The Holy Spirit Window

The term "Oculus" simply means eye in Latin and refers to round or oval shaped windows that appear as early as the Roman Empire. Most often ocula were ceiling windows, or God's eye seeing into the church watching over everyone, or typically over a mausoleum, although they could technically be any rounded window.

While there is so much in St. Peter's that could be considered the piece of crowning glory, the famed Holy Spirit Window over the main altar in the apse is most definitely the one.

The window itself is constructed of 12 sections representing the 12 apostles, of sliced and pieced alabaster, a translucent stone, through which the sun illuminates the dove, or Holy Spirit, in the window's center panel.  When we were in the basilica mid afternoon, the sun shone through the stone oculus and cast a warm glow over the altar.

The gold bars burst forth from the Holy Spirit, surrounded by angels, directly above the altar and bronze chair which is the unmistakable work of Gian Lorenzo Bernini, 1598-1659, and is said to contain pieces of the original oak chair St. Peter sat in to preach the gospel.  There are three medallions in which these three scenes are depicted: the transfer of the keys to Peter, the crucifixion of Peter and the beheading of Paul.

The altar is a deep, blood red jasper stone quarried from Sicily.  The base of the altar is black and white marble from Aquitaine, flanked by four very large gilded bronze figures (5 meters). The two outside figures are St. Ambrose and St. Augustine of the Latin church.  The two inner bare headed figures are from the Greek church. The chair appears to float over these figures, symbolizing that the gospel is not wholy supported by man, but emanates from the Word.

There is a circular inset of the same red jasper stone on which Charlemagne was crowned Holy Roman Emperor that was part of the original church. Anyone treading upon that disk would have been executed. This piece was removed and replaced near the front doors in the 16th century basilica.

I was the last person allowed to photograph the altar as they were preparing for mass.

Raphael's "Transfiguration"

This was the high renaissance painter, Raphael's own favorite painting. It is said to have been brought to his deathbed at his request so that he could gaze upon it with his last breath.

The Transfiguration was completed in 1520, right before Raphael's death.

Like Raphael's treatment of "The Deposition" in which he combined the "Descent from the Cross" with "The Entombment," he also combines two subject matters in this painting, featuring "The Transfiguration of Christ" to the deciples on Mt. Tabor above with the story of the apostles' failure to cure a possessed boy until the transfigured Christ intervenes, below.

According to Goethe: "The two are one: below suffering, need, above, effective power, succour. Each bearing on the other, both interacting with one another."

The woman in the light pink and blue is painted once again by Raphael in the figura serpentina pose, extreme contraposto or "S" shape that acts as a link between subject matter.  She also appears in The Deposition.  In the same year, Michelangelo used this same figure, in the same pose in the Doni Tondo. I've referenced the latter two in a previous post.

St. Veronica Holding the Veil

According to the Bible, St. Veronica was the woman who wiped Christ's brow after he fell during his passion. His image is said to have been permanently imprinted on her veil. The veil of Veronica is believed to be a relic here at St. Peter's and this is the image by which to identify St. Veronica in art.

The sculptor, Bernini, was the master of creating fluidity and movement out of stone replicating the folds and draping of fabric.  As you can see from this sculpture, St. Veronica's robes and veil appear to be blowing wildly in the wind.  In art, the Holy Spirit is portrayed in as the wind, or puff or breath of air.  So the combination of subject matter and presentation was a way to convey her sainthood to the masses.

As everything else in St. Peter's, it is impressively large at probably over 14 feet tall.

Michelangelo's Pieta

One can't help but be overwhelmed by the perfection of Michelangelo's Pieta, marble as fluid as fabric, as realistic as flesh and as expressive as heartfelt sorrow.

Jesus appears to slip from her lap as though onto the surface before you, intentionally. The Pieta was intended to be an altar piece, so the symbolism of slipping into the altar is a direct reference to the Eucharist.

Michelangelo used the same expression on the Pieta Mary as he had in the Annunciation Mary, which is to say yes, or to be resigned to God's will.

The Pieta is now out of the public's reach behind glass after an incident many years ago when a derranged person knocked off her left hand with a hammer. I recall this from my childhood.

St. Peter's Overwhelm

Today we had the pleasure of a tour led by a second year seminarian from the Pontifical North American College. His encyclopedic knowledge took us from the year 30 through present day and covered everything from theology to architecture and art. Greg was wonderful.

St. Peter's is a baroque style basilica with a barrel vaulted ceiling with a sharp cornice that divides the heavenly (ceiling vault) from the human (space beneath the cornice). One could also characterize the endless embellishment on every surface, as "horror vacui" a term used in art meaning fear of empty spaces.

The dome design was originally commissioned to be designed by several famous artists including Raphael, who were unable to complete the task.  It eventually fell onto the shoulders of the great sculptor, Michelangelo.  The dome exterior we see covers an invisible square under structure which is different from the dome construction of the Brunelleschi Duomo in Florence, a completely unsupported dome.

We know Michelangelo for painting the Sistine Chapel ceiling, but until that time, he had been best known as a sculptor. The Sistine Chapel required the ceiling to be painted to cover an unsightly seam from a patch necessitated when part of the structure sank, as St. Peter's was built on a swamp.

