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~ An exploration of saints, their relics, and their iconography in art

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Category Archives: Glass Reliquary

Saint Innocent and the Massacre of the Innocents

18 Saturday Jul 2015

Posted by Reliquarian in Glass Reliquary

≈ 1 Comment

Tags

catacombs, Magi, martyr, relic, reliquary, Saint Innocent, Saint Matthew, United States, Washington

Rubens 1

Peter Paul Rubens, Massacre of the Innocents (detail), oil on panel (c. 1638), Alte Pinakothek, Munich, Germany

The Holy Innocents

The Massacre of the Innocents is sometimes invoked as an example of man’s potential for savagery and brutality in war.  In Henry V, for example, King Henry conjures the specter of Herod while addressing the governor and citizens of Harfleur, warning:

Take pity of your town and of your people,
Whiles yet my soldiers are in my command; . . .
If not, why, in a moment look to see . . .
Your naked infants spitted upon pikes,
Whiles the mad mothers with their howls confused
Do break the clouds, as did the wives of Jewry
At Herod’s bloody-hunting slaughtermen.[1]

It should be remembered, however, that the Massacre of the Innocents was a calculated act, a politically motivated event, rather than a mere accident of war.  Its victims were helpless children, all under the age of two years.  According to the Golden Legend, the Holy Innocents, as they came to be called, were considered holy and innocent “by reason of their life, of the death they suffered, and of the innocence they attained.”[2]

Though mentioned only briefly in the Bible, the Holy Innocents were eventually bestowed their own feast day sometime during the late 4th to late 5th centuries.[3]  Also known as Innocents’ Day or Childermas, the Feast of the Holy Innocents was once a day of role reversals, akin to the ancient Roman festival of Saturnalia, which placed children in authority over adults.  Today, the Feast of the Holy Innocents, celebrated on 28 December, is a day of pranking and general tomfoolery similar to April Fools’ Day in some parts of the world.  In the town of Ibi, Spain, for example, the festival of Els Enfarinats famously features a coup d’etat and a fierce battle of eggs and flour bombs that is waged throughout the town.

Who were the Holy Innocents, though, and why were they massacred in the first place?

Killing of the Innocents, stained glass, Strasbourg Cathedral, Strasbourg, France.

Killing of the Innocents, stained glass, Strasbourg Cathedral, Strasbourg, France

The Slaughter of the Innocents

The only Gospel writer who mentions the Massacre of the Innocents is Saint Matthew, who explains that Herod ordered the massacre after mysterious Magi from the east arrived in Jerusalem inquiring about a newborn king.  “Where is the one who has been born king of the Jews?” the Magi asked, somewhat indiscreetly.  “We saw his star when it rose and have come to worship him.”[4]

According to the Golden Legend, “Herod was troubled when he heard of this, fearing that someone might have been born of the true royal line and might expel him as a usurper of the throne.”[5]  Nevertheless, perceiving an opportunity to discover the whereabouts of his potential challenger, Herod feigned interest in worshipping the new king and slyly asked the Magi to bring him news once they had found him.  “Go and search carefully for the child,” he told them.  “As soon as you find him, report to me, so that I too may go and worship him.”[6]  Herod had no intention of worshipping the child, however.  Rather, he intended to kill the newborn king, quite literally in his infancy.

Sandro Botticelli, Adoration of the Magi (detail), tempera and oil on panel (c. 1478-1482), National Gallery of Art, Washington, DC

Sandro Botticelli, Adoration of the Magi (detail), tempera and oil on panel (c. 1478-1482), National Gallery of Art, Washington, DC

Warned in a dream not to return to Herod, the Magi returned home by another route.  According to the Golden Legend, when the Magi did not report back to him, Herod initially thought they had been deceived by the star and were too ashamed to face him with the news.  Herod subsequently gave up the search for the child.  Eventually, however, “when he heard what the shepherds had reported and what Simeon and Anna had prophesied, all his fears returned.”[7]

According to Saint Matthew, “When Herod realized that he had been outwitted by the Magi, he was furious, and he gave orders to kill all the boys in Bethlehem and its vicinity who were two years old and under, in accordance with the time he had learned from the Magi.  Then what was said through the prophet Jeremiah was fulfilled:  ‘A voice is heard in Ramah, weeping and great mourning, Rachel weeping for her children and refusing to be comforted, because they are no more.’”[8]

Courage and Callousness

In his study From Criminal to Courtier:  The Soldier in Netherlandish Art, 1550-1672, David Kunzle explains that the Massacre of the Innocents became an increasingly popular subject in art in the 13th and 14th centuries.[9]  Over time, two “non-biblical, legendary embellishments” crept into depictions of the event, altering the way the massacre was perceived.  The first, which lent “both realism and political edge” to such scenes, was the portrayal of mothers fiercely resisting the slaughter of their children.[10]  The second was the inclusion of Herod himself, callous and dispassionate amidst the carnage.

