On the left, Saint Sebastian, the protector against the plague, Monumental Complex Donnaregina
During these days when many a traveler unwittingly has brought back coronavirus as an unwelcome souvenir, we remain grounded and semi-cloistered at home in San Antonio. Spring plans canceled.
With churches locking their doors to try to keep their parishioners safely cocooned in their houses, Sunday seems a good time to share some snapshots from churches taken during a fall trip to Naples.
Am including an assortment of saints to serve most any request. Perhaps Saint Sebastian, the protector against the plague, should be a logical choice? Depictions of saints painfully attaining martyrdom are included to remind us that this confinement is not so bad, particularly as we have internet to let us connect with one another and the world.
Monumental Complex Santa Chiara
Room Sisto V, former refectory of monastery, Monumental Complex San Lorenzo Maggiore
Chiesa del Gesu Nuovo
Chiesa del Gesu Nuovo
Monumental Complex Santa Chiara
Monumental Complex Donnaregina
Saint Lawrence with his grill, Monumental Complex San Lorenzo Maggiore
San Tarcisio, Monumental Complex Santa Chiara
Monumental Complex Santa Chiara
Monumental Complex Santa Chiara
Sant’Anna di Lombardi
Monumental Complex San Lorenzo Maggiore
Monumental Complex San Lorenzo Maggiore
Monumental Complex San Lorenzo Maggiore
Sant’Anna di Lombardi
Saint Anthony and the Fishes, Sant’Anna di Lombardi
Monumental Complex Donnaregina
Chiesa del Gesu Nuovo
Sant’Anna di Lombardi
Chiesa del Gesu Nuovo
Monumental Complex San Lorenzo Maggiore
Monumental Complex Donnaregina
Monumental Complex Donnaregina
Monumental Complex Santa Chiara
Monumental Complex Santa Chiara
Venerable Giacomo Torno, incorruptu, San Paolo Maggiore
Chiesa del Gesu Nuovo
Sant’Anna di Lombardi
Devil in a detail of painting of Saint Michael, Monumental Complex Donnaregina
Monumental Complex Santa Chiara
Monumental Complex San Lorenzo Maggiore
And am throwing in the body of one saint-in-waiting, the Venerable Giacomo Torno, lying in an incorrupt state since his death in 1609 as a reminder most aspects of Roman Catholicism remain mysterious and incomprehensible to me, an outsider admiring the art and architecture while always avoiding mass.
No time to pause for even the slightest genuflection in this lightening-fast tour of more than a dozen churches in Rome.
You might think this blog has dragged you through every single church in Rome, but, no. One could spend a year visiting a church a day without exhausting that supply. Rome is divided into 339 parishes, and there are close to 70 basilicas within the city. Probably all are worth ducking into for a visit.
But, mercifully, our tour stops here.
On this whiplash final lap, am going to point out two major relics of the type upon which most American Catholics never lay their eyes. The reliquary above is said to contain “the first foot to be entered in the tomb of Christ,” that of Mary Magdalene enshrined in the Basilica di San Giovanni dei Fiorentini. And the other is a portion of the head of Saint John the Baptist housed in a chapel in the Basilica di San Silvestro in Capite.
