From Berkshire Eagle Online - Headlines:
The Rev. James Scahill, a longtime critic of Dupre and his handling of the clergy sex abuse scandal, counseled the mother of one of the boys. He said he spoke with Reilly after he left an urgent message for O'Malley in November.
But O'Malley never returned his call, and Reilly "said that if the victims were willing to come forward, he would prosecute to the full extent of the law," Scahill said.
Ann Donlan, a spokeswoman for Reilly, confirmed that the attorney general met with Scahill in November to discuss the allegations against Dupre.
"The identity of the victim was not passed on," Donlan said. "The attorney general made it clear that the matter would be referred to the district attorney's office if the victim came forward."
Donlan said Scahill was not obligated to report the suspected abuse to police because the alleged victims are now adults.
Attorney Eric MacLeish, who has counseled both alleged victims of Dupre, said both men wish to remain anonymous.
Before he called Reilly, Scahill said he left a message for O'Malley, saying he needed to discuss "a dire matter that concerned the entire well-being of [the] church."
Scahill said he also spoke with a woman at the archdiocese, but did not give her any details about the abuse allegations. He said no one from the archdiocese called him back.
"I said it was very urgent that he contact me because of the importance of the matter," Scahill said.
Mary McGeer, a nun in Scahill's East Longmeadow parish, said she was in the room with the priest when he made the call. "He certainly got his message across that this was very serious," she said.
O'Malley's spokesman, the Rev. Christopher Coyne, said neither the archdiocese nor its attorney on sexual abuse matters has any record of receiving a phone call or letter from Scahill concerning allegations of abuse by Dupre.
"Anyone who knows the policies and procedures for handling matters like this would know that a phone call of this type is not the way to do it," Coyne said.
He said Scahill should have gone through the proper channels by calling the diocese's Sexual Misconduct Delegate's office and following up with a letter.
"That's the way you do it," Coyne said. "An unsolicited phone call of such an ambiguous nature is not the way you handle serious matters such as this."
Scahill said he didn't write a letter or follow up on his call because "I felt I did what I could."
"I'm so used to this system of denial that I felt I did all I could do to fulfill my obligation, and that was it," Scahill said.
Accusations of clergy sex abuse have plagued the diocese during Dupre's tenure, but have been overshadowed by reports of widespread abuse in the Boston Archdiocese, where MacLeish and other attorneys brokered an $85 million settlement between the church and more than 550 victims.
The allegations against Dupre are the first public claims that the bishop himself may have abused children.
Friday, February 13, 2004
Debunking the Da Vinci Code...Who's at the table with Jesus?
Elizabeth Lev who teaches art history at Duquesne's Rome campus weights in on Lenardo's painting...
From Zenit News Agency - The World Seen From Rome:
"Truth be told, Leonardo da Vinci is not one of the 10 historical figures I would most like to invite to dinner. Perhaps the historical rivalry between Leonardo and Michelangelo was so fierce that one starts to take sides. Nonetheless, after 46 weeks of 'The Da Vinci Code' ensconced at the top of the best-seller lists, I felt obliged to come to the defense of his work.
A little background for the remnant still unsullied by the reading of this book: Author Dan Brown makes the incredible claim that the individual seated at the right hand of Jesus in da Vinci's 'Last Supper' is not, as commonly understood, the Apostle John, but rather ... Mary Magdalene, who would be Jesus' wife.
Although the work presents itself as fiction, it is written in such a way as to cause doubt. I have heard countless Rome visitors make comments like the following: 'I know it is fiction, of course, but it brings up some interesting questions ...'
The acute nature of the problem set in when my American students, instead of asking where the outlet stores in Florence were, began inquiring where they could see 'The Last Supper.' Then one day in the classroom, the bomb was dropped: 'Professor Lev, isn't that Mary Magdalene sitting next to Jesus?'
Now, there is a positive side to all this. The students are taking an interest in Leonardo and many are learning the names of the apostles for the first time. Unfortunately, the author stimulating these first impressions has no idea what he is talking about. The major religious and historical gaffes aside, a word must be said about Leonardo's 'Last Supper.'
