The Station is at the old Church, which, in the 4th-Century A.D., was the only Parish in the Centre of Rome and in its wealthy Quarter. Built at the foot of The Palatine Hill, this Church, which owes its name to The Chapel of The Resurrection (Anastasis) at Jerusalem, was also Consecrated to Saint Anastasia.
Saint Anastasia was put to death, under Emperor Diocletian, at Sirmium, in Illyria (now Mitrowitz). Tradition seems to say that this "Title", mentioned in a Synod in 499 A.D., recalls the house of this Holy Martyr in Rome (?). It is more than likely, however, that it concerns but a simple identity of name between the Roman Foundress of this Basilica and the Titular Saint.
Lent is the time when "God is near to us and eager to forgive us, if we put aside our evil thoughts and forsake the way of sin" (Epistle). To do so, we must cast sin out from our hearts, as Jesus cast out the sellers from the Temple (Gospel), and receive the teaching of Christ with the simplicity of Children of God. Then, He will be able to cure our Souls, as He healed the lame and the blind who came nigh unto Him.
Casting out the vainglorious wisdom of the World, let us profit by The Holy Season of Lent, so that, "chastening our bodies by mortification, our Souls may be filled with Holy Desires" (Collect).
Santa Anastasia Church was built in the Late-3rd-Century A.D. - Early-4th-Century A.D., possibly by a Roman woman named Anastasia. The Church is Listed under the Titulus "Anastasiae" in The Acts of The 499 A.D. Synod. Later, the Church was entitled to The Martyr with the same name, Anastasia of Sirmium.
Traditionally, the Church is connected to the cult of Saint Jerome, who possibly Celebrated Mass here. The Saint is depicted over the Altar, by Domenichino.
The last Restoration, after the Restoration during the Papacy of Pope Sixtus IV, occurred in 1636, when the facade, with, Lower, Doric, and, Upper, Ionic order, was reconstructed in 1636, after the cyclone of 1634. The Nave recycles antique Columns. The Ceiling is frescoed with a Martyrdom of The Saints (1722) by Michelangelo Cerruti.
The Chapel, to the Right, has a painting of Saint John the Baptist by Pier Francesco Mola. While the last Chapel on the Right has a fresco of Scenes of the Life of Saints Carlo Borromeo and Filippo Neri by Lazzaro Baldi.
The Right Transept has a painting of Saint Toribio (1726) by Francesco Trevisani. The High Altar has a Nativity, by Lazzaro Baldi, and, below the Altar, is a statue of Saint Anastasia, by Ercole Ferrata. It clearly shows the influence of Bernini's Beata Ludovica Albertoni. The Left Transept has a Madonna of The Rosary, by Baldi. The last Chapel, to the Left, by Domenichino, depicts Saint Jerome. The other Chapel has Ss.Giorgio e Publio, by Etienne Parrocel.
Cluny Abbey is a Benedictine Monastery, in Cluny, Saône-et-Loire, France. It was built in The Romanesque Style, with three Churches built in succession from the 10th-Century to the Early-12th-Century.
Cluny was founded by William I, Duke of Aquitaine in 910 A.D. He nominated Berno as the first Abbot of Cluny, subject only to Pope Sergius III. The Abbey was notable for its stricter adherence to The Rule of Saint Benedict and the place where The Benedictine Order was Formed, whereby Cluny became acknowledged as the leader of Western Monasticism. The establishment of The Benedictine Order was a key-stone to the stability of European Society that was achieved in the 11th-Century. In 1790, during The French Revolution, the Abbey was Sacked and mostly destroyed. Only a small part of the original remains.
Dating around 1334, the Abbots of Cluny had a Town House in Paris known as The Hôtel de Cluny, what is now a Public Museum since 1833. Apart from the name, it no longer possesses anything originally connected with Cluny.
