![\"Sacred](\"https:\/\/i0.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/225px-Eglise_Sacro_Cuore_di_Gesu\u0300-225x300.jpg?ssl=1\")
<\/a>The Sacro Cuore di Ges\u00f9 is one of several churches in Rome dedicated to the Sacred Heart devotion.<\/p>\n
Mostly overlooked by tour books, it is actually quite astounding on several levels.<\/p>\n
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1st \u2013 The Architect<\/h2>\n![\"Aristide](\"https:\/\/i0.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/Aristide_Leonori.jpg?resize=88%2C130&ssl=1\")
<\/a>Aristide Leonori, Architect<\/figcaption><\/figure>\nConstructed for the Handmaids of the Sacro Cuore di Ges\u00f9, the architect was Aristide Leonori. He today is a world renown architect, working exclusively on religious structures. In Rome, he designed a side chapel in Sant\u2019Andrea della Valle, and the San Patrizio church (the Irish National church, 1892). Aristide built the Santa Croce church in Via Flaminia in 1912 for\u00a0 Pope Pius X. In the style of a \u201cRoman basilica\u201d, it was created to celebrate the 1,600 anniversary of the Edict of Milan.\u00a0He also intervened in several other churches in Rome.<\/p>\n
Outside of Rome, he also designed the Church of St. Joseph in Cairo, Egypt, in 1909, and he restored the church of St. Catherine of Alexandria, Egypt. Also, the Franciscan Monastery of the Holy Land in Washington, D.C., and he contributed to the construction of several other churches in the US. He also worked in Sudan, Buenos Aires, Peru, Australia and New Zealand. London, Ireland, Prague and Warsaw also have thrones and altars designed by Aristide. He was prolific!<\/p>\n
The Church<\/h2>\n![\"Interior,](\"https:\/\/i0.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/RafaelaChurch5.jpg?resize=150%2C150&ssl=1\")
<\/a>Interior, Sacred Heart of Jesus Church in Rome<\/figcaption><\/figure>\nThe design of the church is a charming neo-Gothic, complete with a matroneum!<\/p>\n
Matronea were intended for women, who were considered 2nd class citizens in Ancient Rome. It developed into the exclusive area for kings, princes and other notable persons who did not want to distract others by their presence in the church.<\/p>\n
The only other church in Rome with a matroneum is the ancient church of St. Agnes Fuori della Mura (outside the walls).<\/p>\n
The stained glass in clerestory windows were created in \u201cMonaco of Bavaria\u201d, in M\u00fcnchen, Germany. They represent saints whose names are also the architect\u2019s own family names. These are special because we find very little stained glass in Rome, and these are especially good quality. By the altar, the stained glass represents scenes having to do with the Real Presence.<\/p>\n
By the way, all the color decoration on the walls isn\u2019t painting – it is mosaic.<\/p>\n![\"Pietro](\"https:\/\/i1.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/GabriniPainting.png?resize=150%2C98&ssl=1\")
<\/a>Pietro Gabrini painting of Columbus<\/figcaption><\/figure>\nPietro Gabrini is responsible for all the oil paintings in the church. Before painting here, in 1892, he received a gold medal in Chicago for his painting of Christopher Columbus. His paintings here are no great artistic feat.<\/p>\n
All these side chapels reflect the common elements among Sacred Heart religious communities. We see French influence, because the Sacred Heart devotion began with St. Margaret Mary Alacoque. Ignatian Spirituality is also present, because of their missionary activity and devotion to the Holy Eucharist.<\/p>\n
Left side (from the entrance): The Death of St. Francis Xavier (missionary Jesuit), The Holy Family, The Annunciation and the Crucifixion of Christ.<\/p>\n![\"Main](\"https:\/\/i2.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/MainAltarLarge.jpg?resize=150%2C150&ssl=1\")
<\/a>Main Altar<\/figcaption><\/figure>\nSt. Anthony who raises the dead, Our Lady of the Pillar with San Giacomo (Spanish), St. John Berchmans with San Luigi Gonzaga and St. Stanislaus Kostka (Jesuits) and St. Rafaela Maria de Porras. Striking is the fact that St. Anthony is usually depicted holding the infant Jesus \u2026<\/p>\n
St. Anthony is placed across from the painting of the death of St. Francis Xavier, so what we have depicted here are both death and resurrection themes at the entrance of the church.<\/p>\n
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The Incorrupt St. Rafaela Maria de Porras Ayll\u00f3n<\/h2>\n![\"Incorrupt](\"https:\/\/i2.wp.com\/sarahgildea.com\/blog\/wp-content\/uploads\/2019\/02\/Rafaela1.jpg?resize=150%2C150&ssl=1\")
