Purgatory

Purgatory (pronounced pur-guh-tree (U), pur-guh-tawr-ee (non-U) or pur-guh-tohr-ee (non-U)

(1) In the orthodox theology of the Roman Catholic Church (and in some other Christian denominations), a condition or place in which the souls of those dying penitent (in a state of grace) are purified from venial sins, or undergo the temporal punishment that, after the guilt of mortal sin has been remitted, still remains to be endured by the sinner.

(2) In the Italian Purgatorio (pronounced poor-gah-taw-ryaw), the second part of Dante's (Dante Alighieri (circa 1265–1321)) Divine Comedy (1320), in which repentant sinners are depicted.

(3) Any condition or place of temporary punishment, suffering, expiation, or the like; any place of suffering, usually for past misdeeds.

(4) Serving to cleanse, purify, or expiate.

1160-1180: From the Middle English purgatorie (place or condition of temporal punishment for spiritual cleansing after death of souls dying penitent and destined ultimately for Heaven), from the Old French purgatore & purgatorie, from the Medieval Latin pūrgātōrium (means of cleaning), noun use of neuter of the Late Latin pūrgātōrius (purging, literally “place of clensing”), the construct being pūrgā(re) (to purge) + -tōrius (-tory), the adjectival suffix, from purgat-, past-participle stem of pūrgāre (to purge, cleanse, purify).  The adjectival form developed in the late thirteenth century, independent of the evolution in Church Latin.  The figurative use (state of mental or emotional suffering, expiation etc) dates from the late fourteenth century, originally used poetically especially despairingly when speaking of unrequited love, or (and this may seem a paradox to same and merely descriptive to others), of marriage.   In old New England it was used of narrow gorges and steep-sided ravines, a reference to the difficulties to be dad when negotiating such terrain.  Purgatory, purgatorium & purgatorian are nouns and purgatorial is an adjective; the noun plural is purgatories.

Mankind's Eternal Dilemma: The Choice Between Virtue and Vice (1633) by Frans Francken the Younger (1581–1642), Museum of Fine Arts (MFA), Boston.

In the teachings of the Roman Catholic Church, the purgatory is the condition of souls of the dead who die with punishment but not damnation due them for their sins committed on Earth.  Purgatory is conceived as a condition of suffering and purification that leads to union with God in heaven and is something thus inherently temporary and has always been a bit of a theological problem because it’s not mentioned (or even alluded to) in the Bible.  The usual rationalization of this scriptural lacuna is the argument that prayer for the dead is an ancient practice of Christianity and one which has always assumed the dead can be in a state of suffering, something which the living can improve by their prayers.  Theological positions have hung on thinner strands than that and within Roman Catholicism, purgatory has never attracted the controversy which so excited critics of limbo, a rather more obviously unjust medieval conjecture, but many branches of Western Christianity, notably the Protestant tradition, deny its existence although among the more ritualistic, there are those who conceive purgatory as a place and one often depicted as filled with fire.  The transitory nature of the condition has often encouraged misunderstanding for it is not a place of probation; the ultimate salvation of those in purgatory assured, the impenitent not received into purgatory.  Instead, the souls in purgatory receive relief through the prayers of the faithful and through the sacrifice of the mass, the confusion perhaps arising from the imagining the destructive nature of fire on Earth whereas upon the soul with no earthly attachment, it can be only cleansing.

So purgatory is the state of those who die in God's grace but are not yet perfectly purified; they are guaranteed eternal salvation but must undergo purification after death to gain the holiness needed to enter heaven.  The purgatory, the framework of which was fully developed at the Councils of Florence (1431-1449) and Trent (1545 and 1563), is totally different from the punishment of the damned who are subject to a cleansing fire, the scriptural explanation being "The person will be saved, but only through fire" (1 Corinthians 3:15) but even then the Church recognized degrees of sin as Pope Gregory I (Saint Gregory the Great, circa 540–604; pope 590-604) helpfully clarified: "As for certain lesser faults, there is a purifying fire."  The possibilities were made explicit during the Council of Trent in the statement “God predestines no one to hell” which made clear that damnation is visited upon sinners only by a persistence in mortal sin until death and God would much prefer "all to come to repentance" (2 Peter 3:9).   In the Roman ritual, the relevant line is "save us from final damnation and count us among those you have chosen" and through purgatory, souls "achieve the holiness necessary to enter the joy of heaven".  Mortal sin incurs both temporal punishment and eternal punishment, venial sin ("forgivable sin” in this context) incurs only temporal punishment. The Catholic Church makes a distinction between the two.

Dante and Virgil Entering Purgatory (1499-1502) by Luca Signorelli (circa 1444-1523), Chapel of San Brizio, Duomo, Orvieto, Italy.  The pair are shown in the first terrace watching souls of the prideful being made to cat stones on their backs.

The noun purgatory appeared perhaps between 1160 and 1180, giving rise to the idea of purgatory as a place but the Roman Catholic tradition of purgatory as a transitional condition has a history that pre-dates even the birth of Christ.  There was, around the world, a widespread practice of both caring for and praying for the dead, the idea that prayer contributed to their purification in the afterlife.  Anthropologists note the ritual practices in other traditions, such as the way medieval Chinese Buddhists would make offerings on behalf of the dead, said to suffer numerous trials so there is nothing novel in the practice which is mentioned in what the Roman Catholic Church has declared to be part of Sacred Scripture, and which was adopted by Christians from the beginning, a practice that pre-supposes that the dead are thereby assisted between death and their entry into their final and eternal abode.

