The Church of St. Pantaleo in Rome is very close to Piazza Navona. It's one of the most important places for the Piarists. It's where the remains of their founder, St. Joseph Calasanz, are kept.
Immediately upon entering and looking up is the “Triumph of the Name of Mary,” an impressive fresco that depicts the wide-reaching work of the Piarists throughout the world.
It also holds striking works like “The death of St. Joseph” and this impressive crucifix.
It was precisely in this area in Rome that Calasanz began his work in the education of marginalized children, which left the then cardinal and many others speechless.
JOSÉ PASCUAL BURGUES
Archivist and historian, Piarists
“It wasn't not seeing children in the streets. It was seeing them walking in orderly lines at the end of class, in the morning and the evening, accompanied by two or three religious. Very orderly. They would also pray the rosary, sing religious hymns. That's what most impacted the cardinals. It wasn't what they didn't see, but what they did see. That's why Calasanz received many petitions to found a school.”
In the same complex that houses this important relic, the room where the saint lived is preserved exactly as he left it in 1648.
JOSÉ PASCUAL BURGUES
Archivist and historian, Piarists
“Let's say this room is a little like the center of this entire building. It holds 36 years of memories, the last 36 years of Calasanz's life, who lived and died there.”
All the items in the room are the originals used by the saint: the desk he used to write letters, his writing utensils, his oil lamp, his original manuscripts, even his sandals and a blanket, and this interesting rope.
JOSÉ PASCUAL BURGUES
Archivist and historian, Piarists
“The rope is there because as a 90-year-old man approaching the end of his life, his legs were weak, and he used the rope the brothers placed there to help him get up and lie down without bothering the others.”
Next to the bedroom is the relic room, which holds the chalice and paten the saint used to celebrate Mass. There is also this death mask, the only visual representation of the saint, who never let his portrait be made.
Daniel Díaz Vizzi
