Thurs, Nov 1, 2012 - Litany Lane Blog: Peace, Revelation 7:2-4, 9-14, Psalms 24:1-6, Matthew 5:1-12, All Saints Day, 500th Anniversary of the Sistine Chapel

Thursday, November 1, 2012 - Litany Lane Blog:
Peace, Revelation 7:2-4, 9-14, Psalms 24:1-6, Matthew 5:1-12, All Saints Day, 500th Anniversary of the Sistine Chapel

Good Day Bloggers! 
Wishing everyone a Blessed Week!
Year of Faith - October 11, 2012 - November 24, 2013

P.U.S.H. (Pray Until Serenity Happens). It has a remarkable way of producing solace, peace, patience and tranquility and of course resolution...God's always available 24/7.

We are all human. We all experience birth, life and death. We all have flaws but we also all have the gift knowledge and free will as well, make the most of it. Life on earth is a stepping to our eternal home in Heaven. Its your choice whether to rise towards eternal light or lost to eternal darkness. Material items, though needed for sustenance and survival on earth are of earthly value only. The only thing that passes from this earth to Purgatory and/or Heaven is our Soul, our Spirit...it's God's perpetual gift to us...Embrace it, treasure it, nurture it, protect it...

"Raise not a hand to another unless it is to offer in peace and goodwill." ~ Zarya Parx 2012

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October 25, 2012 Message From Our Lady of Medjugorje to World:

"Dear children! Today I call you to pray for my intentions. Renew fasting and prayer because Satan is cunning and attracts many hearts to sin and perdition. I call you, little children, to holiness and to live in grace. Adore my Son so that He may fill you with His peace and love for which you yearn. Thank you for having responded to my call." ~ Blessed Virgin Mary


October 02, 2012 Message From Our Lady of Medjugorje to World:

"Dear children; I am calling you and am coming among you because I need you. I need apostles with a pure heart. I am praying, and you should also pray, that the Holy Spirit may enable and lead you, that He may illuminate you and fill you with love and humility. Pray that He may fill you with grace and mercy. Only then will you understand me, my children. Only then will you understand my pain because of those who have not come to know the love of God. Then you will be able to help me. You will be my light-bearers of God’s love. You will illuminate the way for those who have been given eyes but do not want to see. I desire for all of my children to see my Son. I desire for all of my children to experience His Kingdom. Again I call you and implore you to pray for those whom my Son has called. Thank you." ~ Blessed Virgin Mary

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Today's Word:  peace  pe·ace  [kon-si-kreyt]

Origin:  1125–75; Middle English pes  < Old French,  variant of pais  < Latin pax  (stem pāc- ); akin to pact
 

 noun

1. the normal, nonwarring condition of a nation, group of nations, or the world.

2. ( often initial capital letter ) an agreement or treaty between warring or antagonistic nations, groups, etc., to end hostilities and abstain from further fighting or antagonism: the Peace of Ryswick.

3. a state of mutual harmony between people or groups, especially in personal relations: Try to live in peace with your neighbors.

4. the normal freedom from civil commotion and violence of a community; public order and security: He was arrested for being drunk and disturbing the peace.

5. cessation of or freedom from any strife or dissension.

6. freedom of the mind from annoyance, distraction, anxiety, an obsession, etc.; tranquillity; serenity.

7. a state of tranquillity or serenity: May he rest in peace.

8. a state or condition conducive to, proceeding from, or characterized by tranquillity: the peace of a mountain resort.

9. silence; stillness: The cawing of a crow broke the afternoon's peace.

10. ( initial capital letter, italics ) a comedy (421 b.c.) by Aristophanes.

interjection

11. (used to express greeting or farewell or to request quietness or silence).

verb (used without object)

12.  Obsolete . to be or become silent.

Idioms

13. at peace, 
a. in a state or relationship of nonbelligerence or concord; not at war.

b. untroubled; tranquil; content.

c. deceased.

14. hold / keep one's peace, to refrain from or cease speaking; keep silent: He told her to hold her peace until he had finished.

15. keep the peace, to maintain order; cause to refrain from creating a disturbance: Several officers of the law were on hand to keep the peace.

16. make one's peace with, to become reconciled with: He repaired the fence he had broken and made his peace with the neighbor on whose property it stood.

17. make peace, to ask for or arrange a cessation of hostilities or antagonism.

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Today's Old Testament Reading -  Psalms 24:1-6

¹ [Psalm Of David] To Yahweh belong the earth and all it contains, the world and all who live there;
² it is he who laid its foundations on the seas, on the flowing waters fixed it firm.
³ Who shall go up to the mountain of Yahweh? Who shall take a stand in his holy place?
⁴ The clean of hands and pure of heart, whose heart is not set on vanities, who does not swear an oath in order to deceive.
⁵ Such a one will receive blessing from Yahweh, saving justice from the God of his salvation.
⁶ Such is the people that seeks him, that seeks your presence, God of Jacob.

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Today's Epistle -  Revelation 7:2-4, 9-14

² Then I saw another angel rising where the sun rises, carrying the seal of the living God; he called in a powerful voice to the four angels whose duty was to devastate land and sea,
³ 'Wait before you do any damage on land or at sea or to the trees, until we have put the seal on the foreheads of the servants of our God.'
⁴ And I heard how many had been sealed: a hundred and forty-four thousand, out of all the tribes of Israel.
⁹ After that I saw that there was a huge number, impossible for anyone to count, of people from every nation, race, tribe and language; they were standing in front of the throne and in front of the Lamb, dressed in white robes and holding palms in their hands. They shouted in a loud voice,
¹⁰ 'Salvation to our God, who sits on the throne, and to the Lamb!'
¹¹ And all the angels who were standing in a circle round the throne, surrounding the elders and the four living creatures, prostrated themselves before the throne, and touched the ground with their foreheads, worshipping God
¹² with these words: Amen. Praise and glory and wisdom, thanksgiving and honour and power and strength to our God for ever and ever. Amen.
¹³ One of the elders then spoke and asked me, 'Who are these people, dressed in white robes, and where have they come from?'
¹⁴ I answered him, 'You can tell me, sir.' Then he said, 'These are the people who have been through the great trial; they have washed their robes white again in the blood of the Lamb.

