Category: Religious Institutions

The Portico, The Church and The Temple

©2020 Snapping the Globe, L.L.C. All rights reserved.

Seeking out adventure in Italy is easy.

So, while in Rome, when a friend asked me to rent a car and drive to some nearby cities, I was tempted. Very tempted.

Problem was, I had promised my cousin that I would seek out some special rosaries in Vatican City that he had asked me to purchase!

What to do? What to do?

Always striving to keep my promises and pleased to have such an important errand for the day, I headed out into the beautiful afternoon in search of the religious treasures he was seeking. After many religious shops and several texts, I finally found what he was requesting, made the purchases and then walked out past St. Peter’s Basilica.

Not really having a plan for the rest of the afternoon, of which I still had much time, I headed toward the Tiber River and walked southeast, soaking up the warm sun, which was casting its brilliant rays on the swift moving waters. As I neared Tiber Island, I decided to take a left away from my original trek, not really sure where my path was leading.

Striding up the Via del Portico d’Ottavia an area of the city I had never transited, I encountered a large tour group standing in front of the facade of a lofty ruined structure. Not sure what I was viewing, I made my way down the ramp to study the signage and learned that what I was standing in front of was the Portico of Octavia, an ancient structure built by Augustus in the name of his sister, Octavia Minor after 27 BC. The structure was used as a fish market until the end of the 19th century and the colonnaded walks enclosed the temples of Jupiter Stator and Juno Regina as well as a library.

The church of Sant’Angelo in Pescheria is built into the ruins and as I made my way across the walkway, I entered this religious temple.

Famous for the ruined portico as its narthex, the church was originally dedicated to St. Paul and then later, St. Michael. Rebuilt during the Middle ages, the church was used as the headquarters for the Confraternity of Fishmongers. A reconstruction on the right hand aisle, for their use, resulted in the Chapel of St. Andrew, the patron saint of fisherman. Interestingly enough, the fishmongers became dissatisfied with their small chapel and built their own church next door, Sant’Andrea dei Pescivendoli, which is now deconsecrated. The chapel is one of the treasures of the church and decorated in gilded stucco and frescoed panels. The panels on the ceiling show events in the life of St. Andrew and fish are featured throughout. The panels flanking the altar, date back to 1598, and feature St. Francis of Assisi on the left and St. Francis of Rome on the right. You can also spot the Contrafraternity’s shield on the marble floor which features a deer, a pair of geese and a large sturgeon.

The left side aisle was once dedicated to Our Lady of Graces but is now graced by a modern crucifix decorated with a bronze sculpture. The altar contains an opening which allows a glimpse of the relics of the martyrs Cyrus and John of Alexandria which were brought from the church of Santa Passera in the 14th century. On the altar, you can also find the relics of the martyred Saint Symphorosa and her comanions.

As I turned to face the rear of the church, I was confronted with the gallery which houses the original organ installed in the 18th century. It is not in very good condition and therefore, unplayable.

The church now used by the Communita Maria, a Marian lay worshiping community, is often frequented by those visiting the ruins of the Portico. The front door is often not open, as it was on my visit, however, you can use the walkway to the left of the portico. This passes through to the Via Sant’Angelo in Pescheria, a dead-end street, where you can find the most commonly used entrance to the church on the right. This was the doorway that I exited and I made my way around to the front of the portico once again.

Heading down to the Via del Foro Pescario, I marveled at the ruins that littered the sides of the ancient street. On the right, I encountered the remains of the Temple of Apollo Medicus Sosianus, the Roman temple dedicated to Apollo, whose full name is derived from its final rebuilder, Gaius Sosianus. Some may recognize Sosianus as the person responsible for placing Herod on the throne of Jerusalem.

I gazed up at the only parts remaining of the temple, three columns that form the front right-hand corner of the temple, which was restored in 353 BC and 179 BC. The temple originally displayed six columns on the front, two at the side and seven more attached to the inner chamber wall. The chamber was once decorated with colored marbled and contained a large collection of marble statues, all relating to Apollo. Several relics from the temple can be seen in the Central Montemartini Museum.

Though I knew that I was near Palatine Hill and the Capitoline Museums, areas I was familiar with, I was struck that I had never encountered this little slice of history.

And as I turned to the right, my bearings were even more disconcerted.

The colosseum was here?

To be continued…

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Portico di Ottavia

  • Address: Via del Portico d’Ottavia, 29, 00186 Rome
  • Hours: Summer, 0900-1900, Winter, 0900-1800
  • Admission: free
  • Getting There: Bus, Teatro Marcello/Ara Coeli stop, Lines 30, 44, 51, 63, 81, 83, 85, 87, 118

Church of Sant’Angelo in Pescheria

  • Address: Via della Tribuna di Campitelli, 00186 Rome
  • Hours: unknown
  • Admission: free
  • Getting There: Bus, Teatro Marcello/Ara Coeli stop, Lines 30, 44, 51, 63, 81, 83, 85, 87, 118

Temple of Apollo Medicus Sosianus

  • Address: Via del Teatro di Marcello, 42, 00186 Rome
  • Hours: Summer, 0900-1900, Winter, 0900-1800
  • Admission: free
  • Getting There: Bus, Teatro Marcello/Ara Coeli stop, Lines 30, 44, 51, 63, 81, 83, 85, 87, 118

The Icing On the Cake

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My husband likes to go to church.

For mass.

He just doesn’t like visiting them as a tourist. In fact, he feels like it’s an intrusion and a bit disrespectful.

Good Catholic guilt.

On the other hand, there is me. Raised as a Catholic and no stranger to my own religion’s institutions, there is a great admiration for architectural elements, decorative features and their history of all churches. As I walk through and examine each interior, I always think of others. Everyone should see this! I guess my love for spreading how remarkable these temples are, outweighs my Catholic guilt. Imagining that my blog posts and pictures might inspire one person to venture into a church out of curiosity, might inspire them to stay…for good…no matter the religion.

