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Tridentinum:

Are you serious that the priest's calendar on sale in Rome did not have photos of real priests or seminarians? As I recall you could find it in all the souvenir shops around St. Peter's. And why not allow such a calendar, since a calendar of photos of Pope Benedict followed later in the year? Apparently new versions of the priest's calendar are still being created and the publisher is looking for volunteer clergy: Calendario Romano 2008. If this is a fake has anyone associated with the Church tried to do anything to prevent its publication or to get a disclaimer printed along with the calendar?

For the information of the rest of the forum, here are some photos of the 2007 edition -- courtesy of At home Rome blog

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Palpitating humanity, arduous faith and profound humility pervade the songs of Romanus the Melodist. This great poet and composer reminds us of the entire treasure of Christian culture, born of faith, born of the heart that has found Christ, the Son of God. From this contact of the heart with the truth that is love, culture is born, the entire great Christian culture.

And if the faith continues to live, this cultural inheritance will not die, but rather it will continue to live and be current. Icons continue to speak to the hearts of believers to this day, they are not things of the past.

Wikipedia icon

The cathedrals are not medieval monuments, rather houses of life, where we feel "at home": where we find God and each other. Neither is great music -- the Gregorian chant, Bach or Mozart -- something of the past, rather it lives in the vitality of the liturgy and our faith.

If faith is alive, Christian culture will never be "outdated," but rather will remain alive and current. And if faith is alive, we can respond to the imperative that is always repeated in the psalms: "Sing an new song unto the Lord."

Creativity, innovation, new song, new culture, and presence of the entire cultural inheritance are not mutually exclusive, but one reality: the presence of the beauty of God and of the joy of being his sons and daughters.

Here's the official explanation of the coat of arms given by Cardinal Montezemolo on behalf of the Secretariat of State of the Vatican:

Armour bearings have been in common use by soldiers and the nobility since the Middle Ages. This has given rise to a very specific heraldic language to regulate and describe civic heraldry.

At the same time, an ecclesiastical heraldry for clergy also developed. This heraldic usage follows exactly the same rules as civic heraldry with regard to the composition and definition of the shield, but surrounds it with religious or Church symbols and emblems according to one's ecclesiastical rank in Holy Orders, jurisdiction and dignity.

There is an at least 800-year-old tradition for Popes to have their own personal coat of arms, in addition to the symbols proper to the Apostolic See. Particularly during the Renaissance and the centuries that followed, it was customary to mark with the arms of the reigning Supreme Pontiff all his principal works. Indeed, Papal coats of arms appear on buildings and in various publications, decrees and documents.

Popes often used their family shield or composed their own with symbols indicating their ideal of life or referring to past events or experiences, or even elements connected with specific Pontifical programmes. At times, they even added a variant to a shield that they had adopted on becoming a Bishop.

Cardinal Joseph Ratzinger, elected Pope and taking the name Benedict XVI, has chosen a coat of arms rich in symbolism and meaning that transmits to history his personality and Pontificate. . . .

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In secular heraldry there is always some form of headpiece above the shield, usually a crown. In ecclesiastical heraldry it is also common for a headpiece to be shown, but obviously of an ecclesiastical kind.

The Supreme Pontiff's arms have featured a "tiara" since ancient times. At the beginning this was a sort of closed "tocque". In 1130 a crown was added, symbol of the Church's sovereignty over the States.

Boniface VIII, in 1301, added a second crown, at the time of the confrontation with Philip the Fair, King of France, to show that his spiritual authority was superior to any civic authority.

It was Benedict XII in 1342 who added a third crown to symbolize the Pope's moral authority over all secular monarchs, and reaffirmed the possession of Avignon.

With time, although it lost its temporal meaning, the silver tiara with three gold crowns came to represent the three powers of the Supreme Pontiff: Sacred Orders, Jurisdiction and Magisterium.

In past centuries, Popes wore the tiara at solemn official celebrations and especially on the day of the "coronation" at the beginning of their Pontificate. Paul VI used for this purpose a precious tiara which the Archdiocese of Milan had presented to him, just as it had given one to Pius XI; but afterwards, Paul VI donated it to a charity and introduced the current use of a simple "mitre", although these mitres were sometimes embellished with ornaments or gems. But he left the "tiara" and the crossed keys as the emblem of the Apostolic See.

Today, the ceremony that begins a Pontificate is no longer called a "coronation". The Pope's full jurisdiction begins the moment he accepts his election by the Cardinals in the Conclave and not with coronation as for secular monarchs. This ceremony, therefore, is simply called the solemn inauguration of his Petrine Ministry, as it was for Benedict XVI on 24 April.

