Bodies on display. An alternative Roman Tour

By Leonardo Rossi

Rome, bodies, (aspiration to) eternity. If these keywords arouse your interest, then you are reading the right post. Whether you are travelling with your imagination sitting on a cosy sofa or walking on the centuries-old cobblestones of Rome, this alternative tour throws you into popular Roman devotion, showing you stages unfamiliar to tourists but well known to the Catholic faithful, based on the displayed bodies of saints and blessed people.

The veneration of corpses (both religious and secular) is certainly not a new aspect in Rome, but the mortal remains of illustrious personalities have attracted the attention of local citizens and foreign visitors for millennia. Here in ancient Rome, rituals for the dead and the celebration of their memory were once elaborate practices. Accordingly, the emperors received public funerals that included people’s participation and burial in sumptuous mausoleums (such as those of Augustus and Hadrian). Then, with the advent of Christianity, the places of torture of the first martyrs (e.g., Peter and Paul) became significant places of worship. Starting from the late Middle Ages and the early modern period, the first archaeological excavations brought to light paleochristian underground cemeteries and thousands of bodies contained therein, so that between the eighteenth and nineteenth centuries, visiting the narrow cuniculi of the catacombs became a must for Grand Tour travellers, as well as commemorating the tombs of celebrities. Even today, you can pay homage to Raffaello Sanzio and King Vittorio Emanuele II in the Pantheon, as well as Antonio Gramsci and Percy Bysshe Shelley in the non-Catholic Cemetery. On the latter’s epitaph, his wife and writer, Mary Shelley, had the moving words Cor cordium (heart of hearts) engraved, in the hope of crystallising their love for all eternity, hence making it one of the most romantic places in the city.

The curiosity towards death and corpses has recently given rise to several commercial initiatives, such as setting up exhibitions or creating thematic itineraries. With this, the German anatomopathologist, Gunther von Hagens, brought to Rome, not without criticism and perplexity, the exhibition on ‘plasticised’ bodies entitled Body worlds: The real world of the human body, from 14th September, 2011 to 31stMarch, 2012. Every year here, during the day of the catacombs, catacombs and archaeological mortuary sites, usually closed to the public, are open for free (this year, the fourth edition took place on 16th October). In addition, numerous tourist guides offer visits to monumental cemeteries (such as the Verano), Vatican Grottoes (the place that contains the bodies of the Popes), reliquaries and ossuaries of many churches (one of the most characteristic is probably Santa Maria della Concezione dei Cappuccini).

Anna Maria Taigi (1769-1837)

Despite the competitive offer and the many attractions, the tour I propose has the ambition of being an alternative and a standout from these routes for several reasons. First of all, it does not lead you to discover tombs, cemeteries or reliquaries, but shows you the human remains of heroes of the Catholic faith whose bodies have behaved out of the ordinary in the afterlife. Among these phenomena considered prodigious by the faithful (and not by the Catholic Church, which does not recognise these signs as proof of holiness) can include incorruption of the flesh, flexibility of the limbs, emanation of perfumes and fragrances, and emission of ‘fresh’ blood days – or even years – after death. These wonders could be attested when the saint-to-be has passed away or, after a while, during a formal procedure called ‘ricognitio’ in canon law (i.e., the exhumation and examination of the body). The corpses you will see belong to people who lived between 1750 and 1950 approximately. After their process of beatification or canonisation, they would be put on display in crystal cases, in churches or sanctuaries in Rome and its province. In this regard, the dead remains have usually undergone treatment to create an image that was not scary or disturbing to the believers, but that communicates the peaceful rest of the saints and their victory over death. The practice of showing bodies here is not just typical of Rome or the period considered; however, in Rome and in this time, we can count a number that – at the current state of research – have no equal in other geographical and chronological contexts.

Pius IX (1792-1878)

What are we going to see by clicking on the different pins? Well, we’re going to learn about the facts and curiosities of twelve bodies exhibited in Rome and its province. They are stories of popes (Pius IX, Pius X and John XXIII), charismatic mothers and wives (Anna Maria Taigi), martyrs (Maria Goretti and Giovanni Lantrua), priests (Stefano Bellesini and Bernardo Silvestrelli), foundresses (Paola Frassinetti and Maria Crocifissa Curcio) and founders (Vincenzo Pallotti and Giacomo Alberione). We will see how their bodies have been put on display and what techniques have been used. In certain cases, their remains (after being found in an exceptional state of conservation) have only been treated with chemicals, for safety reasons (civil law imposes rules on the treatment of human corpses), while aesthetic interventions have been made in others as well, such as the application of masks in different materials (for example, wax, silver, plastic and silicone). Finally, we will learn more about particular religious practices, such as the recognition of the bodies and popular devotions towards them.