In 910 A.D., William I, Duke of Aquitaine “The Pious”, and Count of Auvergne, Founded The Benedictine Abbey of Cluny on a modest scale, as The Mother House of The Congregation of Cluny. In donating his Hunting Preserve in The Forests of Burgundy, William released The Cluny Abbey from all future obligation to him and his family, other than Prayer.
Abbey of Cluny.
Cathedral (reconstruction).
Date: 1887-1901.
English: This image is taken from Georg Dehio/Gustav von Bezold: Kirchliche Baukunst des Abendlandes. Stuttgart: Verlag der Cotta'schen Buchhandlung 1887-1901, Plate No. 212. Due to its age, it is to be used with care. It may not reflect the latest knowledge or the current state of the depicted structure.
Deutsch: Diese Abbildung stammt aus Georg Dehio/Gustav von Bezold: Kirchliche Baukunst des Abendlandes. Stuttgart: Verlag der Cotta'schen Buchhandlung 1887-1901, Tafel 212. Aufgrund ihres Alters ist sie mit Vorsicht zu benutzen. Sie entspricht nicht notwendigerweise dem neuesten Wissensstand oder dem aktuellen Zustand des abgebildeten Gebäudes.
Contemporary Patrons normally retained a proprietary interest and expected to install their kinsmen as Abbots. William appears to have made this arrangement with Berno, the first Abbot, to free the new Monastery from such Secular entanglements and initiate The Cluniac Reforms.
The Abbots of Cluny were Statesmen on the International Stage, and the Monastery of Cluny was considered the grandest, most prestigious, and best-endowed, Monastic Institution in Europe. The height of Cluniac influence was from the second half of the 10th-Century through to the Early-12th-Century. The first female members were admitted to The Order during the 11th-Century.
The Monastery of Cluny differed in three ways from other Benedictine Houses and Confederations:
1. Organisational structure;
2. Prohibition on holding land by Feudal Service;
3. Execution of The Liturgy as its main form of work.
While most Benedictine Monasteries remained autonomous and associated with each other only informally, Cluny created a large, Federated Order, in which the administrators of Subsidiary Houses served as Deputies of the Abbot of Cluny, and answered to him.
Cluny Abbey.
The Most Significant Monastery Of The Mediæval World.
The Cluniac Houses, being directly under the supervision of the Abbot of Cluny, the autocrat of The Order, were styled Priories, not “Abbeys”. The Priors, or Chiefs of Priories, met at Cluny once a year to deal with administrative issues and to make reports. Many other Benedictine Houses, even those of earlier Formation, came to regard Cluny as their guide.
When, in 1016, Pope Benedict VIII decreed that The Privileges of Cluny be extended to Subordinate Houses, there was further incentive for Benedictine Communities to insinuate themselves into The Cluniac Order.
Partly, due to The Order's opulence, The Cluniac Nunneries were not seen as being particularly cost-effective. The Order did not have an interest in Founding many new Houses for women.
The customs of Cluny represented a shift from the earlier ideal of a Benedictine Monastery as an agriculturally self-sufficient unit. This was similar to the contemporary Villa of the more Romanised parts of Europe and The Manor of the more feudal parts, in which each member did physical labour, as well as offering Prayer.
In 817 A.D., Saint Benedict of Aniane, “The Second Benedict”, developed Monastic Constitutions, at the urging of King Louis the Pious, to govern all The Carolingian Monasteries. He acknowledged that “The Black Monks” no longer supported themselves by physical labour. Cluny's agreement to offer Perpetual Prayer (Laus Perennis (literally “Perpetual Praise”)) meant that it had increased a specialisation in roles.
As perhaps the wealthiest Monastic House of The Western World, Cluny hired managers and workers to do the labour of Monks that other Orders insisted on. The Monks, at Cluny, devoted themselves to almost Constant Prayer, thus elevating their position into a profession.
English: The Monastery of Cluny, France - Entrance to the Abbey.
Deutsch: Das Kloster von Cluny - Eingang zur Abtei.
Engraving: Unknown date.
