Thursday, April 21, 2005

The changing of the guard.

The passing of John Paul II last week revived the discussion about the universality of the Catholic Church. The charisma shown by the last Pope was one of the reasons that the church, in some way, helped him to deal with several issues, such as the sexual predators priests, which did put the Roman Curia in a difficult position.
Moreover, in the last 20 years or so, John Paul II was seen as a gifted benevolent ruler and possessor of that diplomatic tact that is known in the ecclesiastic circles as “romanitas”. He was able to preserve the moral ground that people might expect from the Church, especially among the faithful. Indeed, he gained political capital after surviving the murderous attempt by a KGB operative almost at the beginning of his pontificate, serving him in his political standing against the communist governments, in particular in his native Poland. For the rest of his reign as Vicar of Christ on earth, he was maintained that charismatic clout of being a fighter against injustice, and an orthodox in matter of faith.
This coming Sunday, the recently elected Pope Benedict XVI, called a doctrinal ally of the late pope, will officially begin his Papacy and speculation begun on how his pontificate would be because he is considered as orthodox as the late Pope.
Because of all this, the political pundits and theologians have been talking in the past days about, among other things, the universality of the church. As expected, some have begun to analyze how the church has arrived to this point after the Reformation. Furthermore, the whole Reformation has been depicted as the doings of Luther along which is not the case. Historical revisionism is practiced nowadays with impunity; and the so called historians are just trying to insert today’s political agendas onto yesterday’s events.
Let’s summarize the process that permitted that an obscure Agustinian monk in Germany, in sixteenth century, was able to produce such an earth shattering revolution that produced the schism of the otherwise powerful Papacy.
Europe at that time was expanding swiftly; escalating its powerful presence in the Americas as well as strengthening its foothold in parts of Asia and Africa. This expansion was made possible by all the economic and socio-cultural changes that allowed, or were favorable, to the development of new techniques that facilitated navigation, exploration, and so for.
This growth enriched all the emerging European nations; and in Germany, the ruling class began to feel that the less oppressive and excessive the central monarchy was, much better for them.
On the other hand, Charles V’s desire to give a practical meaning to the word empire, called for an intensification of his Holy writ. The loose confederacy of European nations, known as the Holy Roman Empire, should be, according to Charles V and his advisors, closely managed in order to make stronger the whole empire.
The Germans princes began to rebel against these imperials ideas of Charles, and, in times where religion and politics were not clearly delineated, the figure of Martin Luther, and his theological ideas, was used by the oppossitors. Luther’s ideas were not new; for decades now innumerable objections have been raised, against the corruption of the papacy, and the decision that the final judgment of who was able or not to gain God’s favor belonged to the cleric alone, by figures such as Wycliffe and Meister Earckhart, among others. When Luther nailed his theses, there was an extensive bibliography on that regard.
Luther was used as the figure necessary to achieve the political goals in dissuading Charles of his hemonogenism and bringing down the robust influence of Rome.
Therefore, it was not so much about an ideological quarrel, inasmuch an economical conflict. And with it, Europe embarked on the worst struggle of its history. For little more than a century the continent was ravaged with blood and dreadful civil disorders, which culminated with the Treaty of Westphalia.
This treaty gave birth to what has been called the Europe of Nations. Moreover, new legal concepts were created, although in a very sketchy way, such as “international community” and “respect for national sovereignty”. Another feature of this agreement- signed by all the European nations- was the stripping down of the political power enjoyed by Rome; this treaty was the end of the roman cleric as international arbiter. What is more, each state was responsible of the kind of religious observed on its realm, therefore, even though to be relegated to a mere overseer on religious matters, it lost the universality that had had since the fifth century.
Nonetheless, the papacy had always commanded certain kind of respect by the secular powers- even Stalin, an anecdote goes, asked how many divisions the Pope had-, and with the passing of times nations have sought its support for the implementations of different policies with worldwide implications, and a few have won that support expressed by the complicit silence of the church in front of barbaric practices.
The church itself plus the economic, cultural and social conditions of those times were the cause that Rome lost its power, as it had been known, and not the mere historical presence- dogmatic and anti-Semitic, I should add- of Martin Luther.
The church had faced many challenges since its creation. Today the challenges, different in nature to the ones faced centuries ago, need to be addressed not in order to appease the faithful but to reach to those of us that, been non-Catholics, still look at the church as allied of just causes and as supporter of sound and, why not, divine principles. Issues like abortion, gay marriage, and so forth need to continue to be denounced by the Roman church.

Tuesday, April 19, 2005

Some medievalist web pages.

There are several web pages dedicated to Medieval history, and are a good source for research. Not only texts and images can be downloaded from these sites, but also they are a source for links to Universities, Museums, etc.
The list that I compiled is not definitive at all; in future postings I plan to include much more sites. Also, I want to invite you to suggest a site, and I will be glad to post it.