Basilica di San Lorenzo in Lucina
Chiesa Nazionale Argentina
Basilica di Sant’Agostino
Basilica di Santa Pudenziana wedding
Basilica di Sant’Agostino
Chiesa del Gesu
Basilica di San Lorenzo in Lucina
Basilica di San Vitale
Basilica di San Silvestro in Capite, bell tower
Basilica di San Giovanni Battista dei Fiorentini, Mary Magdalene’s foot
Basilica di Sant’Agostino
Basilica del Sacro Curore di Gesu
Chiesa del Gesu
Basilica di Santi Ambrogio e Carlo al Corso
Basilica di San Silvestro in Capite, reliquary containing part of the head of Saint John the Baptist
Basilica di Santi Ambrogio e Carlo al Corso
Basilica di San Silvestro in Capite
Chiesa Nazionale Argentina
Chiesa dei Jesus Sant’Agatha
Chiesa del Gesu
Basilica di San Lorenzo in Damasco
Basilica di Santi Ambrogio e Carlo al Corso
Basilica di Santi Ambrogio e Carlo al Corso
Basilica di Sant’Agostino
Basilica di San Giovanni Battista dei Fiorentini, San Antonio de Padua
Basilica di Santi Ambrogio e Carlo al Corso
Basilica di Santi Ambrogio e Carlo al Corso
reliquaries
Basilica di San Vitale
Eglise Saint Louis des Francais
Basilica di Santa Pudenziana
Basilica di Santi Ambrogio e Carlo al Corso
Basilica di San Lorenzo in Lucina
I wonder whether anyone ever has developed a scavenger hunt for spying saintly parts tucked away in nooks and crannies in churches in Rome.
A shortcut to encountering a massive number of bones, if one is so inclined, is to seek out the Capuchin Museum and Crypt tucked under Santa Maria della Concezione. The church was commissioned in 1626 by Pope Urban VIII (to whom you were introduced during my “wild things” museum meltdown) in recognition of a relative who was a Capuchin friar, Cardinal Antonio Barberini. Cardinal Barberini had the remains of thousands of his Capuchin brethren transferred to the crypt, which provided monks with a creative side unusual materials for their assemblages.
The museum offers a rather dry history of the Capuchin order, somewhat interesting if not for the macabre magnetic pull of the crypt you know lies on the far side. I doubt much has changed there since Mark Twain’s visit long ago, so I will let him describe the interior:
There were six divisions in the apartment, and each division was ornamented with a style of decoration peculiar to itself – and these decorations were in every instance formed of human bones! There were shapely arches, built wholly of thigh bones; there were startling pyramids, built wholly of grinning skulls; there were quaint architectural structures of various kinds, built of shin bones and the bones of the arm; on the wall were elaborate frescoes, whose curving vines were made of knotted human vertebrae; whose delicate tendrils were made of sinews and tendons; whose flowers were formed of knee-caps and toe-nails. Every lasting portion of the human frame was represented in these intricate designs (they were by Michael Angelo, I think,) and there was a careful finish about the work, and an attention to details that betrayed the artist’s love of his labors as well as his schooled ability. I asked the good-natured monk who accompanied us, who did this? And he said, “We did it” – meaning himself and his brethren upstairs. I could see that the old friar took a high pride in his curious show. We made him talkative by exhibiting an interest we never betrayed to guides.
“Who were these people?”
“We – upstairs – Monks of the Capuchin order – my brethren.”
“How many departed monks were required to upholster these six parlors?”
“These are the bones of four thousand.”
“It took a long time to get enough?”
“Many, many centuries.”
“Their different parts are well separated – skulls in one room, legs in another, ribs in another – there would be stirring times here for a while if the last trump should blow. Some of the brethren might get hold of the wrong leg, in the confusion, and the wrong skull, and find themselves limping, and looking through eyes that were wider apart or closer together than they were used to. You can not tell any of these parties apart, I suppose?”
“Oh, yes, I know many of them.”
He put his finger on a skull. “This was Brother Anselmo – dead three hundred years – a good man.”
The Innocents Abroad, Mark Twain, 1869
And, as this is a whiplash tour of churches, our friend Chris’ seconds-long forbidden video recording of the interior seems appropriate.
I asked the monk if all the brethren upstairs expected to be put in this place when they died. He answered quietly:
“We must all lie here at last.”
The Innocents Abroad, Mark Twain, 1869
Catholicism remains a religion of many mysteries, even for someone who was raised as one, particularly during the years when mass still was said in Latin. Like, when near the end of the service, the priest would talk about Nabisco crackers: “Dominus vobiscum.” “The Lord be with you,” lost in translation between the priest’s lips and my ears.