Photo: 1926-1933.
Source: Fritz-Milkau-Dia-Sammlung, erstellt in der Photographischen Werkstatt der Preußischen Staatsbibliothek von 1926-1933.
Despite the Monastic ideal of a frugal life, the Abbey in Cluny commissioned Candelabras of Solid Silver, and Gold Chalices, made with Precious Gems, for use at the Abbey Masses. Instead of being limited to the Traditional fare of broth and porridge, the Monks ate very well, enjoying roasted chickens (a luxury in France) and wines from their vineyards, and cheeses made by their employees. The Monks wore the finest Linen Habits, and Silk Vestments at Mass. Artefacts, exemplifying the wealth of Cluny Abbey, are today on display at The Musée de Cluny in Paris.
All of the English and Scottish Cluniac Houses, which were larger than Cells, were known as Priories, symbolising their subordination to Cluny. Cluny's influence spread into The British Isles in the 11th-Century, first at Lewes, and, then, elsewhere. The Head of their Order was the Abbot at Cluny. All English and Scottish Cluniacs were bound to travel to France, to Cluny, to consult, or be consulted, unless the Abbot chose to come to Britain, which he did five times in the 13th-Century, and only twice in the 14th-Century.
At Cluny, the central activity was The Liturgy: It was extensive and beautifully presented in inspiring surroundings, reflecting the new personally-felt wave of piety of the 11th-Century. Monastic intercession was believed indispensable to achieving a State of Grace, and Lay Rulers competed to be remembered in Cluny's endless Prayers; this inspired the endowments in Land and Benefices that made other Arts possible.
The fast-growing Community at Cluny required buildings on a large scale. The examples at Cluny profoundly affected architectural practice in Western Europe from the 10th-Century to the 12th-Century. The three successive Churches are conventionally called Cluny I, Cluny II, and Cluny III. In building the third, and final Church, at Cluny, the Monastery constructed what was the largest building in Europe before the 16th-Century, when Saint Peter's Basilica, Rome, was rebuilt. The construction of Cluny II, circa 955 A.D. - 981 A.D., begun after the destructive Hungarian raids of 953 A.D., led the tendency for Burgundian Churches to be Stone-Vaulted.
The building campaign was financed by the Annual Census established by King Ferdinand I of León, Ruler of a united León-Castile, some time between 1053 and 1065 (Alfonso VI re-established it in 1077, and confirmed it in 1090.) Ferdinand fixed the sum at 1,000 Golden Aurei, an amount which Alfonso VI doubled in 1090. This was the biggest annuity that The Order ever received from King or Layman, and it was never surpassed.
King Henry I of England's Annual Grant, from 1131, of 100 Marks of Silver, not Gold, seemed little by comparison. The Alfonsine Census enabled Abbot Hugh (+ 1109) to undertake construction of the huge third Abbey Church. When payments in The Islamic Gold Coin later lapsed, The Cluniac Order suffered a financial crisis that crippled them during the Abbacies of Pons of Melgueil (1109 – 1125) and Peter the Venerable (1122 – 1156). The Spanish wealth donated to Cluny publicised the rise of the Spanish Christians, and drew Central Spain, for the first time, into the larger European orbit.
The Cluny Library was one of the richest and most important in France and Europe. It was a storehouse of numerous very valuable Manuscripts. During the Religious conflicts of 1562, The Huguenots Sacked the Abbey, destroying or dispersing many of the Manuscripts. Of those that were left, some were burned in 1790 by a rioting mob related to the excesses of The French Revolution. Others still were stored away in the Cluny Town Hall.
The French Government worked to relocate such treasures, including those that ended up in private hands. They are now held by The Bibliothèque nationale de France at Paris. The British Museum holds some sixty or so Charters originating from Cluny.
