italian artist titian around 1512. the original is

12
1 MASS SCHEDULE SATURDAY MASSES: 4:00PM – 7:00PM (Spanish) SUNDAY: 8:00AM (English) 9:30AM (Solemn High Latin Mass) 11:30AM(Sung English) 1:15PM (Sung Spanish) DAILY MASSES: Monday-Friday: 8:00AM (Low Mass) 12:10PM (Sung English) Wednesday: 6:00PM (Sung Mass) Saturday: 9:00AM (Low Mass) CONFESSION SCHEDULE: Saturday: 3:00PM – 4:30PM Wednesday: 5:30PM – 5:50PM Monday – Friday: 11:30AM – 12:00PM EXPOSITION OF THE BLESSED SACRAMENT Wednesday: 8:30AM - 5:00PM Friday: 8:30AM – 5:30PM LAY MEMBERS OF PARISH CORPORATION Fran Di Meglio Marc Baker CHAIRMAN OF FINANCIAL COUNCIL Paul S. Giordano RELIGIOUS EDUCATION Coordinator: Deacon Stephan A. Genovese ORGANIST & CHOIRMASTER David J. Hughes [email protected] ADMINISTRATIVE ASSISTANT Erlinda Zelaya [email protected] PARISH OFFICE HOURS 8:30AM – 4:30PM Monday to Thursday 8:30AM – 3:00PM Friday WEBSITE: stmarynorwalk.net BOOKSTORE HOURS Monday-Thursday: 12:45 – 3:45PM (Closed Friday) Saturday: 10:00AM – 2:00PM Sunday: 9:00AM to 9:30AM & 11:00AM to 2:00PM EASTER SUNDAY APRIL 21, 2019 Noli me tangere. With these words, “Don’t hold on to me” or “Don’t touch me” the Risen Lord instructed Mary when she first recognized him after the Resurrection (John 20:17). The original Greek may be better translated as “cease holding on to me” or “stop clinging to me”. The rest of the Lord’s sentence is, “…for I have not yet ascended to the Father.” For John, and other New Testament writers, the Resurrection and Ascension are one theological event. Acts 1:1 describes the Ascension as having taken place 40 days after the Resurrection. From this point of view the Ascension would mark the of Jesus’ post-Resurrection appearances in His raised and glorified body, i.e. in a sense, He has already “gone” to the Father. The Lord seems to be trying to tell Mary Magdalene that she will not be able to be with Him in in the world the same way she was before His death and Resurrection. This painting was done by the Italian artist Titian around 1512. The original is in the National Gallery in London.

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Page 1: Italian artist Titian around 1512. The original is

1

MASS

SCHEDULE

SATURDAY

MASSES:

4:00PM –

7:00PM (Spanish)

SUNDAY:

8:00AM (English)

9:30AM (Solemn High

Latin Mass)

11:30AM(Sung

English)

1:15PM (Sung

Spanish)

DAILY MASSES:

Monday-Friday:

8:00AM (Low Mass)

12:10PM (Sung

English)

Wednesday: 6:00PM

(Sung Mass)

Saturday: 9:00AM

(Low Mass)

CONFESSION

SCHEDULE:

Saturday: 3:00PM –

4:30PM

Wednesday: 5:30PM –

5:50PM

Monday – Friday:

11:30AM – 12:00PM

EXPOSITION OF

THE BLESSED

SACRAMENT

Wednesday: 8:30AM -

5:00PM

Friday: 8:30AM –

5:30PM

LAY MEMBERS OF

PARISH

CORPORATION

Fran Di Meglio

Marc Baker

CHAIRMAN OF

FINANCIAL COUNCIL

Paul S. Giordano

RELIGIOUS

EDUCATION

Coordinator: Deacon

Stephan A. Genovese

ORGANIST &

CHOIRMASTER

David J. Hughes [email protected]

ADMINISTRATIVE

ASSISTANT

Erlinda Zelaya [email protected]

PARISH OFFICE

HOURS

8:30AM – 4:30PM

Monday to Thursday

8:30AM – 3:00PM Friday

WEBSITE:

stmarynorwalk.net

BOOKSTORE HOURS

Monday-Thursday: 12:45

– 3:45PM (Closed

Friday)

Saturday: 10:00AM –

2:00PM

Sunday: 9:00AM to

9:30AM & 11:00AM to

2:00PM

EASTER SUNDAY

APRIL 21, 2019

Noli me tangere. With these words, “Don’t hold on to me”

or “Don’t touch me” the Risen Lord instructed Mary when

she first recognized him after the Resurrection (John

20:17). The original Greek may be better translated as

“cease holding on to me” or “stop clinging to me”. The rest

of the Lord’s sentence is, “…for I have not yet ascended to

the Father.” For John, and other New Testament writers,

the Resurrection and Ascension are one theological event.

