Santa Cecilia in Trastevere

The entrance to Santa Cecilia on the Piazza Santa Cecilia

The entrance to Santa Cecilia on the Piazza Santa Cecilia

The entrance to the church from the cortile within the piazza entrance.

The entrance to the church from the cortile within the piazza entrance

Yesterday November 22nd was the feast day of Saint Cecilia to whom tradition assigns the role of patron saint of music.  Pious legend says that she invented the pipe organ.  This church in Rome is the final resting place of the actual saint and her sainted husband Valerian on the site of their home (according to tradition) in the Trastevere neighborhood in Rome.  

Tradition says that Cecilia was a young woman from a noble Roman family.  She converted to Christianity when very young and took a vow of chastity.  Her parents insisted that she marry a young man by the name of Valerian.  During the wedding, she sang a hymn of praise to God so well and so loudly that she drowned out the wedding music thus making her the patron saint of music.  She told Valerian that she could not consummate the marriage because an angel guarded her chastity.  When Valerian asked to see the angel, Cecilia told him to go to Pope Urban I to be baptized and he would see the angel.  Valerian took his brother Tiburtius and a soldier Maximus to do as she told him.  All were baptized and all returned and saw the angel holding a garland of roses and lilies over her head.  The three young men were all arrested and executed by Roman authorities under the reign of Alexander Severus.  Cecilia herself was later arrested and beheaded.  Legend says that her head refused to separate from her body after three blows from a sword.  She died after three days.  Her martyrdom took place around 230 during the Third Century Crisis when a lot of affluent educated Romans began converting to Christianity.  Most scholars agree that she and her three companions in martyrdom are historical persons, though much of the pious legend surrounding them is indeed legend.  All three rest together in the crypt of Santa Cecilia in Trastevere.

Santa Cecilia in Trastevere is an ancient church in continuous use for over a thousand years.  The present church was built in the 5th century.  Like all public buildings continuously used over many centuries, the church acquired many additions and underwent many changes.  None more dramatic and extensive as those ordered in 1724 - 1725 by Cardinal Francesco Acquaviva and carried out by the architect Ferdinando Fuga.  Cardinal Acquaviva and Fuga substantially rebuilt the church, its two entrances and its interior transforming it into something like a late Baroque/early Rococo church.  The 12th century bell tower and the 9th century apse mosaic are all that is left exposed from the original medieval church.

Interior of Santa Cecilia 

Interior of Santa Cecilia

Interior of Santa Cecilia
Interior of Santa Cecilia

Apse of Santa Cecilia with the apse mosaic, the ciborium over the altar and Maderno's sculpture.

Apse of Santa Cecilia with the apse mosaic, the ciborium over the altar, and Maderno's sculpture

The Apse Mosaic

The apse mosaic

The apse mosaic

Santa Cecilia in Trastevere is one of the oldest churches in Rome and has been built and rebuilt many times over.  The mosaic in the apse survives from a Carolingian era rebuilding by Pope Pascal I (817 - 824).  It is an interpretation of earlier mosaics still to be seen in Rome such as from Sts. Cosmas and Damian and Santa Pudenziana, both of those mosaics are 3 and 4 centuries older respectively, and were already revered by the time this mosaic was made.  

The drawing is a little shaky compared to mosaic prototypes in Rome from 4 centuries earlier, but still very fine.

The apse mosaic:  Pope Pascal I, St. Cecilia, and St. Paul.

The apse mosaic:  Pope Pascal I, St. Cecilia, and St. Paul

St. Cecilia presents Pope Paschal I who presents the church to the enthroned Christ flanked by Peter and Paul the patron saints of the city of Rome.  The square halo indicates that Pope Pascal was still alive when the mosaic was made.

The apse mosaic:  St. Peter, St. Valerian, St. Agatha and one of two flanking date palms

The apse mosaic: St. Peter, St. Valerian, St. Agatha and one of two flanking date palms

Date palm leaves and fruits were the prizes awarded to athletes in ancient Greece and Rome.  Here they are the symbolic prizes of Christian martyrdom.  St. Valerian and St. Agatha hold crowns of martydom.

The Lamb of God with sheep standing for the Apostles

The Lamb of God with sheep standing for Apostles

Arnolfo di Cambio's 13th century ciborium

Arnolfo di Cambio's 13th century ciborium

Arnolfo di Cambio, the Florentine sculptor and architect designed and built this ciborium in 1293, among his last works in Rome before he returned to Florence the following year.  This is one of two ciboria he designed and built for Roman churches.  The other is over the high altar and tomb of St. Paul in San Paolo Fuori della Mura.