In the fragmented and localised Europe of the 10th-Century and 11th-Century, The Cluniac network extended its reforming influence far. Free of Lay and Episcopal interference, responsible only to The Papacy, which was in a state of weakness and disorder with rival Popes supported by competing Nobles, Cluniac spirit was felt revitalising The Norman Church, re-organising The Royal French Monastery, at Fleury, and inspiring Saint Dunstan, in England.
There were no official English Cluniac priories until that of Lewes in Sussex, founded by the Anglo-Norman earl William de Warenne c 1077. The best-preserved Cluniac houses in England are Castle Acre Priory, Norfolk, and Much Wenlock Priory, Shropshire. It is thought that there were only three Cluniac nunneries in England, one of them being Delapré Abbey at Northampton.
Until the Reign of King Henry VI, all Cluniac Houses in England were French, governed by French Priors and directly controlled from Cluny. Henry's Act of raising the English Priories to Independent Abbeys was a Political gesture, a mark of England's nascent National consciousness.
The Early-Cluniac Establishments had offered refuges from a disordered World, but, by the Late-11th- Century, Cluniac piety permeated Society. This is the period that achieved the final Christianisation of the heartland of Europe.
Well-born and educated, Cluniac Priors worked eagerly with local Royal and aristocratic Patrons of their Houses, filled responsible positions in their Chanceries and were appointed to Bishoprics. Cluny spread the custom of Veneration of The King as Patron and support of The Church, and, in turn, the conduct of 11th-Century Kings, and their Spiritual outlook, appeared to undergo a change.
In England, Edward the Confessor was later Canonised. In Germany, the penetration of Cluniac ideals was effected in concert with Henry III of The Salian dynasty, who had married a daughter of The Duke of Aquitaine. Henry was infused with a sense of his Sacramental role as a delegate of Christ in The Temporal sphere. He had a Spiritual and intellectual grounding for his leadership of The German Church, which culminated in the Pontificate of his kinsman, Pope Leo IX. The new pious outlook of Lay Leaders enabled the enforcement of The Truce of God Movement to curb aristocratic violence.
Within his Order, the Abbot of Cluny was free to assign any Monk to any House; he created a fluid structure around a central authority that was to become a feature of The Royal Chanceries of England and of France, and of the bureaucracy of the great independent Dukes, such as that of Burgundy. Cluny's highly centralised hierarchy was a training ground for Catholic Prelates: Four Monks of Cluny became Popes: Gregory VII; Urban II; Paschal II; Urban V.
An orderly succession of able and educated Abbots, drawn from the highest aristocratic circles, led Cluny, and three were Canonised: Saints Odo of Cluny, the second Abbot (+ 942 A.D.); Hugh of Cluny, the sixth Abbot (+ 1109); Odilo, the fifth Abbot (+ 1049). Odilo continued to reform other Monasteries, but, as Abbot of Cluny, he also exercised tighter control of The Order's far-flung
Cluny was not known for its severity or asceticism, but the Abbots of Cluny supported The Revival of The Papacy and The Reforms of Pope Gregory VII. The Cluniac establishment found itself closely identified with the Papacy.
In the Early-12th-Century, The Order lost momentum under poor government. It was subsequently revitalized under Abbot Peter the Venerable (+ 1156), who brought lax Priories back into line and returned to stricter discipline.
Cluny reached its apogee of power and influence under Peter, as its Monks became Bishops, Legates, and Cardinals, throughout France and The Holy Roman Empire. But, by the time Peter died, newer and more austere Orders. such as The Cistercians, were generating the next wave of Ecclesiastical Reform.
Outside Monastic structures, the rise of English and French Nationalism created a climate unfavourable to the existence of Monasteries autocratically ruled by a Head residing in Burgundy. The Papal Schism of 1378 to 1409 further divided loyalties: France recognising a Pope at Avignon and England one at Rome, interfered with the relations between Cluny and its dependent Houses. Under the strain, some English Houses, such as Lenton Priory, Nottingham, were naturalised (Lenton in 1392) and no longer regarded as alien Priories, weakening The Cluniac structure.