Works by artists such as Cornelius van Haarlem and Peter Paul Rubens attempt to portray some of the confusion, anguish, and brutality that surrounded the massacre.  In these depictions, the mothers of the Holy Innocents desperately interpose themselves between Herod’s soldiers and the helpless children of Bethlehem.  They claw at the soldiers, tearing their faces and gouging their eyes.  They frantically shield their children, but to no avail.  Pale, lifeless corpses already litter the landscape.

Peter Paul Rubens, Massacre of the Innocents (detail), oil on panel (c. 1638), Alte Pinakothek, Munich, Germany

Peter Paul Rubens, Massacre of the Innocents (detail), oil on panel (c. 1638), Alte Pinakothek, Munich, Germany

Kunzle notes that though not mentioned in the Bible, the resistance of the mothers “is surely as natural as the grief.”[11]  He further comments that their resistance may have been an “indictment of those unnatural mothers who instead of trying to protect their children like the mothers of Bethlehem . . .  abandoned, killed or aborted them, crimes increasingly common and increasingly severely punished in the 16th century, after being more or less winked at in earlier centuries.”[12]

In contrast, Herod is commonly portrayed as a cold, detached observer of the events.  Often, he is shown seated on a high throne,“ordaining the massacre.”[13]  The position, Kunzle argues, emphasizes Herod’s pride and arrogance.[14]  In Matteo di Giovanni di Bartolo’s The Massacre of the Innocents, for example, Herod is portrayed as a large figure with a crown, peering down from a throne from which he calmly directs the violence below.[15]  Sometimes, Herod is also depicted with counsellors, whose presence, Kunzle suggests, “gives the order to massacre the colour of a deliberate act of state rather than a furious personal impulse.”[16]  Herod has also been known to be accompanied by a pig.

Reliquary Shrine

Reliquary Shrine with Scenes from the Life of Christ (detail), champlevé enamel on copper (c. 13th century), Walters Art Museum, Baltimore, Maryland. At right, Herod sits enthroned, his arm raised, while the devil whispers in his ear.

Herod’s Pig

“Those who kill, get killed,” Kunzle tells us.[17]  “Killers of sons get killed by sons.”[18]  Unsurprisingly, then, Herod’s barbarous order did not go unpunished.  We learn from the Golden Legend that one of Herod’s infant sons had been “given to a woman in Bethlehem for nursing” and consequently was slain with the Holy Innocents during the massacre.[19]  On hearing this, the emperor August allegedly remarked, “I had rather be one of Herod’s pigs than sons.”[20]  Apparently, this comment inspired one 15th-century artist to insert a pig into a version of the Massacre of the Innocents.[21]  I am not aware of other such pigs loitering about similar depictions of the event, however.

The First Christian Martyrs

The Holy Innocents are considered the first Christian martyrs, and as martyrs, they are sometimes shown holding palm branches, a common symbol of martyrdom.[22]  It is unclear, though, how many children may actually have been killed in the massacre.  According to the Catholic Encyclopedia, “The Greek Liturgy asserts that Herod killed 14,000, the Syrians speak of 64,000, [and] many medieval authors of 144,000,” a number apparently derived from the Book of Revelation.[23]  However, considering the parameters of Herod’s order—to kill “all the boys in Bethlehem and its vicinity who were two years old and under”—the number of dead would likely have been far more modest than any of these estimates.  In her book Saints in Art, Rosa Giorgi suggests the number killed may have been around twenty.[24].  Giorgi notes that “images of this episode have traditionally been more focused on the atrocious violence and mothers’ anguish than the number of casualties.”[25]

Mount Saint Sepulchre Franciscan Monastery (Franciscan Monastery of the Holy Land in America), Washington, DC, USA

Mount Saint Sepulchre Franciscan Monastery (Franciscan Monastery of the Holy Land in America), Washington, DC, USA

The Relics of Saint Innocent

The Catholic Encyclopedia identifies a number of churches that purportedly possess relics of Holy Innocents.  These churches include the Abbey of Saint Justina (Abbazia di Santa Giustina) in Padua, Italy; Saint Mary Major (Santa Maria Maggiore) in Rome, Italy; Lisbon Cathedral (Sé de Lisboa) in Lisbon, Portugal; and Milan Cathedral (Duomo di Milano) in Milan, Italy.  The Basilica of Saint Paul Outside the Walls (Basilica Papale San Paolo fuori le Mura) in Rome also claims to possess relics of the Holy Innocents, and an apsidal mosaic in the church depicts five of the Holy Innocents as young boys, dressed in white, bearing palm branches.  A curious monastery in Washington, DC, also lays claim to a link to the Holy Innocents, though not through relics like those of the churches described above.

Descending into the fake catacombs of the Franciscan Monastery of the Holy Land in America, in the Brooklands neighborhood of Washington, DC, is slightly unsettling.  After shuffling down a set of stairs and under an arch labeled “Nazareth,” one first encounters a gleaming, marble replica of the shrine of the Annunciation in Nazareth before continuing into the “catacombs.”  The experience is perplexing, like drinking a German beer in the Germany Pavilion at Disney’s Epcot Center.  Still, there is a certain allure to place.  It is air-conditioned and dust-free, and not particular creepy—until one happens on the body of a small boy, encased in glass, resting serenely on red silk cushions.

