Encounters at the Morgan (Part III) — Graphic Devotions: Late Medieval European Blockbooks

(L-R) Albrecht Dürer (German, 1471-1528), The Vision of the Seven Candlesticks, from The Apocalypse, 1498, woodcut, and The Four Horsemen, from The Apocalypse, 1498, woodcut

Of particular interest to me was Graphic Devotions: Late Medieval European Blockbooks, a current exhibition at the Morgan Library & Museum exploring a fascinating chapter in the history of Christian art and bookmaking.

Before movable type became the dominant means of printing, craftsmen produced illustrated volumes by carving both images and text into wooden blocks. These remarkable books brought sacred narratives, religious instruction, and devotional imagery to life through an intricate union of word and picture.

The Last Agony of the Dying Man
(from the Ars Moriendi or Art of
Dying) c. 1470/1475, woodcut with
hand-coloring on laid paper

Among the exhibition’s treasures is a rare Ars moriendi, or Art of Dying, a medieval work devoted to preparing the soul for death. Its survival and the reunion of its long-separated leaves make it especially noteworthy.

What absolutely astonished me was the inclusion of Albrecht Dürer’s The Vision of the Seven Candlesticks and The Four Horsemen, from his celebrated Apocalypse woodcut series. Both were considerably larger than I had imagined, and their extraordinary detail and dramatic power were all the more impressive in person. Reproductions in books and online simply cannot do them justice.

I have always admired the artistic and spiritual richness of medieval Christianity, and this exhibition offered a beautiful glimpse into an age when craftsmanship, faith, and artistic expression were intimately connected.

~ By Giovanni di Napoli, November 11th, Feast of San Martino di Tours

Apocalypsis sancti Johannis (Apocalypse of St. John), Edition III, state B, Germany (Koblenz/ Mainz?), edition: ca. 1455- 70; this copy: ca. 1458-60, blockbook

Biblia pauperum (Bible of the poor), Edition IV, state A, German Lower Rhine, edition: ca. 1462-68; this copy: ca. 1464-68, blockbook

Speculum artis bene moriendi (Mirror of the art of dying well), Southern Germany (region of Lake Constance)/Basel, ca. 1460-62, hybrid book

Ars moriendi (Art of dying), Edition II, state A, Low Countries/Lower Rhine (Cologne?), edition: ca. 1466-69; this copy: ca. 1468-69, blockbook

Apocalypsis sancti Johannis (Apocalypse of St. John), Edition IV, issue 2, Middle Rhine and southern Germany, edition: ca. 1468- 70; this copy: ca. 1469-70, blockbook

Ars memorandi per figuras Evangelistarum (Art of memorizing through images of the Gospels), Edition III, Southern Germany, ca. 1469-70, blockbook

Ars moriendi (Art of dying), Edition I, state A, Low Countries/Lower Rhine (Cologne?), edition: ca. 1400-09; this copy: ca. 1468-69, blockbook

Attributed to Ludwig of Ulm (German, active 1450- 70). Ars moriendi (Art of dying), Edition IV, state B, Southern Germany, edition: ca. 1480-85; this copy: ca. 1480, blockbook

"Morgan Apocalypse," England, London, ca. 1255-60, manuscript on vellum

"Hours of Gabriel de Chabannes," Illuminated by the Master of the Burgundian Prelates (act. 1470-90), France, Dijon, 1480s, manuscript on vellum

Feast of San Martino I

St. Martin I in chains during his exile in Cherson

November 12th is the Feast of St. Martin I, Pope and Martyr. Born in Todi, Umbria, in the late sixth century, Martin ascended the papal throne in 649 A.D. amid bitter theological disputes between Rome and Constantinople.

A steadfast defender of Christian orthodoxy, Martin opposed Monothelitism, a heretical doctrine that taught Christ possessed only one will rather than both a divine and human will. In 649, he convened the Lateran Council in Rome, which condemned the teaching and reaffirmed the Church’s traditional doctrine.