By the time of The French Revolution, the Monks were so thoroughly identified with The Ancien Régime that The Order was suppressed in France in 1790 and the Monastery at Cluny almost totally demolished in 1810. Later, it was sold and used as a quarry until 1823. Today, little more than one of the original eight Towers remains of the whole Monastery.
Modern excavations of the Abbey began in 1927 under the direction of Kenneth John Conant, American architectural historian of Harvard University, and continued (although not continuously) until 1950.
English: The Chapel of Jean de Bourbon, Cluny Abbey.
Français: Chapelle Jean de Bourbon of Abbaye de Cluny.
Starting from the 12th-Century, Cluny had serious financial problems, caused mainly by the construction of the third Abbey. Charity given to The Poor increased the expenditure. The influence of the Abbey weakened gradually as other Religious Orders rose (Cistercians in the 12th-Century, then Mendicants in the 13th-Century).
Bad management of the grounds, and unwillingness of the subsidiary Companies to pay the annual taxable quota, helped to lessen Cluny's revenue. Cluny raised loans and ended up being involved in debt to its creditors, who were merchants of Cluny or Jews of Mâcon.
The conflicts with the Priories multiplied and the authority of the Pope became heavier. To the 14th-Century, the Pope frequently named the Abbots. The crises at the end of The Middle Ages. and The Wars of Religion in the 16th-Century, weakened the Abbey a little more.
The Monks lived in luxury and there were not more than about sixty Monks in the middle of the 15th-Century. With The Concordat of Bologna, in 1516, overseen by Antoine Duprat, the King gained the power to appoint the Abbot of Cluny.
The years following The French Revolution were fatal to all the Monastic buildings and its Church. In 1793, its Archives were burned and the Church was delivered to plundering. The Abbey estate was sold in 1798 for 2,140,000 Francs. Until 1813, the Abbey was used as a stone quarry to build houses in the Town.
Today, there remain only the buildings built under The Old Mode, as well as a small portion of Cluny III. Only The Southern Transept and its Bell-Tower still exist. The remaining structure represents less than 10% of the floor area of Cluny III, which was the largest Church of Christendom, until the construction of Saint Peter's Basilica in Rome, five Centuries later.
San Pietro-in-Vincoli (Italian) (Saint Peter-in-Chains) is a Roman Catholic Titular Church and Minor Basilica in Rome. It is also known as the home of Michelangelo's Statue of Moses, part of the tomb of Pope Julius II. Two Popes were elected in this Church: His Holiness Pope John II (533 A.D.) and His Holiness Pope Gregory VII (1073).
English: The Chains of Saint Peter, in the
"Basilica di San Pietro-in-Vincoli", Rome, Italy.
Italiano: Le catene di San Pietro,
conservate nella Basilica di San Pietro in Vincoli a Roma.
The Station is in one of the most ancient Roman Basilicas, built by the Empress Eudocia, where The Chains worn by The Prince of The Apostles, to whom Jesus confided His Flock, are kept. In the 5th-Century A.D., it was one of the twenty-five Parishes of Rome.
The Epistle (of The Day), alluding to the Penitents about to be reconciled at Easter and to the Catechumens preparing for Baptism, says that The Lord is The Shepherd Who comes to seek His Lost Sheep. And the Gospel tells of the separation that this Shepherd will make for ever between the sheep and the goats, or between the good, who repent and give themselves up to Works of Charity, and the sinners (this Prophecy was spoken by Jesus to His Apostles on the Mount of Olives, on the evening of the Tuesday preceding His Death).
Let us ask God to prepare us by “this Lenten Fast” (Collect) “to be loosened from the bonds of our sins” (The Prayer Over The People) by virtue of The Power of Peter, who was delivered from his Chains.
Mass: Sicut óculi. Preface: For Lent.
English: Basilica of Saint Peter's Chains, Rome, Italy.