Amid Leonardo's copious writings, very little reveals his personal thoughts and feelings. Artists generally do not look to be remembered through their diaries, notebooks or doodling pads. One thing for sure, nothing in Leonardo's writings suggests that the person next to Jesus is anyone other than John.
Brown capitalizes on Leonardo's soft-featured, beardless depiction of John to offer his fantastic claim that we are dealing with a woman. Of course, if St. John were really Mary Magdalene, we may well ask which of the apostles excused himself at the critical moment.
But the real problem stems from our lack of familiarity with "types." In his Treatise on Painting, Leonardo explains that each figure should be painted according to his station and age. A wise man has certain characteristics, an old woman others, and children others still.
A classic type, common to many Renaissance paintings, is the "student." A favored follower, a protégé or disciple, is always portrayed as very youthful, long-haired and clean-shaven; the idea being that he has not yet matured to the point where he must find his own way.
Throughout the Renaissance, artists portray St. John in this fashion. He is the "disciple Jesus loved" -- the only one who will be at the foot of the cross. He is the ideal student. To the Renaissance artist the only way to show St. John was as a beardless youth, with none of the hard, determined physiognomy of men. The "Last Supper" of Ghirlandaio and Andrea del Castagno show a similarly soft, young John.
Leonardo's innovation lies not in his depiction of John, but rather in the dynamism of his composition. Unlike his predecessors who showed a group of men talking around a table, Leonardo selects the most dramatic moment of the meal. Jesus has just made the announcement, "One of you will betray me." The composition accordingly registers the shockwave that emanates from this statement.
Instead of the typical 11 apostles on the far side of the table and Judas on the side closest the viewer, Leonardo places them all on the same side, so there is a ripple effect from the isolated Christ framed by a window out toward the apostles who are grouped into threes. The most important set comprises Peter, John and Judas. Impetuous Peter thrusts himself toward John, asking him to inquire of Jesus who the betrayer will be; in doing so, he pushes Judas outward toward the viewer.
The original image (it has been heavily repainted) had Judas' head turned directly toward John, whose serene countenance manifests the assurance of his own innocence. The low forehead, and dark, brutish features of the traitor Judas stand in sharp contrast to the luminous delicacy of John. The viewer is forced to think about where he or she stands (or sits) in this picture. Are we calm in certainty of fidelity, do we protest too much, or do we hide in the shadows?
Unfortunately, all these truly important questions are overshadowed by the silly speculations of Dan Brown.
One thing is clear, during the real Last Supper, Mary Magdalene was elsewhere.
From Zenit News Agency - The World Seen From Rome:
"Truth be told, Leonardo da Vinci is not one of the 10 historical figures I would most like to invite to dinner. Perhaps the historical rivalry between Leonardo and Michelangelo was so fierce that one starts to take sides. Nonetheless, after 46 weeks of 'The Da Vinci Code' ensconced at the top of the best-seller lists, I felt obliged to come to the defense of his work.
A little background for the remnant still unsullied by the reading of this book: Author Dan Brown makes the incredible claim that the individual seated at the right hand of Jesus in da Vinci's 'Last Supper' is not, as commonly understood, the Apostle John, but rather ... Mary Magdalene, who would be Jesus' wife.
Although the work presents itself as fiction, it is written in such a way as to cause doubt. I have heard countless Rome visitors make comments like the following: 'I know it is fiction, of course, but it brings up some interesting questions ...'
The acute nature of the problem set in when my American students, instead of asking where the outlet stores in Florence were, began inquiring where they could see 'The Last Supper.' Then one day in the classroom, the bomb was dropped: 'Professor Lev, isn't that Mary Magdalene sitting next to Jesus?'
Now, there is a positive side to all this. The students are taking an interest in Leonardo and many are learning the names of the apostles for the first time. Unfortunately, the author stimulating these first impressions has no idea what he is talking about. The major religious and historical gaffes aside, a word must be said about Leonardo's 'Last Supper.'
Amid Leonardo's copious writings, very little reveals his personal thoughts and feelings. Artists generally do not look to be remembered through their diaries, notebooks or doodling pads. One thing for sure, nothing in Leonardo's writings suggests that the person next to Jesus is anyone other than John.
Brown capitalizes on Leonardo's soft-featured, beardless depiction of John to offer his fantastic claim that we are dealing with a woman. Of course, if St. John were really Mary Magdalene, we may well ask which of the apostles excused himself at the critical moment.