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Today's Gospel Reading - Matthew 5:1-12

The Beatitudes

1. a) Opening prayer:

Lord, the meaning of our life is to seek your Word, which came to us in the person of Christ. Make me capable of welcoming what is new in the Gospel of the Beatitudes, so that I may change my life. I would know nothing about you were it not for the light of the words spoken by your Son Jesus, who came to tell us of your marvels. When I am weak, if I go to Him, the Word of God, then I become strong. When I act foolishly, the wisdom of his Gospel restores me to relish God and the kindness of his love. He guides me to the paths of life. When some deformity appears in me, I reflect on his Word and the image of my personality becomes beautiful. When solitude tries to make me dry, my spiritual marriage to him makes my life fruitful. When I discover some sadness or unhappiness in myself, the thought of Him, my only good, opens the way to joy. Therese of the Child Jesus has a saying that sums up the desire for holiness as an intense search for God and a listening to others: «If you are nothing, remember that Jesus is all. You must therefore lose your little nothing into his infinite all and think of nothing else but this uniquely lovable all…» (Letters, 87, to Marie Guérin). 


b) Reading the Gospel:

Seeing the crowds, he went onto the mountain. And when he was seated his disciples came to him. Then he began to speak. This is what he taught them:
How blessed are the poor in spirit:
the kingdom of Heaven is theirs.
Blessed are the gentle:
they shall have the earth as inheritance.
Blessed are those who mourn:
they shall be comforted.
Blessed are those who hunger and thirst for uprightness:
they shall have their fill.
Blessed are the merciful:
they shall have mercy shown them.
Blessed are the pure in heart:
they shall see God.
Blessed are the peacemakers:
they shall be recognised as children of God.
Blessed are those who are persecuted in the cause of uprightness:
the kingdom of Heaven is theirs.
'Blessed are you when people abuse you and persecute you and speak all kinds of calumny against you falsely on my account. Rejoice and be glad, for your reward will be great in heaven; this is how they persecuted the prophets before you. 


c) A moment of prayerful silence:

It is important to be able to listen in deep silence so that the word of Christ may speak to us and so that the Word made flesh may dwell in us and us in him. It is only in silent hearts that the Word of God can take root and, on this Solemnity of All Saints, become flesh in us. 


2. Light shed on the Word (lectio)

a) The context:

Jesus’ words on the Beatitudes that Matthew drew from his sources, were condensed in short and isolated phrases, and the Evangelist has placed them in a broader context, which Biblical scholars call the “sermon on the mount” (chapters 5-7). This sermon is considered like the statutes or Magna Carta that Jesus gave to the community as a normative and binding word that defines a Christian.

The many themes contained in this long sermon are not to be seen as collection of exhortations, but rather as a clear and radical indication of the new attitude of the disciples towards God, oneself and the brothers and sisters. Some expressions used by Jesus may seem exaggerated, but they are used to stress reality and thus are realistic in the context although not so in a literary sense: for instance in vv.29-30: «If your right eye should be your downfall, tear it out and throw it away; for it will do you less harm to lose one part of yourself than to have your whole body thrown into hell. And if your right hand should be your downfall, cut it off and throw it away, for it will do you less harm to lose one part of yourself than to have your whole body go to hell». This manner of speaking indicates the effect desired to be created in the reader, who must understand correctly Jesus’ words so as not to distort their meaning.

Our focus, for liturgical reasons, will be on the first part of the “sermon on the mount”, that is the part dealing with the proclamation of the beatitudes (Mt 5:1-12). 


b) Some details:

Matthew invites the reader to listen to the beatitudes proclaimed by Jesus with a rich concentration of details. First he indicates the place where Jesus proclaims his sermon: “Jesus went onto the mountain” (5:1). That is why exegetes call this the “sermon on the mount” even though Luke places this sermon on level ground (Lk 6:20-26). The geographic location of the “mountain” could be a veiled reference to an episode in the OT quite like ours: that is, when Moses proclaims the Decalogue on mount Sinai. It is possible that Matthew wishes to present Jesus as the new Moses who proclaims the new law.

Another detail that strikes us is the physical posture of Jesus as he proclaims his words: “when he was seated”. This posture confers upon him a note of authority in the legislative sense. The disciples and the “crowd” gather around him: this detail shows what Jesus had to say was for all to hear. We note that Jesus’ words do not present impossible matters, nor are they addressed to a special group of people, nor do they mean to establish a code of ethics exclusively for his inner circle. Jesus’ demands are concrete, binding and decisively radical.

Someone branded Jesus’ sermon as follows: «For me, this is the most important text in the history of humankind. It is addressed to all, believers and non, and after twenty centuries it is still the only light still shining in the darkness of violence, fear and solitude in which the West finds itself because of its pride and selfishness» (Gilbert Cesbron).

The word “blessed” (in Greek makarioi) in our context does not say “softly” but cries out happiness found throughout the Bible. For instance, in the OT, those called “blessed” are those who live out the precepts of Wisdom (Sir 25,7-10). The prayerful person of the Psalms defines “blessed” as those who “fear”, or more precisely those who love the Lord, expressing this love in the observance of the precepts contained in the word of God (Sal 1,1; 128,1).

