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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

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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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The Marienschrein at Aachen Cathedral: Reliquary of the Cloak of the Virgin Mary

19 Thursday Jun 2014

Posted by Reliquarian in Art History, Metal Reliquary

≈ 1 Comment

Tags

Aachen, Chartres, cloak, Germany, Marienschrein, Nuremberg, relic, reliquary, Saint Mary, stained-glass window, textile, Virgin Mary

The Alba Madonna, Rafael, oil on panel transferred to canvas (1510), National Gallery of Art, Washington, D.C.

The Alba Madonna, Rafael, oil on panel transferred to canvas (1510), National Gallery of Art, Washington, D.C.

Virgin in a Blue Dress

In his superb book on Christian symbolism, Signs and Symbols in Christian Art, George Ferguson writes, “No other figure, except that of Christ Himself, was so often portrayed in Renaissance art as the Virgin Mary.”[1]  Ferguson further notes that Saint Mary was traditionally painted wearing blue, the color of truth and a symbol of the sky, heaven, and heavenly love.[2]  But did the historical Saint Mary actually wear blue?  Evidence preserved in various shrines suggests the Virgin’s blue wardrobe may have been an invention of Medieval and Renaissance artists.  These artists expressed their devotion to the Virgin by using a very scarce and very expensive pigment to paint her garments.  The pigment, known as ultramarine, was a deep, celestial blue.

Madonna and Child with Saint Jerome and Saint John the Baptist, Cima da Conegliano, oil on panel (1492-1495), National Gallery of Art, Washington, D.C.

Madonna and Child with Saint Jerome and Saint John the Baptist, Cima da Conegliano, oil on panel (1492-1495), National Gallery of Art, Washington, D.C.

The Marienschrein and the Four Great Relics of Aachen

The Marienschrein, or Shrine of Saint Mary, at Aachen Cathedral in Aachen (Aix-La-Chapelle), Germany houses four great relics:  the cloak of Saint Mary, the swaddling clothes of the infant Jesus, the beheading cloth of Saint John the Baptist, and the loincloth worn by Jesus at his crucifixion.  The relics were rarely displayed publicly before the 14th century; however, since about the mid-14th century, the relics have been removed from the shrine approximately every seven years for public veneration.[3]

Marienschrein (Shrine of Saint Mary), gold (1230-1239), Aachen Cathedral, Aachen, Germany

Marienschrein (Shrine of Saint Mary), gold (1230-1239), Aachen Cathedral, Aachen, Germany

I am unsure exactly what color the relic of Saint Mary’s cloak is, or appears to be, today.  Judging by a picture of the garment taken when it was last displayed in 2007, the cloak appears to be flaxen in color, or yellowish gray, with possible hints of light blue along its hem.  It is certainly not the deep blue favored by Renaissance artists, though perhaps it has faded significantly over time.  Or perhaps it was never blue to begin with.  [NOTE:  See update below for additional information.]

One other clue to what color Saint Mary may have worn during her lifetime is preserved 300 miles southwest of Aachen, at Chartres Cathedral in Chartres, France.  One of the cathedral’s most famous stained-glass windows, a 12th-century window known as Notre Dame de la Belle Verrière (Our Lady of the Beautiful Glass), depicts the Virgin and Child in a sedes sapientiae (seat of wisdom) arrangement with the Christ Child seated on the lap of the Holy Mother.  Victoria Finlay, in her engaging study of color and pigments, Color:  A Natural History of the Palette, suggests the window shows the Virgin Mary in a blue veil.[4]  “The veil,” she writes, “is a pale color, light enough to allow the sun to flood through and depict the young woman’s purity.”[5]  However, “it is unmistakably light blue, and worn over a blue tunic.”[6]  She further notes that the glass-makers who created the window in 1150 “would have had the ‘real’ veil to model their design on, which is curious, because when you see the precious relic in its gold nineteenth-century box . . . it is not blue at all.  More of an off-white:  the faded clothing of the melancholy mother of a martyr.”[7]

The Madonna of the Stars, Jacopo Tintoretto, oil on canvas (second half of the 16th century), National Gallery of Art, Washington, D.C.

The Madonna of the Stars, Jacopo Tintoretto, oil on canvas (second half of the 16th century), National Gallery of Art, Washington, D.C.

