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| San Giorgio, ora pro nobis |
While I would prefer to see our sacred artifacts in churches, I accept the fact that we live in an increasingly secular world (at least here in the West) and they don’t hold the same meaning or gravitas to the non-religious as they do for us faithful. Viewed as cultural heritage as opposed to their original religious function, they naturally lost their true importance and meaning to the many thousands of awe-struck visitors exploring the museum halls.
I also accept the fact that if these sacred items remained in the churches in their country of origin, we here in the States would rarely get to experience so many types of artwork because most of the world’s ancient and worthwhile works of art are religious.
Ironically, thanks to some modern clerics, religious art is actually treated better in museums than in many of our churches. I could site examples, but suffice to say there is no shortage of iconoclasm and subversion in the post-conciliar church.
Also, let’s be honest, most visitors at the museum have more decorum and respect for the objects than the chatty septuagenarian parishioners at many of the Novus Ordo Masses I’ve attended.
Ever mindful of the people around me, I have no problem quietly praying while contemplating these sacred images. As a person of faith, how can you view these masterful works depicting our glorious patrons and not say a prayer? As far as I’m concerned, just because they are no longer in their original settings doesn’t mean they lost their devotional purposes.
~ Giovanni di Napoli, October 14th, Feast of St. Callistus I, Pope and Martyr
* The photos were taken in the Metropolitan Museum of Art's Medieval Art galleries between 2019 and my most recent visit in 2023.
I also accept the fact that if these sacred items remained in the churches in their country of origin, we here in the States would rarely get to experience so many types of artwork because most of the world’s ancient and worthwhile works of art are religious.
Ironically, thanks to some modern clerics, religious art is actually treated better in museums than in many of our churches. I could site examples, but suffice to say there is no shortage of iconoclasm and subversion in the post-conciliar church.
Also, let’s be honest, most visitors at the museum have more decorum and respect for the objects than the chatty septuagenarian parishioners at many of the Novus Ordo Masses I’ve attended.
Ever mindful of the people around me, I have no problem quietly praying while contemplating these sacred images. As a person of faith, how can you view these masterful works depicting our glorious patrons and not say a prayer? As far as I’m concerned, just because they are no longer in their original settings doesn’t mean they lost their devotional purposes.
~ Giovanni di Napoli, October 14th, Feast of St. Callistus I, Pope and Martyr
* The photos were taken in the Metropolitan Museum of Art's Medieval Art galleries between 2019 and my most recent visit in 2023.
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| Saint George and the Dragon, limewood with paint and gilding, South German, Swabia, ca. 1460-70 |
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| Detail of the Dragon |
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| St. Michael the Archangel, limestone and paint, French, Touraine, ca. 1475 |
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| (L) Saint Catherine of Alexandria, alabaster, North Spanish, ca. 1450-1500. (R) Saint George, wood with paint and gilding, Austrian or German, Tyrol, ca. 1480 |
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| (L) Saint Savina of Troyes or Saint Syra, limestone with paint, French, Champagne, Troyes, ca. 1510-20. (R) Saint Augustine, limestone with paint and gilding, French, Burgundy, ca. 1450-75 |