Matthew’s originality lies in adding a secondary phrase that specifies each beatitude: for instance, the main assertion “blessed are the poor in spirit” is clarified by an added phrase “for theirs is the kingdom of heaven”. Another difference with the OT is that Jesus’ words proclaim a saving blessedness here and now and without any limitations. For Jesus, all can attain happiness on condition that they remain united to Him. 


c) The first three beatitudes:

i) The first cry concerns the poor: “How blessed are the poor in spirit, the kingdom of heaven is theirs”. The reader may be shocked: how can the poor be happy? In the Bible, the poor are those who empty themselves of themselves and above all renounce the presumption of building their own present and future alone, and thus leave room for and focus on God’s project and his Word. The poor, always in the biblical sense, is not someone closed in on himself, miserable, negative, but someone who nurtures being open to God and to others. God is all his/her treasure. We could say with St.Teresa of Avila: happy are those who experience that “God alone suffices!”, meaning that they are rich in God. A great modern spiritual author described poverty as follows: «As long as one does not empty one’s heart, God cannot fill it with himself. As you empty your heart, so does the Lord fill it. Poverty is emptiness, not only in what concerns the future but also the past. Not a regret or memory, not a worry or wish! God is not in the past, God is not in the future: He is in the present! Leave your past to God, leave your future to God. Your poverty is to live the present, the Presence of God who is Eternity» (Divo Barsotti).

This is the first beatitude, not just because it is the first of many, but because it seems to encapsulate all the others in their diversity.

ii) ”Blessed are those who mourn; they shall be comforted”. One can mourn because of a great pain or suffering. This underlines the fact that we are dealing with a serious situation even though the motives or the cause are not mentioned. If we wish to identify today “those who mourn” we could think of all the Christians who hold dear the demands of the kingdom and suffer because of many negative aspects in the Church; rather than focus on holiness, the Church presents divisions and lacerations. They may also be those who suffer because of their sins and inconsistencies and who, in some way, slow down their conversion. To these, only God can bring the news of “consolation””.

iii) ”Blessed are the gentle, they shall have the earth as inheritance”. The third beatitude is about gentleness. This is a quality that is not so popular today. Rather, for many it has a negative connotation and is taken for weakness or the kind of imperturbability that knows how to control calculatingly one’s own emotions. What does the word “gentle” mean in the Bible? The gentle are remembered as those who enjoy great peace (Ps 37:10), are happy, blessed and loved by God. They are also contrasted with evildoers, the ungodly and sinners. Thus the OT gives us a wealth of meanings that do not allow for one single definition.

In the NT the first time we meet the word is in Matthew 11:29: “Learn from me because I am gentle and humble of heart”. A second time is in Mt 21:5, when Matthew describes Jesus’ entry into Jerusalem and cites the prophet Zechariah 2:9: “Behold your servant comes to you gentle”. Truly, Matthew’s Gospel may be described as the Gospel of gentleness.

Paul too says that gentleness is an identifying quality of the Christian. In 2 Corinthians 10:1 he exhorts believers “I urge you by the gentleness and forbearance of Christ”. In Galatians 5:22 gentleness is considered one of the fruits of the Holy Spirit in the heart of believers and consists in being meek, moderate, slow to punish, kind and patient towards others. Again in Ephesians 4:32 and Colossians 3:12 gentleness is an attitude that is part of the Christian and a sign of the new man in Christ.

Finally, an eloquent witness comes from 1 Peter 3:3-4: “Your adornment should be not an exterior one, consisting of braided hair or gold jewellery or fine clothing, but the interior disposition of the heart, consisting in the imperishable quality of a gentle and peaceful spirit, so precious in the sight of God”.

How does Jesus use the word “gentle”? A truly enlightening definition is the one given by the gentle person of Cardinal Carlo Maria Martini “The gentle person, according to the beatitudes, is one who, in spite of the fervour of his/her feelings, remains docile and calm, not possessive, interiorly free, always extremely respectful of the mystery of freedom, imitating God in this respect who does everything with respect for the person, and urges the person to obedience without ever using violence. Gentleness is opposed to all forms of material or moral arrogance, it gains the victory of peace over war, of dialogue over imposition”.

To this wise interpretation we add that of another famous exegete: “The gentleness spoken of in the beatitudes is none other than that aspect of humility that manifests itself in practical affability in one’s dealings with the other. Such gentleness finds its image and its perfect model in the person of Jesus, gentle and humble of heart. Truly, such gentleness seems to us like a form of charity, patient and delicately attentive towards others” (Jacques Dupont). 


3. The word enlightens me (to meditate)

a) Am I able to accept those little signs of poverty in my regard? For instance, the poverty of poor health and little indispositions? Do I make exorbitant demands?
b) Am I able to accept some aspect of my poverty and fragility?
c) Do I pray like a poor person, as one who asks with humility the grace of God, his pardon and his mercy?
d) Inspired by Jesus’ message concerning gentleness, do I renounce violence, vengeance and a vengeful spirit?
e) Do I encourage, in families and in my place of work, a spirit of kindness, gentleness and peace?
f) Do I pay back any small malice, insinuations or offensive allusions with evil?
g) Do I look after the weakest who cannot defend themselves? Am I patient with old people? Do I welcome lonely strangers who are often exploited at work? 


4. To pray

a) Psalm 23:

The Psalm seems to rotate around the title “The Lord is my shepherd”. The saints are the image of the flock on the way: they are accompanied by the goodness and loyalty of God, until they finally reach the house of the Father (L.Alonso Schökel, I salmi della fiducia, Dehoniana libri, Bologna 2006, 54)

Yahweh is my shepherd,
I lack nothing.

In grassy meadows he lets me lie.
By tranquil streams he leads me
to restore my spirit.
He guides me in paths of saving justice as befits his name.

Even were I to walk in a ravine as dark as death
I should fear no danger,
for you are at my side.
Your staff and your crook are there to soothe me.

You prepare a table for me under the eyes of my enemies;
you anoint my head with oil;
my cup brims over.

Kindness and faithful love pursue me every day of my life.
I make my home in the house of Yahweh
for all time to come. 


b) Closing prayer:

Lord Jesus, you show us the way of the beatitudes so that we may come to that happiness that is fullness of life and thus holiness. We are all called to holiness, but the only treasure of the saints is God. Your Word, Lord, calls saints all those who in baptism were chosen by your love of a Father, to be conformed to Christ. Grant, Lord, that by your grace we may achieve this conformity to Jesus Christ. We thank you, Lord, for the saints you have placed on our way and who manifest your love. We ask for your pardon if we have tarnished your face in us and denied our calling to be saints.