His defiance angered Emperor Constans II, who ordered his arrest in 653. Seized in Rome, Martin was taken to Constantinople, where he was imprisoned, humiliated, and condemned on charges of treason. Although initially sentenced to death, he was eventually exiled to Cherson in Crimea, where he died in 655 after enduring severe deprivation.

Remembered as the last pope to suffer martyrdom, St. Martin I remains a symbol of unwavering faith and courage in the face of persecution. Evviva San Martino I!

In celebration of his feast, we offer this prayer:

St. Martin I, faithful servant and courageous defender of the truth, pray for us. Help us to speak and act with boldness when our faith is tested. Inspire us to endure difficulties with trust in God and to hold fast to what is true, no matter the cost. May your example strengthen us to live as faithful witnesses to Christ in our daily lives. Amen.

Spiritual Masterworks at St. Frances Cabrini Shrine in New York City

Encounters at the Morgan (Part II) — Fantasy and Reality: The Art of Johan Tobias Sergel

Self-Portrait, ca. 1772, terracotta, Johan Tobias Sergel (1740-1814)

Another unexpected pleasure of exploring the Morgan Library & Museum this past weekend was discovering the work of Swedish sculptor and draftsman Johan Tobias Sergel in Fantasy and Reality: The Art of Johan Tobias Sergel.

Henry Fuseli Conjures Fierce Witches and
Demons in Rome, ca. 1775-76, pen and
brown ink and brown and gray wash,
over black chalk, Johan Tobias Sergel

Little known outside his native Sweden, Sergel was an accomplished artist whose years in Rome deepened his appreciation of classical antiquity and profoundly influenced his sculpture. His travels also took him to Southern Italy, including Naples, Portici, and Pompeii, where the rediscovered treasures of the ancient world offered further inspiration.

Among the works that caught my attention were his Faun and studies for Diomedes, both reflecting his fascination with classical mythology and the human form. I was particularly struck by the contrast between the refinement of his sculpture and the spontaneity of his drawings. His sketches, caricatures, and self-portraits reveal a lively imagination, a sharp sense of humor, and a more intimate side of the artist.

The exhibition also featured works by artists in Sergel’s circle, including Henry Fuseli, whose dramatic, often unsettling art I have long admired. Their inclusion offered a glimpse into the creative exchanges that flourished among artists of the period.

It was a delightful introduction to a gifted artist who deserves greater recognition.

~ By Giovanni di Napoli, November 10th, Feasts of Sant’Andrea Avellino, San Respicio, and Santa Ninfa

Achilles on the Shore, ca. 1774-75, terracotta, Johan Tobias Sergel

(L) Santa Susanna, ca. 1768-69, terracotta, Johan Tobias Sergel.
(R) Diomedes, ca. 1770, terracotta, Johan Tobias Sergel 

(L) Tobias and the Fish, ca. 1768-69, terracotta, Johan Tobias Sergel.
(R) River God, ca. 1773, terracotta, Johan Tobias Sergel

The Faun, 1794, marble, Johan Tobias Sergel

The Faun, ca. 1769-70, terracotta, Johan Tobias Sergel

The Faun, ca. 1778-96(?), bronze, Johan Tobias Sergel

Sophie Hagman, Ballet Dancer, 1793, plaster, Johan Tobias Sergel

(L) Viscountess Bulkeley as Hebe, 1775, pen and brown ink and brown wash over graphite, with white opaque watercolor, George Romney (1734-1802).
(R) Lady Macbeth, ca. 1774-75, pen and brown ink and brown wash, over black chalk, Henry Fuseli (1741-1825)

Centaur and Nymph, ca. 1771-72, pen and brown ink
and gray wash, over graphite, Johan Tobias Sergel

(L) Acrobats, 1779, pen and brown ink and brown wash, "Master of the Giants," probably Prince Hoare (1755-1834). (R) Study for the Head of Diomedes, ca. 1770, red chalk, Johan Tobias Sergel

Gustav III and His Entourage Climbing Vesuvius, 21 February 1784, 1784, pen and brown ink and brown wash, Johan Tobias Sergel