While in Bruges, there were many churches that I would have loved to investigate. I knew that getting my husband to see one church during our short visit was probable. Two…slim. Three…not going to happen, especially when there was so many other things to see.

Having already visited the Basilica of the Holy Blood, I stared wistfully at each church that we passed, wondering what lay inside. As we made our way through the main square, in the waning light, we stopped inside a few chocolaterias, searching for decadent souvenirs.

As we headed in the direction of the train station, I spied the tower of Saint Salvator Cathedral (Sint-Salvatorskathedraal) ahead on the right. Realizing that it was the end of the day, I consoled myself with the knowledge that it was probably already closed.

Surprisingly, as I stopped to take a picture of the exterior, my husband suggested that we see if it was still open…

It was!

Saint Salvator’s, the main church of the city, was originally built during the 10th century as a parish church in the shadow of St. Donatian’s Cathedral. St. Donatian’s was located opposite the city hall and was the religious heart of the community, but was destroyed by fire in 1116. A new church was constructed in 1127 and a century later, the lengthy construction of the present church was begun only to be destroyed by the French occupiers of Bruges in the 18th century.

After Belgium obtained its independence in 1830, Saint Salvator was given the status of cathedral and became the main church of the Catholic population. Because of its smaller size, however, renovations were required to elevate it to its higher status and one of the main features is its tall tower dating from the 12th century which outshines the nearby Onze-Lieve-Vrouwekerk, the Church of Our Lady.

Entering the cathedral, we made our way throughout the ornate interior, noting some of the exquisite furnishings. There are many works of art originally stored in Saint Donatian’s cathedral and original paintings that the wall carpets (that can be viewed at the entrance) were modeled on and originally commissioned for Saint Donatian’s.

Some of its other treasures include its organ which was completed in 1719 and expanded and rebuilt three times in the 20th century. In the choir, the original 16th century podium can be regarded as well as a baroque fence made by Artus Quellinus the Younger.

Inside the cathedral’s south transept, there is the church Treasury which displays jewelry, reliquaries and objects used in religious services, however, in the interest of time, we were unable to visit. Before our exit, however, we did take note in the front of the church, the medieval tombs that were unearthed during renovations during 1989-1993. These 14th century tombs are covered in plexiglass and brightly painted in the style that was typical of Flanders in that period.

Medieval Tombs

As we stepped out into the evening to make our way back to the train station, I glanced back at the soaring tower of the church. With all that we had seen in the city, being able to sneak in a visit to the Cathedral was icing on the cake!

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Cathedral of Bruges (Saint Salvatore’s Cathedral)

The Most Holy Relic

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Burg Square in Bruges is certainly on any tourists’ agenda with its spectacularly adorned buildings that circumscribe the plaza. In the 9th century, Burg Square became the base of operations for the Count of Flanders and the buildings were occupied by the courts of law for nearly 200 years. Here, you can still find the 14th century City Hall, the old Court of Justice built in the Renaissance style and the Basilica of the Holy Blood.

City Hall
Palace of Justice
Statue in Burg Square

Did someone say Basilica?

If I had to choose only one church to visit in Bruges, it was definitely going to be this one that features one of the most holy relics…that of Jesus Christ’s blood.

Actually consisting of two churches, dedicated to Our Lady and to Saint Basil, the structure, located in the corner of Burg Square, dates back to the 12th century when it was the chapel of the residence of the Count of Flanders.

As we stood in the square, I was dumbfounded by the resplendent architecture rising boastfully before us. Finally turning our attention to the flamboyant staircase that leads to the upper basilica, we excitedly climbed to the apex and tried the door, anxious to see what lay inside. Frustrated, we found the door to be locked. Searching out the signboard, we discovered that the basilica is closed during the mid-day hours.

Returning later, we once again ascended the steps to the entryway and thankfully, found the door unlocked and we entered the topmost of the two chapels that make up the Basilica.

Decorated in the neo-Gothic style, we discovered it to be dimly lit but exceptionally ornamented. My eyes were first drawn to the beautifully colored stain glass windows and then the altar, which disappointingly, was under renovation, its view consumed by scaffolding. Nevertheless, I thought it to be quite breathtaking. My attention was then drawn to the side chapel where a priest was standing behind an altar. A line had formed at the rear of the church leading to the altar and on it, I realized was the relic of the Holy Blood of Jesus Christ.

This sacred relic is said to be the blood of Jesus Christ on a cloth that was used to wipe his body by Joseph of Arimathea after the Crucifixion. The relic was given to the Count of Flanders, Diederik van de Elzas, by the King of Jerusalem after the Second Crusade. The Count took the relic from the Holy Land to Bruges, arriving on April 7, 1150 and placed it in the chapel. The relic is preserved in a rock crystal vial which is placed in a small glass cylinder capped with a golden crown at each end. The relic is kept in an imposing silver tabernacle with a sculpture of the Lamb of God.

Because we were not sure of the proper protocol, we sat for a few moments and observed the actions of the other visitors. Finally, we stepped up onto the altar, deposited an offering and laid our eyes on the sacred artifact. Our veneration was short and sweet and we walked away with our belief in the validity of the object.