The Holy Father Benedict XVI decided not to include the tiara in his official personal coat of arms. He replaced it with a simple mitre which is not, therefore, surmounted by a small globe and cross as was the tiara.

The Papal mitre shown in his arms, to recall the symbolism of the tiara, is silver and bears three bands of gold (the three powers: Orders, Jurisdiction and Magisterium), joined at the centre to show their unity in the same person.

On the other hand, there is also a completely new symbol in the arms of Pope Benedict XVI: the "pallium". It is not part of the tradition, at least in recent years, for the Supreme Pontiffs to include it in their arms.

Yet the pallium is the typical liturgical insignia of the Supreme Pontiff and frequently appears in ancient portrayals of Popes. It stands for the Pope's responsibility as Pastor of the flock entrusted to him by Christ.

In early centuries the Popes used a real lambskin draped over their shoulders. This was later replaced by a stole of white wool woven with the pure wool of lambs reared specially for the purpose. It was decorated with several crosses that were generally black in the early centuries, or occasionally red. Already by the fourth century the pallium had become a liturgical symbol proper to and characteristic of the Pope.

The Pope's conferral of the pallium upon Metropolitan Archbishops began in the sixth century. Their obligation to postulate the pallium after their appointment is attested as far back as the ninth century.

In the famous long iconographic series of medallions in St Paul's Basilica that portrays all the Popes of history (the earliest portrayals are idealized), many Supreme Pontiffs are shown wearing the pallium, especially those between the fifth and 14th centuries.

The pallium is therefore not only the symbol of Papal jurisdiction, but also the explicit and brotherly sign of sharing this jurisdiction with the Metropolitan Archbishops, and through them, with their suffragan Bishops. It is thus the visible sign of collegiality and subsidiarity.

This is what Fr. Guy Selvester, of Shouts in the Piazza has to say about the different depictions of Pope Benedict's coat of arms:

Did Anyone Else Happen To Notice...

At the mass today for the Third Anniversary of the death of Pope John Paul II (whom Benedict XVI has called "the great") it could be clearly seen that the two small papal coats of arms that flank the high back of the Pope's red chair (the chair that dates from at least the pontificate of St. Pius X) have been changed to depict the coat of arms of Benedict XVI? What is interesting to me about this is that it is yet another instance where the Pope's personal arms are being depicted, officially and publicly by the Holy See, surmounted by the triple tiara and not including the pallium. There is no way this is simply being pushed through without the Pope's knowledge or consent. Thus, as I predicted three years ago (in an opinion agreed with by the late Michael McCarthy, a heraldist of great reputation) the subtle but definite return to the traditional depiction of the papal arms is happening. I did not then nor do I now believe that the Pope intended to consign the tiara to the trash bin...at least as far as it being a heraldic symbol is concerned.

Chip...chip...chip...

Posted by Fr. Selvester at 2.4.08

20080129

Papal Heraldry

During my sojourn in Rome these last few days I was able to observe something very interesting regarding papal heraldry. We all know the big deal that has been made concerning Pope Benedict "dropping" the papal tiara from his coat of arms. There continues to be a debate about whether or not this decision was really the Pope's or if it was foisted upon him by others. No one really knows. (anyone who claims to is probably lying). In addition, some feel this somehow indicated that the tiara was put on the trash heap as a heraldic symbol in general. Well, of course that's ridiculous. The tiara and keys remain the symbol of the papacy. Period. In fact, the Secretariat of State sent out a memo to that effect shortly after Pope Benedict's election. The memo, addressed to all the missions of countries with diplomatic relations with the Holy See and the Holy See's diplomatic posts around the world, reminds all those concerned that the omission of the tiara is in the Pope's personal coat of arms only.

What I found really interesting as I walked around Rome is that fact that even this innovation did not start with Pope Benedict. The coat of arms of Pope John Paul II was already being depicted with a mitre instead of a tiara long before Benedict was elected. The doorway to the Domus Sanctae Marthae (where I stayed in Rome) built by John Paul II to house the cardinals during a Conclave and used as a residence and conference center at other times bears the arms of John Paul II. This exact same depiction of John Paul's arms appears on the outside of the Paul VI audience hall; on the facade of the Swiss Guard barracks; in the Lateran Palace and in the Apostolic Palace. I don't recall any public decision or announcement on John Paul's part to change his coat of arms. Instead, some artist decided to do this. It is as I have been saying all along: the depictions of the papal coat of arms can and do change. They are not slavishly copied over and over as if there is only one "official" version.