Whether purgatory is actually a place has in Roman circles been discussed for centuries.  In 2011 Pope Benedict XVI (b 1927; pope 2005-2013, pope emeritus since), speaking of Saint Catherine of Genoa (1447–1510), said that in her time the purgatory was pictured as a location in space, but that she saw it as a purifying inner fire, such as she experienced in her profound sorrow for sins committed, such a contrast with God's infinite love.  The failing of man she said was being bound to the desires and suffering that derive from sin and that makes it impossible for the soul to enjoy the beatific vision of God.  Noting that little appeared to have changed, Benedict noted "We too feel how distant we are, how full we are of so many things that we cannot see God. The soul is aware of the immense love and perfect justice of God and consequently suffers for having failed to respond in a correct and perfect way to this love; and love for God itself becomes a flame, love itself cleanses it from the residue of sin."

The Eastern Catholic Churches are Catholic churches sui iuris of Eastern tradition, (in full communion with the Pope) but there are some differences with Rome on aspects of purgatory, mostly relating to terminology and speculation.  The Eastern Catholic Churches of Greek tradition do not generally use the word "purgatory", but agree that there is a "final purification" for souls destined for heaven and that prayers can help the dead who are in that state of "final purification".  In neither east nor west are these matters thought substantive and are regarded as nuances and differences of tradition.  The Eastern Catholic Churches belonging to the Syriac Tradition (Chaldean, Maronite and Syriac Catholic), generally believe in the concept of Purgatory but use a different name (usually Sheol) and claim there is contradiction with the Latin-Catholic doctrine.  Rome appears never to have pursued the matter.

La Divina Commedia di Dante (Dante and His Poem), oil on canvas by Domenico di Michelino  (1417–1491) after Alesso Baldovinetti  (1425–1499), collection of Florence Cathedral, Italy.  This work, in depicting the seven terraces in the form of the mountain were one approach to Dante's Purgatory, the other a focus on one level. 

The Eastern Orthodox Church rejects the term "purgatory" but does admit an intermediate state after death, the determination of Heaven and Hell being stated in the Bible and it notes prayer for the dead is necessary.  The position of Constantinople and environs is that the moral progress of the soul, for better or worse, ends at the very moment of the separation of body and soul; it is in that instant the definite destiny of the soul in the everlasting life is decided.  There is no way of repentance, no way of escape, no reincarnation and no help from the outside world, the eternal place of the soul decided forever by its Creator and judge.  Thus the Orthodox position is that while all undergo judgment upon death, neither the just nor the wicked attain the final state of bliss or punishment before the last day, the obvious exception being the righteous soul of the Theotokos (the Blessed Virgin Mary), "who was borne by the angels directly to heaven".

Generally, Protestant churches reject the doctrine of purgatory although more than one Archbishop of Canterbury may have come to regard Lambeth Palace as Purgatory on Earth.  One of Protestantism's most cited tenets is sola scriptura (scripture alone) and because the Bible (from which Protestants exclude deuterocanonical books such as 2 Maccabees) contains no obvious mention of purgatory, it’s therefore rejected as an unbiblical and thus un-Christian.  There are however variations such as the doctrine of sola fide (by faith alone) which hold that pure faith, apart from any action, is what achieves salvation, and that good deeds are but mere manifestations of that faith so salvation is a discrete event that takes place once for all during one's lifetime, not the result of a transformation of character.  What does seem to complicate that is that most Protestant teaching is that a transformation of character naturally follows the salvation experience; instead of distinguishing between mortal and venial sins, Protestants believe that one's faith dictates one's state of salvation and one's place in the afterlife, those saved by God destined for heaven, those not excluded.  Purgatory is thus impossible.

Divina Commedia, Purgatorio (circa 1478), illuminated manuscript commissioned by Federico da Montefeltro (1422–1482), Vatican Library collection, Rome.  Again, the carring of stones on the first terrace, the style is recognizable in the later schools of mannerism and surrealism.  

Wishing to excise any hint of popery from religion, purgatory was addressed in two of the foundation documents of Anglicanism in the sixteenth century.  Prayers for the departed were deleted in the 1552 revision to the 1549 Book of Common Prayer because they implied a doctrine of purgatory (it was the nineteenth century Anglo-Catholic that saw them restored to some editions) and Article XXII of the the Thirty-Nine Articles of Religion (1571) was most explicit: "The Romish Doctrine concerning Purgatory . . . is a fond thing, vainly invented, and grounded upon no warranty of Scripture, but rather repugnant to the Word of God."  In the twenty-first century, the Anglicans, finding it hard to sit anywhere but on the fence, now say “Purgatory is seldom mentioned in Anglican descriptions or speculations concerning life after death, although many Anglicans believe in a continuing process of growth and development after death.”  The post-modern church writ small; one wonders if the PowerPoint slides of Anglican accountants and Anglican theologians greatly differ.

