered a great honor for the men who carry the statues and for the women who get to sew the new black-laced garments for the Our Lady of Sorrows statue each year.

It is apparent on this night that as much as Carroll Gardens has modernized, Italian Catholic roots run extremely deep.

“I’ve been coming for 44 years.  It’s always the same, and that's the beauty of it,” DiMaggio says as he disappears into the parade.
Thanks so much to Tonya Hurley for providing this really fascinating reportage and haunting images! You can find out more about her work by clicking here. Click on images to see larger versions.

Thursday, March 14, 2013

The Head of Saint Catherine of Siena : Italy Trip Guest Post by Evan Michelson, TV's "Oddities" and Morbid Anatomy Library

One more guest post by Evan Michelson of "Oddities" and the Morbid Anatomy Library documenting our trip through Italy researching the history of the preservation and display of the human corpse.

Here, her response to our pilgrimage to see the incorruptible head of Saint Catherine of Siena, seen in my photo above:
Recently Joanna and I paid a visit to the remarkable relic of Saint Catherine of Siena, that city's patron saint. Her incorruptible, mummified head lies behind a screen above an altar in Siena's Basilica of San Domenico. Apparently it was smuggled out of Rome in a sack by her followers, who wished to have her worldly remains reside in the city where she was born. Dramatically lit, her head has weathered the centuries well.

Catherine is one of Italy's most important holy women, known for her vivid and voluminous correspondence with Popes, Kings and various heads of state. She was also a remarkably powerful woman in her time, having served as a political ambassador for Florence (a rarity in the 14th century).

She had taken a vow of celibacy at the age of seven and considered herself a true bride of Christ, having entered into a "mystical marriage" with Jesus while still a teenager. She also suffered from what sounds like anorexia or bulimia for much of her life - obsessively fasting and vomiting until she couldn't eat anything at all, and she died quite young. Catherine was both revered and thought to be something of a dangerous fanatic in her lifetime; believe or disbelieve, her life spent nursing plague victims, pursuing political peace, recording ecstatic visions and reading the minds of her fanatical followers makes for a compelling story.
You can read future posts by Evan both on this blog and on her Facebook page, which you will find by clicking here. The photograph is my own. Click on image to see larger version.

Tuesday, March 12, 2013

Santuario delle Grazie (Shrine of Our Lady of Grace), Grazie, Italy : Guest Post by Alessandro Molinengo, Nautilus Shop, Modena

A few days ago, Evan Michelson (third down) and I took the train to Modena (home of Ferrari, Lamborghini, and Balsamic Vinegar) to meet Alessandro Molinengo (top image), a long time internet friend and co-proprietor of the amazing Nautilus Antiques which we had both dreamt of visiting for some years.

After our visit to the shop, Alessandro--who is, it turns out, also an excellent tour guide--suggested we make a trip to check out an obscure church in the tiny town of Grazie, Italy which his business partner  Fausto Gazzi had suggested might interest us. None of us had been there before, so we hopped in the car and went.

This church--the Santuario delle Grazie (or Shrine of Our Lady of Grace)--was a real surprise and an utter, stunning delight, a museum of sorts enshrining arcane forms of worship, collecting, and ex voto usage. What interested Evan the most was the crocodile hanging high in the nave, a hold over from a time when churches would routinely display natural curiosities (see top two images). What interested me the most were the colorful and crudely fashioned statues which filled every available niche. Half of these depicted what appeared to be important church visitors of centuries past, while the other half felt more like a dime museum's house of horrors, peopled with a variety of stiffly posed martyrs meeting imaginatively gruesome ends. Equally fascinating were the thousands of wax anatomical (hands, eyes, breasts, and Bubonic Plague buboes!) ex votos snaking decoratively over every available surface (as seen in all images, but especially 4th down). This pilgrimage church, with its tinny piped-in liturgical music and wax torture museum ambiance, felt somewhere between a circus sideshow and religious Disneyland, less fine art than folk art full of ancient sacred expression in a language we could only barely understand. 