Bernardo Silvestrelli (1831-1911)

Before letting you explore the tour virtually, via the link you will find below, I would like to draw your attention to a fundamental aspect; that the goal of this tour is not to judge the preservation of a corpse or the miraculous nature of the incorruption, but to look at these bodies from the faithful’s perspective. For them, these cadavers embodied religious meanings, since they belonged to charismatic and trustworthy figures and because, after death, they behaved prodigiously. In this respect, they were considered miraculous, as proof of the divine election of the saints and their entry into heaven, endowed with thaumaturgical powers and the ability to work graces. For these reasons, these bodies were – and still are today – worshipped by believers and at the centre of religious practices and the life of the local community.

Enjoy the tour!

Link:https://www.historypin.org/en/bodies-on-display-an-alternative-roman-tour-2/geo/41.902784,12.496366,11/bounds/41.717103,12.329807,42.087925,12.662924/paging/1/pin/1164977

Stigma

by Linde Tuybens

As historians, we can’t claim the exclusive right to tell the story of stigmatics. Other cultural products – books, films, theatre plays – are also shining light on their extraordinary lives. Recently, news has spread that American filmmaker Abel Ferrara is preparing a film on the early life of Padre Pio, allegedly starring Shia LaBeouf (playing the Italian stigmatic) and Willem Dafoe. Ferrara, known as a provocateur, often challenges societal norms and values in his work, and this film might be no different. Yet, it will not be the first popular product on stigmatics to cause furore. A play by Austrian playwright Felix Mitterer, for example, roused strong emotions among the Tyrolean public in 1982.

Mitterer’s play Stigma: ein Passion is set in Tyrol in the 1830s – the heyday of Tyrolean stigmatics – and tells the tragic story of Moid, a farm maid who bears the wounds of Christ. As a maid, she represents the bottom of the social hierarchy. Since her position forbids her to marry and as the possibility of extramarital love is denied by the Catholic Church, Moid turns to the only man for whom her love is allowed: Jesus Christ. After offering her menstrual blood, she takes him as her groom and receives the stigmata to participate in his agony.

Throughout the play Moid’s sufferings parallel the stations of Christ’s Passion – as suggested by the title. Yet, her stigmata are not only outward signs of her own Passion, they also become armaments against the oppression and hardship she endures, giving her the voice she never had: at the behest of Christ, she pleads for more justice and reprimands the powerful of the world – secular and religious – for exploiting the have-nots. Consequently, she emerges as a political figure who questions the traditional balance of power and therefore poses a threat to the established authorities. Eventually, Moid, who is considered a saint by the poor, is chased away by her landlord, exorcized and excommunicated by the Church, accused of hysteria and fraud by medical authorities and finally shot dead by the police.[1]

The traditional Tyrolean society that is threatened by forces of change is a recurring theme in Mitterer’s work. The challenge of hanging on to tradition but at the same time accepting the changing world was, in a certain way, also emphasized by the controversy that arose in the weeks before Stigma’s premiere in 1982. The play, with its assumed blasphemous and anti-clerical, as well as anti-authoritarian position, met with a lot of opposition from the Tyrolean public. After reading it, the mayor of Hall, a town near Innsbruck, rejected the play as a “collection of filth and religious mockery” and was no longer willing to host the theatre festival where Stigma was to premiere.[2] Media coverage of the search for a new venue and the publication of some excerpts from the play resulted in a flood of protest letters, demonstrations, legal charges and even bomb threats against the author and others involved.

Stigma obviously touched some taboos. These fierce reactions show that many people felt offended by certain scenes and, in particular, saw their religious beliefs disparaged. It was, however, not Mitterer’s intent to mock the simple faith of the people. He knew how important religion was, and had been, in their everyday existence. The play does present a critical attitude towards the institutional Church, though, and exposes some conflicts between the dogmatism of the Catholic Church and plain religious beliefs. Others argued that the archaic living conditions as depicted in the play were no longer relevant and that the play did not provide any insight into contemporary issues. Mitterer, on the other hand, said only to write about the world he knew. Growing up in the Tyrolean countryside as the adopted son of two farm laborers was, as he recalls it, much like the nineteenth century: “The rural society, as I portray it in the play, I’ve experienced myself, it was as much so in the 1950s”.[3] Also, the inequality between men and women and the oppression and exploitation of the socially and economically disadvantaged seem to be issues of long-lasting relevance.

“Wallfahrer” by Franz Defregger (Wikimedia Commons)

While some bitterly fought against the play, others ridiculed these opponents as backward and narrow-minded. It is notable that Stigma was rated significantly more positively in German newspapers and magazines than in most Austrian ones. Some of the former expressed themselves slightly amused or even condescending about the feud that was raging in the Tyrolean region. Would such a controversy over a play have only been possible in Tyrol?