Reference: Courtesy of Order of Carmelites, www.ocarm.org.

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Featured Item of the Day from Litany Lane

Our Mother of Perpetual Help Ipad Cases by LitanyLane

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Saint of the Day:  Feast of All Saints Day

Feast Day:  November 1
Patron Saint:  varied

^{All Saints}

All Saints' Day (in the Roman Catholic Church officially the Solemnity of All Saints and also called All Hallows or Hallowmas), often shortened to All Saints, is a solemnity celebrated on 1 November by parts of Western Christianity, and on the first Sunday after Pentecost in Eastern Christianity, in honour of all the saints, known and unknown. In the Western calendar it is the day after Halloween and the day before All Souls' Day.

In Western Christian theology, the day commemorates all those who have attained the beatific vision in Heaven. It is a national holiday in many historically Catholic countries. In the Catholic Church and many Anglican churches, the next day specifically commemorates the departed faithful who have not yet been purified and reached heaven. Christians who celebrate All Saints' Day and All Souls' Day do so in the fundamental belief that there is a prayerful spiritual bond between those in purgatory (the 'Church Suffering'), those in heaven (the 'Church triumphant'), and the living (the 'Church militant'). Other Christian traditions define, remember and respond to the saints in different ways; for example, in the Methodist Church, the word "saints" refers to all Christians and therefore, on All Saints' Day, the Church Universal, as well as the deceased members of a local congregation, are honoured and remembered.

In the East

Eastern Christians of the Byzantine Tradition commemorate all saints collectively on the first Sunday after Pentecost, All Saints' Sunday (Greek: Αγίων Πάντων, Agiōn Pantōn).

The feast of All Saints achieved great prominence in the ninth century, in the reign of the Byzantine Emperor, Leo VI "the Wise" (886–911). His wife, Empress Theophano—commemorated on 16 December—lived a devout life. After her death in 893, her husband built a church, intending to dedicate it to her. When he was forbidden to do so, he decided to dedicate it to "All Saints", so that if his wife were in fact one of the righteous, she would also be honored whenever the feast was celebrated. According to tradition, it was Leo who expanded the feast from a commemoration of All Martyrs to a general commemoration of All Saints, whether martyrs or not.

This Sunday marks the close of the Paschal season. To the normal Sunday services are added special scriptural readings and hymns to all the saints (known and unknown) from the Pentecostarion.

In the late spring, the Sunday following Pentecost Sunday (50 days after Easter) is set aside as a commemoration of all locally venerated saints, such as "All Saints of America", "All Saints of Mount Athos", etc. The third Sunday after Pentecost may be observed for even more localized saints, such as "All Saints of St. Petersburg", or for saints of a particular type, such as "New Martyrs of the Turkish Yoke."

In addition to the Sundays mentioned above, Saturdays throughout the year are days for general commemoration of all saints, and special hymns to all saints are chanted from the Octoechos. In the Maronite Catholic Church, the Sunday of the Righteous and Just is the traditional Maronite feast in honor of all saints.

In the West

The Western Christian holiday of All Saints' Day falls on 1 November, followed by All Souls' Day on 2 November, and is a Holy Day of Obligation in the Latin Rite of the Catholic Church.
 
The origin of the festival of All Saints celebrated in the West dates to 13 May 609 or 610, when Pope Boniface IV consecrated the Pantheon at Rome to the Blessed Virgin and all the martyrs; the feast of the dedicatio Sanctae Mariae ad Martyres has been celebrated at Rome ever since. There is evidence that from the fifth through the seventh centuries there existed in certain places and at sporadic intervals a feast date on 13 May to celebrate the holy martyrs. The origin of All Saints' Day cannot be traced with certainty, and it has been observed on various days in different places. However, there are some who maintain the belief that it has origins in the pagan observation of 13 May, the Feast of the Lemures, in which the malevolent and restless spirits of the dead were propitiated. Liturgiologists base the idea that this Lemuria festival was the origin of that of All Saints on their identical dates and on the similar theme of "all the dead".

The feast of All Saints, on its current date, is traced to the foundation by Pope Gregory III (731–741) of an oratory in St. Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors, of all the just made perfect who are at rest throughout the world", with the day moved to 1 November and the 13 May feast suppressed.

This fell on the Celtic holiday of Samhain, which had a theme similar to the Roman festival of Lemuria, but which was also a harvest festival. The Irish, having celebrated Samhain in the past, did not celebrate All Hallows Day on this 1 November date, as extant historical documents attest that the celebration in Ireland took place in the spring: "...the Felire of Oengus and the Martyrology of Tallaght prove that the early medieval churches [in Ireland] celebrated the feast of All Saints on April 20."

A November festival of all the saints was already widely celebrated on 1 November in the days of Charlemagne. It was made a day of obligation throughout the Frankish empire in 835, by a decree of Louis the Pious, issued "at the instance of Pope Gregory IV and with the assent of all the bishops", which confirmed its celebration on 1 November. The octave was added by Pope Sixtus IV (1471–1484).

The festival was retained after the Reformation in the calendar of the Anglican Church and in many Lutheran churches. In the Lutheran churches, such as the Church of Sweden, it assumes a role of general commemoration of the dead. In the Swedish calendar, the observance takes place on the Saturday between 31 October and 6 November. In many Lutheran Churches, it is moved to the first Sunday of November. In the Church of England it may be celebrated either on 1 November or on the Sunday between 30 October and 5 November. It is also celebrated by other Protestants of the English tradition, such as the United Church of Canada, the Methodist churches, and the Wesleyan Church.