<\/a>Incorrupt Rafaela<\/figcaption><\/figure>\nThe youngest of 9 children, her and her older sister Dolores joined a religious order in Cordoba, Spain but left in 1877. Rafaela formed the Handmaids of the Sacred Heart in Madrid. This order is dedicated to the education of children and the poor. The first mother superior, she also had a board of four advisors \u2013 nuns from the community. They however, did nothing but get in the way of the healthy running of the community. The sisters didn’t understand Canon Law or their role as advisors. They believed that they were better administrators than Mother Rafaela. Completely disobedient to her as superior, Rafaela compared them to four nails with which she was nailed to the cross.<\/p>\n
She wrote, \u201cThere is no offence on their part. They were placed there, just like the nails in the Crucifix of Jesus, by the will of the Eternal Father. I must live willingly nailed by them.\u201d<\/p>\n
She forgave them regardless of the trouble they caused, but after six years of this struggle she resigned as mother superior. At the age of 43 she ceased to have any part in the governing of the order which she had founded. She believed it was her duty to be silent, to pray and to suffer.<\/p>\n
The new mother superior did not want the real story as to why Sr. Rafaela resigned to get out to the community or the public. So, they banished her to a far-away house of the order \u2013 they banished her to Rome.<\/p>\n
<\/a>Constructed for the Handmaids of the Sacro Cuore di Ges\u00f9, the architect was Aristide Leonori. He today is a world renown architect, working exclusively on religious structures. In Rome, he designed a side chapel in Sant\u2019Andrea della Valle, and the San Patrizio church (the Irish National church, 1892). Aristide built the Santa Croce church in Via Flaminia in 1912 for\u00a0 Pope Pius X. In the style of a \u201cRoman basilica\u201d, it was created to celebrate the 1,600 anniversary of the Edict of Milan.\u00a0He also intervened in several other churches in Rome.<\/p>\n
Outside of Rome, he also designed the Church of St. Joseph in Cairo, Egypt, in 1909, and he restored the church of St. Catherine of Alexandria, Egypt. Also, the Franciscan Monastery of the Holy Land in Washington, D.C., and he contributed to the construction of several other churches in the US. He also worked in Sudan, Buenos Aires, Peru, Australia and New Zealand. London, Ireland, Prague and Warsaw also have thrones and altars designed by Aristide. He was prolific!<\/p>\n
The Church<\/h2>\n<\/a>Interior, Sacred Heart of Jesus Church in Rome<\/figcaption><\/figure>\nThe design of the church is a charming neo-Gothic, complete with a matroneum!<\/p>\n
Matronea were intended for women, who were considered 2nd class citizens in Ancient Rome. It developed into the exclusive area for kings, princes and other notable persons who did not want to distract others by their presence in the church.<\/p>\n
The only other church in Rome with a matroneum is the ancient church of St. Agnes Fuori della Mura (outside the walls).<\/p>\n
The stained glass in clerestory windows were created in \u201cMonaco of Bavaria\u201d, in M\u00fcnchen, Germany. They represent saints whose names are also the architect\u2019s own family names. These are special because we find very little stained glass in Rome, and these are especially good quality. By the altar, the stained glass represents scenes having to do with the Real Presence.<\/p>\n
By the way, all the color decoration on the walls isn\u2019t painting – it is mosaic.<\/p>\n<\/a>Pietro Gabrini painting of Columbus<\/figcaption><\/figure>\nPietro Gabrini is responsible for all the oil paintings in the church. Before painting here, in 1892, he received a gold medal in Chicago for his painting of Christopher Columbus. His paintings here are no great artistic feat.<\/p>\n
All these side chapels reflect the common elements among Sacred Heart religious communities. We see French influence, because the Sacred Heart devotion began with St. Margaret Mary Alacoque. Ignatian Spirituality is also present, because of their missionary activity and devotion to the Holy Eucharist.<\/p>\n
Left side (from the entrance): The Death of St. Francis Xavier (missionary Jesuit), The Holy Family, The Annunciation and the Crucifixion of Christ.<\/p>\n<\/a>Main Altar<\/figcaption><\/figure>\nSt. Anthony who raises the dead, Our Lady of the Pillar with San Giacomo (Spanish), St. John Berchmans with San Luigi Gonzaga and St. Stanislaus Kostka (Jesuits) and St. Rafaela Maria de Porras. Striking is the fact that St. Anthony is usually depicted holding the infant Jesus \u2026<\/p>\n
St. Anthony is placed across from the painting of the death of St. Francis Xavier, so what we have depicted here are both death and resurrection themes at the entrance of the church.<\/p>\n
<\/p>\n