Evan and I had so many questions about this baffling and fascinating place that we asked Alessandro to write a guest post about the church and its history. Following is his post; you can find out more about Allesandro's truly amazing shop (more on that soon!) here (the website) and here (his Facebook page). Stay tuned for a full post on this almost painfully (as I have not much money) wonderful shop, what I would call the Obscura Antiques of Italy.
The Shrine of Our Lady of Grace is a church in Lombard Gothic style, dedicated to the Blessed Virgin Mary, and is located in the small village of Grazie, close to the town of Curtatone, 9 km from Mantua.

The origins of the church back to 1200, where, on a small promontory rising from the maze of flora and reeds, stood a small altar with the image of the Madonna and Child in which the fishermen of the lake and farmers were especially devoted. The devotion of the people of the area was old and well established; in that time the lake environment was indeed a source of livelihood but also hard work, starvation and disease, superstitions and fears, and this strength of faith was very comforting. Towards the end of the fourteenth century, by the grace received, Francesco Gonzaga built a temple to the Virgin Mary, after the end to an epidemic of The Plague. The construction cost 30,000 gold crowns and in August of 1406 the chapel was consecrated.

Soon after the completion of the basilica, pilgrimages to the church gradually assumed popularity, intensifying with the poor people of the surrounding countries, nobles, and even the Emperor Charles V and Pope Pius II who all came to visit the sacred image of Madonna and Child. So began a series of donations that brought even the original architectural features of the amendment, some important families valances they built chapels for prayer attached to the convent or in the church to bury their ancestors.
From 1412 until the end of the century a convent, school, chapel, and library were added. In 1782 the monastery was closed and converted into a hospital. Thus began the decline of the Basilica. The Napoleonic invasion deprived the collection of votive offerings and many of its treasures, and the material contained in its rich library was dispersed or destroyed, and in 1812 much of the architectural complex was finally dismantled.

The interior is Gothic single nave, and the ceiling is a vault decorated with frescoes of flowers. Upon entering, one is struck by the richness of the walls and its hangings because of a stuffed crocodile that was once located in the Shrine in the fifteenth or sixteenth century now hanging from the ceiling (top 2 images). The middle part of the walls of the nave is lined with full-length wooden structure, with eighty niches arranged in two parallel rows, where many mannequins in various poses and situations representing episodes of danger averted by divine intercession are placed. Today only about forty statues remain. There is no wall, column, corner unadorned; decorations consist of rows of wax anatomical ex votos covering the walls not occupied by statues, drawing snake motifs around columns or below the arches of the niches. You see here ex-votos representing hearts, hands, eyes, breasts, and pestilential buboes (from The Bubonic Plague), which combine to offer the viewer a unique puzzle.
The life-size mannequins you see all around you, as well as their clothing, armor, helmets and weapons were constructed of papier-mâché, and most of them are attributed to Friar Francis Acquanegra, who created in the early 16th century. The statues were constructed of layers of paper and cloth hardened with plaster and painted with colorings and with honey added as a binder; subsequently, several elements were added that were created by casts; also, in some cases, wood was used for face, hands and feet (depending on the pose taken by the manikin), horsehair for hair and acorns for some particulars. As for the clothes, it was discovered that these were created from cotton fabric with hooks applied to statues and date back to the late nineteenth century.
Twelve suits of armor have been reassembled from various statues. It is in fact defensive Gothic-Italian armor made in 1400 that covered completely the rider as they are made from different pieces of steel composed harmoniously ensuring effective protection. Examples of armor like this are extremely rare, if they can find in fact only eleven pieces all over the world, which is why today they are no longer exposed to the monastery but were transferred to the Diocesan Museum Francesco Gonzaga in Mantua. Various hypotheses have been made about the arrival of such prestigious reinforcements in the monastery; they were probably a gift of the Gonzaga family, lords of Mantua, unlike other more modest pieces (but still going back to 1500 ) from other sources.  Under the niches are the metopes explaining in vulgar Italian the grace received as depicted in the dioramic tableau above. Sometimes the mannequins do not coincide with the metope below, a sign that over the years have been the first few shifts. 