Protestants generally regard all true Christian believers as saints and if they observe All Saints Day at all they use it to remember all Christians both past and present. In the United Methodist Church, All Saints' Day is celebrated on the first Sunday in November. It is held, not only to remember Saints, but also to remember all those who have died who were members of the local church congregation. In some congregations, a candle is lit by the Acolyte as each person's name is called out by the clergy. Prayers and responsive readings may accompany the event. Often, the names of those who have died in the past year are affixed to a memorial plaque.

In many Lutheran churches, All Saints' Day and Reformation Day are observed concurrently on the Sunday before or after those dates, given Reformation Day is observed in Protestant Churches on 31 October. Typically, Martin Luther's "A Mighty Fortress is Our God" is sung during the service. Besides discussing Luther's role in the Protestant Reformation, some recognition of the prominent early leaders of the Reformed tradition, such as John Calvin and John Knox, occurs. The observance of Reformation Day may be immediately followed by a reading of those members of the local congregation who have died in the past year in observance of All Saints' Day. Otherwise, the recognition of deceased church members occurs at another designated portion of the service.

Roman Catholic Obligation

In Catholicism, All Saints' Day is a Holy Day of Obligation in many (but not all) countries, meaning going to Mass on the date is required unless one has a good reason to be excused, such as illness. However, in a number of countries that do list All Saints' Day as a Holy Day of Obligation, including England and Wales, the solemnity of All Saints' Day is transferred to the adjacent Sunday, if 1 November falls on a Monday or a Saturday, while in the same circumstances in the United States the Solemnity is still celebrated on 1 November but the obligation to attend Mass is abrogated.

Customs

In Mexico, Portugal and Spain, offerings (Portuguese: oferendas, Spanish: ofrendas) are made on this day. In Spain, the play Don Juan Tenorio is traditionally performed.  All Saints' Day in Mexico, coincides with the first day of the Day of the Dead (Dia de los Muertos) celebration. Known as "Día de los Inocentes" (Day of the Innocents), it honours deceased children and infants.  Portuguese children celebrate the Pão-por-Deus tradition, going door-to-door where they receive cakes, nuts and pomegranates. This only occurs in central Portugal.

Hallowmas in the Philippines is variously called "Undas" (based on the word for "[the] first"), "Todós los Santos" (literally "All Saints"), and sometimes "Áraw ng mga Patáy" (lit. "Day of the Dead"), which refers to the following day of All Souls' Day but includes it. While traditionally, Filipinos observed this day solemnly by visiting the graves of deceased relatives, offering prayers and flowers, lighting candles, cleaning and repairing the graves, this tradition is slowly dying. Instead it has been replaced by Filipinos spending the day, and often the entire night, picnicking and holding reunions at the cemetery near their loved ones. Many sing, bring Karaoke TV sets and musical instruments, and even burst fire crackers. In fact, for the past few years, the government has banned bringing of liquor, sharp instruments and guns due to incidents of drunkenness and resulting violence during the festival.

In Argentina, Austria, Belgium, Chile, France, Hungary, Italy, Lebanon, Luxembourg, Malta, Peru, Portugal, Puerto Rico, Spain, and American cities such as New Orleans, people take flowers to the graves of dead relatives. In Portugal people also light candles in the graves.  In Austria, Croatia, the Czech Republic, Finland, Catholic parts of Germany, Hungary, Italy, Lithuania, Moldova, Poland, Romania, Slovakia, Slovenia and Sweden, the tradition is to light candles and visit the graves of deceased relatives.  In English-speaking countries, the festival is traditionally celebrated with the hymn "For All the Saints" by William Walsham How. The most familiar tune for this hymn is Sine Nomine by Ralph Vaughan Williams. Catholics generally celebrate with a day of rest consisting of avoiding physical exertion

References

• Glanville, Downey (1956). "The Church of All Saints (Church of St. Theophano) near the Church of the Holy Apostles at Constantinople". Dumbarton Oaks Papers 9/10: 301-305.
•  Mershman, Francis (1913). "All Saints' Day". Catholic Encyclopedia. New York: Robert Appleton Company. 
• This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "All Saints, Festival of". Encyclopædia Britannica. 1 (11th ed.). Cambridge University Press.

 

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Today's  Snippet  I:  500th Anniversary of the Sistine Chapel

Sistine Chapel

Sistine Chapel (Latin: Sacellum Sixtinum; Italian: Cappella Sistina) is the best-known chapel in the Apostolic Palace, the official residence of the Pope in the Vatican City. It is famous for its architecture and its decoration that was frescoed throughout by Renaissance artists including Michelangelo, Sandro Botticelli, Pietro Perugino, Pinturicchio and others. Under the patronage of Pope Julius II, Michelangelo painted 1,100 m² (12,000 sq ft) of the chapel ceiling between 1508 and 1512. The ceiling, and especially The Last Judgment (1535–1541), is widely believed to be Michelangelo's crowning achievement in painting.

The chapel takes its name from Pope Sixtus IV, who restored the old Cappella Magna between 1477 and 1480. During this period a team of painters that included Pietro Perugino, Sandro Botticelli and Domenico Ghirlandaio created a series of frescoed panels depicting the life of Moses and the life of Christ, offset by papal portraits above and trompe l’oeil drapery below. These paintings were completed in 1482, and on 15 August 1483, Sixtus IV celebrated the first mass in the Sistine Chapel for the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary.  Since the time of Sixtus IV, the chapel has served as a place of both religious and functionary papal activity. Today it is the site of the Papal conclave, the process by which a new Pope is selected.

History

The Sistine Chapel is best known for being the location of Papal conclaves; it is, however, the chapel of the Papal Chapel (Cappella Pontificia), one of the two bodies of the Papal household, called until 1968 the Papal Court (Pontificalis Aula). At the time of Pope Sixtus IV in the late 15th century, the Papal Chapel comprised about 200 people, including clerics, officials of the Vatican and distinguished laity. There were 50 occasions during the year on which it was prescribed by the Papal Calendar that the whole Papal Chapel should meet. Of these 50 occasions, 35 were masses, of which 8 were held in Basilicas, in general St. Peter's, and were attended by large congregations. These included the Christmas Day and Easter masses, at which the Pope himself was the celebrant. The other 27 masses could be held in a smaller, less public space, for which the Cappella Maggiore was used before it was rebuilt on the same site as the Sistine Chapel.