Death of Gaius Gracchus, 1776, pen and brown ink
and brown wash, Henry Fuseli

A Torturous Dream: Sheet 3 of the Melancholy Suite (Second Version), 1795, pen and black ink and gray wash, Johan Tobias Sergel 

Sergel on the Globe: The Artist's Vigil, While Everyone Sleeps, 1797, pen and black ink and gray wash, Nicolai Abildgaard (1742-1809)

Remembering the Fallen — A Prayer for Veterans Day

Photo by New York Scugnizzo

In honor of Veterans Day I’m posting a Prayer for Deceased Veterans. The accompanying photo of the Sixty First District Memorial was taken at Greenwood Playground, my childhood stomping ground, located at the corner of East 5th Street and Greenwood Avenue, Windsor Terrace, Brooklyn. Dedicated on November 11, 1922, the classical bronze relief by Charles Keck commemorates the 47 men of Draft Board District 61 who made the ultimate sacrifice in WWI.

Prayer for Deceased Veterans

O God, by whose mercy the faithful departed find rest, look kindly on your departed veterans who gave their lives in the service of their country. Grant that through the passion, death, and resurrection of your Son they may share in the joy of your heavenly kingdom and rejoice in you with your saints forever. We ask this through Christ our Lord. Amen.

Annual Angel Tree and Neapolitan Baroque Crèche at the Metropolitan Museum of Art

November 24, 2026 through January 6, 2027

Metropolitan Museum of Art

1000 Fifth Avenue

New York, New York

Exhibition Overview

On view in the majestic Medieval Sculpture Hall, this beloved holiday tradition features a 20-foot blue spruce adorned with 19 cherubs, 59 angels, and an additional 71 figures that evoke 18th-century Naples Nativity scenes.

The installation is set in front of the eighteenth-century Spanish choir screen from the Cathedral of Valladolid in Gallery 305.

For more info, visit www.metmuseum.org

Encounters at the Morgan (Part I) — Rembrandt’s Lions: Art and Exile in the Dutch Republic

The Mill, ca. 1645-48, oil on canvas, Rembrandt van Rijn (1606-1669)

During a recent visit to the Morgan Library & Museum in Manhattan, I had the pleasure of seeing Rembrandt’s Lions: Art and Exile in the Dutch Republic, an exhibition devoted to the great master of the Dutch Golden Age.

The clear highlight for me was The Mill, a magnificent painting whose quiet grandeur transforms an ordinary landscape into something timeless. While admiring it, my companion pointed out a curious detail I had not known. At some point in its history, the canvas had been unevenly trimmed to fit a stretcher, leaving the composition slightly tilted to the right. Once brought to my attention, the irregularity became difficult to ignore, though it did nothing to diminish the painting’s beauty.

Another favorite was The Three Trees, Rembrandt’s celebrated 1643 etching, incorporating drypoint and engraving. Widely regarded as his most ambitious landscape print, its dramatic sky and sweeping countryside demonstrate his extraordinary command of the medium.

It was a wonderful opportunity to admire an artist whose mastery of light, shadow, and composition continues to captivate nearly four centuries later.

Fortunately, this remarkable encounter with Rembrandt is only the beginning. With Rembrandt and the Ancients coming to the Metropolitan Museum of Art in 2027, there is even more to look forward to.

~ By Giovanni di Napoli, November 9th, Feast of Sant’Agrippino di Napoli

The Three Trees, 1643, etching, engraving, and drypoint, Rembrandt van Rijn

(L) The Beheading of St. John the Baptist, 1640, etching and drypoint, Rembrandt van Rijn. (R) Self-Portrait with Raised Sabre, 1634, etching and drypoint, Rembrandt van Rijn

(L) Portrait of Herman Doomer, 1640, oil on panel, Rembrandt van Rijn.
(R) Head of a Girl, ca. 1645, oil on panel, Rembrandt van Rijn

(L) Self-Portrait Etching at a Window, 1648, etching and drypoint,
Rembrandt van Rijn. (R) Man with a Fur-Trimmed Hat, ca. 1645-48,
oil on canvas, Ferdinand Bol (1616[?]-1680[?]) 