The Incorrupt St. Rafaela Maria de Porras Ayll\u00f3n<\/h2>\n<\/a>Incorrupt Rafaela<\/figcaption><\/figure>\nThe youngest of 9 children, her and her older sister Dolores joined a religious order in Cordoba, Spain but left in 1877. Rafaela formed the Handmaids of the Sacred Heart in Madrid. This order is dedicated to the education of children and the poor. The first mother superior, she also had a board of four advisors \u2013 nuns from the community. They however, did nothing but get in the way of the healthy running of the community. The sisters didn’t understand Canon Law or their role as advisors. They believed that they were better administrators than Mother Rafaela. Completely disobedient to her as superior, Rafaela compared them to four nails with which she was nailed to the cross.<\/p>\n
She wrote, \u201cThere is no offence on their part. They were placed there, just like the nails in the Crucifix of Jesus, by the will of the Eternal Father. I must live willingly nailed by them.\u201d<\/p>\n
She forgave them regardless of the trouble they caused, but after six years of this struggle she resigned as mother superior. At the age of 43 she ceased to have any part in the governing of the order which she had founded. She believed it was her duty to be silent, to pray and to suffer.<\/p>\n
The new mother superior did not want the real story as to why Sr. Rafaela resigned to get out to the community or the public. So, they banished her to a far-away house of the order \u2013 they banished her to Rome.<\/p>\n
<\/a>The design of the church is a charming neo-Gothic, complete with a matroneum!<\/p>\n
Matronea were intended for women, who were considered 2nd class citizens in Ancient Rome. It developed into the exclusive area for kings, princes and other notable persons who did not want to distract others by their presence in the church.<\/p>\n
The only other church in Rome with a matroneum is the ancient church of St. Agnes Fuori della Mura (outside the walls).<\/p>\n
The stained glass in clerestory windows were created in \u201cMonaco of Bavaria\u201d, in M\u00fcnchen, Germany. They represent saints whose names are also the architect\u2019s own family names. These are special because we find very little stained glass in Rome, and these are especially good quality. By the altar, the stained glass represents scenes having to do with the Real Presence.<\/p>\n
By the way, all the color decoration on the walls isn\u2019t painting – it is mosaic.<\/p>\n Pietro Gabrini is responsible for all the oil paintings in the church. Before painting here, in 1892, he received a gold medal in Chicago for his painting of Christopher Columbus. His paintings here are no great artistic feat.<\/p>\n All these side chapels reflect the common elements among Sacred Heart religious communities. We see French influence, because the Sacred Heart devotion began with St. Margaret Mary Alacoque. Ignatian Spirituality is also present, because of their missionary activity and devotion to the Holy Eucharist.<\/p>\n Left side (from the entrance): The Death of St. Francis Xavier (missionary Jesuit), The Holy Family, The Annunciation and the Crucifixion of Christ.<\/p>\n St. Anthony who raises the dead, Our Lady of the Pillar with San Giacomo (Spanish), St. John Berchmans with San Luigi Gonzaga and St. Stanislaus Kostka (Jesuits) and St. Rafaela Maria de Porras. Striking is the fact that St. Anthony is usually depicted holding the infant Jesus \u2026<\/p>\n St. Anthony is placed across from the painting of the death of St. Francis Xavier, so what we have depicted here are both death and resurrection themes at the entrance of the church.<\/p>\n <\/p>\n The youngest of 9 children, her and her older sister Dolores joined a religious order in Cordoba, Spain but left in 1877. Rafaela formed the Handmaids of the Sacred Heart in Madrid. This order is dedicated to the education of children and the poor. The first mother superior, she also had a board of four advisors \u2013 nuns from the community. They however, did nothing but get in the way of the healthy running of the community. The sisters didn’t understand Canon Law or their role as advisors. They believed that they were better administrators than Mother Rafaela. Completely disobedient to her as superior, Rafaela compared them to four nails with which she was nailed to the cross.<\/p>\n She wrote, \u201cThere is no offence on their part. They were placed there, just like the nails in the Crucifix of Jesus, by the will of the Eternal Father. I must live willingly nailed by them.\u201d<\/p>\n She forgave them regardless of the trouble they caused, but after six years of this struggle she resigned as mother superior. At the age of 43 she ceased to have any part in the governing of the order which she had founded. She believed it was her duty to be silent, to pray and to suffer.<\/p>\n The new mother superior did not want the real story as to why Sr. Rafaela resigned to get out to the community or the public. So, they banished her to a far-away house of the order \u2013 they banished her to Rome.<\/p>\n<\/a><\/a>The Incorrupt St. Rafaela Maria de Porras Ayll\u00f3n<\/h2>\n
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