The complex relationship between tradition and modernity in Tyrol, as highlighted by the play and, supposedly, also by its reception, seems to be a fundamental part of its history and identity. In the nineteenth century, this region was known as the ‘Holy Land Tyrol’ because of its identification as a sacred place, untouched by modernity. This positive interpretation of the uniqueness of this region was accompanied by a negative connotation in which Tyrol was perceived as a beacon of traditionalism and conservatism, where ignorance and superstition reigned supreme. In 1850, for example, a liberal newspaper tried to convince local authorities to take action against Juliana Weiskircher, an Austrian stigmatic from Schleinbach, a small village near Vienna. According to the journalist, it was one thing such a phenomenon could occur in the remote mountains of ‘the Holy Land Tyrol’, but that this could also happen “at the gates of the residence of constitutional Austria” went beyond comprehension.[4]

Whereas in the nineteenth century these liberal voices considered stigmatics such as Juliana Weiskircher to be a symptom of a presumed cultural and social backwardness, more than a century later, Mitterer on his turn uses stigmata as a means to question traditional structures and morals. Yet, the suggestion by some journalists about the singularity of the controversy over such a play recalls the demeaning tone of the nineteenth-century liberal voices. Apparently, Tyrol hasn’t lost its stigma yet.


[1] Ursula Hassel, “„Ihr Frauen habts es nit leicht.” The Dramatization of Gender Issues in the Plays by Felix Mitterer”, in: Felix Mitterer. A Critical Introduction (1995), 178-181.

[2] Irmgard Plattner, “„Kulturkampf in Herrgottswinkel”. Stigma: eine Passion von Felix Mitterer”, in: Tirol: “Land im Gebirge” : zwischen Tradition und Moderne, 1999, 291.

[3] Herbert Hertzmann, “The Relevance of the Tradition: The “Volksstücke” of Felix Mitterer”, Modern Austrian Literature, 24 (1991), 175-178.

[4] Ostdeutschen Post, 12 July 1850.


A pile of hope

by Tine Van Osselaer

The tomb of Anna Katharina Emmerick

I do not need to read the messages to know that what I am looking at is a pile of hope, despair, loss, but above all … trust. The small pieces of paper on the tomb of Anna Katharina Emmerick are the material testimony of faith in the intercessory power of the blessed stigmatic. The practice is gripping in its simplicity. Whoever feels overpowered can regain a little control over the situation by calling upon the beloved stigmatic and ask for her support. Writing down one’s sorrows and hopes and leaving the paper on Emmerick’s sober gravestone in Dülmen alleviates the burden, if just a little. Writing can be an act of faith.[1]

Such writing always gets to me. I have encountered it before whilst studying the ways in which the faithful invested their trust in (living) saints. The practice is well-documented for the German stigmatic Therese Neumann. Whilst she was still alive, the faithful left small notes behind the crucifix of the local church in Konnersreuth. Therese Neumann answered the messages by praying for the conversion or the healing that the letter-writer hoped for.[2] Hope also speaks from the hundreds of letters Neumann and other stigmatics received via the ‘normal’ post services or intermediaries, asking them for their prayers, their help in saving loved ones. Hope was the foundation of the miracle stories included in the Konnersreuth periodicals and other publications; and hope was the material of which ex-votos were made.[3]

The messages, in whatever form they reached the stigmatics, testify of the bonds between people. The faithful wrote as parents, partners, friends and by doing so expressed their love for those close to them, those they wished to help, those who did not (or no longer) have the strength to write themselves. Writing was and is a way to care for the people you love.

I really like textual sources, as most historians do. Still, even though the notes on Emmerick’s grave are indeed texts, what fascinates me here is not so much what the faithful write, but the fact that they are writing. For them, leaving the letters on the grave is not the start of a correspondence, … but it is the start of a communication, a call for help.

In the case of Emmerick, leaving behind a note on the tomb actually seems to be a recent invention, probably linked to the translation of Emmerick’s body inside the church. When her remains were still in the graveyard, the faithful prayed beside the grave, but rather than leaving a message behind, they took something with them from the grave (like sand or leaves), so they would have something to hold on to at home.[4] Practices such as these have been well-studied from the perspective of the miracle story, the development of a pilgrimage site or the faithful’s relationship with divine beings, but not really from an emotional point of view. Yet I think the small pieces of paper – and not just the text they contain – are in themselves small emotional objects, brimming with feeling. Writing, folding and leaving them on the grave fills them with meaning.

I admit, I had almost forgotten about Emmerick’s grave. Yet somehow, the current epidemic and the concomitant increase of lightening candles in honor of a saint (preferably St. Rita and St. Rochus, at least here in Belgium[5]) reminded me of that pile of paper in Dülmen, and of the faith, hope and love people invest in these small notes.


[1] On emotions as a kind of practice, see Monique Scheer’s seminal article ‘Are emotions a kind of practice (and is that what makes them have a history)? A Bourdieuian approach to understanding emotion’, History and Theory 51 (2012) 193-220.

[2] “Most of the visitors, especially the women, also visit the parish church, venture behind the high altar and behind a crucifix that is hanging on the wall there placed open and sealed letters, and notes on which everything imaginable is written.” Staatsarchiv Amberg, 4169 Bezirksamt Tirschenreuth, Schreiben der Gendarmeriestation Konnersreuth an das Bezirksamt Tirschenreuth, 57: 16/9/1927, cited in Van Osselaer, Graus, Rossi and Smeyers, The promotion and devotion of stigmatics in Europe. Between saints and celebrities, 2020, p.67, footnote 78.

