Rome’s ‘sex appeal’ priest calendar model has no seminary training, raising questions about authenticity and church representation.

ROME — The “Calendario Romano,” featuring striking close-ups of young men dressed in priestly attire, has captivated tourists and locals alike as a popular souvenir for the last two decades. However, a recent report has revealed that many of the models featured in the calendar are not actual members of the clergy, prompting a reevaluation of this unique artistic endeavor.

For 23 consecutive editions, Giovanni Galizia has been prominently featured on the calendar’s cover. Now a 39-year-old flight attendant, Galizia was just 17 when he posed for the photo, donning a clerical collar and a smile that evokes the enigmatic charm of classic art. He noted that the photoshoot was a lighthearted experience, filled with friendly laughter from peers who found it amusing to see him in such garb. Until recently, Galizia remained largely unaware that the calendar was gaining nationwide attention due to its misleading portrayal of the models as priests.

According to photographer Piero Pazzi, who initiated the project, approximately one-third of the individuals featured in the 2027 edition of the calendar are indeed priests, although he has not provided specific details about their identities. Galizia, who has only met one other model from the calendar—another non-cleric—has expressed confusion over why these portraits have been perceived as “sexy.” He believes the concept should be viewed within an artistic context, akin to how actors portray priests in television dramas without being expected to represent actual clergy.

The calendar, which comprises twelve black-and-white portraits, is available for approximately 8 euros (around .30) in souvenir shops across Rome, particularly near the Vatican. Many of these stores have reported selling several copies daily. While Pazzi declined to disclose exact sales figures, it’s estimated that thousands of calendars are sold each year. Despite Galizia’s participation without payment, he signed a legal release permitting the use of his image.

The independent nature of the calendar’s production has been clarified, with no affiliation to the Vatican or its clerical authorities. This lack of official endorsement has not deterred its popularity. In fact, a South Korean priest observed that the calendar is well-known among young people in his home country, who appreciate its humorous depiction of clergy—a stark contrast to the often formal image associated with religious figures.

In light of these revelations, the “Calendario Romano” continues to provoke thought about the intersection of art, faith, and societal perceptions of clergy. While its intent may have been artistic rather than deceptive, the response it garners illustrates a cultural dialogue around the portrayal and understanding of religious figures in contemporary society.