• Index
  • News
  • About

Reliquarian

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

Reliquarian

Tag Archives: Germany

Saint Corona and Saint Rosalia: Two Saints Invoked Against Pandemics

29 Sunday Mar 2020

Posted by Reliquarian in Art History, Metal Reliquary, Painting, Reliquary, Sculpture

≈ 1 Comment

Tags

Aachen, coronavirus, Germany, Italy, martyr, Palermo, pandemic, plague, Saint Corona, Saint Edmund, Saint Roch, Saint Rosalia, Saint Victor, shrine

71.41

Anthony van Dyck, Saint Rosalie Interceding for the Plague-stricken of Palermo, oil on canvas (1624).  Metropolitan Museum of Art, New York.  Photo via the Metropolitan Museum of Art.

The Great Plague, or Black Death, of the 14th century was one of the most lethal pandemics in human history.  The plague was believed to have entered Europe from the Crimean port of Kaffa (modern-day Feodosia) in 1346.[1]  From there, it spread to Constantinople, Sicily, Genoa, and Provence before infiltrating the rest of the continent.  The Shorter Cambridge Medieval History describes its initial progress as “like the advance of a prairie fire, destroying and inescapable.”[2]  Dispersed along well-worn trade routes, the Black Death killed nearly one-third of Europe’s population between 1347 and 1352—an estimated 25 million people.[3]  In his book The Great Transition, Bruce Campbell observes that “[b]oth proportionately and absolutely it therefore probably ranks as the single greatest public health crisis in recorded European history.”[4]

The tragedy of the plague, however, did not conclude with this initial wave of fatalities.  The plague endured for another three hundred years, returning approximately every ten years to ravage European society anew.[5]  Dread of the plague manifested itself in a number of ways.  In art, for example, the danse macabre became a popular motif.  In these scenes personifications of death, frequently in the form of jaunty skeletons, escorted individuals from all stations in life to their graves.  In religion, special saints were invoked for their protection against the Black Death.  Chief among these were Saint Roch and Saint Edmund.  Saint Roch was often shown pointing at a bubo (a wound caused by the bubonic plague) in his leg and accompanied by a dog carrying a piece of bread.  Meanwhile, Saint Edmund, who was King of East Anglia, is frequently portrayed with a crown, an orb, a scepter, or arrows (his death involved a volley of arrows).  Other saints, however, were also believed to protect against pandemics and the plague.  The COVID-19 outbreak has renewed interest of some of these saints, two of whom are described below.

IMG_3553

Christian Jorhan, Heilige Rochus (Saint Roch) (detail), polychromed limewood (1760/1770).  Germanisches Nationalmuseum, Nuremburg, Germany.  In this detail, Saint Roch points at a wound caused by bubonic plague clearly evident in his leg.  Photo by Reliquarian.

Saint Corona – Patron Saint of Lumberjacks . . . and Epidemics?

Saint Corona is believed to have been martyred in the second or third century in particularly gruesome fashion.  Tied between two bent palm trees, she was torn apart when the two trees were released.[6]  She later became a patron saint of lumberjacks.[7]  In 997, King Otto III translated Saint Corona’s relics to Aachen Cathedral where the relics remained, buried beneath a slab of stone in the cathedral’s floor, until the early 20th century.[8]  Around 1912, the relics were transferred to a reliquary shrine created by the famous Aachen goldsmith Bernhard Witte.[9]

Saint Corona

Master of the Palazzo Venezia Madonna, Saint Corona, tempera and gold on panel (c. 1350).  National Gallery of Denmark, Copenhagen, Denmark.  Note the crown she holds in her left hand and the two palm leaves she holds in her right.  Photo courtesy Wikimedia Commons.

Experts from the cathedral’s treasury had been working to restore Saint Corona’s reliquary in preparation for an exhibition on goldsmithery when the novel coronavirus emerged last year.[10]  The pandemic has lent new relevance to Saint Corona, whom cathedral officials allege is also a protector against infectious diseases.  Some scholars, however, question Saint Corona’s historical association with pandemics and infectious diseases.[11]  Regardless, her name alone has earned her an inescapable connection with the COVID-19 outbreak.  Notably, the names of the saint and the coronavirus share the same Latin root, corona, which means crown.