Saint Innocent, Franciscan Monastery of the Holy Land in America, Washington, DC

Relics of Saint Innocent, Franciscan Monastery of the Holy Land in America, Washington, DC

The boy is crowned with a golden wreath, above which hovers a golden halo.  His head is tilted slightly to the right and a gentle smile plays across his pale, waxen face.  He wears a white silken tunic, which is bejeweled around the neck, and a red ribbon hangs loosely about his waist.  His hands and feet are covered in golden gauze, and his left hand, crumpled loosely into a fist, rests atop his body cradling a palm branch.

Saint Innocent's hands are visible through the gauze covering his hands.  The palm frond tucked beneath his left hand is a symbol of martyrdom.

Saint Innocent’s hands are visible through the gauze covering his hands. The palm frond tucked beneath his left hand is a symbol of martyrdom.

The boy is Saint Innocent (Saint Innocentius), a boy no older than eight years, who was apparently killed during the Roman persecutions of the 2nd century.  Near his body, a sign explains that he was “buried in the Catacombs of St. Callistus for several centuries” before his relics were removed to a chapel in Hinsdale, Illinois, and then subsequently transferred to Washington, DC.  The sign further states that a phial of the boy’s blood, an indicator of martyrdom, was also found with the body along with an inscription that read “Innocentius in pace,” or “Innocent resting in peace.”  The phial found in the catacombs is now stored in the glass reliquary case with the saint’s body.  Lastly, the informational sign explains that “[w]hile the skull [of Saint Innocent] has been covered with a beautiful wig, the hands and feet are covered only with gold gauze, thus permitting the bones to be seen easily.”

Saint Innocent is not a Holy Innocent, but he serves as a representative of all those who, as the Golden Legend states, were “innocent in their lives and upright in faith.”[26]  Recognizing this symbolic connection, another sign above Saint Innocent’s reliquary reminds visitors that December 28th is the Feast of the Holy Innocents, a day of remembrance of Christianity’s young, first martyrs.

Interior of the Mount Saint Sepulchre Franciscan Monastery (Franciscan Monastery of the Holy Land in America), Washington, DC, USA

Interior of the Mount Saint Sepulchre Franciscan Monastery (Franciscan Monastery of the Holy Land in America), Washington, DC, USA


[1]  William Shakespeare, Henry V, III, iii, 27-41.

[2]  Jacobus de Voragine, 1 The Golden Legend:  Readings on the Saints 56 (William Granger Ryan trans., 1993).

[3]  The feast is first mentioned in the Leonine Sacramentary of about 485.

[4]  Matthew 2:2.

[5]  Golden Legend, supra note 2, at 57.

[6]  Matthew 2:8.

[7]  Golden Legend, supra note 2, at 57.

[8]  Matthew 2:16-18.

[9]  David Kunzle, From Criminal to Courier:  The Soldier in Netherlandish Art 1550-1672 (2002), at 35.

[10]  Id.

[11]  Kunzle, supra note 9, at 46.

[12]  Id.

[13]  Id. at 38.

[14] Id. at 42.

[15]  Painted circa 1480-1490, the work is located at the Museo di Capodimonte, Naples, Italy.

[16]  Kunzle, supra note 9, at 42.

[17]  Id. at 39.

[18]  Id.

[19]  Golden Legend, supra note 2, at 58.

[20]  Kunzle, supra note 9, at 40 (quoting Macrobius).  However, this quip may relate to a different event altogether.  The Golden Legend states Augustus made these remarks after learning that Herod had deliberately ordered the death of two of his sons.  In response, the Golden Legend quotes Augustus as saying, “I would rather be Herod’s swine than his son, because he spares his swine but kills his sons.”  Golden Legend, supra note 2, at 58.

[21]  Kunzle, supra note 9, at 40-41.

[22]  See, e.g., Albrecht Classen, Childhood in the Middle Ages and the Renaissance:  The Results of a Paradigm Shift in the History of Mentality 123 (2005) (“The Holy Innocents became the first Christian martyrs because of their chronological and geographical proximity to Christ and because they died in his stead.”); Rosa Giorgi, Saints in Art 167 (Stefano Zuffi ed. & Thomas Michael Hartmann trans., 2002).  In Ruben’s Massacre of the Innocents at the Alte Pinakothek in Munich, Germany, angels from heaven tumble to earth bearings crowns of martyrdom instead.

[23]  7 Catholic Encyclopedia 420 (Charles G. Herbermann et al., eds 1910).  The verse from Revelation cited in the text above reads, “And they sung as it were a new song before the throne, and before the four beasts, and the elders:  and no man could learn that song but the hundred and forty and four thousand, which were redeemed from the earth.”  Revelation 14:3.

[24] Giorgi, supra note 23, at 167.

[25]  Id.

[26]  Golden Legend, supra note 2, at 56.

