After hearing my confession, a gentle, elderly priest granted absolution and, for my penance, imposed the chaplet of Divine Mercy. I cringed. Oh, please, not that! Like the bargaining murderer in Alfred Hitchock’s I Confess, I negotiated the penance. I blurted out something about revulsion for the self-regarding jumble of Faustina’s supernatural stenography. I wanted nothing to do with the cult of Faustina and her preposterous painting commission. Please, Father, give me a different penance. A mild man, he obliged. He rescinded the chaplet and sent me to the rosary instead. Continue Reading

Francis, a Dhimmi on the Chair of Peter

Maureen Mullarkey

April 26, 2017

Francis is on his way to Egypt, prompting George Neumayr to write: “The most liberal pope ever, of course, sees no irony in shilling for the most illiberal religion on Earth.” With that quotation, Robert Bové alerted me this morning—in what he termed “a mourning quote”—to Neumayr’s latest column in The American Spectator. Neumayr has a keen eye and an ear for cant—two qualities unwelcome among fainthearts and papal sycophants. He does not write for academics nor for readers who like to be addressed as if they were academics themselves. Continue Reading

P.T. Barnum & Vatican Productions

Maureen Mullarkey

April 5, 2017

P.T. Barnum gave us Jenny Lind, the Swedish Nightingale. The Vatican has given us the Pope of Peace, headed for Egypt later this month. And the Pope of Hearts will perform at Fatima in May. The show is on the road. How much longer before we have The Singing Pope? Light opera will do. With Laudato Sí in mind, a libretto in the spirit of the “Major-General’s Song” in The Pirates of Penzance would suit: “I am the very model of a modern Major-General, / I’ve information vegetable, animal, and mineral.” Continue Reading

Paglia & the Art of Transgression

Maureen Mullarkey

March 15, 2017

The oddities of Archbishop Paglia’s 2007 commissioned mural stirred interest in other works by Ricardo Cinalli, the Argentinian artist who painted it. Why him? Of the ten artists who auditioned for the project, what recommended Cinalli above the others? Presumably all applicants were adept at the human figure, all capable of managing the demands of a large-scale wall painting. What was the distinguishing feature of the winning artist’s portfolio? Go ahead, take a guess: The bulk of Cinalli’s output—prior to and close to the time of the commission—exhibits a will to startle, an inner necessity to stick a thumb in the eye of Mr. Continue Reading

The Archbishop’s Mural & The Homintern

Maureen Mullarkey

March 8, 2017

Notices of Archbishop Paglia’s homoerotic mural began appearing in my e-box on Friday, with still more on Saturday. I regret not having paid closer attention before shrugging in dismissal. Diverted by art history and the aesthetics of the thing, I missed the crux of the story. Truth to tell, the screaming headline put me off: Shocker: Francis-appointed Vatican archbishop featured in massive homoerotic painting he commissioned. Maybe it was the word shocker. So often does that precede something that ought be no surprise to anyone, let alone a shock, that I did not read past the opening paragraph on LifeSiteNews:

The archbishop now at the helm of the Pontifical Academy for Life paid a homosexual artist to paint a blasphemous homoerotic mural in his cathedral church in 2007.

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Notes on the Faustina Phenomenon

Francis, a Dhimmi on the Chair of Peter

P.T. Barnum & Vatican Productions

Paglia & the Art of Transgression

The Archbishop’s Mural & The Homintern

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