Pope Sixtus IV

The Cappella Maggiore derived its name, the Greater Chapel, from the fact that there was another chapel also in use by the Pope and his retinue for daily worship. At the time of Pope Sixtus IV, this was the Chapel of Pope Nicholas V, which had been decorated by Fra Angelico. The Cappella Maggiore is recorded as existing in 1368. According to a communication from Andreas of Trebizond to Pope Sixtus IV, by the time of its demolition to make way for the present chapel, the Cappella Maggiore was in a ruinous state with its walls leaning.

The present chapel, on the site of the Cappella Maggiore, was designed by Baccio Pontelli for Pope Sixtus IV, for whom it is named, and built under the supervision of Giovannino de Dolci between 1473 and 1481. The proportions of the present chapel appear to closely follow those of the original. After its completion, the chapel was decorated with frescoes by a number of the most famous artists of the High Renaissance, including Botticelli, Domenico Ghirlandaio, Perugino, and Michelangelo.  The first mass in the Sistine Chapel was celebrated on 9 August 1483, the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary.  The Sistine Chapel has maintained its function to the present day, and continues to host the important services of the Papal Calendar, unless the Pope is travelling. There is a permanent choir, the Sistine Chapel Choir, for whom much original music has been written, the most famous piece being Gregorio Allegri's Miserere.

Papal conclave

One of the primary functions of the Sistine Chapel is as a venue for the election of each successive pope in a conclave of the College of Cardinals. On the occasion of a conclave, a chimney is installed in the roof of the chapel, from which smoke arises as a signal. If white smoke appears, created by burning the ballots of the election, a new Pope has been elected. If a candidate receives less than a two-thirds majority, the cardinals send up black smoke—created by burning the ballots along with wet straw and chemical additives—it means that no successful election has yet occurred.

The conclave also provided for the cardinals a space in which they can hear mass, and in which they can eat, sleep, and pass time attended by servants. From 1455, conclaves have been held in the Vatican; until the Great Schism, they were held in the Dominican convent of Santa Maria sopra Minerva. Since 1996, John Paul II's Apostolic Constitution Universi Dominici Gregis requires the cardinals to be lodged in the Domus Sanctae Marthae during a papal conclave, but to continue to vote in the Sistine Chapel.

Canopies for each cardinal-elector were once used during conclaves—a sign of equal dignity. After the new Pope accepts his election, he would give his new name; at this time, the other Cardinals would tug on a rope attached to their seats to lower their canopies. Until reforms instituted by Saint Pius X, the canopies were of different colours to designate which Cardinals had been appointed by which Pope. Paul VI abolished the canopies altogether, since, under his papacy, the population of the College of Cardinals had increased so much to the point that they would need to be seated in rows of two against the walls, making the canopies obstruct the view of the cardinals in the back row.

Architecture

Exterior

The Chapel is a high rectangular brick building, its exterior unadorned by architectural or decorative details, as common in many Medieval and Renaissance churches in Italy. It has no exterior facade or exterior processional doorways, as the ingress has always been from internal rooms within the Apostolic Palace (Papal Palace), and the exterior can be seen only from nearby windows and light-wells in the palace. The internal spaces are divided into three stories of which the lowest is huge, with a robustly vaulted basement with several utilitarian windows and a doorway giving onto the exterior court.

Exterior of the Sistine Chapel

Above is the main space, the Chapel, the internal measurements of which are 40.9 metres (134 ft) long by 13.4 metres (44 ft) wide—the dimensions of the Temple of Solomon, as given in the Old Testament. The vaulted ceiling rises to 20.7 metres (68 ft). The building had six tall arched windows down each side and two at either end. Several of these have been blocked, but the chapel is still accessible. Above the vault rises a third story with wardrooms for guards. At this level, an open projecting gangway was constructed, which encircled the building supported on an arcade springing from the walls. The gangway has been roofed as it was a continual source of water leaking in to the vault of the Chapel. Subsidence and cracking of masonry such as must also have affected the Cappella Maggiore has necessitated the building of very large buttresses to brace the exterior walls. The accretion of other buildings has further altered the exterior appearance of the Chapel.

Interior

Sistine Chapel  East Wall , North Wall

The ceiling of the chapel is a flattened barrel vault springing from a course that encircles the walls at the level of the springing of the window arches. This barrel vault is cut transversely by smaller vaults over each window, which divide the barrel vault at its lowest level into a series of large pendentives rising from shallow pilasters between each window. The barrel vault was originally painted brilliant-blue and dotted with gold stars, to the design of Piermatteo Lauro de' Manfredi da Amelia. The pavement is in opus alexandrinum, a decorative style using marble and coloured stone in a pattern that reflects the earlier proportion in the division of the interior and also marks the processional way from the main door, used by the Pope on important occasions such as Palm Sunday.

As with most buildings measured internally, absolute measurement is hard to ascertain. However, the general proportions of the chapel are clear to within a few centimeters. The length is the measurement and has been divided by three to get the width and by two to get the height. Maintaining the ratio, there were six windows down each side and two at either end. The screen that divides the chapel was originally placed halfway from the altar wall, but this has changed. Clearly defined proportions were a feature of Renaissance architecture and reflected the growing interest in the Classical heritage of Rome.

The screen or transenna in marble by Mino da Fiesole, Andrea Bregno, and Giovanni Dalmata divides the chapel into two parts. Originally these made equal space for the members of the Papal Chapel within the sanctuary near the altar and the pilgrims and townsfolk without. However, with growth in the number of those attending the Pope, the screen was moved giving a reduced area for the faithful laity. The transenna is surmounted by a row of ornate candlesticks, once gilt, and has a wooden door, where once there was an ornate door of gilded wrought iron. The sculptors of the transenna also provided the cantoria or projecting choir gallery. 