Acts 1:1 describes the Ascension as having taken place 40

days after the Resurrection. From this point of view the

Ascension would mark the of Jesus’ post-Resurrection

appearances in His raised and glorified body, i.e. in a sense,

He has already “gone” to the Father. The Lord seems to be

trying to tell Mary Magdalene that she will not be able to be

with Him in in the world the same way she was before His

death and Resurrection. This painting was done by the

Italian artist Titian around 1512. The original is in the

National Gallery in London.

Page 2: Italian artist Titian around 1512. The original is

2

LEARN YOUR FAITH

Veiling Statues in Lent

It has been the custom of the Roman Church from the 17th

Century to the present to veil crosses,

statues, and images of the saints (except the Stations of the Cross) from the 5th

Sunday of Lent until Easter.

The crosses are unveiled after the unveiling of the cross during the Good Friday liturgy, while the other

images are uncovered after the Gloria of the Easter Vigil.

While the historical roots of the custom seem uncertain, we may consider three interpretations of the

practice. First, consider a mystical interpretation from 19th Century liturgical scholar Dom Gueranger. To

prepare Himself for the events of His Passion, the Lord hid Himself from the rage of the Jewish authorities.

So now, He is “hidden” from the world as we prepare to commemorate these mysteries.

This interpretation is derived from the gospel passage traditionally read on the 5th

Sunday of Lent,

specifically John 8:46-59. At this point in His relationship with the Jewish authorities our Lord has revealed

His divinity to them, concluding His explanation with the words “…I AM”. At this, “…they took up stones

to throw at Him; but Jesus hid Himself and went out of the temple”.

A spiritual interpretation of the custom is also possible according to Gueranger. We usually think of

the cross as a symbol of Christ’s victory over sin and death. But at this stage in His life, and for those who

followed Him, the cross is a sign of humiliation; the worst imaginable death for the worst imaginable crimes

(blasphemy). In this sense we try to shield our Lord from this humiliation, or to hide it even from ourselves.

In His Passion, the Lord’s divinity was obscured by this humiliation, and his humanity was obscured by the

disfiguring wounds of the Passion.

Third, a psychological explanation: veiling the cross and statues actually draws more attention to

them than does leaving them unveiled. The bride at her wedding wears a veil. What sense does this make if

everyone already knows what she looks like? The point of the veil is not to hide her from us, but to draw

our attention to her. The mystery intrigues and attracts us. The liturgy itself is presented to us as a series of

veils. The priest is veiled in his vestments; the altar is veiled by a cloth; the chalice is covered with a veil

until it is to be used; the tabernacle veils the Blessed Sacrament from our sight. Incense veils the entire

sanctuary. The most impressive veil is that which the Lord Himself uses to present Himself to us and hide

Himself from us: The accidents of bread and wine are veils which hide the mystery of the substantial

presence of the Lord in the Most Holy Sacrament of the Altar.

It is clear that these veils make it possible for us to “see” the God whom we cannot see. When all

these veils are eliminated from the liturgy we risk creating an atmosphere in which there is nothing to see,

nothing to intrigue us, and nothing to attract us.

Consider, finally, that the apostles “looked at” the Lord’s divinity everyday for three years, but could

not “see” it until He “showed” it to them by means of signs and symbols at His Transfiguration (cf MT 17:1-

8).

Page 3: Italian artist Titian around 1512. The original is

3

SAINT MARY CHURCH – APRIL 21, 2019

¿Por qué Cubrir Cruces y Estatuas en la Cuaresma?

Ha sido costumbre de la Iglesia Católica desde el siglo XVII hasta la fecha cubrir las cruces, estatuas

e imagines de los santos (con excepción de las Estaciones del Vía Crucis), desde el quinto el domingo de

Cuaresma hasta el Domingo de Pascua. Las cruces se descubren después de revelar la Cruz durante la

Liturgia del Viernes Santo. El resto de las imágenes se descubren después del Gloria durante la Vigilia

Pascual.

No se conoce con certeza la raíz histórica de esta costumbre, pero podemos considerar 3

interpretaciones de dicha practica.