The Large Lion Hunt, 1641, etching, Rembrandt van Rijn

The Small Lion Hunt (with Two Lions), ca. 1629; The Small Lion Hunt (with One Lion), ca. 1629, etching, Rembrandt van Rijn

Dutch lion dollar, 1662, silver, unidentified artist 

Johannes Jansz Visscher (1587-1652), after Claes Jansz Visscher (1618-1679) Novissima et accuratissima leonis Belgici, seuseptemdecim regionum description (Newest and most accurate description of the Belgian lion, or of the seventeen provinces), 1611, engraving with hand coloring

Judas Returning the Thirty Pieces of Silver, ca. 1628-29, pen and brown ink and gray wash, over black chalk, Rembrandt van Rijn

Feast of St. Josaphat at the Oratory of St. Josaphat in Bayside, Queens

Celebrating the External Solemnity of the Holy Relics at Our Lady of Peace Church in Brooklyn, New York

A few photographs from Sunday’s Traditional Latin Mass celebrating the External Solemnity of the Holy Relics at Our Lady of Peace Church in Brooklyn, New York.

Exposed for veneration during and after Mass were first-class relics of St. Maria Goretti, St. Junípero Serra, St. Anthony of Padua, St. Francis of Assisi, St. Paschal Baylon, and St. Clare of Assisi, along with a glove belonging to St. Padre Pio.

These sacred treasures, part of the parish’s own collection, offer a tangible connection to the saints and a beautiful reminder of the Church’s enduring traditions. All ye holy saints, orate pro nobis.

In Search of the Donni di Fora with the Ghost of the Count of Sciancato

In Search of… with the Ghost of the Count of Sciancato explores mysteries where history and legend blur and conjecture begins—along with the strange, the macabre, and the uncanny. What follows suggests possible explanations—though not the only ones.

The Donni di Fora: Sicily’s Mysterious Ladies from the Outside

In the villages and countryside of Sicily, where ancient superstitions endure, whispers persist of mysterious women who wander between the world of men and the realm of the fae. They are called the donni di fora, the Ladies from the Outside.

Unlike the hideous witches of popular imagination, they are often described as beautiful, richly dressed women who travel unseen through the night. According to legend, they enter houses, attend splendid banquets, and meet in secret assemblies beyond the reach of ordinary mortals.

Oberon, Titania and Puck with Fairies Dancing by William Blake

Some believe these nocturnal visitors bring blessings, heal the sick, and bestow good fortune on those who welcome them. Others fear provoking their wrath, for the same mysterious ladies can inflict illness, misfortune, and suffering. Their favor is a gift, but their vengeance is not easily escaped.

Women who have claimed to accompany them tell extraordinary stories. While their bodies sleep, their spirits supposedly wander abroad, joining the supernatural company in feasts and revelries.

Among the nights associated with their gatherings is St. John’s Eve, when the boundary between the natural and supernatural worlds is believed to grow thin. On such nights, the donni di fora are said to gather in secret places.

Perhaps these mysterious ladies are remnants of a forgotten past, transformed by centuries of storytelling into creatures of both wonder and dread. Yet when darkness settles, and a sudden chill passes through the sultry summer air, one might wonder whether the Ladies from the Outside still wander among us, passing unseen, forever belonging to a world just beyond our own.

……………………………………

Sebastiano III, Conte di Sciancato, a minor prince of forgotten Lucania, was said to have loved his wife more than his soul. When his beloved bride, Donna Lucrezia di Nerafiora, died in a tragic accident, he could not accept the will of fate. In his grief, he turned to ancient books and desperate learning, searching for a way to restore her to the world of the living. The attempt cost him his life. The ruins of his torre lie hidden, and when the earth trembles, some whisper he still searches for her.

Photo of the Week: Piping Faun, Vatican Museum

Photo by New York Scugnizzo