Taking one last look around, we made our way to the Museum which houses the treasury. There are many interesting objects on display that are tied to the history of the chapel or the relic including the Shrine of the Precious Blood, golden statues representing Christ the Savior, The Virgin, St. Donatian and St. Basil and a small silver crown which belonged to Mary of Burgundy. Paintings include the Scenes of the Life of St. Barbara (around 1480) by the Master of the Barbara Legend, The Burial of Christ (1519), a triptych attributed to the Master of the Precious Blood, Christ Bearing the Cross, another triptych, His Being Speared and His Resurrection (16th century) and two panels painted in 1556 by Peter Pourbus entitled the 31 Members of the Noble Brotherhood of the Holy Blood. There are also six medallions carved in oak which represent scenes of Christ’s life, and a large tapestry which dates back to 1637 that depicts the transfer of the relics of St. Augustine from Africa to Sardinia.

Museum/Treasury
Museum/Treasury

Making our way back down the staircase, we found the second part of the church, the Romanesque Chapel of St. Basil. It was such a contrast, stepping inside this chapel, as it couldn’t be more different than what we had just visited. While the Chapel of the Holy Blood was ornate and blossoming with color, the Chapel of St. Basil was very austere and dark. The only Romanesque church in West Flanders, it dates back to the first half of the 12th century. Established by Derrick, Count of Alsace, it was dedicated to St. Basil the Great and constructed to house his relic brought from Caesarea during the Crusades. This relic, along with the relic of Charles the Good, can be found at the left of the choir in the chapel of Saint Yves. The chapel is small and feels extremely closed in with its low vaulted ceiling and brick archways, but there is something extremely important in the right aisle. A wooden statue of the Madonna and Child dates back to 1306 and is the central focus of the procession along with the relic of the Holy Blood, held each year during on Ascension Day in the city. During the procession, the bishop of Bruges carries the relic of the Holy Blood through the streets, accompanied by the Madonna and Child statue and costumed residents dramatizing biblical scenes. Two additional statues, Jesus on the Cold Stone and the Pieta are also carried in the procession. This cavalcade dates back to 1291 and still follows the route established in 1578 when it was changed due to the religious wars.

St. Basil’s
St. Basil’s

Having seen pictures of the religious procession, it reminded me of the processions I witnessed last year in Guatemala, yet more festive, and I made a mental note to mark my calendar for the next year’s events.

Both chapels contain many treasures, but the sacred relic is truly the treasure of Bruges.

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Basilica of the Holy Blood

  • http://www.holyblood.com/?lang=en
  • Address: Basilica of the Holy Blood Burg 13, 8000 Bruges
  • Hours: 0930-1230 and 1400-1730, daily. Closed January 1 and January 13-January 18.
  • Mass Times: Daily, also on Sunday and Holy Days, at 1100 except Monday.
  • Veneration of the Holy Blood relic: Every morning 1130 till 1200 and every afternoon from 1400-1600. Fridays and Sundays after 1100 Mass.
  • Admission: Basilica and Chapel, free. Treasury/Museum, €2,50

Burg Square

The Holy City

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The Holy City.

Rome?

No, Charleston.

That’s a new one for me!

There are approximately sixty-five churches in Charleston’s downtown area and as I stood at my hotel window, so many majestic steeples and spires dotted the landscape, I almost lost count!

I was intrigued! I always seek out churches in Europe, but I was curious to see what these churches, some very historic, would offer. As I stood before the window, I decided that this would be my mission that day. I would try to see and photograph as many of these historic places of worship as I could!

The French Huguenot Church was first on my list, not only because it was in the area that I was headed, but I was captivated by pictures I had seen. Dating back to 1845, this was the third church to stand on the site and it is the only remaining independent Huguenot Church in America. Although I didn’t get the opportunity to venture inside, I was able to admire its Gothic styled windows, buttresses and decorative details.

Just down the street, I was drawn to St. Philip’s Episcopal Church, one of the most photographed landmarks in Charleston. In 1681, a small wooden building on the site of the current St. Michael’s Episcopal church, housed the congregation until a new church was built on this location in the 1700’s. This church, however, was destroyed by fire in 1835. The current church was completed in 1838 and it’s lofty steeple added a decade later. Again, neither the church nor its graveyard were open as I strolled by, but it should be noted that there are many prominent people buried in this location, including several colonial Governors, five Episcopal bishops and a former United States Vice President.

The Circular Church was organized in 1681 by English Congregationalists, Scots Presbyterians and French Huguenots who were seeking religious freedom. Located on Meeting Street, it was their first church, known as the White Meeting House, that gave the street its name. The second structure was completed in 1806 until it was damaged by the Great Charleston Fire in 1861 and then completely demolished by the Charleston earthquake of 1886. The current circular Romanesque church was completed in 1892, using material from the previous structure. Though, once again, the church was not open to visitors, the graveyard offered some interesting grave sites and tombstones, one dating back to 1695.

So, I was batting zero as far as seeing interiors of these significant sanctuaries and my average didn’t get any better as I arrived at the Cathedral of Saint John the Baptist. Out front, a sign was posted stating that the interior was closed while it was receiving a fresh coat of paint! Standing outside, I had to imagine what its notable stained glass windows looked like from the inside while gazing up at the relatively new spire. The cathedral dates back to its completion in 1854, only to see its destruction by the Great Charleston Fire in seven years later. The current construction was completed in 1907, with it spire added 103 years later. Disappointed that I was unable to see the interior of the cathedral, I was invited into the basement chapel by the church’s secretary, for a small respite from the unseasonably warm temperatures.

A little further down the block, I found St. Michael’s, and finally, a church that was open! Built between 1752 and 1761, St. Michael’s Episcopal Church is one of the oldest churches in Charleston, surviving hurricanes, wars, fires and earthquakes. It has hosted some very famous guests including George Washington in 1791 and Robert E. Lee in 1861. As I wandered through the historic structure, I noted the beautiful stained glass window in the apse, a brass chandelier, carved wooden pulpit, cedar box-pews, the three-sided second story gallery and its grand organ.

Despite my disappointment in my mission with most churches being closed, this beautiful church restored my vigor!