A real star of the sanctuary is a crocodile (Crocodilus niloticus) embalmed and hung from the ceiling in the center of the nave. It is a real crocodile, not a model, in its entirety, which was added to the church in the fifteenth or sixteenth century and has recently been the subject of restoration. This is not the only Italian church where you can find such a strange thing; the church of Santa Maria delle Virgin Macerata also has a crocodile hanging, probable gift from Macerata returned from the Crusades.
In ancient times they were seen with promiscuity figures of dragons, crocodiles or snakes and often, in the Christian era, were associated with evil, considered personifications of earthly hell, animals that lead to sin.
The placement of these animals in the churches thus has a strong symbolic meaning, as medieval churches also housed prehistoric fossils, therefore, the animal chained up in the vault of the church means to render it harmless, lock the evil he represents and at the same time expose a concrete reminder to the faithful against human susceptibility to error.
Related to the crocodile "of Grace" and its derivation were born many legends and theories; there are those who believe he was an escapee from the zoo of an exotic private house of Gonzaga; others believe his acquisition was of a more miraculous nature: two boatmen brothers were resting on the bank of the river when all of a sudden one of them was attacked by a crocodile. The other, asking for God's guidance, armed himself with a knife and was able to kill the predator.

It seems that the church in the past was literally covered with all types of weapons, flags and banners from the ceiling and hung dried boats, as well obviously the statues and "panels" in wax reproducing parts of the body that are still present.
Many of these objects are representative of an era, a way of life, habits of rural life of the place, and the social situation of the time. The ex votos depict hands and feet indicate miraculous healings likely to injuries while working in the fields (as also witnessed by the tools and the votive tablets found in other areas of the church), the eyes, the pestiferous boils of the plague, hearts, breasts to bring us to consider the importance of a mother to breastfeed at a time when there were no alternatives to maternal food.

An interesting note is the presence of the ball that allowed the promotion to Series A of the football team of Mantua in 1961. That’s was a real miracle!
You can find out more about the by the Santuario delle Grazie (Shrine of Our Lady of Grace) by clicking here. You can find out more about the Nautilus Shop by clicking here, and can "like" the shop on Facebook by clicking here. The shop is open on Saturdays from 3 until 7 PM or by appointment, and is located at via Cesare Battisti 60 in Modena, Italy

All images are my own, taken at the church. The text is, as indicated, written by the lovely Alessandro Molinengo.

Wednesday, March 6, 2013

The Decorative Tomb Skulls of Tuscany : Pisa's Camposanto Monumentale



Above are a few decorative tomb skulls--and a corpse-themed tomb sculpture--that Evan and I encountered yesterday at Pisa's Camposanto Monumentale (Monumental Cemetery). Sadly, Buonamico Buffalmacco's magnificent fresco "The Three Dead and the Three Living and The Triumph of Death" (1338-39)--also housed by the Camposanto--was much damaged by allied bombing in 1944, though what remains is wonderfully evocative; you can see what remains and learn more about it by clicking here.

Monday, March 4, 2013

Saint Rosalia, Patron Saint of Palermo, Goth Women?


Saint Rosalia is the Patron Saint of Palermo; I would also like to nominate her as patron saint of Goth women. Why? See above for a few statues depicting her in the traditional fashion--as a young, beautiful woman, bedecked with a crown of roses, reading a book in her solitary lair with only a human skull for company, or clutching a human skull in her black robe. Simply does not get more Goth than that. Not even in the Catholic church.

More, from Wikipedia:
Born: 1130, Palermo, Italy
Died: 1166 (aged 35–36), Mount Pellegrino, Italy
Feast: September 4; July 15 (Festino)
Attributes: Depicted as a young woman, sometimes holding a cross, book, or skull. She is also seen wearing a crown of roses.
Patronage: Palermo; El Hatillo; Zuata Anzoátegui
Saint Rosalia (1130–1166), also called La Santuzza or "The Little Saint", is the patron saint of Palermo, Italy, El Hatillo, Venezuela, and Zuata, Anzoátegui, Venezuela.
According to legend, Rosalia was born of a Norman noble family that claimed descent from Charlemagne. Devoutly religious, she retired to life as a hermit in a cave on Mount Pellegrino, where she died alone in 1166. Tradition says that she was led to the cave by two angels. On the cave wall she wrote "I, Rosalia, daughter of Sinibald, Lord of Roses, and Quisquina, have taken the resolution to live in this cave for the love of my Lord, Jesus Christ."
In 1624, a horrible plague haunted Palermo, and during this hardship St Rosalia appeared first to a sick woman, then to a hunter to whom she indicated where her remains were to be found. She ordered him to bring her bones to Palermo and have them carried in procession through the city.
The hunter climbed the mountain and found her bones in the cave as described. He did what she had asked in the apparition, and after the procession the plague ceased. After this St Rosalia would be venerated as the patron saint of Palermo, and a sanctuary was built in the cave where her remains were discovered.
Both images from random churches in Palermo. More to come soon!