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Saint of the Salt Castle: Discovering Saint Rupert in Salzburg, Austria

02 Monday Mar 2015

Posted by Reliquarian in Glass Reliquary

≈ 1 Comment

Tags

Austria, Blessed Konrad II, Germany, reliquary, Saint Rupert, Saint Virgil, Salzburg, Salzburg Cathedral, skeleton

Statue of Saint Rupert (detail), Collegiate Church of Saint Peter and Saint John the Baptist (Stiftskirche St. Peter und Johannes der Taüfer), Berchtesgaden, Austria

Statue of Saint Rupert (detail), Collegiate Church of Saint Peter and Saint John the Baptist (Stiftskirche St. Peter und Johannes der Taüfer), Berchtesgaden, Germany

Salt of the Earth

In his wide-ranging history of salt, Salt:  A World History, Mark Kurlansky retells the story of a French princess who infuriated her father by declaring she loved him like salt.  “Only later,” Kurlansky writes, when the king “is denied salt does he realize its value and therefore the depth of his daughter’s love.”[1]  Because salt is “so common, so easy to obtain, and so inexpensive,” Kurlansky explains, “we have forgotten that from the beginning of civilization until about 100 years ago, salt was one of the most sought-after commodities in human history.”[2]  Salt was so precious, Roman soldiers were once paid an amount of money for the purchase of salt, known as a salarium — that is, a “salary.”[3]  Salt was also fundamental to the growth of several European cities, including the great city of Salzburg, Austria.  The name “Salzburg,” in fact, derives from the German word for salt (Salz) and the word for castle (Burg).

View of Hohensalzburg Castle from Mirabell Palace and Gardens, Salzburg, Austria

View of Hohensalzburg Castle from Mirabell Palace and Gardens, Salzburg, Austria

The rise and development of Salzburg, however, was far from inevitable.  By the 7th century, the city, then known as Juvavum, was in ruin following the collapse of the Roman Empire and the catastrophic breakdown of public infrastructure throughout the region.[4]  The work of an enterprising saint, and a little bit of salt, however, helped revive Salzburg’s fortunes.  The saint was Saint Rupert, first Bishop of Salzburg, whose likeness appears throughout the city and region to this day.  He is commonly portrayed carrying a vessel of salt, his traditional emblem in art — and an apt attribute for the patron saint of the Salt Castle.

Statue of Saint Rupert, Salzburg Cathedral, Salzburg, Austria

Statue of Saint Rupert, Salzburg Cathedral, Salzburg, Austria

Man of Salt

Who was Saint Rupert, and why is he so closely associated with Salzburg?  According to Butler’s Lives of the Saints, Saint Rupert was either a Frank or an Irishman who had once been Bishop of Worms.[5]  In approximately 697, Saint Rupert and several companions traveled to Regensburg to visit Duke Theodo of Bavaria, a powerful ruler “without whose permission nothing much could be done.”[6]  Saint Rupert eventually converted and baptized the duke, who afterwards became Saint Rupert’s patron.  With the duke’s support, Saint Rupert reestablished Christianity along the Danube, in an area stretching from Regensburg to Lorch.[7]

Instead of settling in either of these places, however, Saint Rupert chose to establish himself in the “old ruined town of Juvavum.”[8]  Juvavum contained a number of Roman-era buildings, though most were “dilapidated” and “overgrown with briars and brushwood.”[9].  The ancient town’s main advantage was its location in a prospering commercial area, in a region rich in salt.

Statue of Saint Rupert, Cemetery of Saint Sebastian, Salzburg, Austria

Statue of Saint Rupert, Cemetery of Saint Sebastian, Salzburg, Austria

Saint Rupert petitioned Duke Theodo for the territory of Juvavum, and the duke readily agreed.  Soon after, Saint Rupert erected the town’s first church, the Church of Saint Peter (Stiftskirche Sankt Peter), at the base of the Mönchberg.[10]  He also established the town’s first monastery and its first convent, Nonnberg Abbey, whose first abbess, Saint Erentrude, was Saint Rupert’s niece.

Part of Duke Theodo’s original donation included rich salt deposits, which were mined for their precious crystals.[11]  Saint Rupert is credited with establishing these first salt mines, which would become a source of the city’s great wealth and grandeur in later centuries.[12]  As the city prospered, wealth from salt mining enabled the arts to flourish.  Today, however, the influence of salt on the city’s growth and prosperity has been all but forgotten.  Instead, Salzburg is celebrated as an elegant city of music, the birthplace of Mozart and, more recently, the backdrop of the perennially popular movie The Sound of Music.

View of Salzburg from Festung Hohensalzburg.  Salzburg Cathedral, with green dome, is visible in the foreground, to the right.

View of Salzburg from Festung Hohensalzburg. Salzburg Cathedral, with its distinctive green dome, is visible near the center of the photograph.

Skeletons at the von Trapp Wedding

Located 17 miles east of Salzburg, in the charming lakeside town of Mondsee, Austria, the parish church of Saint Michael (Pfarrkirche St Michael), is the second largest church in Upper Austria.  Built in the late 15th century, the twin towers and pale yellow of the church’s exterior may strike some as vaguely familiar.  As it turns out, the church served as the setting of Fraulein Maria’s wedding to Captain von Trapp in The Sound of Music.