Primero, consideremos una interpretación mística del siglo XIX del académico Dom Gueranger,

quien para prepararse para los eventos de La Pasión, sabemos que Nuestro Señor se escondió de la furia de

las autoridades judías, así que ahora esta Escondido del mundo mientras nos preparamos a conmemorar

estos misterios.

Esta interpretación se deriva del pesaje del Evangelio que se lee tradicionalmente el V domingo de

cuaresma, específicamente Juan 8:46-59. A este punto de su relación con las autoridades judías Nuestro

Señor les había revelado su divinidad, concluyendo con estas palabras: “YO SOY” con esto, “tomaron

piedras para apedrearle, pero Jesús se escondió y salió del templo”.

En segundo lugar, una interpretación espiritual de la costumbre es también posible según Gueranger. Por lo

general pensamos en la Cruz como un símbolo de la victoria de Jesús sobre el pecado y la muerte. Pero a

estas alturas de su vida, ya para los que lo seguían, la Cruz era un signo de humillación, era la muerte más

horrenda asociada con los crímenes mas horrendos (blasfemia). En este sentido tratamos de proteger a

Nuestro Señor de esta humillación, escondiéndole aún de nosotros mismos. Durante su Pasión, la divinidad

del Señor se vio opacada por esta humillación, y su humanidad fue opacada por los golpes que le

desfiguraron durante la Pasión.

En tercer lugar, una explicación sicológica. Cubrir la cruz y las imagines en realidad que acentúa

más la atención hacia ellas que dejarlas descubiertas.

La novia el día de su boda se cubre con un velo, ¿que sentido tiene esto si todos ya la conocen? El objetivo

del velo no es esconder a la novia de nosotros sino que acentuar más la atención en ella. El misterio intriga

y atrae. La liturgia misma se presenta con una serie de velos. El sacerdote se cubre con sus vestimentas, el

altar está cubierto por una tela, el cáliz esta cubierto por un velo hasta el momento de usarse, el tabernáculo

cubre el Santísimo Sacramento, El incienso cubre en su totalidad el santuario. El velo más impresionante es

con el cual se cubre de nosotros Nuestro Señor para luego revelarse a nosotros. Los accidentes de pan y

vino son velos que cubren el misterio de la presencia substancial de Nuestro Señor en el Santísimo

Sacramento del Altar.

Nos queda claro que estos velos hacen posible que “veamos” al Dios que no podemos ver. Cuando

todos estos velos se eliminan de la liturgia, nos arriesgamos a crear una atmósfera en la cual no hay nada que

ver, nada que nos intrigue y nada que nos llame la atención.

Finalmente, consideremos que los apóstoles “vieron la divinidad del Señor todos los días durante tres años,

pero no podían “ver” hasta que El Señor “Se mostro a ellos” por medio de símbolos y señales durante su

Transfiguración. (Cf MT 17:1-8).

Page 4: Italian artist Titian around 1512. The original is

4

Sat. 4/20/19 HOLY SATURDAY 8:00AM Matins & Lauds of Holy Saturday 2:00PM Blessing of Easter Food 7:00PM THE GREAT VIGIL OF EASTER 11:00PM Festive Reception Sun. 4/21/19 EASTER SUNDAY 8:00 +Tito Squeo 9:30 Extraordinary Form High Mass Intentions of the People of the Parish 11:30 Intentions of Armelle Penta Raschella 1:15 +Camilo Cerrato Mon. 4/22/19 SAINTS SOTER & CAIUS/POPES 8:00AM +Lidia and Joseph Fida 12:10 +Richard Caldwell Tue. 4/23/19 SAINT GEORGE MARTYR 8:00AM Intentions of Sareh Scannel 12:10 Noon Intentions of Frank Kelly Wed. 4/24/19 SAINT FIDELIS OF SIGMARINGEN 8:00AM Intentions of Jack Goodman 12:10 Noon Intentions of Fr. Michael Barry 6:00PM +Madeleine Mollenhauer Thu. 4/25/19 SAINT MARK EVANGELIST 8:00AM +Tyler Stewart 12:10 Noon Joseph & Margaret Pizzella Fri. 4/26/19 STS. CLETUS & MARCELLINUS/POPES 8:00AM Intentions of Cornelius deVogel 12:10 Noon +Mike Devlin Sat. 4/27/19 SAINT PETER CANISIUS/DOCTOR 9:00AM Extraordinary Form Low Mass +Aniello DiMeglio 4:00PM Danilo Murcia 7:00PM Intentions of Wendy Awa Sun. 4/28/19 DIVINE MERCY SUNDAY 8:00AM +John Tasco, Jr. 9:30AM Extraordinary Form High Mass Intentions of the People of the Parish 11:30AM Intentions of Aida Bevis and Family 1:15PM +Camilo Cerrato