[3] For such devotional letter writing, see Robert Orsi’s wonderful study of the letters concerning the cult of Saint Jude (Orsi, Robert A. Thank You, St. Jude Women’s Devotion to the Patron Saint of Hopeless Causes. New Haven: Yale University Press, 1998).

[4] Van Osselaer, Graus, Rossi and Smeyers, 2020, p.150.

[5] https://www.vrt.be/vrtnws/nl/2020/10/26/hoop-in-bange-dagen-verkoop-van-noveenkaarsen-boomt-in-begijnho/

Weighing the body

by Kristof Smeyers

The time has come now, at last, to talk truth.

Our research on stigmata doesn’t directly engage with the possibility of the wounds’ divine or supernatural nature. As cultural historians (albeit from different angles) our interest is in the stigmata’s meaning to people in the past rather than in trying to prove or disprove, sanctify or debunk the wounds of Christ. To do so, we have put great emphasis on so-called ‘bottom-up’ history, simply put: to reconstruct those layers of meaning departing from fragments close to the phenomenon and to build on those layers reaching outward to state and church archives.

In a great article last year, Christine Grandy problematized the weight of meaning – or rather, the ways we as historians measure the weight or significance of something in the face of an ‘absent audience’: ‘we continue to know very little about the way ordinary people responded to most forms of culture’ (p. 645). Where do we turn to hear the voices of ‘ordinary’ people? Inevitably, very often they are found in the sources of the meaning-makers: ‘the experts, the professionals, or those whose livelihoods are most explicitly tied to the functioning of that set of symbols whose archives we sift through’ (p. 647). In the nineteenth and twentieth centuries, that means, among other things, trawling through newspapers that proclaimed to be the voice(s) of the people(s), but which more often than not ran with a particular case of stigmata to sensationalise or ridicule it in order to sell. Rather than mere receptacles of contemporary ‘voices’, from which we can glean how stigmata functioned within the culture wars of Europe in the late nineteenth century for example, these newspapers fuelled and shaped those culture wars in ways not so different from how they steer today’s culture wars.

Now, we may not spend our research hours figuring out which stigmatic wounds were authentically divine, perversely diabolic, or inflicted via other means, but many of the sources of meaning-makers centred around this crucial matter; many of these sources are preserved precisely because of this focus. Today this is still the question at the heart of the phenomenon for most people, expert or no. Medical and theological scholars continue to attempt to find the cause under the skin or in transcendence.

The first thing we often get asked when our work comes up in conversation is what we really think went on in this case or that – on this or that person’s body. We have become skilled at nimbly avoiding that question, using all the arguments in the arsenal of a cultural historian: we are interested in meaning, you see; what did this phenomenon signify to the individuals and communities we study? But how fair is our act of avoidance when so much of our sources grapple with exactly that question? And how does this repeated, conscious act influence how we read such sources, only to ripple through our own writing?

What does all this imply for our ‘bottom-up’ approach? How, if at all, do we circumvent or reflect the hierarchy, the meaning-making of the sources in our work? Part of the answer, I think, is to hone in on the physicality of the phenomenon itself. Bottom-up begins with the body. Most often, stigmata were read as (often also presented to the world as) corporeal manifestations of redemptive suffering: a bleeding body that offered comfort to pious onlookers. We contextualise this religious suffering within a – primarily – Catholic tableau of spiritual, sublimated pain. The stigmatised bodies are inhabited by ‘victim souls’. Focusing so much on this meaning, the body is sometimes left behind. What happens, for instance, when we situate the supernaturally suffering bodies within a context of physical suffering more generally, among the ‘rank, foul and dysfunctional’ bodies ‘racked with pain, disability and disease’ (Roy Porter, Flesh in the age of reason (London, 2004), p. 25) in which so many people in the nineteenth and early twentieth centuries lived? Different contexts create different meanings.

*

Suffering bodies in supernatural, corporeal Catholicism make for rich sources for prose, poetry, and other forms of fiction. Many are sensationalist and gory, often playing to the same tropes as contemporary newspapers. In 1991 Ron Hansen published Mariette in ecstasy, a strange book about a rich teenager who enters a convent of the Sisters of the Crucifixion in New York, in 1906. The order has its motherhouse in Louvain, Belgium. Central to the novel is not the question of truth, but Mariette’s body. The New York Times reviewed the book as a ‘luminous novel that burns a laser-bright picture into the reader’s imagination, forcing one to reassess the relationship between madness and divine possession, gullibility and faith, sexual rapture and religious ecstasy’. Returning to Mariette in ecstasy in 2016, the Paris Review summarised this appeal: ‘Catholics go for crucifixes over crosses. They want their Mass wine in a chalice, not Solo cups. The Eucharist is not a symbol; it is substance.’

