Rosary rallies promote prayer in the public square

Melissa Keating

A rosary crusader and Catholic Charities are teaming up to bring rosary rallies back to Denver.

Sam Perry, a member of the board of trustees for the Catholic Foundation, is the man behind Prayer in the Square, a new initiative that aims to renew devotion to the rosary.

Perry’s grandmother inspired his love for the rosary, praying it every day. He even attributes the rosary to saving lives in his family, as he was cured of rheumatic fever and sister from polio under their grandmother’s care.

Perry became determined to spread the devotion by simply giving away rosaries. To date, he estimates he has handed out over 25,000 rosaries to parishes throughout Northern Colorado. Then he read a book about rosary rallies and was inspired to make the devotion even more public.

“I read about rosary rallies and thought we should resurrect them,” Perry said. “If they can get a million people downtown for the Bronco’s game, why shouldn’t we be able to do it?”

Perry approached Catholic Charities CEO Larry Smith with his idea.

“The whole point of Prayer in the Square is to bring people of good will into public spaces to pray for the innocents who are being killed around the world,” Smith said.

While Prayer in the Square events have taken place around the archdiocese for months, a large one will take place at the Capitol in downtown Denver on April 2. Those present will pray a rosary and a Divine Mercy chaplet, alternating between English and Spanish.

“I’m looking forward to the sight of a bunch of people, many of them kneeling, getting people’s attention,” Perry said.

Prayer in the Square will focus on praying for all the innocents being slaughtered around the world, with a special emphasis on Christians in the Middle East and the unborn.

“We want to get as many people to pray for life as we can. We want to honor life and Mary,” Smith said.

Perry said that the Capitol made logistical sense, as it can hold many people. He said the location is also optimal because of its visibility and frequently used symbolism.

“I see all those other rallies for all these various causes, and none of them include God, or very few,” Perry said. “Our country needs the prayers. I’m hoping the participants experience something like Lourdes or Fatima—just an overwhelming sense of peace.”

For more information, visit http://prayerinthesquare.com.

COMING UP: Art: A needed sacrament of faith

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A sacrament is an outward, material sign of an inward, spiritual reality. The seven sacraments are signs instituted by Jesus to communicate his grace to us. In addition, we have sacramentals, signs and practices that draw us more deeply into our faith. We do not have an abstract faith; it is sacramental and incarnational, centered on the coming into the flesh of the Son of God and his continued presence in the Church through the Eucharist.
Art, following this sacramental identity, expresses our faith, draws us into prayer, and mediates divine realities. In a time of relativism, which shuns proposals of truth and goodness, we need to rely more upon the witness of beauty. Pope Benedict XVI spoke of this opportunity and need: “I have often affirmed my conviction that the true apology of Christian faith, the most convincing demonstration of its truth against every denial, are the saints, and the beauty that the faith has generated. Today, for faith to grow, we must lead ourselves and the persons we meet to encounter the saints and to enter into contact with the Beautiful.”

Does this approach actually work for evangelization? Elizabeth Lev details one example, the crucial role of art at a time of crisis in the Church, in her book, How Catholic Art Saved the Faith: The Triumph of Beauty and Truth in Counter-Reformation Art (Sophia, 2018). As core Catholic doctrines faced opposition from Protestants, the Council of Trent called for the creation of art to assist in renewal. The Council said that art should instruct, help to remember and meditate divine realities, admonish, provide examples, and to inspire the faithful to order their lives in imitation of the saints (4). Lev adds her own synthesis of how art assists the Church, asserting that “art is useful in evangelization…. can bring clarity…. [and] is uplifting” (6). The Catholic Reformation and Baroque periods, particularly in central Italy, were ages “of unprecedented art patronage from the top down, effectively a very expensive PR campaign meant to awaken the hearts and minds of millions of pilgrims who were making their way to the Eternal City” (5).

And it worked. It was not art for art’s sake that led Catholics to stay true to the faith, but art’s ability to express the deep spiritual vision of the Church as articulated by the great Catholic reformers. Lev lists the main protagonists of this cooperative work:  “The spiritual insight of Charles Borromeo, Robert Bellarmine, Federico Borromeo, St. Philip Neri, and Paleotti fused with the creative talents of Caravaggio, Barocci, the Carracci School, Lavinia Fontana, and Guido Reni, making for a heady cocktail designed to entice the faithful into experiencing mystery” (16). Lev provides a masterful overview of the key theological issues at stake and how artists were commissioned to visualize the faith in these areas, including the sacraments, mediation of the saints, purgatory, and practices such as pilgrimage.

Developments in technique enabled art to come alive, actively mediating faith, by using theatrical characteristics that invited the viewer into the drama of the scene. Altar pieces beckoned down to the action of the altar, pointing to the reality occurring there, such as Caravaggio’s The Entombment of Christ (37), and others drew the viewer into the scene, as with Frederico Barocci’s extended hand of St. Francis bearing the stigmata, inviting an imitation of Christ (145). Other paintings inspired religious sentiments such as contrition, as found in Reni’s St. Peter Penitent, who models how to weep for one’s sins and to beat one’s chest in repentance (45), and Titian’s good thief who reaches out to Christ as one would do in confession (52). The book beautifully presents the artwork, and Lev seamlessly combines art criticism and religious commentary.

The time period of Lev’s book bears some striking similarities to contemporary struggles. Many Catholics continue to question the faith, and we have experienced a return to iconoclasm in the last fifty years, bent on the destruction of the Church’s sacramental vision. We, too, need the inspiration of art, which calls us to renew our faith: “Art no longer allow[s] the viewer to stand at a safe distance, as a passive recipient of grace, but exhort[s] everyone to act” (180). For the success of the New Evangelization, we need a return to beauty. This will require us to invest in a renaissance of the arts, knowing that this investment will support the Church’s efforts to communicate the truth of our faith, for the salvation of souls.