MASS SCHEDULE

LET US PRAY FOR:

Elizabeth Dignan, Julia do Nacimiento, Brandâo Filho, Gloria

Leone, Rose LiVecchi, David Podejko, Janet Torres

WEEKLY COLLECTION For week of 3/31/19

Weekly……………………………$8,512.00 On Line Giving…………………...$2,272.00 TOTAL…………………………..$10,784.00

4/7/19 Weekly…………………………..$ 8,238.00 On Line Giving $ 2,187.00 TOTAL………………………….$10,425.00

4/14/19 Weekly…………………………...$12,873.00 On Line Giving…………………..$ 2,097.00 TOTAL…………………………. $ 14,970.00

Oración a San Miguel Arcángel "San Miguel Arcángel, defiéndenos en la lucha. Sé

nuestro amparo contra la maldad y asechanzas del

demonio. Pedimos suplicantes que Dios lo mantenga bajo

su imperio; y tu príncipe de la milicia celestial, arroja al

infierno, con el poder divino a Satanás y a los otros

espíritus malvados que andan por el mundo para la

perdición de las almas. Amen

¿COMO FUE EL MILAGROSO HALLAZGO DE LA VIRGEN MARÍA EN ÉFESO?

Una tradición consistente sitúa a la Virgen María viviendo en Éfeso, llevada por el Apóstol Juan una vez que su hijo desaparece de este mundo. Esto resulta consistente con el evangelio del mismo Juan, que cuando Jesús agonizaba en la cruz le dice: “Ahí

tienes a tu madre… desde aquella hora el discípulo

la acogió en su casa” (Jn. 19, 27). La religiosa agustina Ana Catalina Emmerick(1774-1824), En su libro “La vida Oculta de la Virgen

María” describe la casa en la que habría vivido María en la ciudad turca de Éfeso. La que sitúa en la falda de una montaña, cercana a un arroyuelo, con vistas a la ciudad y al mar. Con esta descripción, los padres Paúles H. Jung y Eugene Poulin, y sor Marie de Mandat-Grancey organizan una expedición a la zona y casualmente son conducidos por unos lugareños a tomar agua a un arroyuelo. Lo que milagrosamente los pone frente a una casa que coincidía con la descripción de Sor Catalina. Y lo más increíble es que en la casa había una estatua de la Virgen María. Relatando los lugareños que efectivamente había una tradición en la zona, e incluso una peregrinación a esa casa, que se pensaba era en la que había vivido la Santísima Virgen. Esto sucedió el 29 de julio de 1891. Los arqueólogos, cuando la estudian, concluyen que es una edificación del siglo I d.C., sobre la que en el siglo IV se habría superpuesto una pequeña iglesia.

Page 5: Italian artist Titian around 1512. The original is

5

EXPOSITION OF THE BLESSED

SACRAMENT

Dear Parishioners and friends of St. Mary’s: As

you know we have EXPOSITION OF THE

BLESSED SACRAMENT on Wednesdays and

Fridays from 8:30AM to 5:30PM.

Please come and stay with the Lord for an hour,

half hour or any time you have.

Call Jacqueline Juhasz at

203-644-0056 to volunteer for an hour. You can

also call the Rectory at 203-866-5546. God

bless you!

TEEN CATECHISM

Teen Catechism with Fr. Ringley

Date: WEDNESDAY, May 1, 2019

Time: 6:00 - 8:15 p.m. Location: St. Mary's Church, in the upper church – 669 West Ave. Norwalk Bring friends!

ROSARY IN LATIN

ROSARY in Latin following the 8:00AM

Low Mass every Thursday at Saint Mary

Church

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PRAYER TO

SAINT MICHAEL THE ARCHANGEL

St. Michael the Archangel, defend us in battle. Be our

defense against the wickedness and snares of the Devil.

May God rebuke him, we humbly pray, and do thou, O

Prince of the heavenly hosts, by the power of God, cast

into hell Satan, and all the evil spirits, who prowl about

the world seeking the ruin of souls. Amen.

SAVE DE DATE

INTERNATIONAL FESTIVAL

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HOLY FAMILY PRAYER GROUP

The Holy Family Prayer group will meet on

Sunday, May 12, 2019 at 5:00PM. For

information call Mila at 203-866-2156 or

Honi at 203-286-6978

It’s not too late to discover how different next school

year could be for your son or daughter!

