June 21 - Rome

This morning we had an early morning Mass at St. Peter's Basilica in the Lithuanian Chapel - in the grotto underneath the Basilica and very near to the tomb of St. Peter.

About the Cappella Lituana:

The story of this chapel, located next to the chapel of Partorienti, started on May 5, 1967. Bishop Vincent Brizgys, auxiliary of Kaunas (Lithuania) but resident in Chicago, in the name of the Lithuanian nationals scattered in different countries asked to create in the grottoes a chapel dedicated to Mary Mater Misericordiosa, venerated in Vilnius since 1570, especially in the imposing gate of the city called Gate of Aurora, dedicated to the memory of the Lithuanians martyred for their faith and for their country.

It was decided to build the chapel at the beginning of the peribolos, between the entrance to the pier of St Andres and the chapel of Partorienti. In order to create the necessary space, excavations were conducted through the wall of the peribolos into the area that during the Renaissance had been filled with earth to level the floor of the basilica.

During the excavations which ended in autumn 1968, a number of discoveries were made. First of all, a decorated corridor of Paul V (1617) was found. It had been built before Bernini modified the area and then was filled in. The upper part of a stairway was found that during the construction of the basilica linked the higher level of the southern transept with the original lower level of the nave. Under the floor level of the old basilica they found 9 a cappuccina tombs and 3 marble sarcophagi.

The image of the Vergine lituana placed on the back wall, dominates over the chapel. Below is the inscription: SVB TVVM PRAESIDIVM CONFVGIMVS MATER MISERICORDIEA (Under your protection we take refuge, Mother of Mercy). The work in mosaic was realized by the Studio of the Fabbrica di San Pietro. The silver facing forming the crescent and the cloak of the Madonna, the crown and the rays around her head, was made by Angelo Bortolotti from Rome.

In the left wall, close to the entrance, is an opening where ancient architectural elements are visible. This is a section of the original corridor leading to the sacred grottoes. Still visible, are some of the frescoes by Giovanni Battista Ricci da Novara (1617): fake marble with geometrical patterns, while on the vault is the fresco of the Cross and the symbols of the Passion together with decorative motifs, similar to the ones found in the peribolos.

The bronze figure of Christ called Rupintojelis or Provider, is very dear to the Lithuanian tradition. The statue is the link between the ancient space and the modern chapel. The exhausted Christ is sitting on a rock, with his face resting on His forearm, in an attitude of silent suffering. The work was made by Alcide Tico after thorough studies of analogous Lithuanian models.

We then paused near the tomb of St. Peter to ask his intercession:

O glorious St. Peter, because of your vibrant and generous faith, sincere humility and flaming love, our Lord honored you with singular privileges and especially leadership of the whole Church. Thou art the Shepherd of the sheep, the Prince of the Apostles, unto thee were given the keys of the kingdom of heaven. "Thou art Peter; and upon this rock I will build my Church." Raise us up, we beseech Thee, O Lord, by the apostolic assistance of blessed Peter, Thine Apostle; so that the weaker we are, the more mightily we may be helped by the power of his intercession; and that being perpetually defended by the same holy apostle, we may neither yield to any iniquity, nor be overcome by any adversity. Obtain for us the grace of a living faith, a sincere loyalty to the Church, acceptance of all her teachings, and obedience to all her precepts. Let us thus enjoy an undisturbed peace on earth and everlasting happiness in heaven. Amen.

We then had time to visit St. Peter's Basilica on our own for a bit before heading off to the Vatican Museums and the Sistine Chapel.  Following our visit there we had the chance to walk through the Holy Door.  

Afterward Father Bateman took the group up to the North American College, the American Seminary here in Rome, for one of the most spectacular views of Rome.

June 20 - Rome

Today we left beautiful Assisi and headed to Rome.  We went directly to the Basilica of St. Paul Outside the Walls and there celebrated Mass.  We had time to pray at the tomb of St. Paul and here we celebrated Mass

The tomb of St. Paul is here, below the main altar

Prayer at Tomb of Saint Paul

O glorious St. Paul, after persecuting the Church you became by God's grace its most zealous Apostle. To carry the knowledge of Jesus, our Divine Savior, to the uttermost parts of the earth you joyfully endured prison, scourging, stoning, and shipwreck, as well as all manner of persecutions culminating in the shedding of the last drop of your blood for our Lord Jesus Christ.

