2.2.2. Pastoral action through memory

The ecclesiastical museum partakes of the context of that complex relationship between the faithful and cultural patrimony by referring particularly to objects for worship that become "signs of grace" and assume a "sacramental" character (Paul VI, Address for the Feast of the Dedication of the Vatican Basilica, November 17, 1965, [Insegnamenti di Paolo VI, III, Vatican City 1965, pp. 1101-1104]).

"The Church, teacher of life, cannot but assume also the ministry of helping contemporary man rediscover religious marvel before the fascination of beauty and wisdom that is released from that which history has handed down to us. Such a task necessitates a daily and constant work of orientation, encouragement and exchange" (John Paul II, Message of September 25, 1997, note n. 4). The ecclesiastical museum has the prerogative of being a means of increasing faith. It is connected with the pastoral action carried out by the Church throughout the centuries in order to account for the seeds of truth sown by each generation, to allow people to become illuminated by the splendour of beauty incarnate in sensible works and to recognize the traces of the "transitus Domini" in human history. (See Paul VI, Address to the participants of the Fifth Congress of Church Archivists, September 26, 1963 [Archiva Ecclesiae 5-6 {1962-1963} pp. 173-175]).

This primary pastoral task is confirmed by the typology of cultural goods normally conserved in ecclesiastical museums. Such artefacts, even if different, make reference to one unique "cultural system" and help reconstruct the theological, liturgical and devotional attitude of the community.

Therefore things used for divine worship, for the formation of the faithful and charitable works are not simply "dead things" even if they can become obsolete. In fact, other components "survive" in them as cultural, theological, liturgical, historical aspects and, above all, artistic ones, in order to allow them to continue serving a pastoral function.

In this context, the ecclesiastical museum gives witness to the activity of the Church since and throughout the time it exercised the pastoral mission of memory and beauty. It becomes the sign of historical becoming, of cultural changes, of changes in taste. In accord with the logic of the incarnation, it is the impact left by preceding Church activity that had as its goal the inculturation of the faith. It narrates the history of the Christian community through what the different rites, the multiple forms of piety, the different social settings, the specific environmental situations have witnessed. It presents the beauty of what has been created:  for worship in order to evoke the inexpressible divine "glory"; for catechesis in order to instill a sense of wonder in the evangelical narration; for culture in order to embellish the greatness of creation; for charity in order to show the essence of the Gospel message. It belongs to the irreducible complexity of the action of the Church at the time when it is a "living reality".

As a pastoral tool, the ecclesiastical museum serves to discover and relive the witness of faith of past generations through visible works. It leads to the perception of beauty expressed in different ways in ancient and modern works so as to lead the soul, will and mind towards God. The fragility of materials, natural disasters and adverse or unfortunate historical conditions, the change of cultural sensitivities, liturgical reforms, are all documented in ecclesiastical museums. These recall, through scanty remains or even insignificant works, past epochs, while showing, through the beauty of what is preserved, man's creative potential as well as the faith of believers. Museum institutions serve, therefore, a formational and educational function by offering an historic perspective and at the same time aesthetic enjoyment.