Heading in the opposite direction, I made my way over to the Emanuel African Methodist Episcopal Church, often referred to as Mother Emanuel. A Gothic Revival style church built in 1891, it is the oldest African Methodist Episcopal (AME) church in the south. Though I was unaware at the time, I discovered later that this was the church that was the site of a mass shooting in 2015 when a man entered the church and opened fire on a Bible study group.

The Second Presbyterian Church was located a couple of blocks away on Wragg Square. Founded in 1809, the church is listed on the National Register of Historic Places. Designed in the Classic Revival style, the brick building features two tiers of windows, a square tower with an octagonal belfry and a Tuscan portico.

Moving on, I spied the New Tabernacle Fourth Baptist Church down the street. After later spotting photographs of this Gothic Revival’s interior, I do wish I could have taken a look inside as it appeared to be quite lovely. This church dates back to 1875 and is the fourth church of the Baptist denomination to be founded in Charleston.

On King Street, named for King Charles II and known for its outstanding shopping, I found St. Matthew’s Lutheran Church. Built in 1872, its 297-foot steeple once made it the tallest building in South Carolina. Today, it is the tallest spire and one that I had seen from my hotel window. After only being able to see most of the churches that I had sought out only from the outside, I was thrilled to find St. Matthew’s open to visitors. The caretaker gave me a detailed history of the church, including the fire that destroyed much of the interior and the steeple, which crashed into King Street. Its original features include the carved pulpit and the stained glass windows in the apse and under the balcony.

Citadel Square Baptist, established in 1854, was the fourth Baptist church built in Charleston and is named after the church’s location across from Marion Square, the location of the Citadel at the time. It makes a beautiful site from the square with its flaxen hued exterior and lanky spire.

Redeemer Presbyterian Church is a relatively new church, started in 2005 on James Island. After deciding to relocate to the downtown area, this church assumed ownership of St. Andrew’s Lutheran Church, which dates back to 1853. Again, it was not open to the public, but I thought that it was a stately building created in the classical Greek revival style.

The last church I came upon was St. Johannes Lutheran Church. To be quite frank, it looked so much like the previous one. Listed on the National Register of Historic Places, however, this church was established in 1842 by a constituency of 52 Lutherans who wanted to retain the German language in their services. In fact, German was spoken until 1910. I understand that the interior is quite beautiful, so I will have to do further investigation to find when the church might be open to visitors.

As the afternoon was coming to a close, I did a quick count…twelve churches. Wow! But wait, how many are there in the downtown area?

I read somewhere that there are over 400 places of worship of different denominations throughout the city. If this is the case, it truly is a Holy City.

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The French Huguenot Church

St. Philip’s Episcopal Church

Circular Church

Cathedral of St. John the Baptist

  • https://www.circularchurch.org/
  • Address: 120 Broad Street, Charleston, SC 29401  
  • Hours: Mass times, Saturday 1730, Sunday 0700, 0900, 1115 and 1800.
  • Admission: free

St. Michaels Anglican Church

Mother Emmanuel AME Church

Second Presbyterian Church

  • https://www.2ndpc.org/
  • Address: 342 Meeting Street, Charleston, SC 29403
  • Hours: Sunday service, 1030
  • Admission: free

New Tabernacle Fourth Baptist Church

St. Matthew’s Lutheran Church

Citadel Square Baptist

Redeemer Presbyterian Church

St. Johannes Lutheran Church

The False Apse

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When in Milan, everyone ensures a visit to the Duomo, the city’s wondrous cathedral.

There are, however, a great many other churches throughout the confines of the city limits, each with their own special notoriety.

Having made many trips to the Duomo, I have made it my mission to mark off each of the others on my map during my visits to Milan. One by one, I researched and chose carefully for the particularities of each. As I set out from my hotel, I made my way toward the the one that I had my eye on and it was actually just around the corner from the Duomo…Santa Maria presso San Satiro.

This Italian Renaissance structure was built from 1476 to 1482 and houses the early medieval shrine to Satyrus, brother of Saint Ambrose. Constructed on the site of a primitive place of worship, dating back to 879, the church was commissioned by the Duke Galeazzo Maria Sforza and designed by Donato Bramante. It was once an important pilgrimage site during the 13th and 14th centuries when word reached the masses that it contained an image of the Madonna that shed real blood when stabbed.

Though there are many interesting features, the one that everyone comes to see is the false apse, one of the early examples of trompe l’oeil. Working with a small plot of land within the city, there was not enough space to build the choir, the space behind the altar. The church’s dimensions had to be abridged, making the space awkwardly short. Bramante’s solution was to formulate an area by creating an optical illusion. As I walked into the space, indeed, there appears to be a real apse behind the altar, but as I made my way throughout the church and to the side of the altar, it was evident that it is only a relief applied to the back of the wall.

I must admit, I was so intrigued, I made three or four trips back and fourth from the entrance of the church to the side of the altar to compare what I was seeing.

After resolving my visions, I spent a great deal of time discovering the other treasures within the multi-naved church, including an image of Virgin with Child and Two Donors, the 15th century baptistry, several terracotta busts in the sacristy, an altarpiece of the Extasis of St. Phillip Neri by Guiseppe Peroni and outside, the Romanesque bell tower that dates back before the 1480s construction. Besides the main attraction, however, is one other major piece of artistic importance, the Cappella della Pietà, the chapel built in the 9th century to honor Saint Satiro, brother of Saint Ambrose. This chapel houses the 15th century terra-cotta Pietà and lovely Byzantine frescoes and Romanesque columns. As is throughout the rest of the church, the lighting is dim, but you can drop in 1 euro into the box so that the space will be illuminated.