Obtain for us the grace to labor strenuously to bring the faith to others and to accept any trials and tribulations that may come our way. Help us to be inspired by your Epistles and to partake of your indomitable love for Jesus, so that after we have finished our course we may join you in praising Him in heaven for all eternity. Amen.

We then moved on to another Papal Basilica - St. Mary Major.

PRAYER: Pardon the faults of your servants, we pray, O Lord, that we, who cannot please you by our own deeds, may be saved through the intercession of the Mother of your Son and our Lord.  Who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever.

St. Mary Major is important to Christendom for three reasons:

(a) It stands as a venerable monument to the Council of Ephesus (431), at which the dogma of Mary's divine Motherhood was solemnly defined; the definition of the Council occasioned a most notable increase in the veneration paid to Mary.

(b) The basilica is Rome's "church of the crib," a kind of Bethlehem within the Eternal City; it also is a celebrated station church, serving, for instance, as the center for Rome's liturgy for the first Mass on Christmas. In some measure every picture of Mary with the divine Child is traceable to this church.

(c) St. Mary Major is Christendom's first Marian shrine for pilgrims. It set the precedent for the countless shrines where pilgrims gather to honor our Blessed Mother throughout the world. Here was introduced an authentic expression of popular piety that has been the source of untold blessings and graces for Christianity in the past as in the present.

The beginnings of St. Mary Major date to the Constantinian period. Originally it was called the Sicinini Basilica; it was the palace of a patrician family by that name before its transformation into a church by Pope Liberius. The story of its origin is legendary, dating from the Middle Ages. The Breviary gives this version: "Liberius was on the chair of Peter (352-366) when the Roman patrician John and his wife, who was of like nobility, vowed to bequeath their estate to the most holy Virgin and Mother of God, for they had no children to whom their property could go. The couple gave themselves to assiduous prayer, beseeching Mary to make known to them in some way what pious work they should subsidize in her honor.

"Mary answered their petition and confirmed her reply by means of the following miracle. On the fifth of August — a time when it is unbearably hot in the city of Rome — a portion of the Esquiline would be covered with snow during the night. During that same night the Mother of God directed John and his wife in separate dreams to build a church to be dedicated to the Virgin Mary on the site where they would see snow lying. For it was in this manner that she wanted her inheritance to be used.

"John immediately reported the whole matter to Pope Liberius, and he declared that a similar dream had come to him. Accompanied by clergy and people, Liberius proceeded on the following morning in solemn procession to the snow-covered hill and there marked off the area on which the church in Mary's honor was to be constructed."

Under Pope Sixtus III (432-440) the basilica was rebuilt, and upon the occasion of the definition of Mary's divine Motherhood by the Council of Ephesus, consecrated to her honor (432). He decorated the apse and walls with mosaics from the lives of Christ and His blessed Mother, which even to this day beautify the church and belong to the oldest we possess. As early as the end of the fourth century a replica of the Bethlehem nativity grotto had been added; on this account the edifice became known as "St. Mary of the Crib." To the Christian at Rome this church is Bethlehem. Other names for the basilica are: Liberian Basilica, because it dates to the time of Pope Liberius; St. Mary Major (being the largest church in Mary's honor in Rome); Our Lady of the Snow, because of the miracle that supposedly occasioned its erection.

We could point out how the divine Motherhood mystery dominates all Marian liturgy; for the Theotokos doctrine has kept Mariology Christo-centric in the Church's worship. Although recent popular devotion to Mary has become to a certain extent soft and sentimental and has, one may say, erected its own sanctuary around Mary as the center, devotion to our Blessed Mother in the liturgy has always remained oriented to Christ. In the liturgy the divine Motherhood has always been the bridge from Mary to Jesus. One need only examine Matins in honor of Mary or the Masses from her Common to be reassured. Everywhere Christ takes the central position, and Mary is the Christ-bearer.

