Restored Rome catacomb frescoes add to Catholic debate on women priests

November 20, 2013

(A fresco inside the catacomb of Priscilla’a “Cubiculum of the Veiled Woman” room showing a woman with outstretched arms like those of a priest saying Mass. In Rome November 19, 2013. REUTERS/Max Rossi)

Proponents of a female priesthood say frescoes in the newly restored Catacombs of Priscilla prove there were women priests in early Christianity. The Vatican says such assertions are sensationalist “fairy tales”.

The catacombs, on Rome’s Via Salaria, have been fully reopened after a five-year project that included laser technology to clean some of the ancient frescoes and a new museum to house restored marble fragments of sarcophagi. Art lovers and the curious around the world who cannot get to Rome can join the debate by using a virtual visit to the underground labyrinth by Google Maps, a first-time venture mixing antiquity and modern high technology.

Built as Christian burial sites between the second and fifth centuries and meandering underground for 13 km (8 miles) over several levels, the Catacombs of Priscilla contain frescoes of women that have provoked academic debate for many years.

One, in a room called the “Cubiculum of the Veiled Woman,” shows a woman whose arms are outstretched like those of a priest saying Mass. She wears what the catacombs’ Italian website calls “a rich liturgical garment”. The word “liturgical” does not appear in the English version.

(A fresco of women inside the catacomb of Priscilla in Rome November 19, 2013. REUTERS/Max Rossi)

She also wears what appears to be a stole, a vestment worn by priests. Another fresco, in a room known as “The Greek Chapel,” shows a group of women sitting around a table, their arms outstretched like those of priests celebrating Mass.

Organizations promoting a female priesthood, such as the Women’s Ordination Conference and the Association of Roman Catholic Woman Priests, have pointed to these ancient scenes as evidence of a female priesthood in the early Church.

But the Vatican contests these interpretations which have also appeared in books on women in Christianity, such as the “The Word According to Eve” published in 1998. “This is an elaboration that has no foundation in reality,” Barbara Mazzei of the Pontifical Commission on Sacred Archaeology told Reuters at the presentation of the restoration on Tuesday.

“This is a fairy tale, a legend,” said Professor Fabrizio Bisconti, superintendent of religious heritage archaeological sites owned by the Vatican, including numerous catacombs scattered around Rome. He said such interpretations were “sensationalist and absolutely not reliable”.

(The catacomb of Priscilla,used for Christian burials from the late 2nd century through the 4th century, in Rome November 19, 2013. REUTERS/Max Rossi)

Bisconti said the fresco of the woman in a gesture of priest-like prayer was “a depiction of a deceased person now in paradise,” and that the women sitting at the table were taking part in a “funeral banquet” and not a Eucharistic gathering.

The Church teaches that women cannot become priests because Jesus willingly chose only men as his apostles.

Giorgia Abeltino, head of public policy at Google Italy, said special instruments and smaller cameras were developed for the virtual tour project, which is similar to Google’s street view except that it explores the bowels of ancient Rome.

The Catacombs of Priscilla are also famous for a fresco which experts believe is the oldest known image of the Madonna and Child, dating to about 230 AD.

Lost for centuries after its entrances were sealed in ancient time, the catacombs were re-discovered in the 16th century and plundered of many gravestones, sarcophagi and bodies. Excavations in modern times began in the 19th century.

(A marble inscription inside the catacomb of Priscilla in Rome November 19, 2013. REUTERS/Max Rossi)

via Restored Rome catacomb frescoes add to debate on women priests | Reuters.

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The interpretation that this is a female figure is an invention of the febrile imaginations of a number of women who advocate for women ordination. It doesn’t correspond to the facts.

Look at the image very closely: the veil is a “tallit,” a Jewish prayer shawl that only men could wear.

Rather than being “proof” of ordained females, the fresco provides an intriguing clue about a possible Jewish-Christian overlap in the early Church’s prayer motifs. That’s about all we can say about this portrait of an “orans” figure.


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