In Judaism, Gehenna is a place of purification where, according to some traditions, sinners spend up to a year before release.  For some, there are three classes of souls: (1) the righteous who shall at once be written down for the life everlasting, (2) the wicked who shall be damned and (3), those whose virtues and sins counterbalance one another shall go down to Gehenna and float up and down until they rise purified.  Other sects speak only of the good and the bad yet, confusingly, most also mention an intermediate state.  There’s also variance between the traditions regarding the time which purgatory in Gehenna lasts, some saying twelve months and others forty-nine days, both opinions based upon Isaiah 66:23–24: "From one new moon to another and from one Sabbath to another shall all flesh come to worship before Me, and they shall go forth and look upon the carcasses of the men that have transgressed against Me; for their worm shall not die, neither shall their fire be quenched"; the former interpreting the words "from one new moon to another" to signify all the months of a year; the latter interpreting the words "from one Sabbath to another", in accordance with Leviticus 23:15-16, to signify seven weeks.  Whatever the specified duration, there are exceptions made for the souls of the impure which prove resistant to the persuasions of the Gehenna.  According to the Baraita (a Jewish oral law tradition), the souls of the wicked are judged, and after these twelve months are are consumed and transformed into ashes under the feet of the righteous whereas the "great seducers and blasphemers" are to undergo eternal tortures in Gehenna without cessation.  The righteous however and, according to some, also the sinners among the people of Israel for whom Abraham intercedes because they bear the Abrahamic sign of the covenant, are not harmed by the fire of Gehenna even when they are required to pass through the intermediate state of purgatory.

Relief sculpture on a side wall at the Chapel of Souls, (Capilla de Animas) in Compostela, Spain.  These are the souls of the lustful on the seventh terrace, praying for release, which they have been promised will (eventually) be granted by the cleansing flames, something dependent on true repentance.

It was the Florentine poet Dante (Dante Alighieri, circa 1265–1321) who, in the second cantica of the epic poem Divine Comedy (1320) gave the world a vivid depiction of the place he called Purgatorio.  Dante described Purgatory as a mountain which rose on the far side of the world, opposite Jerusalem, with seven terraces, each corresponding to the one of the seven deadly sins, each terrace a place of purification for souls who are penitent and seeking to cleanse themselves of their sins, so to be judged worthy of entering Paradise.  In the valley at the base of the mountain is Ante-Purgatory and here sit the souls of the excommunicated and those who delayed repentance (the so called the “late repentant”) as they await their turn to begin their ascent of the terraces.  Throughout Purgatory, angels and guides assist the souls and Dante's guide is the Roman poet Virgil (symbolizing human reason).  Virgil leads Dante until they reach Earthly Paradise where Beatrice (representing divine wisdom) takes over as the guide to Heaven.

The seven terraces

First Terrace (Pride): Here the souls are humbled by being made to carry heavy stones on their backs, forcing them to bend and contemplate humility.

Second Terrace (Envy): Envious souls are punished by having their eyes sewn shut with twists of iron wire so they may learn to appreciate the beauty of charity and generosity.

Third Terrace (Wrath): Souls of the wrathful Souls enveloped in a thick smoke that blinds them, teaching them to cultivate patience and peace.

Fourth Terrace (Sloth): The slothful are punished by being forced incessantly to run, encouraging diligence and zeal.

Fifth Terrace (Avarice and Prodigality): These souls have to lie face down in the dirt and weep, teaching them to balance their desire for material wealth with the virtues of generosity and moderation.

Sixth Terrace (Gluttony): The gluttonous are starved so extreme hunger and thirst constantly will remind them of the importance of temperance.

Seventh Terrace (Lust): Souls here walk through walls of flames, purging the sin of lust, teaching chastity and love for God.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

That all sound rather grim but at the mountain’s summit sits the reward: Earthly Paradise (the Garden of Eden).  Here, in this place of peace and beauty, symbolizing the restored innocence and grace, souls are purified completely and ready to ascend to Heaven.  So, the purpose of Dante's Purgatory is less the punishments which must be endured than the possibility of redemption from sin through repentance to purification, leading ultimately to the soul's readiness for Paradise. In this it contrasts with the eternal sufferings which are the fate of those souls condemned to the circles of Hell.

Pardon

Pardon (pronounced pahr-dn)

(1) A kind indulgence, as in forgiveness of an offense or discourtesy or in tolerance of a distraction or inconvenience.

(2) In law, release from the penalty of an offense; a remission of penalty, as by a governor, monarch or viceroy.

(3) Forgiveness of a serious offense or offender.

(4) In Roman Catholic canon law, a technical term for a papal indulgence (obsolete).

(5) To make a courteous allowance for or to excuse.

(6) When used with rising inflection, as an elliptical form, as when asking a speaker to repeat something not clearly heard or understood (non-U).

1250-1300: From the Middle English pardonen or pardoun (papal indulgence, forgiveness of sins or wrongdoing), from Old French pardon from pardoner (to grant; to forgive; remission, indulgence (which entered Modern French in the eleventh century as pardonner), from the Medieval Latin perdonum, from the Vulgar Latin perdōnāre (to remit, overlook (literally “to forgive”)), the construct being per- (for; through, thoroughly) + dōnāre (to give, donate) which emerged in Medieval Latin, though a translation from a Germanic source possibly a calque (if not vice-versa) of a Germanic word represented by the Frankish firgeban (to forgive, give up completely) which was akin to the Old High German fargeban & firgeban (to forgive) and the Old English forġiefan (to forgive).  The Latin per was from the primitive Indo-European root per- (forward (hence “through”)) and donare was from donum (gift), from the primitive Indo-European root donum (gift), from the root do- (to give).  The verb pardon was from pardounen, (to forgive for offense or sin).  The noun pardoner (a man licensed to sell papal pardons or indulgences) was a late fourteenth century form (it was noted earlier in the 1300s as a surname), the agent noun from the verb.  The adjective pardonable (forgivable, capable of being pardoned) was a mid-fifteenth century form from the twelfth century Old French pardonable, from pardoner.  Some sources insist pardonable was a back-formation from pardonable which is interesting.  The meaning “a passing over of an offense without punishment” was first noted around the turn of the fourteenth century (also in the strictly ecclesiastical sense) while as a “pardon for a civil or criminal offense; release from penalty or obligation”, use emerged in the late 1300s (mirroring the earlier Anglo-French).  The use in polite society to “request one be excused for some minor fault” was in use by at least the 1540s.

