The Maronite Catholics Page 2                 Symbolism  The "Cross of Cedar" is an important and appropriate symbol for the Maronite church and the people themselves who have endured centuries of persecution.  The Cedar of Lebanin is known for its longevity and is praised in the Old Testament for its endurance and ability to withstand the elements as well as its beauty.  The Patriarchal Cross itself is a symbol of the unity and solidarity of the Maronite Church with the Church of Rome. 1st Bar - Symbolizes Bishop's authority 2nd Bar - Archbishop/Patriarch's authority 3rd Bar - Pope's authority.   The Mass   Twistedface:  How is the Rite of the Mass conducted in a Maronite church? Is it different than what can be found in a Catholic Mass today?   I have read that most Marionites think of themselves first as Catholics, then as Easterners.  I was raised an Irish Catholic, my mother is from Ireland and my family has a long history in that part of the world.  The Maronites, because of their persecution and long history of doing everything to preserve their religion, are sometimes called the �?STRONG>Irish Catholics of the East.�?nbsp; Perhaps that is why we find this church so comfortable, even though we have no ties with the East.  The stories of both the Maronites and the Irish Catholics and the suffering they endured are quite harsh.    Some references claim the Maronites had been heretics in the past  (Monothelites, denying the two wills in Our Lord, human and divine as mentioned previously), until converting in the twelfth century.  This is denied by the church, and no official record deals with this issue or proves the church ever taught monothelitism.   The Eastern rite of the Marionites is stated to be the closest to the Latin Rite.    One of the differences in the church is that it is the only rite named after a saint.  Another is that it is the only Eastern rite that has always been faithful to Rome. There are so many historic influences on the Maronites.  The Crusaders arrived in Lebanon in 1098 and found much help from the Marionites.  This strengthened the ties with the West.  These associations with religious from Latin Rite orders, served to have the Maronites adopt Latin practices such as bells and unleavened bread during the masses.  During this time that the Western ring, miter, and cross began being used.  Chorbishop Beggiani remarks, "It should also be noted that most of the Latinizations dealt with externals, and the essence of the Maronite tradition remained unaffected."   The Maronite liturgy has also undergone more reforms in 1992 with what everyone refers to as Vatican II.  (It sounds like a sequel.)    Being raised an Irish Catholic, I do have a point of comparison.  I do not see many differences in the Mass.  The masses I attended as a child in the Latin Rite, were often “High�?masses.  This involved lots of formality, chanting, singing in Latin, and incense.  (It is really beautiful, and I think I have one of the few Mom’s in town that drives singing along to the Gregorian Chant tapes.) Even the “low�?mass has chanting and incense in the Eastern church.  I do see a lot more involvement with children in the masses.  They are invited to sit in the alter area, take part in parades and church pageants, and go up to communion before they have had their first communion.  Although they do not receive communion until they have passed that part of their studies, they receive a special blessing.  My neices and nephews love church and cry when they cannot go.     The church is relatively simple and does seem to have more of a focus on nature then the church I previously attended.  However, I do not hear anything about worshiping in the open air.  Although we do not worship outside, the outside is brought “in.�?nbsp; Most of the decorations for holidays are beautiful plants and flowers.  For the Christmas season, a large tree is brought in and the church is laced with pine boughs.  It is really beautiful.  Perhaps in Lebanon, where most Marionites are from, there is more of a natural life involved.  My understanding from my friends in Lebanon is that life is more simple in some ways and they are all very much involved in their small farms even when they have more cosmopolitan businesses.  The Maronite Icons Twistedface:  When I was in RCIA a few years ago we had the luck to attend mass at an Armenian Catholic Church. Their mass was more Orthodox because they used icons ( which were absolutely beautiful) and still had the wall covering the altar. Their situation was much the same. They were aligned with Rome and had the blessings of the Papal See to conduct their masses the way they had for centuries. So I was wondering if your church was in a similiar situation.   The church I attend does not use the Icons in the mass.  I have been looking at the information about them for some time because of my interest in art.  However, I cannot say that I have first hand experience with this.  If anyone else out there does, please I would love to hear how they are used in the Mass! Some say that art is from the soul. Art, writings, and music are efforts to understand and communicate mystery.  Art is about creation, and the search for beauty through art can be symbolically spiritual regarding what one is searching for from within.  As hard as we try, there is no way to express what you know and feel with usual means of communication.  Art is often used in this respect often with powerful effects.  One picture tells a whole story, a thousand words they say.  Taking this into consideration, it is not surprising that churches and other spiritual places are full of art and symbolic expressions.  