"Love follows knowledge."
"Beauty above all beauty!"
– St. Catherine of Siena

Showing posts with label Double Trinity. Show all posts
Showing posts with label Double Trinity. Show all posts

Sunday, February 25, 2024

Sunday Meditation: Onto the Mountaintop with the Prophets

Last week Jesus took us into the desert with the wild beasts, but today on the Second Sunday of Lent in Year B, Jesus goes from the desert to the top of a mountain, and instead of communing with wild beasts Jesus communes with two prophets from the Old Testament.

 

Jesus took Peter, James, and John

and led them up a high mountain apart by themselves.

And he was transfigured before them,

and his clothes became dazzling white,

such as no fuller on earth could bleach them.

Then Elijah appeared to them along with Moses,

and they were conversing with Jesus.

Then Peter said to Jesus in reply,

"Rabbi, it is good that we are here!

Let us make three tents:

one for you, one for Moses, and one for Elijah."

He hardly knew what to say, they were so terrified.

Then a cloud came, casting a shadow over them;

from the cloud came a voice,

"This is my beloved Son. Listen to him."

Suddenly, looking around, they no longer saw anyone

but Jesus alone with them.

 

As they were coming down from the mountain,

he charged them not to relate what they had seen to anyone,

except when the Son of Man had risen from the dead.

So they kept the matter to themselves,

questioning what rising from the dead meant.

~Mk 9:2-1

This week I’m going to provide two sermons (I can’t say homilies since neither are priests) on this passage since both are short and to the point.  First will be Jeff Cavins, who has I think the better exegesis.




Jeff rightly points out how the almost sacrifice of Isaac and then replaced by the sacrifice of the lamb projects to the future sacrifice of Christ, the Lamb of God, on still another mountain, Calvary.  The Feast of Booths that he speaks of is called Sukkot, and if you live in a religiously Jewish neighborhood as I do, you will see the booths built for the week long feast in everyone’s backyards or decks.

I know people get hung up on how God could request Abraham the sacrifice of his child, but there is still another way to look at this from what I’ll call the more “Jewish” perspective.  Abraham here at this point is not Jewish; he is a Chaldean, a Semitic people of the region, and like most (if not all) Semitic people of the time practiced child sacrifice.  The most famous perhaps are the Carthaginians of the Punic people who sacrificed infants to the deity Baal.  By leading Abraham to the point of sacrificing his child—and notice Abraham goes along with it as a perfectly normal request—and then stopping it, God stops the practice of child sacrifice in the Jewish people.  Perhaps here with the ending of the child sacrifice, Abraham has now changed from a Chaldean to a Jew.  So do not think of God as a monster here.  There were both contemporaneous and archetypical reasons for God’s request with the intention of ending the horrific practice.  I didn’t mean to dwell so much on the first reading, but I think that needed to be said.

The second sermon will be from John Michael Talbot who I think better captures the spirituality of the passage.    

 


JMT points out the community that forms between Jesus and the three disciples and the two prophets, and that is very insightful and an element of the transfiguration that I never thought about.  I don’t think JMT goes far enough though.  Notice that there are two trinities on the mountain, trinity with a small “t” but perhaps pointing to the Trinity with a capital “T.”  Jesus, Moses, and Elijah form one trinity, and Peter, James, and John form a second trinity.  And both “trinity” and “Trinity” is a community. 

Could the Trinity be there in the passage as well?  Jesus, God the Father in the voice, and the Holy Spirit as the Glory Cloud?  Possible, but I am not quite that knowledgeable to say definitively.  Perhaps that could be our Sunday meditation.

 

Meditation: “Then a cloud came, casting a shadow over them; from the cloud came a voice, "This is my beloved Son. Listen to him.”


How can we have a sermon from John Michael Talbot and not play one of his beautiful hymns?  I can’t.  What song would be fitting for the Transfiguration?  How about, “Let Us Kneel Down.”

 


Thursday, January 19, 2023

Art: Double Trinity with Saint Augustine and Saint Catherine of Siena

This painting was highlighted in last month’s Magnificat (Dec 2022) magazine with an analysis by Fr. Gabriel Torretta, O.P. 

 

 



 

I was really smitten with this work.  The artist is anonymous but from Peru and from the Cusco School   The painting, Double Trinity with Saint Augustine and Saint Catherine of Siena, is dated between 1700 and 1730.  I was surprised when I looked up Peruvian Baroque art to find just how rich and superb it is, but this painting may be the crowning achievement.  The Wikipedia entry on the Cusco School explained its origins:

 

The tradition originated after the 1534 Spanish conquest of the Peru,[1] and it is considered the first artistic center that systematically taught European artistic techniques in the Americas. The Spanish contribution, and in general European, to the Cusco School of painting, is given from very early time, when the construction of the Cathedral of Cusco begins. However, it is the arrival of the Italian painter Bernardo Bitti in 1583, that marks a beginning of the development of Cuzqueño art. The Jesuit introduced in Cusco one of the fashionable currents in Europe of the time, Mannerism, whose main characteristics were the treatment of figures in a somewhat elongated way, with the light focused on them.

 

A Trinity in art is of course when an artist renders the Holy Trinity of God the Father, Jesus Christ, and the Holy Spirit.  A Double Trinity is when you couple the Holy Trinity with the trinity of Jesus, Mary, and Joseph—the Holy Family.  That is what you have here.  The scene is supposed to allude to the finding of the boy Jesus at the Temple after being lost (Luke 2:41-52), and the Google Arts and Culture entry mentions how His parents hold him tightly from the experience.

 

The coordination of the clothing pattern and colors of the holy family is striking.  The patterns are very similar but each individually unique.  The two parents seem to have the same shade while that of Jesus’s is lighter—perhaps suggesting youth—but if my eyes are seeing correctly the shade and pattern of Jesus matches that of God the Father’s sleeve.  The similar colors create a diamond shape between the holy family and God the Father with the Holy Spirit binding them in the center.

 

Interestingly here the Holy Trinity is rendered vertically with God the Father looking down and Jesus looking up. The holy family, on the other hand, is aligned horizontally with their eyes looking down at Jesus.  The vertical and horizontal lines notably form a cross with all eyes turned to Jesus. 

 

The artist also includes St. Augustine of Hippo and St. Catherine of Siena in the foreground, on the extreme sides of the canvas.  Fr. Gabriel rightly points out that this makes the painting a Triple Trinity since Jesus and the two saints form a third triangle.  Why St. Augustine and St. Catherine of Siena?  Google Arts and Culture suggests that it may have been the personal preference of the whoever commissioned the painting, and that may be.  But there may be an additional element which may more thought to the painting.    

 

Both St. Augustine and St. Catherine are holding hearts.  Now it is no coincidence that these two saints would hold hearts as part of their iconography.  St. Augustine famously said in his Confessions, “My heart is restless O Lord, until it rests on thee.”  One of St. Catherine of Siena’s most famous mystical experiences was when she lay in a coma and had her heart taken out by Jesus (mystically of course) and replaced with Christ’s heart.  So heart becomes a thematic element of the composition, and with that in mind we can see that not only are everyone’s eyes turned toward Jesus but so is everyone’s heart: God the Father through the Holy Spirit, and the two earthly parents having just found their lost child.  When we gaze at a beloved, it is through eyes but those eyes are linked to our hearts.

 

This painting is a magnificent achievement, worthy of any Italian Renaissance artist.  Who knew that such art was being created in seventeenth and eighteenth century Peru?