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Mariette in ecstasy (not, strikingly, Mariette with stigmata) is a story of pious psychology and body horror. The novel hits beats that are familiar to those who have browsed our database. Mariette’s stigmata followed years of prayer to Christ’s Passion and a sustained wish for enclosed life. Once in the convent, her emphatically corporeal devotion meets with suspicion and judgment from the other sisters. One sister enters Mariette’s cell and finds her on the floor, ‘unclothed and seemingly unconscious’, holding her hands up as if crucified. On Christmas Eve, she receives the wounds on her body. She holds ‘out her blood-painted hands like a present’, saying ‘Oh, look at what Jesus has done to me!’ Sisters notice red footprints in the hallways. Her faith is lived on the skin, and the skin in turn becomes canvas: ‘Blood scribbles down her wrists and ankles and scrawls like handwriting on the floor.’

In these fictions, stigmatised bodies become places on which others vie for vindication, and sites of conflict – whether of an eschatological, religious, scientific, or social nature. Mariette’s body is not hers, either: she surrenders it to Christ and God, but by doing so she also gives it up to a society that tries to make sense of the strange wounds. The inhabitants of the convent of the Sisters of the Crucifixion are unwilling or unable to engage with the intense physicality of what goes on in Mariette’s cell. One sister enters at night and licks the blood from Mariette’s stigmatised palm: ‘I have tasted you. See?’ Her stigmata become a news item to the outside world. A doctor – her father, no less – examines her body. He concludes: ‘You have all been duped.’

In stigmata fictions, the truth behind the wounds is often central. Many stories hone in on the method behind the wounds, as if the body is a crime scene, a whodunit: how did they manage to get away with it? What tools did they use to inflict the wounds? Who was ‘in on it’, who is ‘duped’? What were the stigmatic’s primary motives? How long will their pious fraud – or fraudulent piety – continue? Mariette in ecstasy’s protagonist has supernatural wounds. The author never gives any indication that another explanation is plausible or necessary. The reader never doubts Mariette’s sincerity; we simply witness the miraculous at work. All suspense comes from the reactions of others to her body. They make meaning, and in that process of making, Mariette’s body suffers all the more for it.

Stories of isolation before the Coronavirus: following the example of stigmatics

By Leonardo Rossi

Exceptional, surreal, unusual. These words are among some of the most frequently used expressions of the bewilderment that we are all experiencing due to the Covid-19 pandemic. Only a few months ago, we considered it a worrying but distant danger, since then we have realised that we were wrong. From China to Italy, from the States to all corners of the globe, no one is immune and safe. We have discovered ourselves to be weaker, more helpless, more powerless than we assumed to be. Our habits have been subverted. Most of the offices are closed, children are home from school, transportation is extremely limited. The daily frenzy and our interpersonal relationships have suddenly changed.

Time runs differently when you are isolated and cut off from your social framework. The appointments on the agenda thin out, the superfluous disappears into the background, and only the essential things remain visible. You have more time for yourself and for thinking. In the first days of isolation, the most frequent questions I wondered about were about the exceptional nature of the moment we are passing through: how much will this influence affect our habits in the long term? Will 2020 be remembered solely for Coronavirus, or also as a turning point? When and how will we return to our ‘ordinary’ life? Every idea that flashed through my mind was characterised by the adjective ‘exceptional’: nobody has clear answers because nobody has ever experienced anything like this. As the days and weeks went by, however, what previously seemed so unusual quickly started to become ‘normal’. Life goes on, with small and big changes. Now it is no longer odd to work at home, wear a mask when we go out, queue to enter the supermarket. Smiling with the eyes has replaced the handshakes, phone calls evoke the hugs of loved ones, online meetings substitute family lunches. New habits have become a routine, and the old questions that I was unable to answer have given way to another type of reflection: Are we actually witnessing a unique event in history? Did not other generations also spend months isolated from the community? For what reasons? How did they deal with that particular moment?

Cigoli, St Francis

Ludovico Cigoli, St Francis in meditation in an isolated place (Wikimedia Commons)

In my case, the small/big change was to finish the review of my PhD not in my office in Antwerp, but in Gaeta, a municipality at the south of Rome, historically famous as ‘the port of the popes’. Here, I spent weeks of self-isolation, away from my office and family, with an internet connection that did not work brilliantly. Sifting through the pages of my manuscript and reflecting on the past, I realised that this situation is exceptional only for those who, like me, had never experienced anything like this. Looking back can somehow make us feel less alone and exceptional. Before COVID, many people experienced various forms of isolation, social exclusion, withdrawal from the world. History is full of interruptions or subversions of what was considered ‘normal’.

