Cardinal: 'The Pope Does Not Put On Prada, But Christ'

Papal master of ceremonies Guido Marini replies to the objections against the latest decisions by Benedict XVI in liturgical matters.

ROMA (CHIESA) - "The pope does not put on Prada, but Christ": this is the abrupt conclusion of an article in "L'Osservatore Romano" aimed at defending the decisions of Benedict XVI in his liturgical and other attire. Curiously, the article was written by a man with almost the very same name as the famous fashion house, Juan Manuel de Prada.

But there is more in the same edition of "L'Osservatore Romano." There is an interview with the master of pontifical liturgical celebrations, Monsignor Guido Marini, who - taking his cue from a new configuration of the pallium worn by the pope - response to the recurring objections against some of Benedict XVI's recent decisions in liturgical matters:

- the motu proprio "Summorum Pontificum," which liberalized the ancient rite of the Mass;

- the placement of the cross at the center of the altar, in papal celebrations;

- the Mass celebrated in the Sistine Chapel, on the ancient altar facing the fresco of the Last Judgment (see photo);

- the return to the use of the crosier in the form of a cross;

- the placement of communion on the tongues of the faithful, kneeling.

On the motu proprio "Summorum Pontificum," Marini says that he does not know whether Benedict XVI himself will celebrate in public a Mass according to the ancient rite. And he continues:

"As for the motu proprio cited, considering this with serene attention and without ideological views, together with the letter presenting it addressed by the pope to the bishops of the whole world, a precise, twofold intention emerges.

First of all, there is the intention of making it easier to reach "a reconciliation in the bosom of the Church"; and in this sense, as has been said, the motu proprio is a beautiful act of love for the unity of the Church.

In the second place - and this fact must not be forgotten -its aim is that of fostering a mutual enrichment between the two forms of the Roman rite: in such a way, for example, that in the celebration according to the missal of Paul VI (the ordinary form of the Roman rite) "will be able to demonstrate, more powerfully than has been the case hitherto, the sacrality which attracts many people to the former usage.»

On the placement of the cross at the center of the altar, Marini says:

"This indicates the centrality of the Crucified One in the Eucharistic celebration, and the exact orientation that the entire assembly is called to have during the Eucharistic liturgy: we do not look at ourselves, but we look at Him who was born, died, and rose for us, the Savior.

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Salvation comes from Lord, He is the East, the rising Sun to whom we must all turn our eyes, from whom we must receive the gift of grace. The question of liturgical orientation in the Eucharistic celebration, and the manner - including practical - in which this takes form, is of great importance, because with it is communicated a fundamental reality that is at the same time theological and anthropological, ecclesiological and inherent to personal spirituality."

On the celebration at the ancient altar facing the scene of the Last Judgment, in the Sistine Chapel, Marini explains:

"In the circumstances in which the celebration is conducted in this way, it is not a matter of turning one's back to the faithful, but rather of orienting oneself together with the faithful toward the Lord. From this point of view, "the door is not closed on the assembly," but "the door is opened to the assembly," and it is led to the Lord.

Particular circumstances can arise in which, because of the artistic conditions of the sacred place and its singular beauty and harmony, it is preferable to celebrate at the ancient altar, where among other things the exact orientation of the liturgical celebration is preserved. This should not surprise us: it is sufficient to go to the basilica of Saint Peter in the morning, and see how many priests celebrate according to the rite produced by the liturgical reform, but on the traditional altars, and therefore oriented like that of the Sistine Chapel."

On the return to the use of the crosier in the form of a cross, Marini says:

"The golden crosier in the form of a Greek cross - which belonged to blessed Pius IX and was used by Benedict XVI for the first time at the celebration of Palm Sunday this year - is now used constantly by the pontiff, who wanted to replace the silver one with the crucifix at the top, introduced by Paul VI and also used by John Paul I, John Paul II, and Benedict himself.

This decision does not simply mean a return to the old way, but testifies to a development in continuity, a rooting in tradition that permits proceeding in an orderly manner on the journey of history. This crosier, called a "ferula," corresponds in fact in a more faithful manner to the form of the papal crosier typical of the Roman tradition, which has always been in the form of a cross and without the crucifix, at least since the crosier began to be used by the Roman pontiffs."

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As for communion placed by the pope on the tongues of the faithful, kneeling - during his recent visit to Santa Maria di Leuca and Brindisi - Marini affirms that this will become "a regular practice at papal celebrations." And he continues:

"In this regard, it must not be forgotten that the distribution of communion in the hand remains, from the juridical point of view, a dispensation from the universal law, conceded by the Holy See to the bishops' conferences that have asked for it.

The practice adopted by Benedict XVI tends to emphasize the continued validity of the norm for the whole Church. In addition, one might also note a preference for the use of this manner of distribution which, without taking anything away from the other, better highlights the truth of the real presence in the Eucharist, aids the devotion of the faithful, and makes it easier to enter into the sense of mystery. In our time, pastorally speaking, it is urgent to recover and emphasize these aspects."

In brief, to those who accuse Benedict XVI of wanting "to impose preconciliar models in this way," Marini rebuts:

"As for terms like "preconciliar" and "postconciliar" that are used by some, it seems to me that these belong to an outdated language, and if they are used with the intention of indicating a discontinuity in the Church's journey, I maintain that they are mistaken and typical of highly reductive ideological views.

There are "old things and new things" that belong to the treasury of the Church of all time, and must be considered as such. The wise man is able to find both of these in his treasury, without appealing to other criteria apart from those of the Gospel and the Church. Not all that is new is true, nor is all that is old. The truth spans old and new, and it is for this that we must strive, without prejudice."

"The Church lives according to the law of continuity in virtue of which it recognizes development rooted in tradition. What is most important is that everything work together so that the liturgical celebration truly is the celebration of the sacred mystery, of the crucified and risen Lord who becomes present in his Church, reenacting the mystery of salvation and calling us, in the logic of an authentic and active participation, to share to the full in his own life, which is a life given in love to the Father and to his brothers, a life of holiness."

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Chiesa is a wonderful source on all things Catholic in Europe. It is skillfully edited by Sandro Magister. SANDRO MAGISTER was born on the feast of the Guardian Angels in 1943, in the town of Busto Arsizio in the archdiocese of Milan. The following day he was baptized into the Catholic Church. His wife’s name is Anna, and he has two daughters, Sara and Marta. He lives in Rome.