Another great trip is in the books. I was pleased to accompany officers from the General Grand Council of Cryptic Masons International to the Annual Assembly of the Gran Concilio dei Massoni Criptici d'Italia (Grand Council of Cryptic Masons of Italy).
I flew into Milan on Wednesday and arrived shortly before the Right Puissant Deputy General Grand Master of Cryptic Masons International. After a lovely taxi ride from the airport, we got into our hotel and relaxed for the rest of the day. We were both exhausted from our long plane rides from the Western Hemisphere; he came in from Brazil.
Thursday morning I left before dawn and walked around. I then made my way to the Museum of the Last Supper next to the Basilica di Santa Maria delle Grazie. As I waited for my tour to start I noticed a lot of Carabinieri assembling in their dress uniforms. My tour started, and my guide took us through the museum to see Leonardo DaVinci's 'Last Supper.'
Housed in the Convent of Santa Maria delle Grazie in Milan, this painting is one of the most celebrated masterpieces of the Italian Renaissance. Painted between 1495 and 1498 (nearly 4 years total), this mural depicts the dramatic moment when Christ announced that He would be betrayed. The composition is a masterful study of human emotion, with each of the twelve apostles reacting uniquely, their gestures and expressions conveying shock, disbelief, and confusion.
The apostles are arranged in four groups of three (two groups on each side of the Savior), each cluster showcasing a distinct emotional reaction to Jesus’ revelation. To Jesus’ immediate left are John the Beloved, Judas, and Peter. John, the youngest and closest to Jesus, leans toward him with a serene, almost resigned demeanor; this character has played a prominent role in Dan Brown's 'The DaVinci Code.' Judas, darker and more shadowed, clutches a money bag (a subtle allusion to his betrayal) while recoiling slightly in guilt and secrecy. Peter, ever impulsive, leans forward aggressively, gripping a knife and appearing ready to act. To Jesus' right are James the Greater, Doubting Thomas, and Philip. James throws his arms open in disbelief, while Thomas points upward which symbolizes his later doubts about the resurrection. Philip, embodying youthful innocence, clasps his hands to his chest as if seeking reassurance. Bartholomew, James the Lesser, and Andrew are on the table's far left. Bartholomew stands poised on his toes, almost leaping from his seat in astonishment. James the Lesser appears calm but contemplative, while Andrew raises his hands in a gesture of shock. Lastly, on the far right, Thaddeus, Simon, and Matthew form the last trio. Thaddeus and Matthew seem to confer with Simon, the elder statesman of the group, whose calm demeanor contrasts with the agitation around him.
Leonardo employed groundbreaking techniques to create depth and perspective, emphasizing the central figure of Christ. However, his experimental method of painting on dry plaster, rather than traditional fresco techniques (wet plaster), has led to significant deterioration over the centuries. Despite extensive restoration efforts, The Last Supper remains a fragile testament to Leonardo's genius and a powerful symbol of faith and artistry.
'The Last Supper' has faced significant challenges over the centuries due to natural deterioration and external damage, including the destruction caused by World War II bombings. Leonardo da Vinci’s experimental technique of painting on dry plaster, rather than traditional fresco methods, made the work particularly vulnerable to flaking and decay. Within a few decades of its completion, the mural began to deteriorate due to environmental conditions and the inherent instability of the materials. Over the centuries, various restoration attempts contributed further to its degradation. During World War II, the convent housing the painting was struck by Allied bombs in 1943. While much of the structure was destroyed, protective sandbags placed around the mural miraculously preserved it from total ruin. In the latter half of the 20th century, a major restoration effort spanning over two decades sought to stabilize the artwork and recover as much of Leonardo’s original vision as possible. Using advanced technology, restorers painstakingly removed layers of overpainting from earlier restorations, filling in missing sections with subtle, non-intrusive watercolor techniques to avoid misrepresenting the original. Though the mural remains fragile and incomplete, these efforts have ensured its survival as a testament to Leonardo’s genius and enduring cultural significance.
After the tour ended, the Piazza was filled with more Carabinieri and I found out that November 21 is their holy day for the Virgin Mary who is the Patroness of the Carabinieri.
The Carabinieri, Italy’s national gendarmerie (a military force that performs law enforcement duties that is a bridge between military and civilian police), was established in 1814 by King Victor Emmanuel I of Savoy to serve as a policing force with military responsibilities. Initially tasked with maintaining public order and enforcing laws in the Kingdom of Sardinia, the Carabinieri gained prominence for their discipline and effectiveness. Following the unification of Italy in the mid-19th century, they became a vital part of the new nation’s law enforcement and defense framework, operating under the Ministry of Defense. Over time, the Carabinieri expanded their roles, handling both civil policing duties and military operations. They are recognized for their distinctive uniform and their dual status as both a military and civilian force, allowing them to operate across a wide range of missions, from counterterrorism and organized crime to international peacekeeping. Today, the Carabinieri continue to be a symbol of Italian law and order, balancing their historical traditions with modern responsibilities to serve both Italy and international communities.
