Lourdes bishop covers Rupnik mosaics on doors to Basilica of the Rosary

Rome Newsroom, Mar 31, 2025 / 11:03 am

The Shrine of Our Lady of Lourdes in France announced Monday that the entrances to the Basilica of Our Lady of the Rosary, featuring art by the disgraced artist Father Marko Rupnik, are being covered.

Bishop Jean-Marc Micas of Tarbes and Lourdes called the decision a “second step” after his initial decision in July 2024 to no longer light up the mosaics at night and during processions.

“You know my opinion about the presence of these mosaics on the doors of the basilica. It seemed to me, together with my collaborators, that a new symbolic step had to be taken to make the entrance to the basilica easier for all those who today cannot cross the threshold,” Micas said in an online post from the renowned Marian apparition site.

Mosaics by the alleged sexual abuser Rupnik, who is under investigation and awaiting a trial by the Vatican’s Dicastery for the Doctrine of the Faith, were added to the neo-Gothic facade of the lower Lourdes basilica in 2008.

The basilica’s side doors were covered on the morning of March 31, and the two central doors will be covered in a few days, according to the shrine. The coverings are yellow with small crosses and the words “With Mary, Pilgrims of Hope 2025.”

For the 2025 Jubilee of Hope, Micas decreed the Shrine of Our Lady of Lourdes to be one of two places in the diocese where pilgrims can receive a jubilee plenary indulgence. He said “passing through the entrance doors of the basilica had to be symbolic of the moment,” and noted that the third Friday of Lent, March 28, was also the Memorial Day of Prayer for the victims of sexual abuse committed in the Church of France.

After forming a special commission in May 2023, Micas announced in July 2024 that, as a “first step,” he had decided the mosaics will no longer be lit up at night during the shrine’s nightly candlelight rosary processions. He said his personal opinion was that the art installations should be completely removed, but it was too early for a final decision.

The shrine’s next steps regarding the Rupnik artwork, Micas said on March 31, is to continue with the commission “to move forward calmly rather than under pressure from various sources.”

“We are working for the long term, for the victims, for the Church, for Lourdes and its message for all,” he added.

Marlene Watkins, the leader of the North American Lourdes Volunteers, posted on the Facebook page “Our Lady of Lourdes Hospitality North American Volunteers” on Monday, welcoming the French bishop’s “thoughtful, prayerful, and courageous discernment to address this art in the sanctuary.”

“This step in his wise plan makes it possible for some and easier for many victims and those who love them to enter the Holy Doors for this jubilee. His timing seems slow to some unaware of French art legalities — but his plan is prudent and methodical to take measured steps to make the removal possible. He asked for our prayers for this from the announcement of his decision. Please, let us continue to pray,” Watkins wrote.

The mosaics from Rupnik and his art and theology school, the Centro Aletti in Rome, depict the luminous mysteries of the rosary with the Wedding Feast at Cana in the center. Rupnik’s signature red dot decorates one of the arched panels above the entrance.

Rupnik, a priest and artist, has been accused of spiritual, psychological, and sexual abuse of religious sisters. He was removed from the Jesuits in June 2023. He is currently facing a canonical trial over the allegations he abused dozens of women religious, including some within the context of the creation of his art.

The priest’s prolific art career has created a problem for many shrines and Catholic churches across Europe and North America. Rupnik’s workshop was involved in projects for over 200 liturgical spaces around the world, including Fátima, the Vatican, the John Paul II shrine in Washington, D.C., and the tomb of St. Padre Pio.

The Knights of Columbus last year covered mosaics by Rupnik in the two chapels of the St. John Paul II National Shrine in Washington and in the chapel at the Knights’ headquarters in New Haven, Connecticut, a dramatic move that represented at the time the strongest public stand by a major Catholic organization regarding the former Jesuit’s embattled art.

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