On the floor of St. Peter's basilica you can find the coat of arms of Pope John Paul II near the baptistery (where some rennovations had been done during his pontificate) with a mitre on top of the achievement and just a few yards away to the right (near the altar where Pope St. Pius X is buried) the arms of the same pope appear with the tiara having been placed there a few years later. It seems that two conclusions can be drawn from this. First, artistic depictions of coats of arms differ depending on when they are done and who is depicting them. Second, when depictions of the arms of Pope Benedict XVI are shown using the tiara they are not "incorrect". I doubt very much that the tiara has or will disappear from papal heraldry at all. It has been being tried for a while now...and it hasn't worked yet.

If you look around the Vatican you can also find some other interesting artistic interpretations of the coats of arms of various popes, like:

John XXIII

Paul VI

John Paul II

Pius XII

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Here's an interview with the Australian heraldic expert, Michael McCarthy, whom Fr. Selvester mentions in his blog. From Zenit

Ecclesiastical heraldry is as relevant today as it ever was, and should be valued as part of the Church's rich cultural and artistic patrimony, according to an author of a book on papal arms.

Michael McCarthy, founder and proprietor of Australia's Thylacine Press, argued that point in his book "Armoria Pontificalium: A Roll of Papal Arms 1012-2006."

In this interview with ZENIT, which McCarthy gave before his sudden death Aug. 3 at age 57, he spoke about the place of ecclesiastical heraldry in the modern Church.


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Q: Benedict XVI has altered heraldic custom, using the miter instead of the papal tiara and adding the pallium. Why do you think he did this?

McCarthy: All things evolve and heraldry is no exception. Benedict XVI, on becoming Pope, made it plain to the designer of his arms that he did not want a crown because he did not wish to be seen as a king. He added the pallium because he wanted to indicate the importance of communion with the Church. The pallium is used by metropolitans to show communion with the Pope and this seemed a logical step forward.

The papal tiara had a long history of development over a period of about 1,700 years. Originally in appearance it was merely a tall conical hat known as the camelaucum, which might have evolved from a miter sewn together at each side to mark the wearer as different from his fellow bishops.

However, it is more likely that it had its origins in the Phrygian Cap which the Emperor Constantine presented to Sylvester I -- 314-335. It should be remembered that the miter, when it emerged in the 10th century, was originally worn with the points over the ears, suggesting that the papal miter had been opened for the use of bishops but was incomplete to show the lesser status of the wearer.

The first coronet seems to have been used by Nicholas II -- 1059-1061. Given the historical context of that period, the reason for this is not hard to fathom. As well as being the Pontiff, he was a temporal ruler and presumably this was expressed by the coronet; the feudal mind liked to have everything clearly defined.

This single coronet remained in vogue until the end of the 13th century, but with the ascension of Boniface VIII -- 1294-1303 -- a gradual change began. Benedict XII -- 1334-1342 -- is credited with the addition of the third coronet, once again for obscure reasons, although his successor Clement VI -- 1342-1352 -- seems to have been the first Pope to have actually used it. Perhaps the way forward is to restore the camelaucum in its original form to show the unique nature of the papal office, devoid of any allusion to kingship.

Q: What is the story of Benedict XVI's shield?

McCarthy: The elements of the Pope's shield, including the Moor's head and the bear wearing a backpack, both commemorate St. Corbinian, a seventh-century bishop of Freising -- now Munich and Freising. The bishop was supposedly black-skinned and he, on a pilgrimage to Rome, encountered a bear which killed his horse. The saint then compelled the bear to carry his baggage for him instead.

Today the Moor's head is the emblem of the Diocese of Munich Freising, while the bear is the emblem of the town of Freising. Along with the scallop shell -- the symbol of the pilgrim -- the Pope uses these elements to show his origins.

Q: Ecclesiastical heraldry constitutes part of the Catholic Church's rich cultural heritage, but is perhaps not well understood today. Is it still relevant today?

McCarthy: In spite of claims to the contrary, heraldry in general is an expression of the Church's rich cultural heritage, rising as it did as a byproduct of the Crusades as an expression of piety and pilgrimage. Heraldry has been incorporated into the fabric of art and buildings ever since.

Its use in the buildings of Rome, for instance, helps place the context of each building and shows which Pope or cardinal was responsible for it. Similarly, in all the dioceses around the world, the use of heraldry helps to enrich and identify the cultural life of the building.

The Internet is helping to create a new interest in the use of heraldry. Immediately after the Second Vatican Council, the use of arms by ecclesiastics went into a decline and it seemed to be on the way out.

However, there is now a resurgence in heraldry and the fact that the Pope's use of the miter on his shield created a furor in certain quarters shows that a lively interest still exists.

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