Parish Church of Saint Michael, Mondsee, Austria

Parish Church of Saint Michael, Mondsee, Austria

The interior of the church features striking vaulted ceilings, a riot of carved and painted figures, and various gilded Baroque altars, including five by the famed Swiss sculptor Meinrad Guggenbichler.[13]  The church also houses a number of relics, some of which make brief cameos in the wedding scene of The Sound of Music. The relics of Blessed Konrad II are the most notable.  Located directly above the tabernacle behind the high altar, the seated skeleton of Blessed Konrad II, a 12th century abbott of Mondsee, peers out from behind a glass enclosed niche.  The skeleton’s head is surrounded by a ray halo, and his left hand clutches a staff and palm frond, indicating a martyr’s death.  Apparently, Blessed Konrad II was killed defending his monastery, and his fellow monks believed his murder qualified him for martyrdom.[14]

Seven-Part Reliquary with the Relics of Blessed Konrad II of Mondsee, Parish Church of Saint Michael, Mondsee, Austria

Seven-Part Reliquary with the Relics of Blessed Konrad II of Mondsee, Parish Church of Saint Michael, Mondsee, Austria

An array of other relics, carefully arranged in two large reliquary cases, are displayed to Blessed Konrad II’s right and left.  The relics include various skulls and bones first collected and displayed in the church in the mid-18th century.  Below the reliquary cases, four additional skeletons may be seen reclining in individual cases, two triangular and two rectangular.  The skeletons look relaxed in their padded niches and observe the world as if from window of a passing train.  The skeletons belong to catacomb saints exhumed and transported to Mondsee from the catacombs of Rome. The altar itself is a remarkable early Baroque work by the sculptor Hans Waldburger.  Dating to 1626, the altar features a depiction of Saint Michael the Archangel placidly slaying a dragon.  The altar is the only extant altar by Waldburger.[15]

Parish Church of Saint Michael, Mondsee, Austria.  The high altar, which dates to 1626, is the work of Hans Waldburger.

Parish Church of Saint Michael, Mondsee, Austria. The high altar, which dates to 1626, is the work of Hans Waldburger.

Salzburg Cathedral

Saint Rupert died in 710, and is buried in the crypt of Salzburg Cathedral.  Consecrated to Saint Rupert and Saint Virgil in 774, the cathedral has been rebuilt and modified several times since its founding.  In 1167, for example, the Counts of Plain, knights loyal to the the emperor Barbarossa, set fire to the cathedral, burning it virtually to its foundation.[16]

Salzburg Cathedral (Salzburger Dom), Salzburg, Austria

Salzburg Cathedral (Salzburger Dom), Salzburg, Austria

The cathedral was rebuilt, but burned again in 1598.  The subsequent rebuilding effort, led by Salzburg’s archbishop at the time, Wolf Dietrich von Raitenau, outraged city residents who were shocked by Wolf Dietrich’s ruthless destruction of the cathedral’s cemetery, including the desecration of countless graves, for the rebuilding project.[17]  After Wolf Dietrich was captured and imprisoned by Bavarian troops in a dispute over salt mining rights, Wolf Dietrich’s successor, Markus Sittikus von Hohenems, commissioned a new architect to complete the cathedral’s reconstruction.

Interior of Salzburg Cathedral (Salzburger Dom), Salzburg, Austria

Interior of Salzburg Cathedral (Salzburger Dom), Salzburg, Austria

Reconsecrated in 1628, the new, Baroque cathedral remained virtually unchanged until 1944, when a bomb crashed through the dome, destroying part of the chancel.  After extensive renovations, the cathedral was consecrated a third time, in 1959.  The three gates to the cathedral commemorate the three consecrations by displaying the years “774,” “1628,” and “1959” in gold above the portals.[18]

Back to the Salt Mines

Although Saint Rupert does not hover above the tabernacle of Salzburg Cathedral like Blessed Konrad II in Mondsee, images of Saint Rupert throughout the church and city serve as a reminder of his role in the city’s early history.  As already noted, Saint Rupert is frequently shown carrying a vessel of salt, an acknowledgment of his influence on Salzburg’s salt trade.  The container of salt, however, may hint at another of Saint Rupert’s accomplishments.  In addition to establishing the city’s first salt mines, Saint Rupert was responsible for changing the city’s original name, Juvavum, to something more relevant and more enduring.  The name he chose, of course, was “Salzburg,” the Salt Castle.

High Altar, Salzburg Cathedral (Salzburger Dom) Salzburg, Austria

High Altar, Salzburg Cathedral (Salzburger Dom) Salzburg, Austria.  Saint Rupert is depicted atop the altar carrying a barrel of salt in his left hand and a bishop’s crozier in his right.  Saint Virgil is also represented atop the altar, opposite Saint Rupert.

Statue of Saint Rupert, Saint Andreas Parish Church, Berchtesgaden, Austria

Statue of Saint Rupert, Parish Church of Saint Andreas, Berchtesgaden, Germany

Interior of Dome, Salzburg Cathedral (Salzburger Dom), Salzburg, Austria

Interior of Dome, Salzburg Cathedral (Salzburger Dom), Salzburg, Austria. The dome was pierced by an aerial bomb in WWII.  Repairs to the cathedral were not completed until 1959.