The rich decorations throughout the church intrigued me as I wondered throughout investigating every niche. The ceiling of the main nave was golden and lent to the warm glow throughout and the beautiful tri-chrome floor under the magnificent dome was spectacular.

Exiting the church, I turned to re-examine the facade which remained largely unfinished, until the 19th century, due to disagreements between the architect and the executor Giovanni Antonio Amadeo. Tucked away behind the gates, on Via Torino, its quite easy to realize how many people would walk on by, mesmerized by lure of the great Duomo which lies a short distance away.

Don’t walk on by. Don’t go to the Duomo.

Step through the gates and discover this work of artistic and archaeological importance!

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Santa Maria presso San Satiro

  • Address: Via Torino 17-18, 20123 Milan Italy
  • Hours: 0900-1200 and 1430-1800, daily
  • Admission: free
  • Getting There: Metro, M1 line to Duomo station.

Not A Plain Jain

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No discriminating religious institution visitor here!

Churches, temples, synagogues, mosques, chapels, basilicas, monasteries, convents…you name it! They are all on my visitation list when exploring a new city.

When we set out for our day in Mumbai, I had a loose plan. I knew that if we encountered any temples or churches, I would want to visit, however, I didn’t have any particular one in mind.

“Abdul…can we visit a temple?” (as our day came to a close…)

Abdul navigated his way through the streets of Mumbai and before long, we pulled over to the side of the street. He showed us the entrance to the Jain Temple Mumbai (also known as the Babu Amichand Panalal Adishwarji Jain Temple) and told us that he would park further down the street and wait for us.

Not sure what was in store for us, we cautiously entered the front gates and were immediately confronted with the rules of the temple. Some were incredibly interesting!

When I began to glance at the temple and its surroundings, I was extremely excited to explore it further. The temple is very interesting in that the entire premises is covered by a high roof that allows light to enter and which I also assume protects the decorated temple from the elements. The Jain Temple Mumbai is a place of religious significance and was built more than a century ago in 1904. The shrine is dedicated to Adishwara, the founder of Jainism and is the largest of the Jain temples in the city.

Ditching my sandals, I approached the temple and was stunned by its unique architecture and beauty. I was awed at the two stone elephants that greeted me at the stairway and the ornate archways and pillars that lured me further inside. Admittedly, I was a bit apprehensive about stepping inside and taking photos, but no one seemed to pay me any attention as they went about their business.

As I made my way throughout the temple, I discovered colorful sculptures and columns decorated with multi-hued and intricately carved flowers, marble floors and detailed paintings. As I glanced upward, I marveled at an amazing domed ceiling bedecked with symbols of the zodiac.

There were many worshipers, each paying their respects to the twenty-four tirthankaras and idols that could be found in the small alcoves. What I found most interesting, however, was a statue that a group of women were painstakingly changing. There were metal pieces, sort of like a coat of armor, that they were switching out to give the statue a different look. Was this Adishwara? Sadly, I never discovered the answer.

At the time, I didn’t know much about this religion, however, I later learned from Abdul, that the Jains are peace loving people who maintain their principles and avoid violence, most not even willing to kill an insect. They take great pride in and contribute greatly to the maintenance of their temples.

Having been to many different temples in throughout the world, I knew that I would see something different here in Mumbai. How ornate and elaborate it was, however, was a surprise to me and I loved the unique elegance of this place. It was no surprise to learn that this particular temple is renowned among the Jains for its unsurpassed beauty. Also, my visit left me wondering how I never knew this religion to exist. I am a well traveled person and am familiar with many religions and cultures yet, this one escaped me. Nonetheless, I was extremely grateful to be allowed to visit and learn something new and valuable.

Thank you Abdul!

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Chandabala Jain Temple

  • Address: 41 Walkeshwar Ridge Road, Malabar Hill, Mumbai
  • Hours: 0500-2100, daily
  • Admission: free

Second Fiddle

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Poor Santa Maria della Grazie!

You’ve never heard of it? It is the basilica that plays second fiddle to Leonardo da Vinci’s masterpiece which resides in the adjacent refectory!

Most people do not trek across Milan in search of this church. They duck inside before or after the visits to the Last Supper or visit as a consolation when they cannot get tickets to lay their eyes on the famous painting.

I am here to tell you, however, even if you can’t secure tickets to the Last Supper, a visit to Santa Maria delle Grazie, next door, is a must. Years ago, when I was practically laughed out of the ticket office when I inquired about last minute tickets, I consoled myself with a visit to the basilica. Now considered a UNESCO World Heritage Site, it was constructed under the orders of the Duke of Milan Francesco I Sforza and completed in 1469. While the basilica contains some amazing treasures, it is the notorious painting, housed in the refectory of the adjacent convent that attracts thousands of visitors each year. Though the Last Supper is the main attraction, it is not to say that the church itself should be overlooked.

Taking decades to complete, the church was originally designed to serve as the burial site of the Sforza family, however Ludovico Sforza’s wife, Beatrice was the only member buried in the church in 1497.

Since I arrived extremely early for my visit to the Last Supper, I decided to take another look around the basilica I had visited so many years ago. As I entered the structure, I vividly remembered its beauty and all that it has to explore, however, the chapels on each side of the church are the definitely the highlights. Upon completion of the church, the most powerful families who were granted patronage of the chapels to bury their loved ones, then decorated each chapel with the artistry of the period’s masters and each is magnificent and unique.

The Chapel Atellani’s prominence is an altar-piece of the Virgin Mary with Child, St. Vincent Marty and St. Vincent Ferrer by Cariolano Malagavazzo dating back to 1595. The frescoes from the 17th century were painted by the Fiamminghini brothers and detail the the miracles by St. Vincent Ferrer and his martyrdom.