Consider...REGINA PACIS ACADEMY

A K-8 independent, Catholic, classical education school

in Norwalk, CT

Authentically Catholic Distinctly Classical

To schedule a tour or to learn more, please email Kim

Quatela at [email protected]

www.reginapacisacademy.org

Forming scholars and saints since 2005

Regina Pacis Academy is an independent, Catholic

classical school located in Norwalk, Connecticut,

serving students in Kindergarten through Eighth Grade.

The mission of Regina Pacis Academy is to achieve

academic excellence, providing a Roman Catholic

classical education taught by teachers loyal to the

Magisterium. Our goal is to form scholars and saints. There is still time to discover how different next school

year could be for your son or daughter. To schedule a

tour or to learn more, please contact Kim Quatela at

[email protected].

2nd Annual Rector’s Dinner

Please support St. John Fisher Seminary by

attending the 2nd Annual Rector’s Dinner

honoring Msgr. Stephen M. DiGiovanni and

Judy and Phil DeFelice.

Saturday, May 18, 2019 at the Italian Center in

Stamford. For tickets and more information,

please visit our website:

www.Stjohnfisherseminary.org or call

203-322-5331

Macbeth performance

Regina Pacis Academy students

will be performing Macbeth in the

church hall on Sunday, May 19th at

4 pm. Everyone in the parish is

welcome to attend.

Page 6: Italian artist Titian around 1512. The original is

6

Shroud of Turin

It is called the “Shroud of Turin” because it has been kept in the Cathedral of St. John the Baptist in Turin,

Italy since 1578.

1898 photographs by Secondo Pia show that the image is a negative since the photos turned out as positive

images. 1931 Giuseppe Enrie photographs revealed more details. As photography and technology have

advanced, so has more and more evidence been discovered.

Initial Questions:

Is the Shroud authentic in terms of its history? Can it be traced to the 1st century and to Jerusalem? Or is it

a Medieval forgery?

Is it reasonable to conclude that the Shroud COULD be the burial cloth of Jesus?

Is it reasonable to conclude that the Shroud IS the burial cloth of Jesus?

What is the nature of the image on the Shroud?

What is the Shroud?

Ca. 14 feet long X 3 1/2 feet wide. = 2 cubits X 8 cubits (Jewish unit of measure)

Linen cloth made from Near Eastern or Mediterranean basin flax (plant fibers from the genus Linum).

Image includes the front and back of the tortured and crucified man laid out according to Jewish (not

Egyptian) burial customs (position of hands over pelvis not chest)

Scorches, water marks and patches: 1532 fire broke out in a chapel in France where the image was kept in a

silver reliquary. 900 degree heat caused the silver to begin to melt. Drop of silver found on Shroud. Water

stains from dousing the fire. Image was folded in four showing only the face. Patched by nuns in 1534.

Evidence found on the Shroud image concerning the body of the man wrapped in it.

Includes blood stains Type AB (least common blood type, i.e. 3.2% of the world’s population). The

majority of those having this type are found in the Middle East

Hair and beard styles and length consistent with Jews, not Romans of Jesus’ time.

Wounds are consistent with the Roman method of torture and crucifixion.

Nails through wrists (not the hands) and feet. Only one word for hand/wrist/forearm in Greek and Aramaic

(similar to the word “brothers, sisters, cousins, other relations)”.

spear wound in the side consistent with Roman weapon used for this purpose

legs have not been broken (crucifragium)

bloodstains indicate use of crown, or cap of thorns on the head (only known example of someone being

“capped” or crowned with thorns during crucifixion)

bloodstains indicate multiple wounds from blows from the flagrum, i.e. a short whip with metal balls or

shards attached to the ends of the leather thongs.

Evidence of dirt from the area of Jerusalem on the left knee, tip of nose, right heel suggesting a fall(s)

Injuries to the tops of the shoulders suggesting carrying of the patibulum (crossbeam)

Other injuries to the head and face consistent with a beating

1931 Giuseppe Enrie photographs revealed more details including the possible presence of coins over the

eyes consistent with Jewish and pagan burial customs at the time of Jesus. The coins have been identified as

very likely having been minted after 29 AD by Pontius Pilate. Jews would have used them because they

have no image of Caesar (idolatry), but only the name of Tiberius Caesar and other symbols.