On the floor before Stefano Maderno's striking sculpture of the martyred Cecilia is an inscription describing the macabre origins of Maderno's sculptural conception.

It records the exhumation of St. Cecilia's remains during a renovation of the church in 1599 ordered by Cardinal Paolo Emilio Sfondrati.  It states that Maderno was present at the exhumation and that his sculpture is faithful to what was found on the "uncorrupted" remains of the saint.

Stefano Maderno, St. Cecilia, 1599 - 1600

Stefano Maderno, St. Cecilia, 1599 - 1600

An early masterpiece of Baroque sculpture that is still striking and even disturbing in its drama, as though Saint Cecilia just fell before us stricken by the sword.  

Stefano Maderno, St. Cecilia, detail

Even more disturbing, blood just begins to flow from the fatal wound in her neck.

Santa Cecilia in Trastevere is home to a community of Benedictine nuns since the early 16th century.  When Ferdinando Fuga redesigned and rebuilt the church in the 18th century, he built a choir for the nuns above the main entrance of the church.  In that nuns' choir are the remains of the greatest work of art in the church left from a 13th century rebuilding, plastered over in the 18th century rebuilding, and rediscovered in 1900.

Pietro Cavallini's Last Judgement Fresco

Pietro Cavallini's Last Judgement once covered all the entrance wall of the church.  Today only fragments of the center portion survive in the nun's choir, uncovered in 1900.  

What survives is a major masterpiece of Roman medieval painting that revives the splendors of the earliest church art in Rome combining that monumentality with the naturalism that pervaded late medieval art.  Cavallini's art looks back to ancient Roman painting and forward to the work of Giotto and the Renaissance.

The whole surviving portion of the Last Judgement fresco

The whole surviving portion of the Last Judgement fresco

Enthroned Christ the Judge

Enthroned Christ the Judge

Christ the Judge

Christ the Judge

The Virgin Mary with angels

The Virgin Mary with Angels

John the Baptist with angels

John the Baptist with Angels

Seraphim and archangels

Seraphim and Archangels

Head of a seraph

Head of a Seraph

An Apostle, possibly Paul

An Apostle, possibly Paul

Saints and Apostles

Saints and Apostles

Two Apostles

Two Apostles

Head of an Apostle

Head of an Apostle

Santa Cecilia Underground

The crypt chapel

The crypt chapel

The splendid chapel in the crypt looks ancient, but is quite modern (by Roman standards).  It was all built in 1899.

Mosaic of St. Cecilia

19th century Mosaic of St. Agnes

The tombs of St. Cecilia, her husband Valerian, her brother in law Tiburtius, and his companion Maximus.

The tombs of St. Cecilia, her husband Valerian, her brother-in-law Tiburtius, and his companion Maximus.

Remains of Roman housing underneath the church.

Remains of Roman housing underneath the church

Next to the crypt chapel are the remains of an ancient Roman house and a tannery.

Sebastiano Conca's Apotheosis of St. Cecilia

Sebastiano Conca's painting on the ceiling of the Nave

Sebastiano Conca's painting on the ceiling of the nave

St. Cecilia Received by the Holy Trinity in Paradise

St. Cecilia received into Heaven by the Holy Trinity

I presume the sainted pope in this painting is Urban I who baptized Cecilia's husband and his companions.

This fine late Baroque fresco almost makes me forgive Cardinal Acquaviva and Ferdinando Fuga's drastic alteration of this ancient church...almost.

Patience Dear Readers.

Sorry about my absence everyone.  I've been very busy with teaching.  Also, Michael is having health issues that require me to accompany him on what are otherwise minor errands.  Also, I've had my own health issues, mostly with depression.

But, I do have blog posts in the works that I will be posting soon.  In the meantime, here is an art school in China.  

An entrance exam at an art school in China

The truly amazing part about this photo is that all umpteen hundred of these people are fully equipped with easels, canvas, paints, and brushes.  Getting my 55 or so students fully equipped is a struggle every semester.

 

"The Realest Sin"

 From David Hayward, "The Naked Pastor":

More Teaching From Home

 

My classroom these days. 

It looks like it will be a while before I go back on campus to teach.  Our department buildings need new HVAC systems with virus filters, and the college has no other suitable spaces for studio classes in painting and drawing, or for basic design classes and illustration.  I'm told to expect to be teaching from home again in the coming Spring semester.

Columbia U and NYU already have such HVAC systems in place and are wide open to students, staff, and faculty; but then, they each have multi-billion dollar endowments.  They can afford it.