Pardon is one of those “cross-over words”, migrating from the technical use (an act by an official or a superior, remitting all or the remainder of the punishment that belongs to an offense (eg a sovereign or governor pardoning a convict before expiration of the sentence)) to become a synonym for “forgive” in the sense of feelings or social mores.  By convention, asking for another’s pardon re-establishes amicable relations between transgressor and the offended.  In idiomatic use, dating from the mid seventeenth century, the phrase “I beg your pardon” (the variations including “beg pardon”, “begging your pardon”, “pardon me” etc) is used (1) to apologise for something (typically a social faux pas), (2) to request clarification of something said if it is unexpected, odd or seen as rude without context and (3) to request something be repeated.  In the last case, Nancy Mitford (1904–1973) in Noblesse Oblige: An Enquiry Into the Identifiable Characteristics of the English Aristocracy (1956) insisted “pardon” was a non-U (lower & middle class) word and the “U” (upper class) form was “what?”.  The phrase “pardon my French” was an exclamation of apology for obscene language, noted since the late nineteenth century.  Pardon is a noun, verb & interjection, pardoning is a verb & noun, pardoned is a verb & adjective, pardonableness & pardoner are nouns, pardonable & pardonless are adjectives and pardonably is an adverb; the noun plural is pardons.

Pardons from the president: Without check or balance

Article Two of the United States Constitution describes the office of the President.  One of the powers granted is that he or she may grant reprieves and pardons except regarding congressional impeachment of himself or other federal officers.  A president cannot issue a pardon for future actions; he can't pardon someone in advance for something someone does next week.  The pardon power is reserved for past actions and the president can pardon an individual even if he or she has not yet been convicted or even charged.

An executive pardon can be invoked to help victims of injustice.

It's an interesting power and the only one in the US constitution not subject to "checks and balances", an inheritance of one of the entitlements enjoyed by absolute and later monarchs.  The power, in the form exercised by a US president, doesn't exist in the UK or elsewhere in the Commonwealth where, when a pardon is granted, it’s a decision of the executive (the prime-minister (or premier) & cabinet) which is done in the name of the sovereign or their representative; in other words, by the state.  It’s different from vesting the power as a personal prerogative of an individual; US presidents have granted pardons which would have no chance of success were they subject to confirmation by the Senate.

The most interesting recent speculation about the presidential pardon is whether as president can pardon themselves.  This was something Donald Trump (b 1946; US president 2017-2021) probably pondered with especial interest during the diggings of special counsel Robert Mueller's (b 1944; Director of the Federal Bureau of Investigation (FBI) 2001-2013) into certain matters relating to the 2016 presidential election.  Mr Trump did tweet suggesting he could pardon himself even though there's no precedent, no president has ever done so (though at least one was surely tempted) and all that is certain is that the chief magistrate has the power to grant pardons "for offenses against the United States, except in cases of impeachment."  That means he couldn't have pardoned himself from impeachment, nor anyone facing charges under state laws, and when asked, most constitutional law experts suggested he couldn't have pardoned himself for anything else either.  However, even if a presidential self-pardon were to be held to be constitutional, politically, it would be a challenge to manage so an extra-constitutional check on the power is political; the court of public opinion as it were.

When there was mush speculation about a possible prosecution of Richard Nixon (1913-1994; US president 1969-1974) for matters associated with the Watergate scandal, the Justice Department did issue an opinion saying a president could not pardon himself because, under long-established legal principle, no person can be the judge in their own case.  So, the legal status of a self-pardon has never been tested because, at the federal level, it’s never been done and nothing is definitive until ruled upon by the US Supreme Court.  There are records of state governors self-pardoning but one instance appears to have been technical, one a clerical error and one so murky it not clear what happened.  The state of US politics is now both so poisonous and so fluid that a second term for Mr Trump is no longer unthinkable if the Democrat Party insists on nominating Joe Biden (b 1942; US president since 2021) it become more likely still.  Mr Biden may or may not be senile but he certainly seems senile.  In his first term, Mr Trump proved remarkably uninterested in pursuing any of the vendettas he'd mentioned during the 2016 campaign; when asked if he would be pursuing the threatened legal action against the Clintons, he brushed off the question with a quick "...they're good people" and moved on.  In a second term, given the events of the last few years, he may not be so indulgent towards those who have slighted or pursued him so there's the intriguing prospect of an elected president attempting to pardon himself so he can move into the Oval Office and begin his revenge.  Interestingly, constitutional experts have all said that even if a self-pardon is declared unconstitutional, there is nothing to prevent a convicted felon being elected president from his jail cell, a place which would certainly focus one's mind on revenge.           

Pardons from God (via the pope)

In late medieval Christianity, the noun pardonmonger was a derogatory term directed at those who sold papal indulgences; the noun plural pardonmongers should also be noted because there were a lot of them about.  The indulgences had become big business in the medieval church and their abuse was one of the emblematic issues which triggered the Protestant Reformation.  The system worked by permitting a (sinful) individual to purchase from the church an indulgence which would reduce the length and severity of punishment that heaven would require as payment for their transgressions.  Indulgences were in a sense transferable because one could buy one for another and according to legend, those on their death bed would implore relations to buy them one so they would avoid an eternal damnation in Hell.