Also known as the Basilica Eudoxiana, it was first rebuilt on the much older foundations in 432 A.D. – 440 A.D., to house The Relic of The Chains that bound Saint Peter, when he was imprisoned in Jerusalem, the episode called The Liberation of Saint Peter.
The Empress Eudoxia (wife of Emperor Valentinian III), who received them as a gift from her mother, Aelia Eudocia, consort of Valentinian II, presented The Chains to Pope Leo I. Aelia Eudocia had received these Chains as a gift from Iuvenalis, Bishop of Jerusalem.
According to legend, when Pope Leo, while comparing them to The Chains of Saint Peter's final imprisonment in The Mamertine Prison in Rome, the two Chains miraculously fused together. The Chains are kept in a Reliquary under The High Altar in the Basilica.
English: The Interior of San Pietro-in-Vincoli, Rome.
Deutsch: San Pietro-in-Vincoli, Gesamtansicht des Innenraums.
The Basilica, consecrated in 439 A.D., by Pope Sixtus III, has undergone several restorations, among them a restoration by Pope Adrian I, and further work in the 11th-Century. From 1471 to 1503, in which year he was elected Pope Julius II, Cardinal Della Rovere, the nephew of Pope Sixtus IV, effected notable rebuilding.
The front Portico, attributed to Baccio Pontelli, was added in 1475. The Cloister (1493–1503) has been attributed to Giuliano da Sangallo. Further work was done at the beginning of the 18th-Century, under Francesco Fontana, and there was also a renovation in 1875.
English: The Internal Courtyard of Saint Peter-ad-Vincula
The Interior has a Nave and two Aisles, with three Apses, divided by antique Doric Columns. The Aisles are surmounted by Cross-Vaults, while the Nave has an 18th-Century CofferedCeiling, frescoed in the centre by Giovanni Battista Parodi, portraying The Miracle of The Chains (1706).
Michelangelo's Moses (completed in 1515), while originally intended as part of a massive forty-seven-statue, free-standing funeral monument for Pope Julius II, became the Center-Piece of the Pope's funeral monument and tomb in this, the Church of The Della Rovere Family. Moses is depicted with horns, connotating "the radiance of The Lord", due to the similarity in the Hebrew words for "beams of light" and "horns". This kind of iconographic symbolism was common in early Sacred Art, and, for an artist, horns are easier to sculpt than rays of light.
Other works of art include two canvasses of Saint Augustine and Saint Margaret by Guercino, the monument of CardinalGirolamo Agucchi, designed by Domenichino, who is also the painter of a Sacristy fresco depicting the Liberation of Saint Peter (1604).
In 1876, archaeologists discovered the tombs of those once believed to be The Seven Maccabean Martyrs, depicted in 2 Maccabees 7–41. It is highly unlikely that these are, in fact, the Jewish Martyrs that had offered their lives in Jerusalem. They are remembered each year on 1 August, the same day as The Miracle of The Fusing of The Two Chains.
The third Altar, in the Left Aisle, holds a mosaic of Saint Sebastian from the 7th-Century A.D. This mosaic is related to an outbreak of plague in Pavia, in Northern Italy. It would only stop if an Altar was built for Saint Sebastian in The Church of S. Pietro-in-Vincoli in that City. Somehow, this story also became accepted in Rome. Hence the Altar.
Saint David's Day is on 1 March. He brought Christianity to Wales
in the 6th-Century A.D. Saint David (Dewi Sant) is The Patron Saint of Wales and 1 March is The Welsh National Day. This is an edited version of 'Songs of Praise' 24/02/2013. The final song is sung by Rhys Meirion, in Welsh, accompanied by a Traditional Welsh Harp. The Welsh name for the City of Saint David is Tyddewi.
Cymraeg: Darlun o Ddewi Sant ar ffenestr lliw yng
Nghapel Coleg yr Iesu, Rhydychen. 19eg ganrif hwyr.
English: Late-19th-Century Stained-Glass Window in
Jesus College Chapel, Oxford, England, depicting Saint David.
