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In 1858, German Princess Katharina von Hohenzollern entered the strict Franciscan convent of Sant’Ambrogio della Massima. Instead to finding the solitude and peace she was looking for she stumbled across a sex scandal of ecclesiastical proportions filled with poison, murder, and lesbian initiation rites. Based on Hubert Wolf’s vividly reconstructed telling of the scandal, we’ve created a short quiz where you can try your hand and unravel the secrets of the Sant’Ambrogio convent.
The unbelievable story of the Roman convent of Sant’Ambrogio in Rome is about crime and murder, feigned holiness, forbidden sexuality, and the abuse of power over others. Does this controversial story, which casts high dignitaries of the 19th century Catholic Church in a less than flattering light, need to be retold for the 21st century?
The answer is: absolutely. It is a mere stroke of luck for Church historical research that the well-hidden files from the Inquisition trial have been unearthed in the Archive of the Congregation for the Doctrine of the Faith.
What happened to the German Princess Katharina von Hohenlohe at the place of her yearning, a contemplative convent in Rome, is most probably an isolated case: the young novice mistress Maria Luisa feigned to have visions and to work miracles in order to manipulate her surroundings and to satisfy her needs. Supported by various accomplices and protected by mighty men she swept her opponents out of her way – literally under the pope’s eyes.
The files provide evidence of how dangerous exaggerated piety and blind obedience can be, producing a disastrous combination of power, sex, and false holiness within the Roman convent of Sant’Ambrogio.
The nuns were deemed to be “buried alive”; shielded from the outer world that was perceived as threatening by superiors who demanded strict obedience. However, the nuns of the convent weren’t dumb and the supposed saint, Maria Luisa, was always confronted with antagonists. Ultimately, however, she managed to cover up even her worst crimes with outrageous lies about the devil in human form, letters written by the Virgin Mary, and divine punishments. She established a perfidious system that brought unpopular young nuns to the point of praying for their own death. The confessors were no critical authority at all – on the contrary, they themselves were Maria Luisa’s greatest admirers. However the history of Sant’Ambrogio is full of surprises: in the end, Maria Luisa, for instance, appears as the distressed victim of a system that she herself had perfected, and the Roman Inquisition proves to be comparably mild despite its ill fame.
The Sistine Hall, commissioned by pope Sixtus V in the end of the 16th century. Originally part of the Vatican Library, now used by the Vatican Museums. CC-BY-2.0 via Wikimedia Commons.
But how did a false saint manage to turn the heads of half of the curia? In order to understand how Maria Luisa achieved this, it must be considered in its context in 19th century Rome. Maria Luisa would have never got away with her lies if she was not part of an environment that wanted to believe her at all costs. The atmosphere in the Vatican was heavy with anxiety, as Pope Pius IX had long lost the support of broad circles of the population and rightly feared he might lose power in the Church state. In 1848, he was forced to flee the Revolution and go into exile. The pope himself increasingly sought refuge in a naïve childish faith. He was convinced that the Mother of God had saved him from drowning when he was a child and that one day she would descend from heaven in order to defend the Church state with the angelic hosts. Simply put, he and those around him wistfully longed for miracles.
The Sant’Ambrogio scandal reveals the dark side of this superficially pious environment, and it put an indelible stain on the history of the Catholic Church that can still be seen today. This is because Pope Pius IX and his predecessors were involved in the scandal of Sant’Ambrogio. Maria Luisa was very close to some figures connected to Neo-scholasticism, the predominant theological orientation at the time, and to the most eminent fathers of the First Vatican Council, which proclaimed the controversial dogmas of the infallibility of the pope and of his primacy of jurisdiction. The story of the convent in scandal tells a lot about the dialectics of enlightened modernity: it is about canting zealots put on the defensive and their longing for a newly enchanted world, in which saints proclaim simple truths, good and evil are easily discernible, the end justifies the means, and in which there always is hope for a miracle. Furthermore, Maria Luisa’s power strategies tell much about the role of women in the Catholic Church of the time, which was clearly dominated by the clergy.
Not even in the 19th century was the Catholic Church as monolithic as it appears from anticlerical clichés. The adherents of mysticism as well as the supporters of rationalism contended for influence in the Vatican. On a church-political level they pursued different strategies; the ultramontane adherents of anti-modernism were confronted with the moderate liberals. The Inquisition trial became a struggle for power between the two most important parties in the Curia; the basic conflict in the background is recognizable if put under a microscope.
This week, managing editor Troy Reeves speaks with scholar and artist Abbie Reese about her recently published book, Dedicated to God: An Oral History of Cloistered Nuns. Through an exquisite blend of oral and visual narratives, Reese shares the stories of the Poor Clare Colettine Order, a multigenerational group of cloistered contemplative nuns living in Rockford, Illinois. Among other issues, Reese’s photographs and interviews raise valuable questions about collective memory formation and community building in a space marked by anonymity and silence.
A metal grille is the literal and symbolic separation and reflection of the nuns’ vow of enclosure. The Poor Clare Colettine nuns film Abbie Reese for a collaborative ethnographic documentary. Courtesy of Abbie Reese.
In her interview with Troy, Reese talks about how popular culture sparked her interest in nuns and what it was like to work with the real women of the Poor Clare Colettine Order. Reese also discusses how she came to incorporate oral history into her work as a visual artist and her next, upcoming project.
Reese was also kind enough to share an excerpt from an interview with Sister Mary Nicolette. When sending the clip, Reese noted, “Her voice is hoarse from the interview because the nuns observe monastic silence, speaking only what is necessary to complete a task.”
Poor Clare Colettine nuns return to the monastery after a funeral service on the premises, in 2010, for a cloistered nun who served in WWII; Sister Ann Frances joined an active order of nuns before she transferred to the cloistered contemplative order at the Corpus Christi Monastery. Courtesy of Abbie Reese.
In keeping with the nuns' vow of enclosure and to limit the need for workers to enter the cloistered monastery, Poor Clare Colettine nuns undertake repairs and maintenance themselves, including cleaning the boiler while wearing the full habit. Coutesy of Abbie Reese.
Two nuns work in the wood shop of the Corpus Christi Monastery in Rockford, Ill. The Poor Clare Colettine nuns make vows of poverty, chastity, obedience, and enclosure. Courtesy of Abbie Reese.
Abbie Reese is an independent scholar and interdisciplinary artist who utilizes oral history and ethnographic methodologies to explore individual and cultural identity. She received an MFA in visual arts from the University of Chicago and was a fellow at the Columbia University Oral History Research Office Summer Institute. She is the author of Dedicated to God: An Oral History of Cloistered Nuns, and her multimedia exhibit, Erased from the Landscape: The Hidden Lives of Cloistered Nuns, has been shown in galleries and museums.
The Oral History Review, published by the Oral History Association, is the U.S. journal of record for the theory and practice of oral history. Its primary mission is to explore the nature and significance of oral history and advance understanding of the field among scholars, educators, practitioners, and the general public. Follow them on Twitter at @oralhistreview, like them on Facebook, add them to your circles on Google Plus, follow them on Tumblr, listen to them on Soundcloud, or follow the latest Oral History Review posts on the OUPblog via email or RSS to preview, learn, connect, discover, and study oral history.
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