Historically, the indulgence system was able to evolve because the doctrine of the medieval western Christian church (the Eastern Orthodox would follow a different path) was: (1) Folk knew that after they died they were going to be punished for the sins they accumulated in life, something ameliorated only partially by good works (pilgrimage, prayers, charitable work etc) and earthly absolution; the more sin, the greater the punishment and (2) There was the concept of purgatory, a product of the theological imagination which meant that rather than being damned to hell, the sinful soul would be sent to purgatory where they would endure whatever punishment deemed appropriate, the suffering continuing until the stain was washed from them and they could be set free.  This was obviously not an attractive prospect and seeing a way to cement in society the world-view that church, God & sin were central, popes granted bishops the authority to reduce punishments while they were still alive.  It proved a highly useful tool in making unshakable the worldview in which the church, God and sin were central.

Quite when papal indulgences were first introduced isn’t known but the system was formalized by Pope Urban II (circa 1035–1099; pope 1088-1099) during the Council of Clermont in 1095.  The protocols reflected the diligent order which characterized church bureaucracy: Were one to perform sufficient good deeds to earn a full (Plenary) indulgence from the pope or a bishop, all sins would be expunged (and thus no punishment).  Partial indulgences would erase fewer evil deeds and an intricate system of layers came to be used; essentially an algorithm with which a cleric could calculate (to the day!) how much sin a person had wiped from their record.  Indulgences rapidly developed into a significant structural aspect of church administration and during the Crusades (Urban II’s other great contribution to history), many participated on the basis that in exchange for fighting to regain the Holy Land, they would be granted an indulgence, cancelling all sin.

This system of reducing sin and punishment worked well and having people perform good deeds (whatever the motivation) presumably made for a more harmonious society.  However, in something with a modern echo, rich people began to wonder why, instead of the time consuming, boring or sometimes distasteful business of actually doing good deeds, might it not be easier just to purchase an indulgence, the church thereby able to use the funds for good deeds.  The early example of outsourcing began in the thirteenth century and proved so popular (and profitable) for both governments and the church that it became an important revenue source, the catchment soon extended to allow the rich to buy indulgences for their ancestors, relatives, and friends already dead. 

The nature of this business soon became scandalous, notably during the reign of the Medici Pope Leo X (1475–1521; pope 1513-1521) and indulgences were among the issues the monk Martin Luther (1483–1546) listed in his 95 Theses (1517), a j’accuse directed at what he believed to be an institutionalized corruption and in saying that, Luther had a point, the pope having commissioned a Dominican friar to sell indulgences for the sole purpose of the construction of St. Peter's Basilica in Rome.  Luther’s attack led to fragmentation within the church, many new sects abandoning the idea of indulgences and while the papacy banned the sale of indulgences in 1567, they didn’t entirely vanish and this wasn’t enough to prevent the subsequent schism within Western Christianity.  So, in the modern Roman Catholic Church, indulgences still exist but they no longer work in the medieval way when they could be something like a presidential pardon.  According to the Vatican: “An indulgence is a remission before God of the temporal punishment due to sins whose guilt has already been forgiven, which the faithful Christian who is duly disposed gains under certain defined conditions through the Church’s help when, as a minister of redemption, she dispenses and applies with authority the treasury of the satisfactions won by Christ and the saints”.  The salient points of the system are:

(1) A person cannot buy their way out of hell with indulgences.  Because indulgences remit only temporal penalties, they cannot remit the eternal penalty of hell. Once a person is in hell, no amount of indulgences will ever change that and the only way to avoid hell is by appealing to God’s eternal mercy while still alive; after death, one’s eternal fate is set.

(2) One cannot buy indulgences for sins not yet committed.  Historically, the church has always taught that indulgences do not apply to sins not yet committed although it’s clear some were sold on that basis prior to the Protestant Reformation.  The position now is that: “An indulgence is not a permission to commit sin, nor a pardon of future sin; neither could be granted by any power.”  Theologically that may sound dubious because presumably God could grant exactly that but, as any pope will tell you, God never would.

(3) An indulgence does not “buy forgiveness” because, by definition, the issue of an indulgence presupposes forgiveness has already taken place: “An indulgence is a remission before God of the temporal punishment due to sins whose guilt has already been forgiven.”  Indulgences therefore do not forgive sins and deal only with the punishments left after sins have been forgiven.

(4) It is not true an indulgence will shorten one’s time in purgatory by a fixed number of days.  While it’s true that prior to the Reformation such calculations did appear in documents, the church maintains these were references to the period of penance one might undergo during life on earth and the Catholic Church does not claim to know anything about how long or short purgatory is in general, much less any specific.

(5) Indulgences may not be purchased.  The Council of Trent (1545-1563) instituted many reforms in the practice of granting indulgences and, because of prior abuses, “...in 1567 Pope Pius V (1504–1572; pope 1566-1572) cancelled all grants of indulgences involving any fees or other financial transactions.”  To this day the Roman Catholic Church maintains indulgences were “never sold”, an interpretation of history still used by politicians and political parties when explain why donations (sometimes in the millions) are really “not buying anything”.

Macabre

Macabre (pronounced muh-kah-bruh, muh-kahb or muh-kah-ber)

(1) Gruesome or horrifying; grim; ghastly; horrible.

(2) Of, pertaining to, dealing with, or representing death, especially its grimmer or uglier aspects.