Images of flowers placed around the head and upper body during burial are consistent with those in the area

of Jerusalem (blooming in the Spring, suggesting Springtime death)

Continues on next page…

Page 7: Italian artist Titian around 1512. The original is

7

Shroud of Turin Page 2…

Itinerary of the Shroud from Jerusalem to Turin:

Jerusalem to 40 AD; Edessa (Turkey) to 944 AD (rediscovery changes artistic styles); Constantinople

(Turkey) to 1204 AD (Crusaders raid the City); interim period from 1207 to 1357 AD (uncertainty about

whereabouts); Shroud reappears in France: 1532 fire in France; 1578 Shroud goes to Turin, Italy where it is

today.

Arguments for authenticity:

Many ancient burial shrouds exist, many older than this one. No others have an image similar to this one.

Some show evidence of decomposition stains. This one does not.

The image is most likely that of a Jewish man of the first century crucified in the normal way by the Romans

except that his legs were not broken and that he was crowned with thorns, consistent with the Biblical

descriptions. The man is 5’10” to 5’11” tall and estimated to weigh between 170 and 180 pounds.

The flax used to make the Shroud is consistent with what would have been found at the time and place of

Jesus. It would have been expensive (Joseph of Arimathea was the wealthy man who gave his tomb (and

shroud?) for Jesus’ burial.

Dating

The pollens and mites found in the Shroud in high concentrations are consistent with the known “stopping

places” along the Shroud’s itinerary. The Shroud would have to have been in those places to have collected

those pollens and mites. This evidence, acceptable for crime scene investigations in courts of law, precludes

the possibility of a Medieval forgery. The whereabouts of the Shroud have been well documented since

1453. Pollen and mites were not discovered until the 19th century. This is perhaps the best evidence for the

authenticity of the Shroud itself. A forger would have to have had knowledge of pollen and mites. Such

knowledge did not exist until the 19th century

Nature of the Image:

There are no signs of paint, brush stokes outlines drawing chalk not soaked into fibers of the flax

Radiation, light, Atomic bomb shadows. It seems to be created by light or radiation of an unknown type.

$

Page 8: Italian artist Titian around 1512. The original is

8

El Santo Sudario de Turín

El Sudario se llama “de Turín” porque se ha mantenido en La Catedral de San Juan Bautista en Turín,

Italia desde 1578.

Las primeras fotos de Secondo Pio en 1898 demuestran que la imagen es un negativo porque las fotos

son positivas. Otras fotos de Giuseppe Enrie revelaron más detalles. Debido al avance de la tecnología,

existen mas evidencias sobre el Santo Sudario.

Preguntas iniciales:

¿El Sudario es autentico históricamente, o no? ¿Tiene su historia en el primer siglo en Jerusalén, o es

una falsificación Medieval?

¿Es razonable concluir que el Sudario podría ser la tela en que se enterró a Jesús?

¿Es razonable concluir que el Sudario ES la tela de entierro de Jesús?

¿Cual es la naturaleza de la imagen?

¿Que es el Sudario?

Cerca 14 pies de largo por 31/2 pies de ancho.

Está hecho de lino (fibras de una planta) de un tipo común en la región de Jerusalén.

Las imágenes muestran el frente y parte posterior de un hombre torturado y crucificado, y sepultado

según las costumbres de los judíos, no de los romanos, de enterrar a sus muertos. Las manos descansan

sobre la pelvis, no en el pecho (a manera de los egipcios).

Tiene chamusquinas, manchas de agua, y parches o remiendos.

En 1532 hubo un incendio en la capilla en donde se guardaba el Sudario en un relicario de plata.

Sabemos que el fuego alcanzó una temperatura de 900 grados porque se encuentran gotas de plata en el

Sudario, esto indica que el relicario se había comenzado a derretir. La imagen fue doblada en el relicario

para mostrar solo la cara. Se usó agua para extinguir el fuego. En 1534, algunas monjas fueron las

encargadas de hacer los remiendos necesarios.

Evidencia descubierta en la imagen acerca del cuerpo del hombre sepultado allí.

Hay manchas de sangre del tipo AB (el tipo menos común) i.e. solo 3.2% de la población del mundo

tiene este tipo de sangre. La mayoría con este tipo de sangre son del Medio Oriente.

El estilo del pelo y barba en tiempos de Jesús, son consistentes con los de los judíos, y no de los

romanos.

Las heridas son congruentes con la forma romana de torturar y crucificar.