Then we went to the ancient Colosseum.

Unfortunately, luggage STILL has not arrived for 5 of our pilgrims - but they've been promised... today.

  

June 19 - Assisi

This morning we were all reunited - finally getting back on track after being effected by the strike on Friday.  Our last 8 arrived in Florence late - and this morning we saw them for Mass - although without luggage.  But they are here - and that's what important at this point.

So, after morning Mass in the hotel we got onto the bus to drive to Assisi.  Our first stop was Santa Maria degli Angeli - where the Portiuncula is - where St. Francis of Assisi died.

Here we are - all together again!

Then we drove up to the wonderful town of Assisi.  After a nice lunch on our own we explored the main churches of Assisi - St. Claire's and St. Francis.  Each saint is buried in their church.    Unfortunately, you are not allowed to take pictures inside the churches here in Assisi - but I do have a few photos of us as we walked the streets of Assisi.

SAN DAMIANO CRUCIFIX HISTORY & PRAYERS

Enshrined in the sanctuary area of the San Damiano Chapel is a reproduction of the crucifix that made the church of San Damiano outside the walls of Assisi famous. Francis Bernadone came seeking and searching in prayer before this icon crucifix in 1205. As he prayed a voice said, “Francis, go repair my church which is falling into ruins.” His first literal response to this command later became the sense of mission for him and his followers. Carrying out this request led Francis Bernadone to become the originator of the Franciscan movement in the church.

In the Franciscan story, St. Clare was given San Damiano as the first convent for the Poor Ladies. After Clare’s death the Poor Clares in 1257 moved to Santa Chiara Basilica, which was built for them within Assisi’s walls. The two Basilicas of Francis and Clare thus faced each other across the expanse of Assisi. In this move the Poor Clares took the original cross with them where it hangs facing Clare’s tomb. At San Damiano, Italy a copy hangs in the Friar’s choir. The original cross was fashioned in the twelfth century after the Byzantine style, which was common in Italy before Cimabue and Giotto. Only in Cimabue and Giotto’s time did emotion, depth, and perspective enter church art. This Umbrian style of the Byzantine cross was quite heavy, being 6’4” high and 4’ wide and 5” thick.

The San Damiano crucifix shows Christ erect and in a moment of glory, not death. The black background depicts the empty tomb. The seashells that frame the cross are symbols of eternity. The blood red indicates love and life, and the loincloth is the priestly garment worn after sacrifice. We do not see a naked Jesus straddling a beam but an expression of faith. This theology is continued in the hand of God, two fingers up for the two natures, human and divine, and the three fingers down for the Trinity. God’s hand is extended above the ascending Christ carrying a gold cross while being welcomed by ten angels. Near the cross beam still more angels look on in admiration. Along the upright shaft of the cross is a peacock, a frequent symbol of immortality. There are six large figures under Christ’s arms; Mary, the mother of Jesus with her hand on her chin; Mary, mother of James and John; also the centurion who proclaimed, “Truly this is the Son of God.” Mary Magdalene and John, the beloved disciples, stand on the left.

All told there are 35 figures in the depiction. All these are statements of faith. The 27 remaining personages are seen as reflecting the Old Testament and even the Pharisees mocking Jesus. Even the artist and his family are painted in the crucifix. At the foot of the cross are local Assisi patron saints: St. Damian, St. Rufino, St. James, and Sts. Peter and Paul. Of interest is the rooster at the knee of Christ and directly above Peter’s head calling for “a new day”. The reproduction in the retreat house chapel is a faithful copy made by the Franciscan novices from Mission San Miguel. It tries to follow the original in every detail

PRAYER BEFORE THE SAN DAMIANO CRUCIFIX

Most High, glorious God,
enlighten the darkness of my heart.
Give me true faith, certain hope
and perfect charity, sense and
knowledge that I may carry out
Your Holy and true command.

–      Prayer of St. Francis of Assisi to discern God’s will