Meaning is conveyed in church architecture, sacred art, illuminated manuscripts, paintings, and icons. Icons are a special art form in the Eastern church. The art of iconography is also known as  "visual theology."  The word "icon" comes from the Greek language meaning image, or portrait. Icons are religious paintings, enamels, mosaics, and other art in other mediums of a sacred beings or people. They represent stories and symbolize events in the spiritual history.  The Icons are considered sacred. According to the book, The Maronite Icons: Modern Sacred Art, "...an icon is a prayer in line and form; a hymn of praise in color and harmony, a work of beauty inspired by God, an offering of the soul, painted to adorn the Church. It illustrates the words of the Gospel, is faithful to apostolic teachings, and follows the traditions of the Church. It speaks to the heart and soul of the faithful, is a window into Heaven, and lifts us up to Christ and the Saints. An icon belongs to the liturgical worship of the Church. While it embodies eternity, it brings Heaven to earth." In the East, it is the tradition that Icons complement the Scriptures.  Unfortunately, many of the icons have been destroyed in history due them not being permissable around 787 A.D.  They later became permissible with the rationale that these images preserve the memories.  To find out more about the bloodshed between the iconoclasts who opposed icons, and the iconodules who venerated them, visit this link:  Maronite Icons There is not a lot of information available about Maronite iconographic art.  However, the Maronite Church is reclaiming its Eastern roots and including the Icons in this pursuit. Like St. Maron, the art of the Icons often embrace nature.  Animals are used as symbolism. The dove is a well-known symbol of the Spirit, the rooster refers to awakening of the human heart, and the peacock conveys themes of renewal. Perhaps you may recognize this procedure.  I found this quote as a comment on the book about recapturing the tradition of Maronite icons quite amazing:   All the icons, produced in the Maronite Diocese's workshop in Cyprus, are the work of Mrs. Jacqueline Ann Ascott, who has a Ph.D. in Coptic Art and has studied Byzantine and Syriac art. Following old, traditional procedures, she painted these icons under the supervision of Father John Sader, holder of a Ph.D. in Theology and Art History. The Antonine Sisters and other volunteers have helped Mrs. Ascott. As Archbishop Gemayel explained in his preface to the book, Mrs. Ascott "would live the liturgical event through meditation and prayer." She would share in the Eucharist, read the Bible, meditate and pray in order to reach deeply into "the mystery of the icon." In each of the icons, there is a "veiled, hidden or mysterious" aspect as well as a "revelatory, obvious or unambiguous" aspect. Both demand of the believer prayer and an understanding of the theology or theological concept now given shape and made visual through the medium of an icon.  The art on the previous page, "The Pentecost,"  is from the Rabbula Gospel book, which is a magnificent collection of Icons.  It is an ancient manuscript written and illustrated in 586 A.D. at the monastery of Saint John, in northern Syria. This ancient manuscript passed to Kanubin, Lebanon, and in early 1500 was gifted by the Maronite Patriarch to the Pope, and was placed in the Medici Library in Florence, Italy.      Translation of Icon of the Ascension from the Rabbula This icon of the ascension, the most beautiful in early Christian art, is clearly of Palestinian origin. In the upper corners are the Semitic gods worshiped in Assyria: "Sin" the moon (left) and the sun (right) Helios. These pagan gods of Babylon acknowledge the Son of the Living God. Christ is ascending in a sphere raised by 2 angels and a flying chariot; 2 other angels carry gold crowns on purple cloth. This offering of the crowns refers to Book of Revelation: "Worthy is the Lamb to receive glory, honor and power." The Christ figure with long brown hair is a deliberate reference to the Lord of the universe (Pantokrator). He holds an open scroll since: "the Lamb is worthy to break open the seal". By the position of his right hand he solemnly proclaims the new Law. The winged-chariot is a flame-colored throne and includes a human head, an eagle, a lion, a bull, symbols of the 4 evangelists. The hand alludes to God the Father. Mary is depicted in the ancient prayer posture and in her womanhood, since she is mother and nourisher. The artist sees the Church identified with and personified in her, since both are gifted with divine wisdom. Here the Mother of the Church and the Church are worshiping Christ who is returning to the Father. The angels near Mary hold wanderer's staffs. Their clothing and haloes are similar to those of Christ since all 3 are citizens of heaven. The apostles are ecstatic as they "star-gaze", but the angels warn them to go and proclaim this news since Christ will return at the end of the world (Act 1,9). An interesting note here is the presence of St Paul with the book (left of Mary). In fact he was not present at the ascension but was included by the artist. The apostle Peter (right of Mary) holds the keys of the kingdom entrusted to him by Christ. Translation from Eparchy of Saint Maron of Brooklyn.  Famous Maronites   Famous Marionites include Frank Zappa (Wooooo! FRANK! FRANK! FRANK!), Paula Abdul, Tiffany, Paul Anka, Christa McAuliffe (who lost her life when the space shuttle Challenger blew up), Ralph Nader, Jamie Farr of MASH fame, Danny Thomas and of course Marlo Thomas.  You can read about other well known Marionites here:  http://plaza.powersurfr.com/maronites/famous.htm   Page 1       Page 3      Page 4