Faith

Just because you claim it, you won’t get it – 21st Sunday  in ordinary time – Luke 13:22-30

Just because you claim it, you won’t get it. That is the sum and substance of this Sunday’s reading. So to understand this text better let us look at it in its larger context. Jesus is on his way to Jerusalem, in fact he is almost at its gates. The Gospel of Luke tells us that He is walking resolutely for it here that he will die for the salvation of mankind. On ‘the way’ he teaches his disciples.

The Gospels narrate that ‘someone’ asked him, “Lord will only a few be saved?” If we safely surmise that this nameless disciple was indeed a Jew then the rest of the text flows seamlessly. The Jews had a belief that all Gentiles would go to hell and with that process of elimination, this minuscule population of Jews would well qualify as “only a few to be saved.”

I have a theory that I have come to believe. If you ask Jesus a stupid question you will get a stupid reply or even worse, no reply at all, as in this case. The Lord, ignoring the petitioner simply addresses ‘them’, meaning the rest. Jesus does not answer the question with a ‘yes’ or a ‘no’ but chooses to teach the disciples. His point is clear, salvation is a narrow door and not the wide pearly gates that we have come to believe. If there is any door in question that one needs to contend with, it is Jesus himself; for HE IS THE DOOR (John 10:19)

The disciple is thus warned that this is no walk in the park. Jesus says, “Strive to enter through the narrow door.” The word strive in Greek, is angonidzomai, from where you get the English word agonize. The Lord is clear with his instructions. To the ‘somebody’ in the crowd who simply thought to himself,  ‘I will be saved because I am Jew and that makes me cool’, Jesus’ reply is simple, ‘strive dude, you need to work harder’!

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Art/ Heritage

BEYOND THE SKIN – ‘The Martyrdom of St Bartholomew’ by Jusepe De Ribera (1634)

 ‘Spagnoletto tainted his brush with the blood of all the sainted’ – Lord Byron (Don Juan, xiii. 71)

The brilliant José de Ribera is renowned for his art of violence and human suffering, of victims and executioners – a subject popular during the Counter Reformation period that aimed at inspiring piety. Born in Játiva, Valencia, Ribera built most of his career in Naples, southern Italy. It was here that he earned the affectionate nickname ‘Spagnoletto’ or ‘the little Spaniard’. Ribera also enjoyed several international patronages from the royalty as well as the Catholic Church. He revolved his style around the mysticism of religion and the intense drama of the Baroque depicting brutal martyrdoms effortlessly through theatrical line and light.

Ribera was particularly captivated by the unflinching execution of St. Bartholomew. It formed one of his master triumphs during the seventeenth century. The subject served to manifest his mastery to provoke all senses in providing an unnerving encounter with racked pain.

One of the Twelve Apostles of Christ, St. Bartholomew was a native of Cana in Galilee and preached the Good News in Asia Minor, Armenia and/or India. Having cured the ‘moonstruck’ daughter of King Polemius, his missionary zeal angered the local priests and authorities. They incited King Astrages, Polemius’ brother to arrest the apostle. Astrages ordered him to offer sacrifices to the idols of the land, in particular the king’s idol – Baldach. The apostle courageously smashed the pagan god. His action outraged the King who commanded that Bartholomew be tortured to death. Thus the apostle was crucified, flayed and beheaded for the cause of his faith.

The fallen idol
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Art/ Heritage

“HOW TO BUY AN ORIGINAL PIECE OF PERIOD COLONIAL FURNITURE”

Nothing happens by chance. In truth we are more blessed than we are lucky. Eight years ago we at the Archdiocesan Heritage Museum, were blessed to have Mr R.K Moorthy and Jacinta Moorthy walk into our lives; this when we did not even know the worth, value or the know how of setting up a collection. With years of experience tucked under their belt they stepped up to the plate and freely lent their time and service to what has now become a great Archdiocesan Institution.