But the real problem stems from our lack of familiarity with "types." In his Treatise on Painting, Leonardo explains that each figure should be painted according to his station and age. A wise man has certain characteristics, an old woman others, and children others still.
A classic type, common to many Renaissance paintings, is the "student." A favored follower, a protégé or disciple, is always portrayed as very youthful, long-haired and clean-shaven; the idea being that he has not yet matured to the point where he must find his own way.
Throughout the Renaissance, artists portray St. John in this fashion. He is the "disciple Jesus loved" -- the only one who will be at the foot of the cross. He is the ideal student. To the Renaissance artist the only way to show St. John was as a beardless youth, with none of the hard, determined physiognomy of men. The "Last Supper" of Ghirlandaio and Andrea del Castagno show a similarly soft, young John.
Leonardo's innovation lies not in his depiction of John, but rather in the dynamism of his composition. Unlike his predecessors who showed a group of men talking around a table, Leonardo selects the most dramatic moment of the meal. Jesus has just made the announcement, "One of you will betray me." The composition accordingly registers the shockwave that emanates from this statement.
Instead of the typical 11 apostles on the far side of the table and Judas on the side closest the viewer, Leonardo places them all on the same side, so there is a ripple effect from the isolated Christ framed by a window out toward the apostles who are grouped into threes. The most important set comprises Peter, John and Judas. Impetuous Peter thrusts himself toward John, asking him to inquire of Jesus who the betrayer will be; in doing so, he pushes Judas outward toward the viewer.
The original image (it has been heavily repainted) had Judas' head turned directly toward John, whose serene countenance manifests the assurance of his own innocence. The low forehead, and dark, brutish features of the traitor Judas stand in sharp contrast to the luminous delicacy of John. The viewer is forced to think about where he or she stands (or sits) in this picture. Are we calm in certainty of fidelity, do we protest too much, or do we hide in the shadows?
Unfortunately, all these truly important questions are overshadowed by the silly speculations of Dan Brown.
One thing is clear, during the real Last Supper, Mary Magdalene was elsewhere.
Pray the Passion
Thursday, February 12, 2004
University of Notre Dame to Host Gay Film Fest
Comfortable sending your child to a Catholic school to get a good Catholic education? Willing to spend your life savings to finance their indoctrination to all things not Catholic?
Why is it that the religious orders that run these campuses are incapable of seeing the damage they are doing to young impressionable minds.
From Yahoo! News - At Notre Dame, gay film fest a first:
"'You have to understand what a breakthrough this is,' said Richard Friedman, a fifth-year student participating in the event. 'The university's administration had even barred gay groups from advertising in the student newspaper.'
On many campuses, eyebrows wouldn't be raised by a gay film series featuring titles such as 'Jim in Bold,' which kicks off the series Wednesday.
During freshman orientation at state schools and secular colleges, it is commonplace to see the information booth of a gay-and-lesbian group.
But that is not the case at universities affiliated with a religious denomination that considers homosexuality sinful.
Yet even at some such schools, things are changing quickly, given society's increasing acceptance of alternative lifestyles. Deans and presidents are feeling the pressure of gay and lesbian students, newly determined to have an accepted place on campus.
'The landscape has changed,' said Nicholas Sakurai, an official of the United States Student Association, which is preparing a guide to forming homosexual campus organizations. 'Young people have been coming out in droves in high school since the '90s. They're now in college and challenging administrators who would deny them a place in campus life.'
For instance, Boston College, a Catholic university run by Jesuit priests, extended official recognition to a gay group last May, after many years of denying previous requests.
'This film fest is our way of forcing people to recognize there is an active gay community here,' said Liam Dacey, a Notre Dame senior. 'There's been a fear on this campus to come out.' "
Why is it that the religious orders that run these campuses are incapable of seeing the damage they are doing to young impressionable minds.
From Yahoo! News - At Notre Dame, gay film fest a first:
"'You have to understand what a breakthrough this is,' said Richard Friedman, a fifth-year student participating in the event. 'The university's administration had even barred gay groups from advertising in the student newspaper.'
On many campuses, eyebrows wouldn't be raised by a gay film series featuring titles such as 'Jim in Bold,' which kicks off the series Wednesday.