[1]  Mark Kurlansky, Salt:  A World History 6 (2002).

[2]  Id.

[3]  2 Shorter Oxford English Dictionary 2653 (5th ed., 2002).

[4]  Juvavum was one of the principle towns of the Roman frontier province of Noricum.

[5]  1 Butler’s Lives of the Saints 700 (Herbert J. Thurston, S.J. & Donald Attwater eds., 2d ed. 1956).

[6]  Id.

[7]  Id.

[8]  Id.

[9]  13 Catholic Encyclopedia 229 (Charles G. Herbermann et al., eds 1912).

[10]  Id. The church was established where Saint Maximus, a follower of Saint Severin, was martyred in 476.

[11]  Id.

[12]  Saleem H. Ali, Treasure of the Earth:  Need, Greed, and a Sustainable Future 34 (2009).

[13]  John Bourke, Baroque Churches of Central Europe 266 (1958).

[14]  Blessed Konrad II of Mondsee, Saints.SPQN.com, available at http://saints.sqpn.com/blessed-konrad-ii-of-mondsee/.

[15]  10 Dictionary of German Biography 314 (Walther Killy et al., eds, 2006).

[16]  Salzburg Cathedral, Salzburg Travel Guide, http://www.salzburg.info/en.

[17]  Id.

[18]  Id.

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Saint Anthony of Padua: Patron Saint of Lost Things

02 Tuesday Sep 2014

Posted by Reliquarian in Glass Reliquary

≈ 6 Comments

Tags

Germany, incorrupt, Italy, Maryland, Michael Wolgemut, Padua, relic, reliquary, Rottweil, Saint Anthony, Saint Bartholomew, Saint Francis, Saint Nicolaus, Veit Stoss

Reliquary of Saint Anthony, the Shrine of Saint Anthony, Ellicott City, Maryland, USA.

Reliquary of Saint Anthony, the Shrine of Saint Anthony, Ellicott City, Maryland, USA.  Photo by Reliquarian.

Discovering Saint Anthony

We stopped in Rottweil, Germany, on a whim, drawn by its distinctive name and apparent connection to the Rottweiler, a famous breed of dog.  We spent the morning in leisurely exploration before we eventually found our way to the Church of the Holy Cross (Heilig Kreuz Münster) near the commercial center of Rottweil.  Built in 1230-1534, the church features a triple nave, intricate network vaults, and very fine examples of late Gothic wood carving, including an altar of Saint Bartholomew by Michael Wolgemut and a crucifix attributed to Veit Stoss.  In the south transept of the church, an altar steeped in late morning light drew our attention.  Stoical saints bearing burnished objects — a golden chalice here, a large knife there — beckoned us to peer closer, to gaze, to contemplate.

Altar with Saints, Church of the Holy Cross, Rottweil, Germany

Altar with Saints, Church of the Holy Cross, Rottweil, Germany.  Photo by Reliquarian.

Meanwhile, several yards away, tucked in a dim corner by an exit, stood a modest sculpture: the humble figure of a friar in Franciscan robes.  We initially overlooked the statue amidst the many carvings and altars of the church, but once we noticed it, something about the image’s unassuming bearing invited us to linger.

“What did you lose?”  An older gentleman suddenly asked as he edged by us and dropped a few coins in a collection box near the statue.

“Nothing,” we answered hesitatingly.  “Why do you ask?”

“You were staring at Saint Anthony, so I thought you must have lost something.” he replied.  “I lost my glasses this morning, and I looked everywhere for them, but I couldn’t  find them.  So I prayed to Saint Anthony, and I found them!”  At this, he raised a pair of spectacles as if in a triumphant toast.  “I came here to thank the saint with an offering.  If you’ve lost something, you should pray to Saint Anthony!”

Altar of Saint Bartolomen, Michael Wolgemut, Church of the Holy Cross, Rottweil, Germany

Altar of Saint Nicolaus, Church of the Holy Cross, Rottweil, Germany.  Photo by Reliquarian.

Patron Saint of Lost Things

It is unclear how Saint Anthony became a patron saint of lost items or lost things.  The Lives of the Saints suggests his patronage may be traced to a miracle recounted in the Chronica XXIV Generalium (No. 21).[1]  The Lives of the Saints sums up the story as follows:  “A novice ran away and carried off a valuable psalter St Antony was using.  He prayed for its recovery and the novice was compelled by an alarming apparition to come back and return it.”[2]

As the gentleman we encountered in Rottweil demonstrated, the saint’s reputation as a finder of lost or stolen things has only grown since the incident of the lost psalter.  Writing in Saint Anthony of Padua:  His Life, Legends, and Devotions, Norman Perry explains, “Nearly everywhere, Anthony is asked to intercede with God for the return of things lost or stolen.”[3]  Perry notes that “[t]hose who feel very familiar with him might pray, ‘Tony, Tony, turn around.  Something’s lost and must be found.’”[4]  A number of other prayers for the recovery of lost objects are also popular — for those on less familiar terms with the saint.