Raphael's tapestries

During occasional ceremonies of particular importance, the side walls are covered with a series of tapestries, the originals of which were designed for the chapel by Raphael and depict events from the Life of St. Peter and the Life of St. Paul as described in the Gospels and the Acts of the Apostles: the full-size preparatory cartoons for seven of the ten tapestries are known as the Raphael Cartoons and are in London. Raphael's tapestries were looted during the Sack of Rome in 1527 and were either burnt for their precious metal content or were scattered around Europe. In the late 20th century, a set was reassembled (several further sets had been made) and displayed again in the Sistine Chapel in 1983.

Decoration

Layout

The upper tier is divided into two zones. At the lower level of the windows is a Gallery of Popes painted at the same time as the Lives. Around the arched tops of the windows are areas known as the lunettes which contain the Ancestors of Christ, painted by Michelangelo as part of the scheme for the ceiling.

The ceiling, commissioned by Pope Julius II and painted by Michelangelo between 1508 to 1512, has a series of nine paintings showing God's Creation of the World, God's Relationship with Mankind, and Mankind's Fall from God's Grace. On the large pendentives that support the vault are painted twelve Biblical and Classical men and women who prophesied that God would send Jesus Christ for the salvation of mankind.

In 1515, Raphael was commissioned by Pope Leo X to design a series of ten tapestries to hang around the lower tier of the walls. Raphael was at the time twenty-five and an established artist in Florence, with a number of wealthy patrons, yet he was ambitious, and keen to make an entry into the patronage of the papacy. Raphael was attracted by the ambition and energy of Rome.

The walls are divided into three main tiers. The lower is decorated with frescoed wall hangings in silver and gold. The central tier of the walls has two cycles of paintings, which complement each other, The Life of Moses and The Life of Christ. They were commissioned in 1480 by Pope Sixtus IV and executed by Domenico Ghirlandaio, Sandro Botticelli, Pietro Perugino, Cosimo Roselli and their workshops. The Florentine painters, who were to join Perugino, who was already there and was perhaps the superintendent of the whole decoration, left Florence on 27 October 1480: their call was part of a reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481.

Raphael saw the commission as an opportunity to be compared with Michelangelo, while Leo saw tapestries as his answer to the ceiling of Julius. The subjects he chose were based on the text of the Acts of the Apostles. Work began in mid-1515. Due to their large size, manufacture of the hangings was carried out in Brussels, and took four years under the hands of the weavers in the shop of Pieter van Aelst.

Although Michelangelo's complex design for the ceiling was not quite what his patron, Pope Julius II, had in mind when he commissioned Michelangelo to paint the Twelve Apostles, the scheme displayed a consistent iconographical pattern. However, this was disrupted by a further commission to Michelangelo to decorate the wall above the altar with The Last Judgement, 1537–1541. The painting of this scene necessitated the obliteration of two episodes from the Lives, several of the Popes and two sets of Ancestors. Two of the windows were blocked and two of Raphael's tapestries became redundant.

Frescoes

Southern wall

The southern wall is decorated with the Stories of Moses, painted in 1481–1482. Starting from the altar, they include:

• Moses Leaving to Egypt by Pietro Perugino and assistants
• The Trials of Moses by Sandro Botticelli and his workshop
• The Crossing of the Red Sea by Cosimo Rosselli, Domenico Ghirlandaio or Biagio di Antonio Tucci
• Descent from Mount Sinai by Cosimo Rosselli or Piero di Cosimo
• Punishment of the Rebels by Sandro Botticelli
• Testament and Death of Moses by Luca Signorelli or Bartolomeo della Gatta

Northern wall

The northern wall houses the Stories of Jesus, dating to 1481–1482. They include:

• Baptism of Christ by Pietro Perugino and assistants
• Temptation of Christ by Sandro Botticelli
• Vocation of the Apostles by Domenico Ghirlandaio
• The Sermon on the Mount, attributed to Cosimo Rosselli
• The Delivery of the Keys by Pietro Perugino
• The Last Supper by Cosimo Rosselli

Eastern wall

• Resurrection of Christ by Hendrik Van den Broeck (1572) over Domenico Ghirlandaio's original
• Disputation over Moses' Body by Matteo da Lecce (1574) over Luca Signorelli's original

Michelangelo's frescoes

Left half of the ceiling, after restoration

Michelangelo Buonarroti was commissioned by Pope Julius II in 1508 to repaint the vault, or ceiling, of the Chapel. It was originally painted as golden stars on a blue sky. The work was completed between 1508 and 2 November 1512. He painted the Last Judgment over the altar, between 1535 and 1541, on commission from Pope Paul III Farnese.  Michelangelo was intimidated by the scale of the commission, and made it known from the outset of Julius II's approach that he would prefer to decline. He felt he was more of a sculptor than a painter, and was suspicious that such a large-scale project was being offered to him by enemies as a set-up for an inevitable fall. For Michelangelo, the project was a distraction from the major marble sculpture that had preoccupied him for the previous few years.  The sources of Michelangelo's inspiration are not easily determined; both Joachite and Augustinian theologians were within the sphere of Julius influence. Nor is known the extent to which his own hand physically contributed to the actual physical painting of any of the particular images attributed to him.

Ceiling

The iconic image of the Hand of God giving life to Adam

To be able to reach the ceiling, Michelangelo needed a support; the first idea was by Julius' favoured architect Donato Bramante, who wanted to build for him a scaffold to be suspended in the air with ropes. However, Bramante did not successfully complete the task, and the structure he built was flawed. He had perforated the vault in order to lower strings to secure the scaffold. Michelangelo laughed when he saw the structure, and believed it would leave holes in the ceiling once the work was ended. He asked Bramante what was to happen when the painter reached the perforations, but the architect had no answer.  The matter was taken before the Pope, who ordered Michelangelo to build a scaffold of his own. Michelangelo created a flat wooden platform on brackets built out from holes in the wall, high up near the top of the windows. He lay on this scaffolding while he painted.