During freshman orientation at state schools and secular colleges, it is commonplace to see the information booth of a gay-and-lesbian group.
But that is not the case at universities affiliated with a religious denomination that considers homosexuality sinful.
Yet even at some such schools, things are changing quickly, given society's increasing acceptance of alternative lifestyles. Deans and presidents are feeling the pressure of gay and lesbian students, newly determined to have an accepted place on campus.
'The landscape has changed,' said Nicholas Sakurai, an official of the United States Student Association, which is preparing a guide to forming homosexual campus organizations. 'Young people have been coming out in droves in high school since the '90s. They're now in college and challenging administrators who would deny them a place in campus life.'
For instance, Boston College, a Catholic university run by Jesuit priests, extended official recognition to a gay group last May, after many years of denying previous requests.
'This film fest is our way of forcing people to recognize there is an active gay community here,' said Liam Dacey, a Notre Dame senior. 'There's been a fear on this campus to come out.' "
Eucharist to be the theme of this Fall's Synod
From the Vatican Information Service:
The Holy Father has announced that the Eleventh Ordinary General Assembly of the Synod of Bishops will take place
in the Vatican from October 2 to 29, 2005 on the theme. “The Eucharist: Source and Summit of the Life and Mission of the Church.”
The Holy Father has announced that the Eleventh Ordinary General Assembly of the Synod of Bishops will take place
in the Vatican from October 2 to 29, 2005 on the theme. “The Eucharist: Source and Summit of the Life and Mission of the Church.”
Why the Bishop of Springfield, MA Resigned
And why it was accepted immediately on a Wednesday...
From Boston.com:
In a press release and a press conference, the diocese said that Dupre had resigned because of failing health and that he had requested permission to resign last November and was only informed of the pope's decision yesterday.
But in a series of interviews late yesterday, a diocesan spokesman and Monsignor Richard S. Sniezyk, who was named yesterday as the diocese's interim administrator, confirmed that Dupre had been made aware Tuesday of allegations made against him by the mother of one of two men who say Dupre abused them about 25 years ago when he was a priest and they were boys in Holyoke.
The allegations were contained in a series of questions submitted to the bishop Tuesday by The Republican newspaper in Springfield. The newspaper reported last night that the mother of one alleged victim, who it described as a longtime diocesan school worker, had written to the bishop about the allegations last year. The newspaper reported that weeks after the woman said she wrote to the bishop, Dupre told the newspaper last spring he was considering early retirement because of a heart condition and other health problems.
Mark E. Dupont, a spokesman for the diocese, said he understood that the timing of Dupre's resignation was coincidental. He said Dupre, 70, had told him in either late November or early December that he had requested the pope's permission to resign five years before the mandatory retirement age of 75 because of his declining health. Dupont said Dupre checked himself into a hospital Tuesday after receiving a copy of the questions about the allegations and left without issuing a denial or any other statement.
From Boston.com:
In a press release and a press conference, the diocese said that Dupre had resigned because of failing health and that he had requested permission to resign last November and was only informed of the pope's decision yesterday.
But in a series of interviews late yesterday, a diocesan spokesman and Monsignor Richard S. Sniezyk, who was named yesterday as the diocese's interim administrator, confirmed that Dupre had been made aware Tuesday of allegations made against him by the mother of one of two men who say Dupre abused them about 25 years ago when he was a priest and they were boys in Holyoke.
The allegations were contained in a series of questions submitted to the bishop Tuesday by The Republican newspaper in Springfield. The newspaper reported last night that the mother of one alleged victim, who it described as a longtime diocesan school worker, had written to the bishop about the allegations last year. The newspaper reported that weeks after the woman said she wrote to the bishop, Dupre told the newspaper last spring he was considering early retirement because of a heart condition and other health problems.
Mark E. Dupont, a spokesman for the diocese, said he understood that the timing of Dupre's resignation was coincidental. He said Dupre, 70, had told him in either late November or early December that he had requested the pope's permission to resign five years before the mandatory retirement age of 75 because of his declining health. Dupont said Dupre checked himself into a hospital Tuesday after receiving a copy of the questions about the allegations and left without issuing a denial or any other statement.
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