Church of the Holy Cross, Rottweil, Germany.  A carved crucifix attributed to Veit Stoss is visible at the center of the photograph, behind the main altar.

Church of the Holy Cross, Rottweil, Germany. A carved crucifix attributed to Veit Stoss is visible at the center of the photograph, behind the main altar.  Photo by Reliquarian.

The Sermon to the Fishes

During his lifetime, Saint Anthony was famous for his preaching.  As The Lives of the Saints explains, he had all the requisite qualifications of a great preacher:  “learning, eloquence, great power of persuasion, a burning zeal for souls and a sonorous voice which carried far.”[5]  His talent for preaching, however, was discovered by accident.  According to legend, he was called to deliver a sermon at the last minute during a ceremony attended by a number of Dominican and Franciscan friars.  “Through some misunderstanding none of the Dominicans had come prepared to deliver the customary address at the ceremony, and as no one among the Franciscans seemed capable of filling the breach St Antony, who was present, was told to come forward and speak whatever the Holy Ghost should put into his mouth.”[6]  Saint Anthony dazzled the crowd with his knowledge and eloquence, and he was subsequently assigned to preach throughout Lombardy and northern Italy.

As talented an orator as he was, however, Saint Anthony did not always immediately succeed in his mission.  In the ancient city of Rimini on the Adriatic, for example, Saint Anthony struggled to convert the city’s recalcitrant, unsympathetic population.  “He preached unto them for many days and disputed with them of the faith of Christ and of the Holy Scriptures; but they as men hard of heart and obstinate, would not even listen to him.”[7]  Undeterred, Saint Anthony chose to deliver a sermon nearby, to a different, though somewhat untraditional, audience.  Standing on the bank of a river near the sea, Saint Anthony began to “speak unto the fishes, as a preacher sent unto them of God.”[8]

Miraculous Draught of Fishes (detail), Jacopo Bassano, oil on canvas (1545), National Gallery of Art, Washington, DC. Although this painting does not depict Saint Anthony's Sermon to the Fishes, I imagine the fish peeking their heads out of the water as in this painting of the miraculous catch of fish.

Miraculous Draught of Fishes (detail), Jacopo Bassano, oil on canvas (1545), National Gallery of Art, Washington, DC. Although this painting does not depict Saint Anthony’s Sermon to the Fishes, I imagine the fish peeking their heads out of the water as in this painting of the miraculous catch of fish.  Photo by Reliquarian.

“Hear the word of God, ye fishes of the sea and of the river, since the infidel heretics refuse to hear it,” he declared.  Soon thereafter, “there came to him to the bank so vast a multitude of fishes, big, little and of middling size, that never in that sea or in that river had there been so great a multitude.”[9]  All of them “held their heads out of the water” and all “gazed attentively on the face of St. Antony, abiding there in very great peace and gentleness and order.”[10]  As Saint Anthony spoke, the fish opened their mouthes, bowed their heads, and made other signs of reverence.  As Saint Anthony continued to preach, even more fish began to arrive.[11]

This unusual sermon did not go unnoticed.  “To see this miracle the people of the city began to run thither, and among them came also the heretics aforesaid; who, beholding so marvelous and clear a miracle, were pricked in the hearts, and all cast themselves at the feet of St. Antony to hear his words.”[12]  While Saint Francis is often remembered for preaching to the birds, Saint Anthony is frequently remembered for this miracle, his incredible Sermon to the Fishes. Perhaps he had a burning zeal for sole as well as souls!

The Shrine of Saint Anthony

The Shrine of Saint Anthony rests atop a modest hill, surrounded by bucolic farms and woodland, in rural Howard County, Maryland, USA.  Modeled after the Sacro Convento in Assisi, Italy, the shrine at first seems out of place in the American countryside.  Something about the shrine’s monasterial silhouette, however, can feel familiar in the heat of a midsummer afternoon, against an azure sky.

Courtyard of the Shrine of Saint Anthony, Ellicott City, Maryland, USA.

Courtyard of the Shrine of Saint Anthony, Ellicott City, Maryland, USA.  Photo by Reliquarian.

Construction of the Shrine of Saint Anthony began in 1930 and was completed a year later, in 1931.  Built on land once owned by Charles Carroll, the only Catholic signer of the American Declaration of Independence, the shrine features over 200 acres of grounds and walking trails.  The shrine also houses a first class relic of Saint Anthony:  a small piece of skin donated to the shrine by the Basilica of Saint Anthony of Padua in 1995.[13]

Chapel of the Relic of Saint Anthony

The chapel containing the relic of Saint Anthony is located at the rear of the shrine, near a side parking lot.  The relic itself is stored in a small reliquary that has, in turn, been incorporated into a golden statue of Saint Anthony.  The statue depicts the saint from the waist up against a background of leaping flames.  His right hand is raised in blessing, and his left hand grasps a book, a common attribute of the saint, which he  holds horizontally.  More flames spring from the book, and at the center of the fire rests a modest reliquary containing a small sample of Saint Anthony’s skin.

Reliquary of Saint Anthony, close-up of relic, the Shrine of Saint Anthony, Ellicott City, Maryland, USA.