Michelangelo used bright colours, easily visible from the floor. On the lowest part of the ceiling he painted the ancestors of Christ. Above this he alternated male and female prophets, with Jonah over the altar. On the highest section, Michelangelo painted nine stories from the Book of Genesis. He was originally commissioned to paint only 12 figures, the Apostles. He turned down the commission because he saw himself as a sculptor, not a painter. The Pope offered to allow Michelangelo to paint biblical scenes of his own choice as a compromise. After the work was finished, there were more than 300. His figures showed the creation, Adam and Eve in the Garden of Eden, and the Great Flood.  The painted area is about 40 m (131 ft) long by 13 m (43 ft) wide. This means that Michelangelo painted well over 5,000 square feet (460 m²) of frescoes.

Last Judgment

The Last Judgement

The Last Judgment was painted by Michelangelo between 1535–1541, after the Sack of Rome of 1527 by mercenary forces from the Holy Roman Empire, which effectively ended the Roman Renaissance, just before the Council of Trent. The work was constructed on a grand scale, and spans the entire wall behind the altar of the Sistine Chapel. The Last Judgment is a depiction of the second coming of Christ and the Apocalypse. The souls of humanity rise and descend to their fates as judged by Christ and his saintly entourage. The wall on which The Last Judgment is painted looms out slightly over the viewer as it rises, and is meant to be somewhat fearful and to instill piety and respect for God's power. In contrast to the other frescoes in the Chapel, the figures are heavily muscled and appear somewhat tortured—even the Virgin Mary at the center seems to be cowering before God.

The Last Judgment was an object of a bitter dispute between Cardinal Carafa and Michelangelo. Because he depicted naked figures, the artist was accused of immorality and obscenity. A censorship campaign (known as the "Fig-Leaf Campaign") was organized by Carafa and Monsignor Sernini (Mantua's ambassador) to remove the frescoes. When the Pope's own Master of Ceremonies Biagio da Cesena said "it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully, and that it was no work for a papal chapel but rather for the public baths and taverns," Michelangelo worked da Cesena's semblance into the scene as Minos, judge of the underworld. It is said that when he complained to the Pope, the pontiff responded that his jurisdiction did not extend to hell, so the portrait would have to remain.  The genitalia in the fresco were later covered by the artist Daniele da Volterra, whom history remembers by the derogatory nickname "Il Braghettone" ("the breeches-painter").

Restoration and controversy

The Sistine Chapel's ceiling restoration began on 7 November 1984. The restoration complete, the chapel was re-opened to the public on 8 April 1994. The part of the restoration in the Sistine Chapel that has caused the most concern is the ceiling, painted by Michelangelo. The emergence of the brightly coloured Ancestors of Christ from the gloom sparked a reaction of fear that the processes being employed in the cleaning were too severe and removed the original intent of the artist.

The problem lies in the analysis and understanding of the techniques utilised by Michelangelo, and the technical response of the restorers to that understanding. A close examination of the frescoes of the lunettes convinced the restorers that Michelangelo worked exclusively in "buon fresco"; that is, the artist worked only on freshly laid plaster and each section of work was completed while the plaster was still in its fresh state. In other words, Michelangelo did not work "a secco"; he did not come back later and add details onto the dry plaster.

The restorers, by assuming that the artist took a universal approach to the painting, took a universal approach to the restoration. A decision was made that all of the shadowy layer of animal glue and "lamp black", all of the wax, and all of the overpainted areas were contamination of one sort or another: smoke deposits, earlier restoration attempts, and painted definition by later restorers in an attempt to enliven the appearance of the work. Based on this decision, according to Arguimbau's critical reading of the restoration data that has been provided, the chemists of the restoration team decided upon a solvent that would effectively strip the ceiling down to its paint-impregnated plaster. After treatment, only that which was painted "buon fresco" would remain.

References

• Deimling, Barbara (2000), Sandro Botticelli 1444/45-1510, Köln: Taschen, ISBN 3-8228-5992-3
• Earls, Irene (1987), Renaissance Art: A Topical Dictionary, Westport: Greenwood Press, ISBN 0-313-24658-0
• Ekelund, Robert B.; Hébert, Robert F.; Tollison, Robert D. (2006), The Marketplace of Christianity, Cambridge: MIT Press, ISBN 0-262-05082-X
• Graham-Dixon, Andrew (2008), Michelangelo and the Sistine Chapel, London: Weidenfeld & Nicolson, ISBN 0-297-85365-1
• Hersey, George (1993), High Renaissance Art in St. Peter's and the Vatican, Chicago: University of Chicago Press, ISBN 0-226-32782-5
• Michelangelo (1999), Bull, George, ed., Michelangelo, Life, Letters, and Poetry, Oxford Oxfordshire: Oxford University Press, ISBN 0-19-283770-2
• Pietrangeli, Carlo, ed. (1986), The Sistine Chapel, New York: Harmony Books, ISBN 0-517-56274-X
• Seymour, Charles (1972), Michelangelo, the Sistine Chapel Ceiling: illustrations, introductory essays, backgrounds and sources, critical essay, New York: W. W. Norton, ISBN 0-393-04319-3
• Stinger, Charles (1998), The Renaissance in Rome, Bloomington: Indianapolis, ISBN 0-253-21208-1
• Talvacchia, Bette (2007), Raphael, Oxford Oxfordshire: Phaidon Press, ISBN 978-0-7148-4786-3
• Vasari, Giorgio (1987), The Lives of the Artists, George Bull, New York: Penguin Books, ISBN 0-14-044500-5
• Wright, Lawrence (1983), Perspective in Perspective, London: Routledge & K. Paul, ISBN 0-7100-0791-4

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