The Chapel of St. John the Baptist displays an ornate candelabra, an ancient organ and an altar-piece of St. John the Baptist admonishing a devotee painted by Marco d’Oggiono. The frescoes on the walls and ceiling were painted by Ottavio Semini in the 16th century.

The Chapel of St. Joseph’s altarpiece was completed by Tiziano’s disciple, Paris Bordon and highlights the Holy Family with St. Catherine of Alexandria.

The Chapel of St. Peter Martyr contains frescoes by Giambattista Lucini of St. Ludovico Beltran and St. Paul. The altarpiece is entitled The Martyrdom of St. Peter of Verona.

The Chapel of Conti (forrmerly Simonetta) offers an entrance gate of bronze, dating back to 1669, which was formerly the railing of the high altar until 1935. The altarpiece is a marble monument of the Virgin Mary received into Heaven and Eve at her feet, sculpted by Arrigo Minerbi in 1941. On the sides of the chapel are centographs of Senator Ettore Conti and his wife, Gianna Casati, by Francesco Wildt. Conti was the illustrious benefactor who ensured that Santa Maria delle Grazie was restored and rebuilt after World War II’s bombings damaged the church.

The Chapel of St. Dominic’s magnificent altarpiece is of St. Dominic, holding the rosary, receiving the book and the stick of the evangelic preaching from the Apostles Peter and Paul, by Carlo Pontion. Its walls contain fragments of the glory of the Dominican Saints by Francesco Malcotto that were originally in the apse of the choir.

The Chapel of St. Pius V contains tombstones of Branda Castiglioni (1495), Luigi Arcimboldi (1496) and Cecilia Magenta (1585). There are fragments of frescoes by Montorfano and the altarpiece of Pope Pius V is by an unknown artist.

The Chapel of St. Catherine contains a bronze Crucifix on the altar designed by Ecce Homo, earthenware on the altar table, six bronze tablets with episodes of the life of St. Catherine of Siena, and a (now walled-up) reliquary where the mantle of the Sienese saint is preserved. There are paintings in the lunettes of St. Catherine of Alexandria and St. Catherine of Siena and an altarpiece of the Virgin Mary of Child and St. John the Baptist and St. Peter Martyr, by Nicolo of Cremona.

The Chapel Della Torre highlights a painting of the Virgin Mary adoring the infant Jesus with St. Ambrose, St. Lucy and the offerer’s family. If you glance upward, you will notice an example of the original decoration of the XV century.

The Chapel of Marliani (or The Angels Chapel) depicts an altar piece of St. Michael defeating Satan which dates back to 1560 and there are nine angelic choirs on the vault by an unknown painter.

The Chapel of St. Martin de Porres has four cenotaphs from the XVI century on the walls and an altar piece of St. Martin in Ecstasy by Silvio Consadori.

Chapel Sauli’s main focus is the Crucifixion by Giovanni demio of Schio. On the walls there are elegant angels created by earthenware covered in stucco, that carry the instruments of the Passion. If you look closely, there is evidence remaining of the bombardment from World War II.

Finally, St. Crown’s Chapel offers the Deposition from the Cross by Caravaggio dating back to 1616. Its original masterpiece, The Crowning of Thorns Coronation by Tiziano was stolen in 1797 but was recovered and now housed in the Louvre. The vaults and walls display frescoes with scenes from the Passion.

After making my rounds of the illustrious chapels, I made my way through the remainder of the church, admiring the decorated vaults and domes of the nave and the apse.

The two-level choir of the friars for the holy liturgy has thirty-three Carthusian-styled seats on the lower level and forty-two on the upper level decorated with figures of angels and saints in the Lombard style. The modern organ is lowered in the middle of the floor. The choirs of Italy’s churches are always a favorite of mine with their elaborate carvings and I am always able to imagine the beautiful sounds that must emanate from this area.

The outside of Santa Maria delle Grazie is also not to be missed! Make sure to not miss the family crests that decorate the outside of the church.

Though Santa Maria delle Grazie is consistently outshined by the Last Supper which is housed in its refectory, every visitor to Milan should make their way to its location and give it the respect it deserves!

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Santa Maria delle Grazie

  • https://legraziemilano.it/
  • Address: Via Giuseppe Antonio Sassi, 3 20123 Milan
  • Hours: 1000-1220 and 1500-1755, July opening hours 0900-1200 and 1600-1755
  • Mass times: Monday through Saturday, 0730, 0830, 1230* (*except July and August), 1830. Sunday, 0800, 0930, 1030, 1130, 1830, 2000* (*except August)
  • Admission: free
  • Getting There: Metro, Conciliazione or S. Ambrogio stops


Art and Faith

©2020 Snapping the Globe, L.L.C. All rights reserved.

Who needs a museum when you have a church?

Most churches can be construed as museums. Filled with religious works of art and exhibiting stunning architectural features, you can enter, in most cases, without paying an exorbitant fee and spend as much time as you wish, not only viewing the treasures, but spending a bit of time in solitude and contemplation.

The Church of St. Fedele is not only much like I described, but it is the only church in Milan that really does have a real art museum within its walls.

After visiting La Scala Theater, I noticed that St. Fedele Church was just around the corner. It was starting to sprinkle and if I was lucky, it would take up a bit of the time I needed to kill before dinner. Pointing myself in that direction, I covered the short distance quickly and stepped into the large square, admiring the statue of Alessandro Manzoni, the Italian poet and novelist.

The Jesuit church, which dates back to 1579 and is dedicated to St. Fidelis of Como, took the title of Santa Maria alla Scala in San Fedele when Santa Maria alla Scala was demolished in 1776 to make way for the Teatro alla Scala. Much of the destroyed church’s ornamentation from that church was brought to San Fedele.