A Blue More Precious Than Gold

If the Virgin Mary did not wear blue, why did artists regularly paint her in blue garments?  Victoria Finlay offers several insights.  First, she explains that Saint Mary did not always wear blue in artistic representations.  In Russian icons, for example, the Virgin Mary more commonly wore red, and in Byzantine art, she often wore purple.[8]  On other occasions, she was portrayed in white to represent her innocence, or black to express her grief.[9]  Finlay also observes that artists commonly dressed her in a manner to honor her, and their choice of color was frequently decided by cost and rarity.[10]  She writes, “In fifteenth-century Holland, Mary often wore scarlet because that was the most expensive cloth; the earlier Byzantine choice of purple was similarly because this was a valuable dye, and only a few people were important enough to carry it off.  So when, in around the thirteenth century, ultramarine arrived in Italy as the most expensive color on the market, it was logical to use it to dress the most precious symbol of the faith.”[11]

Ultramarine pigment, Albrecht-Dürer-Haus, Nuremberg, Germany

Example of ultramarine pigment, Albrecht-Dürer-Haus, Nuremberg, Germany.

The deep, rich ultramarine prized by the artists of the Renaissance derived from lapis lazuli, an intensely blue, semi-precious stone found in only a few places on Earth.  For artists such as Michelangelo, Titian, and Dürer, the only source of ultramarine was Afghanistan, a “mythical land so far away that no European . . . had actually been there.”[12]  Finlay notes that ultramarine was once “the most valuable paint material in the world,” and artists such as Michelangelo would have had to wait for their patrons to procure it for them because they could not afford it on their own.[13]  Given its tremendous cost and unquestionable rarity, then, it is not surprising that so many artists chose to clothe the Virgin Mary in ultramarine.  Fortuitously, ultramarine also happens to be a serene and majestic color, one truly appropriate for the Queen of Heaven.

***

[UPDATE, 27 JUNE 2014.] The following description is from the Aachen Pilgrimage 2014 (Heiligtumsfahrt 2014) website: “St. Mary’s robe is an ancient work of domestic embroidery. . . .  It is made of naturally coloured linen and is embroidered with vertical and horizontal lines in a grid pattern.  In Israel flax and cotton were only to be found on the coast and in the lowlands of Jordan . . . .”  The website further notes that the dress is 153 cm long; the seam circumference is 246 cm; and the span of the sleeves is 132 cm.  The Aachen Pilgrimage 2014 homepage can be found here.  More information about the cloak of Saint Mary can be found here.  A picture of the robe can be viewed here.

***

Madonna and Child, Vittore Carapaccio, oil on panel (1505-1510), National Gallery of Art, Washington, D.C.

Madonna and Child, Vittore Carapaccio, oil on panel (1505-1510), National Gallery of Art, Washington, D.C.

Madonna and Child, Jan Gossaert, oil on panel (c. 1532), National Gallery of Art, Washington, D.C.

Madonna and Child, Jan Gossaert, oil on panel (c. 1532), National Gallery of Art, Washington, D.C.

Virgin and Child, sandstone with traces of polychrome (c. 1325-1350).

Virgin and Child, sandstone with traces of polychrome (c. 1325-1350), Rijksmuseum, Amsterdam, Netherlands.

Madonna and Child, stained-glass window, Strasbourg Cathedral, Strasbourg, France.

Madonna and Child, stained-glass window, Strasbourg Cathedral, Strasbourg, France.

Aachen Cathedral with High Altar and Pala d'Oro in foreground and Marienschrein (Shrine of Saint Mary) behind.

Aachen Cathedral with High Altar and Pala d’Oro in foreground and Marienschrein (Shrine of Saint Mary) behind.  Hanging from the vault above the choir is a wooden medallion of the Madonna and Child carved by Jan van Steffesweert of Maastricht in 1524.


[1] George Ferguson, Signs and Symbols in Christian Art 71 (1954).

[2] Id. at 151.

[3] John Carroll Cruz, Relics 23 (1984).

[4] Victoria Finlay, Color: A Natural History of the Palette 317 (2002).

[5] Id.

[6] Id.

[7] Id.

[8] Id. at 292-93.

[9] Id. at 293.

[10] Id.

[11] Id.

[12] Id. at 282.

[13] Id. at 287.

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