Experiencing a form of seclusion has influenced my point of view. My attention is drawn to situations that are similar to the current one. During the nineteenth and in the first half of the twentieth century, the period that I analyse in my research, there have been several pandemics that have collectively forced thousands, or even millions, of people to live in isolation. At that time, waves of cholera, smallpox, and typhus raged frequently. Moreover, revolts, civil wars, international conflicts, famines and natural cataclysms spread among countries. Periods of seclusion affected the protagonists of history and those who study it: the historians. Fernand Braudel published in 1949 « La Méditerranée et le Monde méditerranéen à l’époque de Philippe II », but he worked on it during his captivity in Germany (1940-45). Some spiritual leaders and heads of state were also forced to live in isolation. Imprisonment was the common denominator of the pontificate of numerous popes in the nineteenth century. Pius VI fled to Siena in 1798 when he tried to escape the invasion of the Papal States by the French troops. Pius VII spent years of exile away from Rome, as a prisoner of Napoleon in Fontainebleau. Pius IX spent more than nine months here in Gaeta to escape the revolutions of the Roman Republic and the so-called “Spring of the Peoples” (1848-49).

In the sources I studied, exile and forced imprisonment did not only concern popes but also other people. In addition to reasons of force majeure that indiscriminately involved all of the population, a particular category of individuals experienced long moments of isolation in their lives, that is the stigmatics. The wounds of passion that were impressed and visible on their bodies often turned stigmatics into religious celebrities in their community and, sometimes, even on the global level. Their public fame attracted the attention of the people, but also made them suspicions in the eyes of sceptics and ecclesiastical authorities. Bishops and the Vatican curia (especially the Holy Office) opened investigations and not rarely condemned those who were popularly considered alteri Christi to a life of seclusion. Other stigmatics were not in search of fame and success but wished to spend their lives in solitude and meditation. The visible stigmata would have attracted unwanted attention and, for this reason, they decided to withdraw themselves from the public scene and isolate themselves in monastic cells or domestic environment, carefully keeping their graces a secret.

Therefore, it was not a disease that kept stigmatics away from society, but rather a personal choice or an obligation imposed from above. Some examples can help us to understand their experience better. Solitary and contemplative life has always been part of the Christian tradition. Already in the third century, anchorites and hermits left the community to live in the desert or in isolated places in northern Africa. In the West, the monks did the same by building their abbeys and monasteries in inaccessible areas far from inhabited centres. The desire for a  withdrawn life motivated several stigmatics to aspire to live as religious women. Gemma Galgani (1878-1903), Teresa Palminota (1896-1934), and Maria Concetta Pantusa (1936, 1894-1957) tried to enter the convent and become nuns. All three had a deep mystical life and were endowed with special charisms, such as stigmata, ecstasies and visions. They tried to hide their graces from the world and preferred seclusion to the limelights. Even the renowned Tyrolean stigmatics, Maria Von Mörl (1812-1868) and Maria Domenica Lazzeri (1815-1848), had problems with accepting and enduring their unwanted popularity. Despite their wishes, both had become famous religious figures. Hundreds of articles that were dedicated to them appeared in the main newspapers of the time, and thousands of faithful and curious visited them in their houses. Von Mörl refused in most cases to speak and interact with the spectators. Lazzeri confessed to her spiritual father that she desired not to be disturbed by pilgrims, especially by sceptics and unbelievers who made fun of her. The Roman stigmatics, wives and mothers, Elisabetta Canori Mora (1774-1824) and Anna Maria Taigi (1869-1837) did not aspire to enter a cloister, but lived a ‘mixed life’, that is a combination between secular and religious spirituality. During the day they took care of their daily chores, and when their families went to sleep in the evening, they spent their nights in meditation and prayer.

St Catherine

St Catherine of Siena portrayed in prayer in her room (Ruusbroec Library)

The search for peace and isolation could, therefore, be both physical (locking oneself in a monastic cell) and spiritual (hiding graces from the world). This solution was not always an option. Elena Aiello (1895-1961), for example, entered the convent at fifteen years old hoping to spend her life there but, due to an accident, she had to leave. For some stigmatics, seclusion was not a free choice, but rather the punishment issued by a religious authority, such as the diocesan bishops or the cardinals of the Holy Office. At the beginning of the nineteenth century, the Sardinian abbess Maria Rosa Serra (1766-post 1806), confessed after years of notoriety to the bishop that she had lied about her divine charisms. The Monsignor removed Serra from her position as abbess and condemned her to perpetual isolation in a monastic cell. The same fate fell upon Maria Agnese Firrao (late nineteenth century-1855) and Ester Moriconi (1875-1937). In their case, the Holy Office condemned the stigmatics as false saints. Firrao was transferred to another city where she died 30 years later (the penalties could be very severe and last long) and Moriconi was interned in a psychiatric clinic in Milan, far from her religious community and the faithful. The ecclesiastical authorities regarded isolation as the best solution to block these women’s reputation for holiness among the people. In the files of the processes instigated against them, we read how the clergymen only isolated the ‘offenders’ when they were able to. They did not want to transform stigmatics into popular ‘martyrs’ of the faith, unjustly condemned to a life of isolation. They tried to prove their fraud and to destroy the credibility and authority these women held in their community.