The elegant facade which stands out in the St. Fedele Square today, was completed in 1835, however, many years later, during World War II, the church was severely damaged during a bombing raid. Though since repaired, the exterior should be examined thoroughly as it features a group of statues representing the Assumption, designed by Italian sculptor, Gaetano Matteo Monti.

The interior is a single nave church with tall columns, but adorned less ornately than others I have seen throughout Italy. There are, however, some notable pieces, including a Pietà by Simone Peterzano, a St. Ignatius by Giovanni Battista Crespi (il Cerano) a Transfiguration by Bernardino Campi, and a “Sacred Heart” by Lucio Fontana.

As I made my way around the church, I decided that it might be a short visit after all. Admiring the altar and the sanctuary, I was approached by a gentleman who asked if I would like to see the other parts of the church. He explained that St. Fedele is unlike any other in the city as it incorporates an art museum within its walls. Intrigued, I paid him the three euro entrance fee and was admitted to the sacristy.

As I made my way through the rooms of contemplation…the sacristy, the crypt, the sacellum, and the chapel of the dancers…I noticed the ancient reliquaries, liturgical objects and paintings that are usually found in religious spaces. There were also, however, works of art by Christo, Warhol, Arman, Rotella, Schifano and Radice, all collected by artist, designer and architect Nanda Vigo throughout his life. Overall, an experience that showed how important art and culture were to the Jesuits.

Sacristy
Art pieces mixed with religious icons at entrance to sacristy
Chapel of the Dancers
Art installation

What I enjoyed most, however, was what lies beneath the church. In the crypt, there are the remains of St. Fidelis, however, in a small airtight room on the right, there are the Relics of the 365-day Calendar. The little shrines are organized in daily order from Jauary 1 until December 31 and contain the relics of all the saints of the Catholic calendar that have been canonized until the beginning of the 19th century.

Making my way up to the church’s main level, glancing at my watch, I realized how much time had passed since I had made my way here. There was a great deal to see and experience, unlike my first impression.

Ancient artists have demonstrated over the centuries that there is a direct link between art and faith…just look at the treasures that adorn most churches. St. Fedele brings it to a new level and a new century with modern art.

Just remember, when Michaelangelo’s Pieta was placed in St. Peter’s Basilica, and he was alive, it was modern art!

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 The Church of San Fedele

  • Address: San Fedele Street, 4, 20121, Milan  
  • Hours: Monday and Tuesday, 0730-1630. Wednesay through Friday, 0730-1800. Saturday, 1000-1930. Sunday, 1000-2000.
  • Admission: Free to visit the church. San Fidele art exhibition in the sacristy and rooms of contemplation, €3
  • Getting There: Metro, Lines M1 and M3, Duomo stop or Tram, Line 1, The closest station: Duomo (Metro Lines M1 and M3), Teatro alla Scala stop.

Happy Hours

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The city of Prague has some of the most unique and beautiful architecture in the world.

Standing atop Petrin Hill and looking over the city, it is sometimes hard to explain how everywhere you cast your glance, there is a picture. I’ve been to many cities in Europe and yet, this is the one that always takes my breath away.

Behind Petrin Hill you can observe the elegant spires of a basilica, of the Basilica of Our Lady. Though I love churches (and this one was not open while I was visiting), it was not what I was here to see.

Basilica of Our Lady
Basilica of Our Lady

Prague’s Strahov Monastery, is one of the oldest Premonstratensian monasteries, (founded in 1140), still in existence in the world and it was just around the corner from my hotel. Heading there for its re-opening after lunch, I paid my admission for both the Library and the Gallery as well as for permission to take photos. Many of Prague’s historical buildings charge to take photos, without flash (of course), and in order to not get a stern warning and risk being asked to leave, I’ve learned that it is best to pay for permission if you want to capture the beauty of these building’s interiors.

The Library is beyond description. The two halls, the Theological Hall and the Philosophical Hall are filled with over 200,000 volumes and is one of the most valuable and best preserved historical collections in the world. Though you cannot actually enter each of the rooms, you are allowed to observe from the doorways, a bit difficult when its crowded or when someone does not understand that they’ve taken enough photos and they need to make way for others. The Theological Hall, designed by Abbot Jeroným Hirnhaim, is the older of the two and was established between 1671 and 1674, while the Philosophical Hall dates from 1794. Both halls are two-stories high with ceiling frescoes painted by Siard Nosecký and Anton Maulbertsch.

Theological Hall
Theological Hall
Philosophical Hall

The Philosophical Hall was built under the direction of Abbot Václav Mayer and contains more than 42,000 volumes covering topics such as philosophy, astronomy, mathematics, history and philology, while the Theological Hall’s 18,000+ volumes contain numerous editions of the Bible, many in different languages. In the foyer area, you can inspect some of these bibles, displayed in protective cases.

The foyer also contains a large collection of curiosities from the estate of Karel Jan Erban, dating back to 1798. In large display cabinets, you can observe sea fauna, collections of insects, minerals, wax replicas of fruit, archaeological collections, ceramics, handcuff and Hussite peasant weapons. The most interesting artifact, however, is the remains of the now extinct Dodo bird.

Though there are many notable buildings within the complex including the Basilica, the Abbey Building, the Convent, the Great Monastery Restaurant and the Strahov Monastery Brewery, the only other part that was open to the public (and did not involve beer) was the Strahov Gallery.

Heading over to the Strahov Gallery, I was pleased to find that it was more than just a picture gallery. While the gallery contains a large collection (more than 1500 pieces) of Gothic, Baroque, Rococo painting and Rudolfian art, there were other halls and exhibits throughout the structure.

