In some of the classic
biographies of Padre Pio an unusual phenomenon is reported when
visitors, pilgrims, or souvenir hunters tried to take his photo:
they came up blank. Not always, but there are specific incidents
when this was true. John McCaffery recounts one such story in his
book, The Friar of San Giovanni. During
the hot summer months, Padre Pio would occasionally offer Mass
outdoors under a portico near the old church. McCaffery was slated
to be a server at one of these ceremonies, and his friend Gino was
determined to capture the event for posterity. He commissioned a
local professional photographer to record the rite, this in spite of
the fact that it was well known that Padre Pio was not amenable to
being photographed or filmed, especially during his Mass.
As
Padre Pio was approaching the outdoor altar, he noticed the
photographer and his camera, and told him that he was to take only
one or two photos at the Mass – and the man agreed. The photos were
to be ready that afternoon, and McCaffery and Gino eagerly went over
to see what the photographer had captured. He was not there, but his
sister was, and she informed them that there was nothing to see. Her
brother, she said, had tried to be too smart. He had agreed to Padre
Pio's conditions, but during the Mass he could not restrain himself,
and ended up shooting two complete rolls of film. “They all came
out blank.” She looked at the two disappointed and irate men as if
to say “What else could you expect?”
Later
that evening McCaffery told the story to Padre Pio's good friend Dr.
Sanguinetti, who was instrumental in the founding of Padre Pio's
hospital. The Doctor replied that the exact same thing had happened
to him – two rolls of film with nothing on them!
Mary
Pyle was an American heiress who renounced the material life in order
to live near Padre Pio, as a
Third Order Franciscan. Interviewed in the 1950's for Maria
Winowska's The True Face of Padre Pio,
Pyle discussed the strange anomaly of the blank photos. She said
that for years photographers had been frustrated in their efforts to
photograph the saint, sometimes even creeping up on him to take him
by surprise, but the negatives always came up blank. On the same
roll, there could be magnificent views of landscapes, but on the
photos of Padre Pio, there was nothing. Sometimes the shutter
refused to move. But pilgrims had such great desire to have a picture
of Padre Pio as a souvenir, that “his superiors ordered him to
abandon his feud with the cameras.” Pyle commented that as a
result, “the pictures you will see have been taken quite recently.”
She added that many years of his life have been irreparably lost to
photographers. If it had not been for the ecclesiastical
authorities, we should not even have these!
A more recent book,
L'Ultimo Segreto di Padre Pio, by journalist Enrico Malatesta,
uncovers an intriguing new dimension to this phenomenon.
Mario De Renzis was a
photo-journalist for Il Tempo, one of the major daily
newspapers of Rome. It was 1960, and at that time the national press
was focusing on the stigmatized friar from San Giovanni Rotondo. In
an era becoming saturated with materialism, the example given by the
humble servant of God constituted a ray of hope for the darkness of
modern society. Consequently Mario's editors at Il Tempo gave
him the assignment to report on and photograph the friary, the
crowds, and the beloved friar himself.
The little town of San
Giovanni had been portrayed in the media as mecca for those on summer
holiday, with tourists regarded as a great source of income. When he
arrived at San Giovanni for the first time, he made a quick tour of
the area, admiring the church of St. Mary of the Graces, the new
hospital “Home for the Relief of Suffering,” and noting the many
shops and the movements of the people. But when he proceeded to
enter the church he was stopped by the ushers, and told that
photographers could not be admitted – this would mean the failure
of his entire assignment. Fortunately just at that time a number of
buses pulled up, and as the pilgrims disembarked and made their way
into the church, De Renzis fell in with them, and in this way he
slipped inside. Padre Pio was on the altar, and the photographer
discretely and with dexterity began to snap his pictures. But he was
soon spotted, and the ushers clamored like it was the end of the
world. In the ensuring confusion, he made straight for an an exit,
and found himself in the garden of the convent.
Noticing a staircase, he
clambered up it, entering a little corridor, which led to an open
door. It was the entrance to the cell of Padre Pio. In spite of the
fact that he had photographed him only a few minutes ago in the
church, there he was in flesh and blood, in his room. How was this
possible? A healthy person would need at least 15 minutes to get
there, and Padre Pio with his painful wounds could only shuffle along
slowly. At the time, De Renzis thought no more about it, now that he
was in the presence of the saint. He and the Padre “exchanged what
is now called in the liturgy the sign of peace,” and they shook
hands. With his permission, he took a number of pictures of Padre
Pio in his cell. The emotions and surprise of this encounter were so
strong at the time that the photographer did not fully comprehend
what had actually occurred. Padre Pio, the stigmatized priest, had
clasped his hand in his own, without any hesitation and minimal
discomfort – how could this greeting be possible with a painful and
bloody wound in his palm?
As he left the friar's
cell, he thought of the marvel that everyone was talking about –
bilocation. In view of Padre Pio's extraordinary capabilities, he
concluded that he had not been in the presence of the body of Padre
Pio, but of his soul, his essence. And physical, bodily pain does
not pertain to the soul, which is why Padre Pio was able to
“tranquilly shake his hand.” His photography assignment
accomplished, De Renzis visited the local shops to obtain some
souvenirs, before returning to Rome.
At the offices of his
newspaper, he developed his photos, and they turned out beautiful:
Padre Pio celebrating Mass, the moment of Communion, the great
crowds. As for the pictures taken with Padre Pio in his cell, they showed
the room clearly, except for one strange thing – there was no Padre
Pio visible in the photos! But his assignment at San Giovanni
Rotondo was a great overall success, and the newspaper Il Tempo
sold out at the newsstands.
He never told anyone
about what had happened – this particular event was something for
him alone, a personal experience of his soul. Even now [around 30
years later] he is filled with nostalgia in thinking about his
encounter with the holy friar. Padre Pio, with his extraordinary
capabilities, helped him to obtain great satisfaction in his
professional field, but much more so in the spiritual. “Now
I can say it with greater clarity, my soul is filled with strong
emotions that, at the mere memory of the encounter, still make my
heart throb.”
Thanks to John McCaffery,
The Friar of San Giovanni, p. 39; Maria Winowska, The True
Face of Padre Pio, p. 50, Enrico Malatesta, L'Ultimo Segreto
di Padre Pio, pp. 248-251.
View my books on Padre Pio and others Here.