  • For Celtic studies the Digital Medievalist is a good beginning, check it out @ http://www.digitalmedievalist.com. I should have said the "Opinionated" Medievalist, but check by yourselves. I found it good.
  • For Irish historians everything related to it you MUST go to http://www.ucc.ie/celt/ , with a good database where several works, articles, etc., can downloaded.
  • The classic place to go, because is well organized and, most importantly, free, is the Georgetown University and its project "Labyrinth". Go to http://www.georgetown.edu/labyrinth, and enjoy.
  • Rhodes University is the home of "artes liberales", you might say. I go often to their site, which is as organized as the one of Georgetown Univ. Visit http://www.rhodes.edu, and search for Orb, which is the project including the Medieval project, and containing good sources for research.
  • There is a place called Luminarium, which combines three sites that were created in 1996 for those interested in English literature and it counts with the support of many scholars from around the world. The site is expected to expand in the future, but as of now, it is an excellent site for those interested in English literature from the Medieval, Renaissance, and 17 th Century. It includes essays prepared by students, as well as professors from different universities. Visit http://www.luminarium.org.
  • The University of Rochester has two projects that are fun to go to. One is the Camelot project (at http://www.rochester.edu ), which offers images, texts, bibliographies, and more, associated to the Arthurian legend. The other project is called Robin Hood, and, as its name implies, offers a lot of information regarding that legendary hero, and you can even check out the films made about that witty and beloved felon. Search for Camelot and Robin Hood on the University site and you will be directed to both sites.
  • Avista is a site that publishes articles and essays about medieval science and technology. I was reading one by Steven A. Walton "An introduction to the Mechanical Arts in the Middle Ages" which is very interesting and as introduction, as he says, "not earth-shattering". Visit Avista at http://www.avista.org, and check Kalamazoo where you can find out everything regarding the sessions at the International Congress on Medieval Studies which is celebrated annually at Western Michigan University at Kalamazoo, and where between 15 and 20 papers are presented each year.
  • Last but not least, the British Museum. Different projects and exhibitions, but especially for the manuscripts in its collections. Go to http://www.british-museum.ac.uk.
  • Finally, for those that want to check a work printed in english between the years 1477 and 1799 go to "Renascence Editions"( I've tried the University of Oregon site but I couldn't get there),yowill find the works of Milton, Montaigne (the John Florio translation of 1603), Spenser, Bacon, Shakespeare, Bekerley and others. However, it lacks one important item: the 1611 edition of the Bible. And the Internet Medieval History Sourcebook maintained by Dr. Paul Halsall, from Fordham University @ http://www.fordham.edu/halsall/sbook.html, is a site with a general information. Very Good !.

There are more sites but, again, this is just a partial list. I have more sites that expect to publish in the future, but I think that the sites listed are very good; and many of them offer links to several other sites.

Send your comments and suggestions.

Monday, April 18, 2005

The serpent and the genius.