(3) Of or suggestive of the allegorical dance of death and related works of art.

1370s: From the French macabre, from the Middle French danse (de) Macabré, of uncertain origin.  It may have been influenced by the Medieval Latin chorēa Machabaeōrum (a representation of the deaths of Judas Maccabaeus and his brothers) but there’s no documentary evidence (the Maccabees a “liberation movement” who in the second and first centuries BC established Jewish independence in the Land of Israel),  In the popular imagination, the biblical Maccabees became associated death because of the doctrines and prayers for the dead in 2 Maccabees 12:43-46 in which is discussed Judas Maccabeus sending money to Jerusalem as a “sin offering” for those of his soldiers who had fallen in battle while wearing idolatrous amulets, forbidden by Jewish law.  Theologically, the passage is controversial because not all accept the interpretations which focus on the significance of a Jewish belief in prayer for the dead and the concept of Purgatory as a place rather than conceptual imagining.  The notion of “prayer & payments” as the means by which the dead could be “loosed from their earthly sins” so in Purgatory their souls would undergo purification after death did become embedded in Christianity, later associated with the rampant corruption of clerical indulgences which would play a part in triggering the reformation.  The alternative suggestion for the etymology is the French form was (via the Spanish macabro) from the Arabic مَقَابِر (maqābir) (cemeteries), plural of مَقْبَرَة (maqbara) or مَقْبُرَة (maqbura).  Borrowing from the Arabic in plural form was not unusual (eg magazine, derived from the plural مخازن (maxāzin) of the Arabic singular noun مخزن (maxzan) (storehouse; depot; shop) so etymologically the theory is possible but, like the Latin link, evidence wholly is lacking. 

The abstracted sense of “characterized by gruesomeness” emerged in French in the 1840s and that was picked up by English by at least 1889, dictionaries noting a racial sense from 1921.  The sense of “a comedy that deals in themes and subjects usually regarded as serious or taboo” was what extended the figurative use, suggesting “something morbid”.  The origin of that, although contested, is most associated with the French left and new wave of the late 1950s (pièce noire, comédie noire) which may have been the source of the terms “black comedy” & “dark comedy” in English.  Words similar in meaning include spooky, ghastly, ghoulish, grisly, morbid, gruesome, weird, frightening, grim, lurid, cadaverous, deathly, dreadful, frightful, ghostly, hideous, horrible, offensive & scary.  The first known reference to “danse macabre” dates from 1376 in the poem Respit de la Mort: Je fis de macabre la dance (Spared from death, the dance of the macabre) by Jehan Le Fèvre:

Je fis de Macabre la danse,
Qui tout gent maine à sa trace
E a la fosse les adresse.

I danced with the Macabre,
Which all people follow in his footsteps
And send them to the grave.

The poet used it as a noun, inspired presumably by a near-death experience but when it in the early-mid 1400s came into common use it was as an adjective and during the Romantic era it assumed also the meanings some distance from death (grotesque, tragic etc).  In the late Middle English the spelling was Macabrees daunce (reflecting the influence of the Church) and the French pronunciation (with mute “e”) was a misreading of the Middle French forms.  Macabre is an adjective, macabreness is a noun and macabrely is an adverb.  The spelling macaber is now so rare as to be functionally extinct and in popular culture macabre is used as a non-standard noun (the plural “the macabres”, on the model of the disparaging “the ghastlies”).  

Dance of Death

Danse Macabre of Basel (circa 1450), a memento mori painting by an unknown artist, Historisches Museum Basel (Basel Historical Museum), Barfüsserkirche, Basel, Switzerland.

The Danse Macabre (Dance of Death) was an artistic genre of allegory dating from the late Middle Ages; exploring the universality of death, it made clear that however high or low exulted one’s station in life, the death ultimately will visit all.  It was a popular artistic motif in European folklore and the most elaborated of all Medieval macabre art.  During the fourteenth century, Europe was beset by deathly horrors, recurring famines, the Hundred Years’ War (1337-1453) and, looming over all, the Black Death, an outbreak of bubonic plague which between 1346-1353 may have killed as many as 50 million, making it one of history's most lethal pandemics.  In reducing the population of Europe by between a third and a half, its demographic, political and economic implications were felt for centuries.  In these difficult times, when death not infrequently would strike just about every family in some regions, the Danse Macabre culturally was assimilated across the continent, an omnipresent chance of either a sudden or lingering, painful death spurring not only a religious desire for penance but also an urge to make the most of whatever time was left to one.

Macabre montage: Three images from Terry Richardson's (b 1965) suicide-themed shoot with Lindsay Lohan, 2012.

Especially during the fifteenth and early sixteenth centuries, the theme was a source of the vivid and stark paintings on the walls of churches and the cloisters of cemeteries and ossuaries.  Art of the Danse Macabre was typically a depiction of the personification of death summoning the doomed to dance along to the grave and they featured characters from the exultated to the most humble; popes, emperors, lawyers, laborers & children all appearing, the popular motifs in the works including hourglasses, skulls and extinguished candles.  Although the art was moral and allegorical, many also had a satirical tone and, reflecting the mores of the times, although they made clear death finally would claim rich and poor alike, the living usually were arranged in an order following the the conventional sense of precedence, popes, cardinals, kings, dukes and such at the head of the queue, blacksmiths, fellmongers and farm workers knowing their place; the “cold gradations of decay” in the phrase of Dr Johnson (Samuel Johnson (1709-1784)).  The pieces were also among the multi-media productions of the medieval period, appearing variously in manuscript illustrations, printed books, paintings on canvas, wood & stone, engravings on stone and metal, woodcuts, sculpture, tapestry embroidery & stained glass as well as in prose & verse.  They were produced as mementos mori, a Latin phrase translated literally as “remember you will die”.  That wasn’t intended to be thought macabre but rather a gentle reminder of the brevity of life and the fragility of earthly existence, hopefully inspiring folk to live lives more fulfilling and purposeful.  The tradition, although it became increasingly detached from its religious associations, never died and has enjoyed periodic resurgences over the last six-hundred years, notably after horrific events such as epidemics or World War I (1914-1918).  The COVID-19 pandemic seemed not to stimulate similar art; popular culture’s preferred platforms have shifted.

