Friday, 4 March 2016

The Fourth Sunday of Lent - 06.03.2016

FATHER LIAM SAYS: Soon we will be welcoming, once again, visitors to our church to view the ceiling after the winter recess.  Perhaps we should remember to view it ourselves a little more frequently.  It is easy to take treasures close at hand rather too casually.  Centre stage, we have the panels depicting scenes from the chapters of the Book of Genesis, such as the creation of Adam and Eve and their expulsion from the garden following their turning away from God.  We should also pay attention to the portraits of the Prophets that frame the Genesis scenes.  Especially we should not forget Isaiah and Jeremiah who predicted the suffering of Christ as he brought about the great work of our salvation.   Alternating with depictions of the prophets there are these mysterious Sibyls, priestesses of obscure origin.  There was an ancient belief that somehow these figures from pagan antiquity also predicted the coming of the Saviour.  It is noteworthy that in the Pope’s own chapel five hundred years ago saving truths were seen as coming from pagan as well as scriptural sources.  But such harmony was easier to portray in Art than in reality.

In the five hundred years of the Christian story since Michelangelo painted the Sistine ceiling it has proved very difficult to achieve a meeting of minds in Religious matters as the Christian family fell apart.  However, there is a lot of dialogue taking place.  This has been the case especially in the last fifty years, ever since the Second Vatican Council.  So we must be ever hopeful.

The Council encouraged dialogue between the Church and the secular world between Christians and other faiths, within the various Christian Churches and within the Catholic Church worldwide and locally.  In the decree on bishops, the bishop, for instance, is told to initiate and promote dialogue with his people (No 13).  He is told to engage in dialogue with his priests, both individually and collectively (No 28).  In the decree on the training of priests, the seminarians are to be trained so that they are equipped ‘to dialogue with the people of these times’ (N0 15)  So dialogue is meant to feature in every aspect of the life of the diocese and of each parish.  This is not always easy and perhaps we think we are better at it than we really are!

Pope Francis certainly gives us a good example.  It is now three years since he became Bishop of Rome.  The Cardinals came to a quick decision, electing him on the fifth ballot even though in the Church at large he was rather an unknown quantity.  But his fellow Cardinals knew him well – or at least they thought they did!  He is the first ever Pope from the Americas, the first Jesuit Pope, the first to take the name Francis and the first Pope in fifty years not to have taken part in the Second Vatican Council.  Pope Benedict took part in his capacity as a theologian.  He was not a bishop until the Council ended.  Pope Francis, on the other hand, was not ordained a priest until December 1969, four years after the end of the Vatican Council.  Within weeks of becoming Pope he washed the feet of prisoners on Maundy Thursday, including the feet of a Muslim woman.  Strictly speaking that was against Canon Law but the Pope has changed that law!  Like St Francis, he communicates as effectively by gestures as by words.

To return to Michelangelo!  Twenty-five years after he had completed the painting of the ceiling in 1512, he was again issued with an invitation that he couldn’t refuse to return to the chapel to paint a fresco of the Last Judgement.  He was now sixty-two years old and perhaps suffering from arthritis but it was another of his great triumphs and took him four years.  He completed it in 1541 to great acclaim.  Paul III, who insisted on having it done, allegedly fell on his knees when he first saw it and prayed ‘O Lord, charge me not with my sins when you come on the day of judgement.’  It was commissioned as ‘The Resurrection’ by which was meant not the Resurrection of Christ but rather the Resurrection of the blessed on ‘the last day’.  But the Resurrection of the dead and the Last Judgement are two aspects of the same mystery.  The painting displays plenty of naked flesh which is a hallmark of Michelangelo’s work.  But the painting we see today is not quite what was seen in 1541.  when it displayed even more flesh.  ASome dignitaries remarked to Paul III that the painting was more fitting for a tavern or bath-house than the Pope’s chapel.  Another criticism referred to the painting’s indecency ‘in the most sacred chapel in the world’.  But it remained unchanged until 1564 – the year of Michelangelo’s death – when Pius IV employed an important painter to address the problem.  These discreet alterations remain to this day!