When the papacy returned to Rome brought with it the richness and prestige Rome needed to ascend once again to new heights. Even though the Pope was a different kind of monarch, his court was one of the richest in Europe. The papacy was responsible for conducting the religious business of saving lives but more importantly of governing the difficult and sometimes turbulent Papal States. How the papacy came to be this way is a matter for another posting. Now let's focus on how this corrupt papacy helped to create the conditions for that humanistic expression represented in the High Middle Ages, also known as the Renaissance or Revival of Learning.
The election of Pope Alexander VI to the papacy help to sink much more the papacy in a corruption quagmire. The reign of Rodrigo Borgia as Pope Alexander VI was characterized as one were the advancement of his own family was the task that mattered the most. His daughter Lucrezia was used, we should say abused, by his own father in order to gain more political power. However, many of the imputations thrown at her, and for extension to her family , are disputed today by some historians. Nevertheless, Alexander is known as the Renaissance Pope.
The moral degradation that the papacy had slipped into, while the city itself rose to new heights, began to reverse with the ascension to the throne of St. Peter of Julius II and, very especially I will add, Leo X.
The Golden Age of Rome began. The city and its rulers were admired and respected.
As the ascendancy of the church over the Italian people- the use of the term "Italian" at this point in time is just for referencing purpose to include the people of the whole peninsula, because we can not talk about an Italian identity yet, which would be coming much later-and, tangibly, the arts, it began to provide constant work for the artists of this period.
The church ran into an enormous debt to finance in part the the works commissioned, and the decisions taken later, during the reign of Leo X, to alleviate this malady will proven to be nefarious for the papacy. The selling of indulgences would have a negative impact in the church, and it would never be same. The corruptions of Alexander VI were bad but the sell-out of Leo X was the last drop. Years later the Counter Reformation would make matter worse.
Anyway, the arts in this period, in general, remained for the most part religious oriented, from a thematically standpoint, but humanistic in essence.
Humanism has been defined in different ways, and every scholar gives his or her opinion and stamp a definition that, then, is repeated over and over again, but for the most part everybody agrees that it was the backbone of this period that we call Renaissance. Mankind consists, the reasoning went, of rational beings, capable of good but, also, of evil; truth and lies, power and weakness; in a word, human beings, that were able to reach for the highest goals and achieve them was the task at hand. That the classic works of the ancient Greeks and Romans were celebrated, no doubt about it, but that that was all about the Renaissance, I do not think so. Many classics began to be accessible to more people, but it didn't mean that the classics were copied; they were discussed, argued, analyzed, but the job -the thinking process- was theirs and only they could do it. The Greeks were good but the people that were living in the Renaissance were better. They did it!
One of those works of this period was the Last Supper, by Leonardo.
The paint captures one of the most intriguing moments in the life of Jesus: the moment of him predicting his betrayal.
The humanism of the painting is given on the fact that Jesus , at that very moment, seems to be the loneliest person on the face of earth, while the disciples can not hide their surprise at hearing the announcement made by their beloved Rabbi.
In John 13:18-30, we can, literally, "see" a man "troubled in spirit" announcing "one of you is going to betray me". Simon Peter, quick to defend his Master, motioned to John who "was reclining next to him" and "said, ask him which one he means".
While Jesus was given the answer, or at the very moment that he was getting ready to do so, the photographic genius of Leonardo seemed to snap the picture.
Isolation, anger, frustration, all these and more was present in that moment. Everybody ismoving, everyone is reacting, but for Jesus, for he is alone, there is a space that separates him from the rest, there is some distance. Many are called but only one is the "only begotten Son".
However, there have been people that had read the painting in a different way, some have even hinted at the possibility that the one sited next to Jesus is no other than Mary of Magdala. Others had made asseverations that Leonardo wanted to cast a new light in the relationship that Jesus had with Mary, and others, "mentes calientes" you may say, have speculated about the antagonistic relationship of Mary and the disciples. In addition Leonardo has been casted as someone rebelling against the oppressive and censorious attitude of the church. It could be that Leonardo felt sometimes oppressed, but the truth is, as long as historical prove could be, that the reason he felt like that is because he was more pleased with the things that he liked, such as inventing and engineering, than with what he saw as a regular job.
I have learned to appreciate Leonardo. I have gone through the manuscripts of the New Testament, especially John, and I have read the painting differently. It has illuminated me of many things, even of what is going on with our lives and with others; on how the human condition has always been the same, and on how fragile is our perception of people or events, because they are constantly shaped into new forms.
St. Thomas of Aquinas said "Ars est ratio factibilium"; and this painting is about God constrained Himself because of His humanity, trapped in a human body, surrounded and filled with love and concern by His closest followers, and at the same time, circumstantially isolated. The suffering is in the horizon, the end is near, no one could change it. No one can take His place: in order to gather His flock, He must go to the cross. It is not by chance that this is happening, it is not accidental! Everything will happen out of love; God's love for His creation. But the betrayal comes first! His announcement is dramatic; it causes a disturbing ripple effect across the table: the reactions of Jesus companions are eloquent, and I think that they can only be comprehended when we put ourselves in their position. They did not perceive him as we do today; for them he was their Rabbi, and only later on they would come to the realization of who He really was. Then, how can be explained to those present there not only the necessity of this whole situation but also, and most importantly I should add, the urgency of the suffering and death that is coming? Jesus did not feel compelled to explain it! Leonardo did not use the proper technique of fresco, as could have been expected in a major work like this one, and I think that the reason was superior to his will. Sometimes I have wondered if God was caught by a Renaissance paparazzo and felt angry about it and did not allow the paint to survive in a more long-lasting medium; or was His plan all along to allow us to catch a brief glimpse of the differences between the human and divine nature? The corruptible, frail, and precarious essence of nature itself, compared to the durable, everlasting, and enduring effect of His love for us due to His godliness.
And that is, in my opinion, what we admire today in this Leonardo's painting: the picture that his genius took of God at one of His most intimate moments: talking alone with His disciples; the miracle of manhood and godliness residing in one body.
The genius lived with the serpent- the corrupt and despondent church-, was fed by her, benefited of her, and yet the result was so divinely human. That is what the Renaissance was all about, men like Leonardo, Michelangelo, and many others produced masterpieces like the Last Supper but more significantly it was a movement that tried to capture a divine dimension of the human spirit in every endeavor, whether it was in arts, education, literature, and so forth. It was about bringing man to his alter ego.
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