The lure of macabre collectables 

It's macabrely ironic the market for bits and pieces associated with RMS Titanic (1911-1912) continues to be buoyant and although for decades after the end of World War II (1939-1945) the trade in Nazi memorabilia flourished on both sides of the Atlantic, in recent years such collecting has attracted increasingly strident criticism and in some jurisdictions the (public) buying and selling of certain items has been banned,  There remains some tolerance for the trade what which would otherwise anyway be collectable (aircraft, armoured vehicles and such) and items of genuine historical significance (such as diplomatic papers) remain acceptable but the circulation of mere ephemera with some Nazi link is increasingly being condemned as macabre and the higher the prices paid, the more distasteful it’s claimed to be.  Nor is it only material tainted by an association with the Nazis which is condemned by some as “trading in the macabre”.

French racing driver Pierre Levegh (1905-1955) in Mercedes-Benz 300 SLR (chassis 0006/55, left), the wreckage after the fire finally was extinguished (centre) and the surviving Elektron panel (right).

In 2023, a battered metal panel from the Mercedes-Benz 300 SLR (W196S, chassis 0006/55) which crashed during the running of the 1955 Le Mans 24 Hour endurance classic sold at auction for US$37,000.  That would have been unremarkable except it was in the aftermath of that crash that more than 80 spectators were killed and many more badly injured; it remains the most lethal single event in the history of the sport and one which led to some profound changes, many of which remain in force to this day.  Footage of the crash is available on-line and it will shock those accustomed to modern safety standards to see the cars continuing to race despite the carnage in the grandstand only metres away, the driver’s corpse lying on the track and the wreckage of the 300 SLR continuing to burn, the water used by fire-fighters making the intensity worse because of the exotic Elektron (a magnesium alloy) used in the lightweight construction.  The surviving panel (a cover placed for aerodynamic advantage over the passenger-side of the cockpit) was retrieved by a track marshal and it remained in his family’s possession until offered at auction by his nephew who inherited it.  Based on the unique underside markings, the factory confirmed the provenance and the auction house described it as “an authentic relic” from one of the “most exclusive models in the history of the automobile”, its special significance coming from involvement in “one of the most significant events in the history of international motor sport”.  Some though it macabre to be trading in something which gained its notoriety from so much death but the interest in such stuff in long standing, the Austin-Healey also involved in the incident in 2011 selling for US$1.3 million although it subsequently had been repaired and continued to race so anyway would have been a collectable on the historic racing circuit though doubtlessly it would have commanded a lower price.

US film star James Dean (1931–1955) with 1955 Porsche 550 Spyder (chassis 550-0055) shortly before his death, the 1955 Ford Country Squire with tandam-axle trailer the team’s tow vehicle (left), the wrecked Porsche (centre) and its salvaged transaxle in display mounting (right).

The Cadillac to Mr Dean's left is a 1953 model and, beyond both having four wheels, one of the few things it had in common with the Porsche was the availability of a manual transmission (Porsche at the time offered no choice).  The black Cadillac was probably fitted with the company's four-speed Hydra-Matic automatic transmission although, after a fire destroyed the factory, almost 30,000 were in 1953 equipped with Buick's famously smooth but inefficient two-speed Dynaflow.  After the end of production of the 1953 Series 75, almost three decades would pass before Cadillac again offered a model with a manual transmission although that didn't end well (among the Cadillac crowd the Cimarron (1982-1988) is never spoken of except in the phrase "the unpleasantness of 1982") but in a much more convincing way the option returned to the list in 2004 and by 2013, while one could buy a Cadillac with a clutch pedal, one could not buy such a Ferrari.  For most of the second half of the twentieth century, few would have thought that anything but improbable or unthinkable.   

The death toll need not be in the dozens for collectors to be drawn to relics associated with tragedy; one celebrity can be enough.  In 2021, the four-speed transaxle from film star James Dean’s 1955 Porsche 550 Spyder (550-0055) sold in an on-line auction for US$382,000.  Again, based on the serial number (10 046) & part number (113 301 102), factory verified the authenticity and of the auction lot and it was only the transaxle which had been salvaged from the wreck, the display stand and peripheral bits & pieces (axles, axle tubes, brake assemblies etc) all fabricated.  The crash happened on SR (South Route) 466 (now SR 46) near Cholame, California, en route to October’s upcoming Salinas Road Races and Mr Dean was driving to familiarize himself with his new 550 Spyder which, although mid-engined and thus with a preferable weight distribution compared with the rear-engined 356 which previously he’d campaigned, had characteristics different than he’d before experienced.  In the dimming light of the late afternoon, the Porsche collided with the passenger-side of a 1950 Ford Tudor (two-door sedan) which had just entered the highway, driven by California Polytechnic State University student Donald Turnupseed (1932-1955).  Mr Turnupseed (later cleared by authorities of any blame) suffered only minor injuries while Mr Dean, less than an hour later, was pronounced DoA (dead on arrival) at hospital.