Reliquary of Saint Anthony, close-up of relic, the Shrine of Saint Anthony, Ellicott City, Maryland, USA.  Photo by Reliquarian.

The reliquary appears to be identical to another reliquary containing the saint’s skin that I once examined in Krakow, Poland.  Located at the Archdiocesan Museum in Krakow, that reliquary was not incorporated into a larger display but was, rather, exhibited along with other reliquaries in a simple, museum-style glass case.  Presumably, that relic was also a gift of the Basilica of Saint Anthony of Padua, which probably uses identical casings to house relics given as devotional gifts to other institutions.

Relic of Saint Antoni Padewski (Saint Anthony of Padua), silver and gold plate, Archdiocesan Museum, Krakow, Poland

Relic of Saint Antoni Padewski (Saint Anthony of Padua), silver and gold plate, Archdiocesan Museum, Krakow, Poland.  Photo by Reliquarian.

Saint Anthony in Art

In art, Saint Anthony is most commonly portrayed as a Franciscan friar carrying either a book, a white lily, the baby Jesus, fire, or a burning heart.[14]  He may also be shown with a flowered cross, a book pierced by a sword, a fish (evoking his Sermon to the Fishes), or a kneeling donkey or mule.[15]  The symbol of the donkey derives from a story concerning a heretic from Toulouse (sometimes the city is Rimini) who refused to acknowledge Christ’s presence in the Eucharist unless he witnessed his donkey kneel before the Sacrament.[16]  In one version of the story, as Saint Anthony was delivering the Eucharist to a dying man elsewhere in the city, he encountered the man’s donkey on the street.  The donkey dutifully bowed its head and knelt before the Eucharist for everyone to see.[17]

Miracle of the Mule, Shrine of Saint Anthony, Ellicott City, Maryland, USA.  This statue group is located on the grounds of the Shrine of Saint Anthony.  A mule or donkey kneels before the Eucharist, held aloft by Saint Anthony in a monstrance.

Miracle of the Mule, Shrine of Saint Anthony, Ellicott City, Maryland, USA. This statue group is located on the grounds of the Shrine of Saint Anthony. A mule or donkey kneels before the Eucharist, held aloft by Saint Anthony in a monstrance.  Photo by Reliquarian.

White lilies signify Saint Anthony’s purity, and in many parts of the world, lilies are blessed on the Feast of Saint Anthony, the 13th of June.  Meanwhile, the image of Saint Anthony with the Christ child has apparently evolved over time.  In earlier depictions of Saint Anthony with the Christ child, Jesus may be shown on the pages of a book, rising out of a book, or standing directly on a book in Saint Anthony’s hands.  During the 17th century, artists began to portray the Christ child as fully emerged from the book and often placed him physically in the saint’s arms.[18]  The image of the Christ child in or on a book (usually the Bible) likely represents the incarnation of the word of God, and Saint Anthony’s association with the visual metaphor is not surprising.  Saint Anthony often preached about the Incarnation and helped spread the Incarnate Word of God in his celebrated sermons.[19]

Today, Saint Anthony continues to be remembered for his great learning and his prodigious talent as a preacher.  In 1946, Pope Pius XII declared the saint a doctor of the church — officially, a “Doctor of the Gospel.”[20]  Meanwhile, his incorrupt tongue is kept in a crystal urn in the Basilica of Saint Anthony of Padua (Basilica Pontificia di Sant’Antonio di Padova) in Padua, Italy.

Saint Anthony of Padua, Vincenzo Foppa, oil (?) on panel (1495/1500).  Here, Saint Anthony carries two of his common attributes:  a white lily and a book.

Saint Anthony of Padua, Vincenzo Foppa, oil (?) on panel (1495/1500), National Gallery of Art, Washington, DC. Here, Saint Anthony carries two of his common attributes: a white lily and a book.  Photo by Reliquarian.

 


[1] 3 Butler’s Lives of the Saints 536 (Herbert J. Thurston, S.J. & Donald Attwater eds., 2d ed. 1956).

[2]  Id.

[3]  Saint Anthony of Padua:  His Life, Legends, and Devotions 64 (Jack Wintz ed., 2012).

[4]  Id.

[5]  Butler’s Lives of the Saints, supra note 1, at 535.

[6]  Id.

[7]  The Little Flowers of St. Francis 101 (W. Heywood trans., 1906).

[8]  Id.

[9]  Id.

[10]  Id.

[11]  Id. at 102.

[12]  Id. at 103.

[13] The Shrine of St. Anthony:  A Ministry of the Conventual Franciscan Friars (n.d.).

[14]  Rosa Giorgi, Saints in Art 38 (Stefano Zuffi ed. & Thomas Michael Hartmann trans., 2002).

[15]  George Ferguson, Signs and Symbols in Christian Art 105 (1954).

[16]  Id.

[17]  Id.

[18]  Jack Wintz, “Why St. Anthony Holds the Child Jesus,” in Saint Anthony of Padua:  His Life, Legends, and Devotions 36 (2012).

[19]  Id. at 38-39.

[20]  Wintz, supra note 18, at 38.

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