Creator Ineffabilis - A prayer before studies by St. Thomas Aquinas First place winner of the Circolo San Tommaso d'Aquino's Veritas et Amor International Contest, March 2023. Music written by Mary Stone. Soprano: Bénédicte Cedergren Alto: Mary Stone Recorded in the Basilica Santa Maria Sopra Minerva in Rome, Italy, by Jacob Stein of Crux Stationalis Excerpt from St. Thomas Aquinas' prayer before studies Creator Ineffabilis, [...] Da mihi intelligéndi acúmen, retinéndi capacitátem, addiscéndi modum et facilitátem, interpretándi subtilitátem, loquéndi grátiam copiósam. Ingréssum ínstruas, progréssum dírigas, egréssum cómpleas. Tu, qui es verus Deus et Homo, qui vivis et regnas in sǽcula sæculórum. Amen. Ineffable Creator, [...] Grant me acuteness in understanding what I read, power to retain it, subtlety to discern its true meaning, and clearness and ease in expressing it. Do Thou order my beginnings, direct and further my progress, complete and bless my ending; Thou Who art true God and true Man, Who livest and reignest world without end. Amen. Originally published: https://www.youtube.com/@UCoT-tTJDVaoUZTzvrAmRl1A DETAIL OF THE LOCATION: The Carafa Chapel: Housing the relic of St. Thomas in Santa Maria Sopra Minerva. The relic is that of his arm. The Carafa Chapel, adorned with late 15th-century frescoes (1488–1493) by Filippino Lippi, was commissioned by Cardinal Oliviero Carafa to honor Saint Thomas Aquinas. This chapel, also known as the Chapel of St. Thomas Aquinas, features two Marian scenes—the Annunciation and the Assumption. Over the altar, a depiction of St. Thomas presenting Cardinal Carafa to the Blessed Virgin can be found, while the right-hand wall showcases the Glory of St. Thomas. Inaugurated in 1493, the chapel also housed the relics of St. Thomas Aquinas until 1511, when they were relocated to Naples. Additionally, the tomb of Gian Pietro Carafa, who later became Pope Paul IV in 1555, was designed by Pirro Ligorio in 1559 and is situated within the chapel. The fresco decoration began with the vault, divided into four triangular sectors featuring depictions of four Sibyls by Filippino. The coat of arms of the Carafa family is placed in the middle of the vault, surrounded by a pattern of branches, rings, and diamonds—a symbolic reference to Lorenzo de' Medici. This reference is often interpreted as gratitude for Lorenzo's intervention on behalf of Carafa and his role in pacifying the Barons' Conspiracy in 1485. The books within the scenes represent the Cardinal's intellectual pursuits. Filippino adopted the sotto in su ("from below") perspective for the Sibyls, a technique he likely drew inspiration from Melozzo da Forlì's Ascension of Mary fresco in the Santi Apostoli basilica. The frescoes feature the Sibyls holding cartouches with St. Thomas' statements. The end wall boasts a fresco above the high altar depicting the Annunciation within a stucco frame and the Assumption of the Virgin on the sides and upper section. The Annunciation scene includes a Roman ship with an olive tree branch, symbolizing Oliverio Carafa's command of the papal fleet against the Turks. The Assumption portrays the Virgin ascending on a cloud, accompanied by angels and burning candles. The scene also references Sandro Botticelli's work in the Sistine Chapel. The left wall features the funerary monument of Pope Paul IV by Pirro Ligorio, while the right wall depicts scenes of The Dispute of St. Thomas and the Miracle of the Book. The St. Thomas scene includes symbolic characters surrounding the saint, with elements like an open book inscribed with a Latin quote from St. Paul's words. The Miracle of the Book is portrayed in the lunette, depicting various episodes of St. Thomas's life. In the St. Thomas scene, heretics are depicted, and books on the ground symbolize the heretics' works about to be burned. The frieze showcases characters related to the Cardinal's activities, and angels with the Carafa coat of arms are depicted on the upper frame. The complex composition in the Miracle of the Book lunette includes a cityscape, a loggia, and symbolic characters representing the Devil threatening youth's purity, the Catholic Church, and the need for conversion. The small dog attacking a boy symbolizes the Devil, while the woman with monastic garments represents the Catholic Church. A character dressed as a Muslim signifies the call for conversion, and the background woman symbolizes the Synagogue. Overall, the Carafa Chapel stands as a remarkable example of late 15th-century fresco art, intertwining religious themes with historical and symbolic elements.

• published: 09 Mar 2024
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