Numerous stigmatists experienced social exclusion for different reasons. Some for a few months or years (as Palma Matarrelli and Padre Pio), others for a lifetime (as Firrao and Moriconi). Some of them had led a very active and busy life, received visitors and pilgrims, and had gained significant public influence. After the conviction or voluntary isolation, everything changed. Elisabetta Canori Mora, for example, belonged to the upper Roman bourgeoisie and led a worldly life before she embraced the mystical path. When she chose to dedicate herself to the Lord, she abandoned all privileges. Her new routine no longer included gala dinners, theatre and elegant clothes, but occasional meals, continuous penances and a humble basement where she could pray isolated from the world. We can read about the daily routines in her spiritual diary. Elisabetta used to cook fish for her daughters on Friday, since, in line with Catholic tradition, this is the day of the week in which the Passion of Christ is remembered, and meat is prohibited. Furthermore, in moments of spiritual despair, she ate a small piece of dark chocolate in order to alleviate her suffering. Other stigmatics also adapted themselves to their changed lives. Maria Agnese Firrao, in her prison-cell in Perugia, received letters from her faithful, replied to them, and even continued to direct the Roman monastery she had led before her condemnation thanks to her network of alliances. Imprisoned in an asylum, Palma Matarrelli received visits from her supporters. For many stigmatics, meditation and introspection were ways to abandon society and its problems to get in touch with the Lord. However, even in isolation, they created new routines and means to deal with the new situation productively. Nevertheless unique and exceptional our situation may seem, before us many people have experimented with forms of isolation and seclusion, and their example can teach us how to turn limitations into opportunities.

Transformations

by Kristof Smeyers

The beast and the frog

In 1916, as the First World War came to a standstill in the trenches of the western front, a great beast went hunting in the forests of New Hampshire, USA. The beast, an odd and disturbing creature by all accounts, stalked a frog. In The myth of disenchantment (pp. 159-160), Jason A. Josephson-Storm describes the beast’s modus operandi. It did not kill instantaneously. At sunrise, the beast baptised the ensnared frog and named it ‘Jesus of Nazareth’. This was only the start of the animal’s prolonged suffering. At dusk, the frog was put on trial. With appropriate pomp, the beast exclaimed: ‘Jesus of Nazareth, how thou art taken in my snare. All my life long thou hast plagued me and affronted me… Now, at last, I have thee; the Slave-God is in the power of the Lord of Freedom. Thine hour is come; as I blot thee out from this earth, so surely shall the eclipse pass; and the Light, Life, Love and Liberty be once more the Law of Earth. Give thou place to me, O, Jesus; thine aeon is passed; the Age of Horus is arisen by the Magick of the Master the Beast that is Man.’

After the mock trial, the frog ‘Jesus’ was condemned to death, and subsequently crucified. The British occultist Aleister Crowley (1875-1948), nicknamed the Great Beast and infamous as ‘the wickedest man on earth’, cooked the frog’s legs, ate them, and burned the rest of the body. Jesus was consumed, no more: Crowley had taken and twisted the doctrine of transubstantiation to its extreme. This series of acts was done in accordance with Book LXX (‘The Cross of a Frog’) of the Thelema, Crowley’s own written philosophy. One of many similar rituals, the consumption of the frog transformed Crowley, turning himself into a god one incongruous step at a time. In 1921, he considered the transformation complete, and crowned himself ‘Ipssissimus’: beyond the gods.

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Aleister Crowley as photographed by Arnold Genthe. The Equinox 3.1 (Detroit: Universal Publishing Company, 1919), facing page 197. (c) Wikimedia Commons

Transubstantiation

Christ’s suffering body occupied a particularly strong cultural imaginary in the early twentieth century. Early twentieth-century stigmatics provided ammunition for those polemicists and worriers who aimed to protest a perceived disenchantment. (Or so S. Luzzatto claimed in his 2010 book on Padre Pio: miracles and politics in a secular age; the stigmatic and their community remain disconcertingly and overwhelmingly silent in approaches that go to some length to show how a stigmatic’s suffering was the embodiment of religious negotiations of ‘modernity’.) The parable of the beast and the frog shows how Christ’s body could transgress Christianity and hold symbolic sway in magical, occult, and other practices and beliefs. Crowley absorbed Christian symbolism to make it part of his own theology. The notion of ‘transformation’, of a practical use of Christ’s body, is central to any understanding of this multiplicity of meanings. For Crowley, the body of Christ signified a physical conduit between the material and the divine: to consume it, as he meant to consume all other gods, meant to transcend the bounds of the earthly realm and to reach his full potential. Though radical both in its aetiology and in its exertion, the underlying idea that interaction with the crucified body meant personal transformation or growth connects Crowley’s time under the New Hampshire canopy to the Passion experienced by many of the people that we study. Whether or not the Tyrolean mystic Angelica Darocca used a knife to reproduce the wounds of Christ on her body, for example, is in this respect not particularly relevant. By bearing the stigmata, she transformed herself; she was transformed.

