San Bernardo alle Terme
One of my favourite churches in Rome is San Bernardo alle Terme. It is a luminous round church, built in 1598 on the site of the hot steam baths of Diocletian. Immense paintings by an artist named Odazj dominate the two side altars: the one on the right is dedicated to Saint Bernard, the one on the left to Saint Robert of Molesmes, the first abbot of Cîteaux. The first time I visited the church of San Bernardo I was so taken by the magnificent painting of Saint Bernard in the embrace of Jesus Crucified that I failed to understand the significance of the one depicting Saint Robert. It was on a later visit that I discovered it. It has, with the passing of time, become rich in meaning for me.
Saint Robert of Molesmes and the Virgin Mother
Saint Robert, whom we celebrate today with his two immediate successors, Saints Alberic and Stephen, was the founding abbot of the “New Monastery” at Cîteaux in 1098. The painting in the church of San Bernardo alle Terme shows Saint Robert clothed in his white cowl. Abbot Robert’s face is entirely recollected; his head is bowed, illustrating the twelfth step of humility in Chapter Seven of the Holy Rule. At the center of the painting we see the Virgin Mother of God in all her beauty. Her face is radiant. She wears a rose coloured dress with a blue mantle and pale brown veil. The Infant Jesus, leaning on her knee, is in conversation with an angel. Angels surround the Queen of Heaven on all sides, fascinated and thrilled by what she is doing.
Mystical Espousal to the Virgin Mary
Our Lady is placing a wedding ring on Saint Robert’s finger. Robert, overwhelmed by so tender a love, offers her his right hand. The painting depicts the Mystical Espousal of Saint Robert to the Virgin Mary, a theme not often represented in art. Even in the annals of holiness, mystical espousal with the Virgin Mary is not encountered very frequently. We hear of it in the lives of Saint Edmund of Canterbury, of the Premonstratensian Saint Hermann–Joseph of Steinfeld, and of the Dominican Alain de la Roche. In the seventeenth century, Saint John Eudes wrote of Our Lady as the spouse of priests, and bound himself to her by means of marriage contract. Does not the liturgy attribute to Our Lady the words of Wisdom in the Book of Proverbs: “I love them that love me” (Prov 8:17)?
Saint Joseph
In the painting I am describing it is clear that the initiative is Our Lady’s. She appears to have drawn Saint Robert upward to herself to receive this ineffable grace binding him to her. Now, the most extraordinary detail, to my mind is this: just above Saint Robert and a little to his right, none other than Saint Joseph is looking on! He is pointing to his staff, the top of which has flowered into a pure white lily. What does this mean? Saint Joseph is saying that intimacy with the Virgin Mary is the secret of holy purity. He is pointing to his flowering staff to say that one bound to Mary, as if by a marriage bond, will be pure. She is the virginizing Bride. One who obeys the injunction of the angel to Joseph — “Joseph, son of David, fear not to take unto thee Mary thy wife, for that which is conceived in her, is of the Holy Ghost” (Mt 1:15) — will find that she communicates the grace of a fruitful purity to those who bind themselves to her in a permanent and exclusive way.
His Excellency, the Bishop of the Diocese of Tulsa, Oklahoma has given
Father Mark a special mandate to live in adoration before the Most
Blessed Sacrament, in a spirit of thanksgiving and intercession, that he
might make reparation before the Eucharistic Face of Jesus for all his
brothers in Holy Orders. At the same time, he is available to the
priests and deacons of the Diocese for spiritual and sacramental
support in their pursuit of holiness.