Sunday, March 3, 2013

Makeshift Shrine, Wall, Palermo


Friday, February 22, 2013

The San Gaudioso Catacombs and Basilica Santa Maria della Sanità, Naples, Italy

A few days ago, I visited the San Gaudioso Catacombs and the Basilica Santa Maria della Sanità above it in Naples, Italy.

The catacombs were in use by at least the 5th century, though much of its current features date from a 17th Century baroque "rediscovery and intervention." They are located deep in the Capodimonte hillside, which was the traditional burial place in Roman days; here, in a series of warrens constituting what was once a vast necropolis, Pagans and Christians--who coexisted peacefully in Naples, unlike Rome--were interred side by side.

The nearby San Gennero catacombs (8th down), which I had visited the day before, boasted an underground church in the which zealous Christians would worship surrounded by rotting corpses placed in a series of niches to "dry" (i.e. be reduced to skeletal material). San Gaudioso had no such chapel, but it had something even more interesting: a room filled with arresting frescoes of life-sized and costumed skeletons topped with what looked like real human skulls (images 3, 4 and 5) as well as a very handsome and striking life-sized fresco of anthropomorphized Death (image 1-2) with His attendant symbols, topped also with a real human skull.

To my astonished questions, my guide explained something along these lines (quote from The Catacomb brochure):
One of the peculiar practices of the Dominicans was embedding skulls of certain people in the walls of the ambulatory and depicting their bodies with frescos, accompanied by explanatory, chronological notes indicating the social status of the deceased. The Dominicans created a true gallery of the macabre in their exhibition of the skulls of aristocrats and clergy. These include Lady Sveva Gesualdo, Princess of Montesarchio; a praying Dominican, and in front of him a representation of Death (the image I sent)  dominating time and power with a crown, sword and sand-glass; magistrate Diego Longobardo; Marco Antonio d'Aponte; Scipione Brancaccio; and Florentine painter Giovanni Balducci who, in the 17th Century, did a whole series of paintings os which only traces remain...
What the brochure did not mention, but which my guide explained to me upon further questioning, is that the Dominicans also chose an anonymous skeleton to serve as "the guard of the catacombs." This took the form of a full human skeleton crudely set into the wall (see 6 down). Also, (if I understood my guide correctly), all the little niches you see would have been filled with bones that have only as recently as 1984 been moved to the Cimitero delle Fontanelle (more on that in a future post) on orders of the Archbishop, who thought it was no longer appropriate to have such macabre artifacts on display in this important artistic and historic site. This room also had a wonderful fresco depicting the souls in purgatory--a Neapolitan favorite, also to be explored in a future post.

Stay tuned for more posts about the ever-astounding Naples as soon as I have the time to put them together!

All photos are by my own; Image details, top to bottom:
  1. Fresco of Death personified topped with real human skull, San Gaudioso Catacombs, 17th Century
  2. Detail, Fresco of Death personified topped with real human skull, San Gaudioso Catacombs, 17th Century
  3. Skeleton fresco topped with human skull, San Gaudioso Catacombs, 17th Century
  4. Skeleton frescoes topped with human skulls, San Gaudioso Catacombs, 17th Century
  5. Male and female frescoes topped with human skulls, San Gaudioso Catacombs, 17th Century
  6. Dominican "Guard of the Catacombs," San Gaudioso Catacombs,
  7.  Fresco of souls in purgatory, San Gaudioso Catacombs, 17th Century
  8. San Gennero Catacombs
  9. Entryway to Basilica San Gaudioso Catacombs, Santa Maria della Sanità
  10. Basilica Santa Maria della Sanità
  11. Basilica Santa Maria della Sanità
  12. Basilica Santa Maria della Sanità
  13. Basilica Santa Maria della Sanità
  14. Basilica Santa Maria della Sanità
  15. Basilica Santa Maria della Sanità
  16. Basilica Santa Maria della Sanità