Several great artists are featured throughout this basilica which includes 40 different altars and functions as a working parish with regular baptisms and weddings.

More to follow.

St. Peter's at Night

We arrived in Rome late Wednesday afternoon to meet our adopted son Father Timothy, who is completing his Masters degree at the Vatican campus.

The picture of St. Peter's in the distance is taken from a rooftop observation deck at his seminary.

The darker photos of us were taken by moonlight as we walked through the St. Peter's square to a quaint little restaurant.

At about 2am, a thunderstorm rolled through with such intensity that I just watched from the window for over an hour...which is when I discovered that St. Peter's is visible from our room.

We are staying in a monastery hotel which offers simple but clean and quiet accommodations.  Most of the guests are clergy and there are services in the chapel on our floor.  I chose this Residenza Madri Pie for its proximity to the Vatican and its mission to care for Peruvian orphans. 

Christophle Le More

This is the only known portrait of a black man in early European painting. He is thought to be the archer of King Charles V, Christopher Le More. He was part of the Brussels court. The sign of the Virgin on his red cap suggests he went to Halle for pilgrimage, favored by members of the Brussels court.

Jan Van Mostaert, 1525

The Spinners

Both of these 16th century Dutch works are betrothel paintings of the merchant class. The average person of the 16th century could not afford to be painted, would not be clothed in the latest finery and did not have leisure time to spin.

Both of the women in these portraits hold wool to spin to yarn or thread. This demonstrates that they are refined, virtuous (spinning wheel/drop spindle  symbolize virtue) and also productive, making them eligible wives.

The bottom painting (Pieter Pietersz 1660, Haarlem) shows the woman seated next to her betrothed, who is holding a tankard.  Her face questions the decision she needs to make - choosing between virtue (spinning wheel) and vice (tankard).

The irony is that women sentenced to prison were required to spin fiber during their incarceration.  Since fine cloth and lace were primary trading commodities of the Netherlands, one could surmise slave labor helped the economy. And how ironic that incarcerated women were REQUIRED to do what women of leisure CHOSE to do.

The Milkmaid

If you have never seen "Tim's Vermeer" get it on Netflix to learn how a digital film engineer spent 5 years reconstructing a room of Vermeer's time to exact specifications so that he could reconstruct a masterpiece using camera obscura to prove it was one of the illusions Vermeer employed. Master illusionists Penn & Teller produced this documentary.

The Milkmaid is most likely a lesson on diligence. She serenely pours the milk from the jug, capturing our attention with her quiet repose. But the lesson may warn against laziness as the background is in total disarray.  The walls are dirty and damaged, there is clutter on the floor, a window pane is broken, and day old bread lies torn in pieces on the table.

Often these Dutch housework scenes are designed to remind people to be diligent.

Vermeer was a master of fine detail. It is believed he used extremely fine dots to create the fine, translucent stream of milk.

Six Wardens of the Drapers' Guild

This painting caught my attention for several reasons: first, my interest in fabric, but also because of the perspective. 

The wardens of the Drapers' Guild were responsible for inspecting and grading fabrics.  Several hold fine black fabric in their hands along with some tools of their trade.  Fine cloth exports were a very important trading commodity.

The perspective of this painting is unique. You can tell it was intended to be hung high because the perspective allows the viewer to see underneath the large brimmed hats and seemingly underneath the Turkish carpeted table.

This style is in keeping with traditional militia style paintings of the time, although not a military painting.  There is a bit more movement than what is seen typically in military works although the scale is equally grand as you can see from its scale compared to the public.

Painted by Pieter Pietersc in 1589.

Rijksmuseum Walls of Stained Glass

The grand hall and stairwells have floor to ceiling brilliantly colored stained glass window walls featuring important artists, musicians, architects, artisans, clergy, politicians and saints.

Wearing Different Hats

These "fulled" knitted hats belonged to Dutch whalers, who wore them down so low and their wool sweaters so high that only their eyes were visible.

Because dyed wool was more expensive, it signified a sailor's rank. The lowest ranking whalers all wore natural, undyed handknit wool stocking caps like the brown ones pictured.

Colored hats also served as a way for the whalers to find the boss quickly so they could follow orders conveyed with hand signals.

The hats were slightly fulled, meaning that after they were knit the hats were subjected to water warm enough to cause slight felting. This closes the stitch gaps for a warmer hat while still allowing the hat to be pliable vs. a completely felted, stiff hat.

I threw a photo of a velvet jeweled crown in as a juxtaposition of the different lots in life.

Dutch Florals

The Dutch pride themselves on growing the most exquisite flowers. Artists used the subject matter not only to portray beauty, but also to teach a lesson that everything is transitory, just as petals begin to wilt the moment the stems are cut. The florals also were used to emphasize the interdependence of all creatures, which is why insects are often included.

These works are from 1600.

Cognoscite lilia agri

This series of a dozen botanical engravings from 1600-1604 are botanically technically correct. Typically a common plant is rendered opposite something more exotic or cultivated. 

The title comes from a statement attributed to Jesus which means, consider the lilies in the field, how they grow.

The detail is exquisite.