Such knowledge, I thought to myself, must be shared with others and so I engaged the two in a lively discussion on antique furniture. The joy and pleasure of living with fine antique furniture is available to many people who hesitate to make that first purchase because they don’t know how to go about it. Lack of knowledge, a previous bad experience with a dealer, or horror stories from friends are enough to deter many a potential buyer. Substantial sums of money can be involved, so caution is understandable and advisable.

With their wisdom of a lifetime in the field, the Moorthy’s revealed that there are 7 basic questions which should be answered before buying a Colonial piece of furniture or an Indian artefact, and these answers should be provided willingly by the dealer. If the dealer cannot or will not provide explicit answers, don’t buy from that dealer. These questions are designed to help in choosing a piece that will be enjoyed for years to come, and in purchasing it with confidence that you have not been taken.

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Art/ Heritage

A VISION OF PARADISE: ‘The Assumption of the Blessed Virgin Mary’ by Botticini (1475 – 1476)

The Son, adored and nursed by the sweet Maid,

A thousand fold of love for love repaid.

Heaven with transcendent joys her entrance graced,

Next to His throne, her Son, His Mother placed;

And here below, now she’s of heaven possessed,

All generations are to call her blessed.

  • Thomas Ken (1637 – 1711)

The words of this beautiful hymn are brought to life by the painting in consideration. We are ushered into the great mystery that operates at three levels – the earthly, the intermediate and the heavenly.  At the centre of the grassy mountain-top lies an open white berth. The apostles huddle around it in awe and amazement for the berth of the Blessed Virgin Mary contains no longer her body but a meadow of lilies. As we join the apostles to gaze at the beauty of the fragrant flowers we are joined by two individuals, in particular a man and a woman, kneeling on either side of the plateau.

These individuals are no ordinary but the patrons of the painting. In 1474, Matteo Palmieri (1406 – 1475) commissioned ‘The Assumption of the Blessed Virgin’ for his burial chapel in the Church of San Pier Maggiore in Florence where several members of his own family were already buried. Located nearly five hundred metres to the east of Brunelleschi’s Cathedral dome, San Pier Maggiore was one of Florence’s oldest and most prestigious ecclesiastical institutions.

The painting was executed by the Italian painter Francesco Botticini as a tempera on wood. Although originally installed in the Church of San Pier Maggiore (1477), the altar piece was taken down in 1784 when the Church was demolished. In the late 1880’s it was then purchased by the National Gallery where it continues to be housed. 

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THE SISTER ACT: ‘Christ in the House of Martha and Mary’ by Johannes Vermeer (1654 – 1656)

If Da Vinci, Michelangelo and Raphael form the traditional trinity of Italian Renaissance, then Rembrandt, Rubens and Vermeer rank among the most admired of all Dutch Baroque Masters. While the first two have scores of stunning Christian art to their credit, Johannes Vermeer is a not so familiar face in the field of faith. However, one of his earliest, largest and only biblical commission revolves around the New Testament story of the two sisters, Martha and Mary welcoming the travelling Christ to their home.

The narrative, as recorded in the gospel of Luke chapter 10, is often painted as a picture of sibling rivalry where Martha, the busy bee, is depicted working hard in the kitchen while her Cinderella-like sister, Mary sits silently at the feet of Christ, listening to His word. The account provokes us to fall into the trap of taking sides and leads us to believe that Jesus did the same by upholding the meditative Mary instead of the mocking Martha.

Vermeer, in his painting ‘Christ in the House of Martha and Mary’, seems to labour neither binary. Rather, true to his style, he connects several competing features in a seemingly perfect whole. His painting draws forth the essence of the Gospel rather than frolicking around the drama that surrounds it.

Within a sombre space of a shadowy room are placed the three protagonist. Christ, dressed in purple and blue, is seated on an armchair. A soft glow surrounds his serene face. He gazes at Martha who seems to have just entered the room, carrying along some freshly baked bread in a basket. As she sets the dinner table, Martha nonchalantly leans forward hearkening to the words of the Master. Her eyes are downcast, her posture intent. She does not appear to rebuke or scoff as is popularly represented.

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