The much re-printed photograph of Sofia Loren (b 1934, left) and Jayne Mansfield (1933-1967, right), Romanoff's restaurant, Beverly Hills, Los Angeles, April 1957 (right), the "Mansfield crash" aftermath, June 1967 (centre) and a 1966 Buick Electra 225, claimed to be the car in which Jayne Mansfield died, Dearly Departed Tours and Artifact Museum, Los Angeles, California (right).

Ms Loren's sideways glance, one of the most famous in Hollywood's long history of such looks, variously has been interpreted as “sceptical”, “disapproving” and “envious”, the latter view likely restricted to men.  Ms Loren herself explained the look as one of genuine concern the pink satin gown might not prove equal to the occasion; on the night, there were several photographers covering the event and images taken from other angles illustrate why that concern was reasonable.  There has never been any doubt Ms Mansfield's "wardrobe malfunction" was "engineered and rehearsed".  In her pomp a significant figure in popular culture and a genuine celebrity, Ms Mansfield was a model & actress and what would later come to be known as a “multi-media personality”.  When young she won a number of sponsored beauty contests including being crowned “Miss Magnesium Lamp”, “Miss Fire Prevention Week” and “Miss Photoflash” but it’s reported she drew the line at becoming “Miss Roquefort Cheese” on the grounds it “just didn’t sound right”, something on which she seems not to have expanded, the chance to be “Miss Prime Rib” later also declined.

Three months later and great minds are thinking alike: Shirley Perdew (1939-2020, right), looking at Jayne Mansfield, Garden of Allah Hotel, Hollywood, July 1957.  Ms Perdew had just been crowned "Miss Hollywood 1957") and, as a former "Miss Photoflash", Ms Mansfield had been invited to join the voting panel.  The hotel was built in 1913 as a private residence before in 1926 being converted into a residential hotel; it was demolished in 1959.

On 28 June 1967, Ms Mansfield was a front-seat passenger in a 1966 Buick Electra 225 four-door hardtop, en route to New Orleans where she was next day to be the subject of an interview.  While cruising along the highway at around two in the morning, the driver failed to perceive the semi-truck in front had slowed to a crawl because an anti-mosquito truck ahead was conducting fogging and blocking the lane.  The mist from the spray masked the truck's trailer and, the driver unable to react in time, the car hit at high speed, sliding under the semi-trailer, killing instantly the three front-seat occupants.  Although the myth has long circulated she was decapitated, an idea lent some credence by the visual ambiguity of photographs published at the time, while it was a severe head trauma, an autopsy determined the immediate cause of death was a "crushed skull with avulsion of cranium and brain".  The phenomenon of the “under-run” accident happens with some frequency because of a co-incidence of dimensions in the machines using the roads.  Pre-dating motorised transport, loading docks were built at a height of around four feet (48 inches; 1.2 m) because that was the most convenient height for men of average height engaged in loading and unloading goods.  Horse-drawn carts and later trucks were built to conform to this standard so trays would always closely align with dock.  Probably very shortly after cars and trucks began sharing roads, they started crashing into each other and, despite impact speeds and traffic volumes being relatively low, the under-run accident was noted in statistics as a particular type as early as 1927.

1966 Buick Electra 225 Custom four-door Hardtop. GM (General Motors) Buick Division publicity shot.

The Buick was sold to a Florida-based collector who for decades kept it in storage before it was obtained for exhibition by the Dearly Departed Tours and Artifact Museum in Los Angeles, California.  The museum, described by its founder Scott Michaels as “for two decades a Los Angeles fixture”, was located on Santa Monica Boulevard, across from the Hollywood Forever Cemetery and was a “bricks & mortar” outgrowth of was a guided bus tour he’d previously conducted, taking tourists around the locations of tragic or horrific events which had transpired in the city; he had no shortage of sites.  Mr Michaels coined the term “Death Hag” and, as the ongoing popularity of “dark tourism” (variants including “atrocity tourism” and “holocaust tourism”) indicates, there is a market among those attracted to the macabre although motivations for the interest will be varied.  The museum had a focus on departed pop-culture celebrities and other exhibits included Mae West’s (1893–1980) false teeth, Rock Hudson’s (1925–1985) death bed, one of Sharon Tate’s (1943–1969) bras (32C) and a cigarette butt stubbed out by Carrie Fisher (1956-2016).

Dearly Departed Tours.

A thoughtfully designed site, as well as T-shirts and a gift store (blades of grass from the "grassy knoll" in Dealy Plaza, Dallas which made infomous by the assassination of John Kennedy (JFK, 1917–1963; US president 1961-1963; a fragment of the timber from Rock Hudson's death bed; shards of the shattered windscreen of Jayne Mansfield's death car and much more), there's a helpful "Find-a-Death" lookup feature (described by the L.A. Times as "deliciously sordid").

Presumably, frequently Mr Michaels checks for updates on the the well-curated Dead People site and it’s unlikely he’ll soon run out of subject matter because the recent proliferation of platforms and distribution channels has meant not only are more celebrities than ever being manufactured but the churn rate has also significantly increased; his mantra: “Famous people die every day” more true now than ever.  Unfortunately, the museum was forced to close in 2021 during the COVID-19 pandemic but, with the same attention to detail, he moved “Dearly Departed Tours” online, an innovation which has enabled his catchment of the macabre to extend well beyond Los Angeles.