Acknowledging that stigmata could be a form of religious, emotional self-expression is not the same as forcing the phenomenon into a corset of pathology. Our research has examined to some length now how we cannot approach the stigmata as a merely metaphorically and symbolically significant manifestation. The stigmatic was not only a tool in the battles between miracle-loving Catholics and materialists. Mortal skin was not just the canvas for holy signs; the Word was not simply made flesh. But the signs transformed the flesh—and the senses. Moreover, they held power, over believers and sceptics alike. That power was itself subject to the cultural contexts in which it appeared. A religious proclivity to suffering is not universal. In Biography of a Mexican crucifix (2010) Jennifer Scheper Hughes gives the example of the Cristo Aparecido in sixteenth-century Totolapan in Mexico. In 1543 the Augustinian missionary Antonio de Roa saw a crucifix made from the wood of the native maguey plant. The Christ figure is bloody and pale, ‘his ribcage poking through almost diaphanous skin’ as Alyssa Maldonado-Estrada describes it (‘Catholic devotion in the Americas’, Religion Compass, 13 (2019), pp. 1-10: 4). The appearance of the crucifix changed the indigenous community; it also meant a dramatic change in Antonio de Roa’s life. As crucial part of his conversion mission, he turned his own body into a ‘living image of pain’. Christian evangelisation centred around bodily suffering as a gateway into personal transformation. De Roa’s bleeding body, viewed in tandem with the Cristo, became a site of religious, christocentric instruction.

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Procession of the Cristo Aparecido in the streets of Totolapan, 15-19 March 2018. Image courtesy of http://museosanestebantetelpa.blogspot.mx/

Life, death, afterlife

The crucified body of Christ had many meanings: idiosyncratic, conflicting, overlapping; to be consumed, forgotten, venerated, or emulated. Stigmata were not the exclusive terrain of Catholics who equated the wounds with penitence and redemptive suffering. Jennifer Scheper Hughes has shown how the people of sixteenth-century Mexico did not welcome Christ’s pain and passion as an embodiment of their own suffering under colonial rule, but saw the crucifix rather as an object deserving of their care and love. For Crowley, though steeped in Christian themes, the body of Christ meant something else entirely. That transubstantiation, resurrection and stigmata were notions open to interpretation becomes apparent in occult writings. Occultists were naturally drawn to the power that emanated from Christ’s life, attributing it with qualities that befitted their own conceptions of the known, unknown, and unknowable universe. Helena Blavatsky tackled the subject of stigmata in Isis Unveiled (1877): supernatural markings on the skin were, in her view, a manifestation of the power of the imagination over one’s own body. To reach that conclusion, Blavatsky cherrypicked from a wide range of material, from Pythagoras to contemporary debates in the English medical journal The Lancet.

In turn, the phenomenon itself clearly held power over the imagination of others. The transformations of Christ evoked comparisons across a broad cultural imaginary. Stigmata were, perhaps naturally, often discussed in relation to matters of life, death, and rebirth. These matters could, depending on the perspective, corrupt rather than enshrine religious practices, and turn them into different things entirely. Stories of stigmata and other phenomena existed in a state of constant flux, oscillating between truth and fiction, between myth, interpretation and hearsay. Those different iterations nonetheless co-existed. Crowley’s hunt in the woods was by some Catholics considered as a mockeryof some of the beliefs they held holiest, but they did not pick apart the connotation between occultism and ‘proper’ religion. Rather, the widespread and multiform focus on Christ’s body and suffering allows us to draw seemingly separate strands together. As cultural historians of stigmata we would be wrong to limit our scope to the field of (Catholic) religion at the expense of other contemporaneous worldviews concerning the doctrine of transubstantiation, or themes of penitence and resurrection.

Similarly unnerving comparisons were made in previous centuries, by local communities as well as later scholars. David Keyworth has pointed at the notable similarities (as well as differences) between eighteenth- and nineteenth-century narratives of Central-European vampirism on the one hand and Catholic themes on the other: ‘The supposed existence of vampires also mirrored Christian belief in a future bodily resurrection at the Last Judgement’ (‘The aetiology of vampires and revenants: theological debate and popular belief’, Journal of Religious History, 34:2 (2010), pp. 158-173: 172). Here, vampires and Catholic miracles tied to Christ existed as each other’s mirror image—even if vampires famously have no reflection. Vampires as creatures having escaped the mortal confines of the coffin for an immortal life sustained by feeding on the blood of the living was, in Keyworth’s words, ‘in effect the antithesis to the Catholic doctrine of transubstantiation’ (p. 172).

Without incorporating these stories we would lose a significant part of this cultural imaginary in which religious phenomena, reanimated corpses, ghosts and vampires co-existed. Ongoing beliefs in stigmata, vampires, and the power that emanates from divinely touched bodies were often linked. Stigmata may at one point have been the sole terrain of the Catholic theologian (and this, too, is up for debate), but by the time Crowley crucified a frog between the maples and birches of New Hampshire Christ’s body and wounds had long been transformed into a powerful nexus of culturally entangled meanings.

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In 2017 a student art piece at Penn State’s Abington campus caused furore: Christus Ranae, a seven-foot sculpture of a crucified frog.