Los clavos atravesaron las muñecas, no las manos o palmas. Hay solo una palabra en griego y arameo

que se usa para nombrar la mano, muñeca y antebrazo. (Como la palabra para hermanos, hermanas,

hermanastro, hermanastra, primos, etc.)

La herida en el costado es consistente con la lanza romana usada para este propósito.

Las piernas no fueron fracturadas.

Manchas de sangre en la cabeza sugieren una corona o cuenco de espinas. Esta es la única crucifixión

que muestra una corona de espinas. Ninguna otra descripción de crucifixión indica que la victima

tuviera una corona.

Continua en la siguiente pagina…

Page 9: Italian artist Titian around 1512. The original is

9

Continuación de El Santo Sudario de Turín…

La gran cantidad de manchas de sangre indican el gran numero de heridas causadas por el uso de un

látigo llamado Flagelo, un látigo de correas equipado con bolitas de plomo, y agudas puntas de hierro

llamadas escorpiones.

Evidencia de polvo de la región de Jerusalén en la rodilla izquierda, el punto de la nariz, y el talón

derecho. Esta evidencia sugiere una (o más) caídas.

Heridas en los hombros sugieren que fue colocado en el patibulum, i.e. parte horizontal de la Cruz.

Otras heridas en la cabeza y cara sugieren numerosos golpes.

Investigación más reciente indica la presencia de monedas sobre los ojos consistente con las

costumbres de los judíos y otros. Las monedas han sido identificadas como (probablemente) leptones

producidas entre 29 AC y 32 AC por Poncio Pilato. Los judíos las usaran porque no tenían una

imagen de César (idolatría).

Imágenes de floras sepultadas con el cuerpo son consistente con ellas en la región de Jerusalén en la

primavera.

Itinerario del Sudario desde Jerusalén hasta Turín

El Sudario estuvo en Jerusalén hasta 40 AC; Edessa, Turquía hasta 944 (descubierto de nuevo y

cambia de estilos de representar la cara de Jesús); Constantinopla/Estambul hasta 1204 (miembros de

Las Cruzadas invadieron la ciudad); periodo desde 1207 hasta 1357 su posición no es segura: Sudario

reaparece en Francia; incendio en Francia 1532; Sudario está en Turín desde 1578, Italia hasta hoy.

Argumentos en favor de autenticidad

Existen telas de entierro mucho más antiguas que el Santo Sudario, pero ninguna que tengan una

imagen como esta. Algunas tienen signos de descomposición. El Santo Sudario no tiene ninguno.

La imagen es probablemente de un hombre judío del primer siglo crucificado según el método

empleado por los romanos, con la excepción de que sus piernas no fueron fracturadas, y tenia una

corona de espinas. El hombre tenia mas o menos de 5’10” a 5’11” de altura y su peso era de entre 170

y 180 libras.

El lino usado para hacer el Sudario es consistente con el encontrado en tiempos de Jesús. La tela era

de alta calidad. José de Arimatea era un hombre rico. Quizás no solo dio a Jesús su tumba, sino

también la tela para su entierro.

La Fecha del Sudario

El polen y los ácaros encontrado en gran concentración en el Sudario son consistente con los puntos en

el itinerario del Sudario. El Sudario debido haber estado en aquellos lugares para haber coleccionado

estos tipos distintos de polen y ácaros. Esta evidencia es aceptable para uso en tribunales y demuestra

que la posibilidad de una falsificación no existe. Polen y ácaros no fueron descubiertos antes del siglo

19.

Naturaleza de la imagen

No conocida. No creada por calor, no pintada, no dibujada, etc. No hay evidencia de un material

natural en las fibras. Parece que fue creado por LUZ o radiación de un tipo todavía no conocido

&

Page 10: Italian artist Titian around 1512. The original is

10

SACRAMENTO DEL BAUTISMO Nuestra iglesia Santa María recibe con brazos abiertos a miembros inscritos, y a católicos que residan dentro del perímetro de la iglesia, y que deseen bautizar a sus niños. Pedimos a los padres que se pongan en contacto con nuestras oficinas durante su embarazo. Los bautizos se celebran en ingles y español. Para bautizos favor contactar la Rectoría al 203-866-5546. REQUISITOS: 1. Los padres deberán ser miembros de la iglesia, 2. Los padrinos, deberán tener todos los sacramentos (bautismo, primera comunión, confirmación, y si son pareja, estar casados por la iglesia católica). 3. Si pertenecen a otra iglesia, traer carta de la iglesia a que pertenecen, indicando que son miembros, que cumplen con los requisitos para ser padrinos, y que asisten a la Santa Misa semanalmente.