The Virgin Mary holds a special place as the Patroness of the Carabinieri, symbolizing their dedication to service, sacrifice, and the protection of others. Her role as their spiritual guide and protector reflects the values of compassion, faith, and commitment that the Carabinieri strive to embody in their duties. Pope Pius XII officially declared the Blessed Virgin Mary the "Heavenly Patroness of the Carabinieri." Her feast day, celebrated on November 21, the Presentation of the Blessed Virgin Mary, holds special significance. On this day, the Carabinieri honor her protection through prayers, processions, and commemorative ceremonies
I then rented a bike and made my way to the Duomo di Milano. I always found Italian driving habits to be...interesting...to say the least and that was magnified being on a bike where you have to drive in and out of traffic. I was able to get tickets that allowed me to view the cathedral, the Crypt of San Carlo, the archaeological site, and the cathedral's terrace.
The Duomo di Milano (Milan Cathedral) is one of the largest churches in the world. Its construction began in 1386 under the direction of the Duke of Milan who envisioned a grand cathedral to symbolize the power and devotion of his city. Over the centuries, the cathedral evolved through the efforts of countless architects, sculptors, and craftsmen, blending Gothic elements with later styles as work continued. I walked around just taking in the awe-inspiring views and then sat for a time.
Once it was opened, I made way down to the Crypt of San Carlo which is located beneath the altar. This sacred space is dedicated to Saint Charles Borromeo (1538-1584), one of Milan’s most revered figures and a key leader of the Catholic Reformation. Saint Charles served as the Archbishop of Milan in the 16th century, renowned for his piety, reform efforts, and tireless work during the plague that devastated the city. After he died in 1584, his body was interred in this crypt to honor his legacy and devotion to the Church.
The crypt, designed in Baroque style, was constructed to house his relics and remains a significant site for pilgrims and visitors. It features an elaborate silver and crystal sarcophagus that displays the embalmed body of Saint Charles, dressed in full archbishop regalia. Surrounding the sarcophagus are intricate decorations and religious motifs, reflecting the reverence held for the saint.
The pass that I purchased allowed me to walk through the archaeological site under the Duomo. This subterranean area showcases the remnants of earlier religious structures that once stood where the cathedral is today. Among the most significant discoveries are the ruins of the early Christian Basilica of Santa Tecla and the Baptistery of San Giovanni alle Fonti, both dating back to the 4th century AD. The Basilica of Santa Tecla was one of Milan's largest churches during the late Roman Empire but was partially demolished to make way for the construction of the Duomo.
Walking around the site, you see foundations, fragments of walls, and sections of mosaic flooring that hint at the basilica's former grandeur. Next to it is the Baptistery of San Giovanni alle Fonti, renowned as one of the oldest known octagonal baptisteries in Christianity. It holds historical significance as the site where Saint Ambrose baptized Saint Augustine in 387 AD, marking a pivotal moment in Christian history.
The exterior, adorned with an intricate array of spires, statues, and gargoyles, features the iconic Madonnina, a golden statue of the Virgin Mary, perched atop the highest spire. Inside, the vast nave, stained glass windows, and towering columns evoke awe and reverence. My pass allowed me to walk around the terrace and have a view of the city and a closer look at the intricate architecture.
The Duomo has witnessed significant moments in history, serving as a center for religious, cultural, and political events in Milan. It was here that Napoleon Bonaparte crowned himself King of Italy in 1805, accelerating efforts to complete the façade. However, the cathedral was not officially finished until 1965, after centuries of intermittent work.
Leaving the cathedral, I met up with the Deputy General Grand Master and we walked around the Galleria Vittorio Emanuele II and grabbed a snack. The rest of my trip was meeting with Companions from all over Europe. We had a great dinner at a local restaurant with the General Grand Council's Ambassador for Germany.
Friday morning involved meeting with Companions from all over Europe along with the Deputy General Grand Master and the Regional Deputy General Grand Master for Europe. Friday afternoon there were some meetings including a book reading and meeting with the authors (one of whom helped bring the American York Rite system to Italy) and the conferral of the Order of the Silver Trowel which was fascinating to see done in Italian. I could follow along understanding the ritual and floorwork. The rest of the night included a dinner and fraternalizing with Companions and their wives.
Saturday brought the annual assembly of the Grand Council where I ran into a Brother Mason that I had not seen since we met in Venice back in 2011 when I was on my mid-tour leave during Operation New Dawn in Iraq. I was introduced and honored and given a chance to address the Companions (with the help of an interpreter). The meetings and various ceremonies took all morning and most of the early afternoon. Once all of the business was dispensed with, several of us had lunch near the hotel and then I took a needed nap. The evening was filled with food...food...and more food - the Italians love to eat and very late in comparison to the US, but their generosity is second to none and I had an amazing time.
Now, I'm sitting in Charles de Gaulle Airport in France waiting for my flight back to the United States.
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