Here are some samples of this semester's demo paintings so far.  I paint these for my students live online.
They are all acrylic on canvas panels, 11 inches by 14 inches.

The Triumph of Death

Bruegel's Triumph of Death in the Prado Museum in Madrid
 

Today the death toll in the USA from the covid pandemic officially exceeded the death toll from the 1918 - 1920 Spanish flu epidemic.  The catastrophe we are living though now is the deadliest in American history.  The Spanish flu epidemic claimed 675,000 lives in the USA from 1918 to 1920.  My great grandmother Bertha Klitzing died of the Spanish flu in 1920, among the last casualties.  And now, my mother died of covid in the current epidemic in January.  We are not yet through the second year of our epidemic and the death toll stands at 700,000 close to the death toll at the end of the Civil War that lasted four years.  The USA leads the world in total deaths from the pandemic, and this despite superior medicine to that of a century ago, not one but several very effective vaccines, and bottomless pockets to finance the response to so massive a public health catastrophe.  

Why is this outcome so bad despite advantages that are the envy of the world?  I can only conclude that the response to the epidemic got caught up in the tribal politics and perverse incentives of the 21st century USA.  We genuinely do not care if our neighbors live or die, and we proved it in our confused and conflicted response to a major catastrophe. Even with the world crashing down around our heads, we are too selfish and self-absorbed to be bothered.

Around 1562, Pieter Bruegel the Elder painted this powerful, angry, and deeply frightening painting of the Triumph of Death.  He combined the tradition of the Dance of Death that appeared in northern Europe with the Triumph of Death created in Italy, both in the wake of the Black Death in the mid 14th century, the deadliest catastrophe in the history of the world perhaps claiming almost half the world's population.
Bruegel's painting is no Last Judgment.  There is no final settling of accounts.  There is no restoration of a primeval goodness to the world.  God and His agents are conspicuously absent in this painting.  The painting is not a view of hell, but is set on earth.  All life on earth is simply nullified.  The mighty and the humble, the innocent and the guilty, the good and the bad all are cruelly destroyed together by the irresistible agents of death.  The dead rise up not for resurrection and salvation, but to make war on the living and destroy all life on earth.  

Bruegel almost certainly found his inspiration witnessing atrocities in the decades of sectarian warfare that ravaged a once prosperous Flanders.  Pious people turned on each other with savage fury convinced that their souls were at stake.  Famine and plague followed in the wake of warfare killing thousands more.  It must have seemed that all life was simply exterminated right before the artist's eyes.  Cities lay in ruins.  The countryside was laid waste.  Forests burned to ashes.  Corpses from war, plague, and famine lay everywhere.  We may be on the cusp of another such savage age of annihilation as a third of our population appears determined to wage war on the remaining two thirds.  Plague continues to ravage our cities and countryside.  The climate catastrophe dries out and burns one end of the world while flooding another.

The complete painting

The car of Death in the center of the painting with a figure of Death on a skeletal horse charging through with a scythe, perhaps as one of the Apocalyptic Horsemen.  An army of skeletons charges and slaughters the living.

The armies of the dead chase the living into a huge trap that is part coffin and part grave.

The tradition of the Dance of Death began in northern Europe both as a memento mori, and a kind of protest literature.  People who lived on the receiving end of the arrogance of high and mighty could console themselves with the prospect of sharing the grave with them as equals.  Bruegel shows the agents of death claiming the high and mighty together with the humble in this part of the painting.  Skeletal corpses claim a king and a cardinal and loot the treasure they both piled up in life.  Skeletons drive a cart full of bones over the bodies of peasants.  One woman is about to be crushed under the cart as she cuts a thread, another lies dead holding a distaff while a starving dog eats her baby.  Another skeleton on the right cuts the throat of a religious pilgrim as though robbing him.

Soldiers for all their courage and bravado are no match for the legions of death.  Skeletons intrude on a party, upset a game of backgammon, and spill chilled wine on the ground.  Others disguised as jesters and servants serve up death to their horrified customers.  A pair of lovers lost in their mutual affection ignore the havoc all around them while a skeleton joins their concert and adds his discordant tune.

A corpse beats out the doom of the world on a pair of kettle drums while others work the trap.  Another grabs a young man who tried to escape.

Corpses murder and execute the living around a brackish pond with floating corpses and dead fish, parodies of human institutions.

The glow of distant fires lights the horizon while ships sink in the sea and the legions of death denude the earth of all life.  On the left, skeletons ring the death knell.

A barren landscape forested with the remnants of executions in gallows and breaking wheels.  Shipwrecks burn in the distance on a becalmed and lifeless sea.