One of the first exhibits, located in the Romanesque Hall (the monastery’s former food storerooms) detail the origins of the Strahov monastery, including a to-scale model of the monastery, photographs and a cycle of paintings of the scenes of St. Norbert, the founder of the Premonstratensian Order. There are also artifacts used during the celebrations on the occasion of the transfer of his relics to Prague.

The Summer Refectory (dining hall) dates back to 1691 and was designed by the Burgundian architect Jean Batista Mathey. Here, my attention was drawn upward to the ceiling which is covered with an amazing fresco entitled “Heavenly Banquet of the Just with Christ as the Host” by Siard Nosecký. As my attention was then cast down, I was able to admire the series of portraits with ten important figures from the monastery.

Summer Refectory
Summer Refectory
Winter Refectory

The nearby Chapter Hall also displayed a beautifully, frescoed ceiling, precious paintings and works of art including an ornate gilded altar. This important room was restored in 1990 to its original appearance and is where new members join the order.

Chapter Hall

Finally, as the gallery neared its closing hour, I headed to the exposition displaying liturgical works of arts, many of Czech descent, but others from different areas of Europe and the actual picture gallery.

Walking to the exit along the hallways, there were many exquisite statues and wide windows offering a peek at the buildings serene courtyard.

A visit to the monastery is on the shortlist of things to do while in Prague, but if I could make a recommendation, it would be to visit during the afternoon hours. Once finished, you can enjoy some of the monastery’s tasty brews and have a bite to eat while looking out on one of Europe’s most picturesque cities!

An afternoon of history, culture, views, food and, of course, DRINK, this is what I call my Happy Hours!

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Strahov Monastery

  • https://www.strahovskyklaster.cz/en/
  • Address: Strahovské nádvoří 1/132, 118 00 Praha 1
  • Hours: 0900-1200, 1300-1700, daily
  • Admission: Strahov Library, Adults, CZK 150 (about $6.60 US), Reduced, 80 CZK (about $3.52 US), Family (2 adults + max 3 children under 15 years), 300 CZK (about $13,20 US) , Photo Permission, 50 CZK (about $2.20 US) . Strahov Gallery (open only until 1600), Adults, 280 CZK (about $12.30 US) , Reduced, 140 CZK (about $6.16 US) , Family (2 adults + max 3 children under 15 years), 500 CZK (about $22.00 US) . Photo Permission, 80 CZK (about $3.52 US) . Children under 6 years, Holders of cards for handicapped persons, members of religious orders and congregations, teachers accompanying students, free. Children over 6 years and students up to 27 years, reduced admission.
  • Getting There: By Metro Malostranska (line A). Then tram 22 or 23 to Pohorelec. Scenic route, take the funicular, go to tram stop Ujezd (trams 9,12,15,20,22,23). Take the funicular railway  to the top of Petrin Hill and walk 10 minutes along Strahovska street. By car, parking is free of charge at the Brusnice stop on Kepler Street.

The Cathedral In the Plaza

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In the Plaza Independencia, you can spend a good part of your day see only what is there, including devouring a scrumptious lunch going to mass and making new friends!

Quito’s Cathedral stands on the southern side of the plaza and is a one of the most important churches in the city.  Dating back to 1535, when the Spanish founded Quito, it was given the name of Metropolitan Cathedral, until twenty-five years ago, when it was name the Primada Cathedral for the evangelizing work that the church had done over the years.

Construction of the cathedral began between 1550 and 1560 with many renovations over the years, until its completion in 1806.  As we walked through the building, the many architectural styles that make up the interior should be a great contrast, however, the styles blend together remarkably…the arches are of the Gothic design, while the altar is very Baroque…the choir area is Neoclassic and the ceilings Moorish.  

There are many main attractions in the church that are not to be missed that include the High Altar, gilded and backed by a monumental dome and fronted by a beautiful carved, wooden altarpiece, stunning stained glass windows, stone plates of the first settlers, its Moorish-styled coiffured ceiling, three domes (one carved in the shape of a convex quadrangle, the second, oval-shaped and the third, circular), a carved and gilded wooden pulpit (topped with a sculpture of St. Peter), ornate side chapels and the spacious high choir which houses a German organ.

Many prominent citizens have been interred here, including Mariscal Sucre (liberator Simon Bolivar’s right-hand man), Antoinio Jose de Sucre, Cardinal de la Torre, priests, bishops and many of the Republic’s presidents.

Most importantly, the cathedral houses the most notable relic in all of Quito, that of the Christian martyr, Saint Urcisino.  Given as a gift from Pope Pius IX to President Garcia Moreno, it was has resided here since 1871.

The cathedral also contains a museum with many types of art, both ecclesiastical and colonial and an imitation of the Last Supper painting cannot be missed…instead of the usual dinner fare, Jesus and the apostles dine on cuy, the traditional South American dish…yes, it’s guinea pig.

It was revealed to me some time after our visit that visitors can climb through a very narrow and dark staircase and passages and emerge on the roof for a great view of the city and the square beneath, as well as climb to the domes.  I guess since it was the end of our day, we missed this!

Though I was sad about not having known about the climb to the top, I had the privilege of looking down on the city from many vantage points during my visit…from the top of the Teleferico, from Panecillo Hill and from the top of the Basilica.  Instead of being regretful of what we did not get to do, I will focus on the many beautiful things we witnessed inside this amazing cathedral!

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Museo Catedral Primada de Quito

  • http://www.catedraldequito.org/
  • Address: Venezuela y Espejo 715, Quito 
  • Hours: Monday-Saturday, 0930-1700
  • Admission: National Tourists, Adults, $2.00, Children, Students, Seniors, People with Disabilities, $1.00. Visit to Domes (Church+Museum+Domes) $4.00. Foreign Tourists, Adults, $3.00, Children, Students, Seniors, People with Disabilities, $2.00. Visit to Domes (Church+Museum+Domes) $6.00.