SACRAMENTO DE MATRIMONIO Las parejas que deseen contraer matrimonio, deberán asistir a la Santa Misa semanalmente, y vivir en residencias separadas. Deberán hacerse arreglos por lo menos con 6 meses de anticipación, y no podrá reservarse una fecha de matrimonio sin antes haber hecho arreglos con el sacerdote o el diacono. ESPECIALISTAS CERTIFICADOS DEL MÉTODO DE

PLANIFICACIÓN NATURAL DE LA FAMILIA Paul and Alexandra McLaughlin - 354-2771

SI SE ENCUENTRA HOSPITALIZADO O NO PUEDE SALIR DE SU CASA

Por favor llamar a La Rectoría al 203-866-5546 NOVENA MARIANA

Todos los lunes a las 7 de la noche en la Capilla ESCUELA DE RELIGIÓN

Coordinador para niños y adultos: Dn. Steve Genovese 203-866-7429

Secretaria: Sue Genovese ESCUELA A CATÓLICA “ALL SAINTS”

139 West Rocks Road, Norwalk, CT 06851 Teléfono 847-3881 Directora: Linda Dunn

NUEVOS MIEMBROS – ¡BIENVENIDOS!

Por favor inscríbase en la Rectoría

INFORMACIÓN IMPORTANTE SOBRE EL USO DE SOBRES DE LA IGLESIA

El uso de los sobres, además de servir para sus donaciones, son también una forma de saber si usted está asistiendo a la iglesia. Cada 6 meses revisamos las listas y si usted no ha hecho uso de sus sobres, significa que está inactivo en la parroquia. Si desea mantenerse activo, llame a la Oficina de Educación Religiosa al 203-866-7429 ext. 111 para reincorporarlo a nuestra lista. Es importante ser miembro activo para solicitar cartas de elegibilidad para apadrinar, para solicitar una carta de referencia, etc. Recuerde que la única forma de comprobar que está asistiendo a Misa todos los domingos es por medio de los sobres. Gracias por su colaboración.

10

SACRAMENT OF BAPTISM St. Mary Church warmly welcomes registered parishioners and Catholics who live within the parish territory to have their children baptized. We ask parents to contact the parish office during pregnancy. Baptism is celebrated in English, Spanish and Latin For Baptism in English and Spanish please contact the rectory at 203-866-5546.

GODPARENTS/SPONSORS Please contact the parish office in order to be a Godparent or Sponsor. One needs to have received the Sacraments of Baptism, Confirmation, and First Holy Communion; be a registered member of a Catholic Church, and attending weekly Mass. If married, or living as such, the person must be married according to the laws of the Catholic Church.

SACRAMENT OF MATRIMONY Couples who come to receive this Sacrament should be attending weekly Mass, and living in separate residences. Arrangements should be made at least 6 months in advance, and dates cannot be reserved until they have first met with the priest or deacon.

CERTIFIED NATURAL FAMILY PLANNING PRACTITIONERS

Kevin and Linda Gaboardi (Danbury) Couple to Couple Method: 203-743-3746

SACRAMENT OF ANOINTING Please call the Parish Office if a member of your

family is sick HOSPITALIZED OR HOME BOUND

Please call the Parish Office at 203-866-5546 MARIAN NOVENA

Monday, 7:00 p.m. in the Chapel RELIGIOUS EDUCATION PROGRAM

Grade 1st to 8th Coordinator: Dn. Steve Genovese

Secretary: Sue Genovese 203-866-7429

RCIA Coordinator: Dn. Steve Genovese ALL SAINTS CATHOLIC SCHOOL

139 West Rocks Road, Norwalk, 06851 203- 847-3881 Mrs. Linda Dunn, Principal

NEW PARISHIONERS – WELCOME ! Please register at the Parish Office

10

Registered Parishioners & Envelopes If you have not used your envelopes for the last six months, you are in inactive status. If you would like to stay an active parishioner, but are not receiving envelopes, please contact Sue Genovese in the Religious Education office. Call @ (203) 866-7429 ext. 111 or visit the office after the Masses on Sunday. In order to obtain a Sponsorship Certificate from the pastor you need to be an active member of the Church, and have all your sacraments. Remember that if the pastor does not know you, the only way to prove you attend Mass each week, is to use your envelopes. Thank you for your help.

Page 11: Italian artist Titian around 1512. The original is

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Page 12: Italian artist Titian around 1512. The original is

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