Coronaviruses derive their name from the protein spikes that protrude from their surfaces; when viewed under a microscope, these spikes give the appearance of a crown.  Saint Corona’s name relates to a vision of crowns she had near the time of her death.  According to legend, Saint Corona comforted a Roman soldier—the future Saint Victor—who was being tortured for his faith.  The Roman Martyrology states, “As Corona . . . was proclaiming him happy for his fortitude in his sufferings, she saw two crowns falling from heaven, one for Victor, the other for herself.  She related this to all present and was torn to pieces between two trees; Victor was beheaded.”[12]  Saint Corona’s feast day is 14 May.

Aachen Cathedral - High Altar

High Altar of Aachen Cathedral, Aachen (Aix-la-Chapelle), Germany.  The relics of Saint Corona were interred beneath a black stone slab to the left of the high altar in 997.  The relics were later transferred to a golden reliquary designed by Bernhard Witte in the early 20th century.  Photo by Reliquarian.

Saint Rosalia – Protector Against the Plague

Another saint associated with pandemics has also been in the news lately.  On the eve of an exhibition celebrating its 150th anniversary, the Metropolitan Museum of Art in New York has been forced to close its doors to the public due to the coronavirus pandemic.  A centerpiece of its anniversary exhibition, “Making the Met: 1870-2020,” was to be a painting by Anthony van Dyck titled “Saint Rosalie Interceding for the Plague-stricken of Palermo.”[13]

The painting, one of the first acquired by the museum after its founding, depicts Saint Rosalia ascending to heaven accompanied by a tumbled passel of cherubim.[14]  An article by Jason Farago in the New York Times notes that at first glance, the work could easily be confused for an Assumption of the Virgin due to the lack of visual clues clearly identifying its central figure as Rosalia rather than the Virgin Mary.[15]  Farago writes, “Unlike Peter with his keys or Catherine with her wheel, this little-known saint did not have a set of standard attributes until the plague struck.”[16]  The plague referenced was an outbreak of bubonic plague that beset Palermo in 1624.

Upon closer inspection, van Dyck’s painting does offer some clues to the saint’s identity.  Farago suggests van Dyck had to invent an iconography to identify Saint Rosalia, who was credited with ending the 1624 flare-up.[17]  One cherub, for example, bears a wreath of pink and white roses which it is preparing to place on Saint Rosalia’s head.  The roses are a reference to the saint’s name “Rosalia.”  Another cherub holds a more macabre emblem of the saint:  an umber brown cranium which the cherub grasps casually in its left hand.  The skull is Saint Rosalia’s, a reference to the saint’s relics, which were unearthed near Palermo during the outbreak of plague in the city.[18]

71.41

Anthony van Dyck, Saint Rosalie Interceding for the Plague-stricken of Palermo (detail), oil on canvas (1624).  Metropolitan Museum of Art, New York.  Photo via the Metropolitan Museum of Art.

According to legend, a local Palmeritan woman was healed of the plague after praying fervently to Saint Rosalia.[19]  Later, the saint revealed the location of her bones to the woman in a dream.[20]  The bones were subsequently discovered in a cave on Mount Pellegrino near Palermo.[21]  Hagiographies of the saint suggest that Rosalia fled to Mount Pellegrino to avoid a marriage arranged for her by her father and that she changed caverns frequently, guided by an angel, to avoid discovery.[22]  In van Dyck’s painting, Mount Pellegrino is clearly visible in the background, as is the harbor of Palermo.

Today, the Festino di Santa Rosalia, which takes place in July, is one of the largest festivals in Italy.[23]  At present, however, it is still unclear whether the festival will proceed as planned as many Italians remain in quarantine.  Meanwhile, “Saint Rosalie Interceding for the Plague-stricken of Palermo” also remains in quarantine amidst the coronavirus outbreak.  The Metropolitan Museum does not plan to reopen until July at the earliest.[24]


[1]  2 C.W. Previté-Orton, The Shorter Cambridge Medieval History 847 (1952).

[2]  Id.

[3]  Id.; Bruce M. S. Campbell, The Great Transition 307 (2016).

[4]  Id.

[5]  Id., Previté-Orton, supra note 1, at 847.

[6]  “German Cathedral Dusts Off Relics of St Corona, Patron of Epidemics,” Reuters (Mar. 25, 2020), https://www.reuters.com/article/us-health-coronavirus-germany-saint-idUSKBN21C2PM.

[7]  Id.

[8]  Id.

[9]  Naomi Rea, “A German Cathedral Plans to Display Its Shrine to Saint Corona, Who It Says Is the Patron Saint of Epidemics,” Artnet (Mar. 27, 2020), https://news.artnet.com/art-world/aachen-cathedral-saint-corona-1817631.

[10]  Id.

[11]  E.g., id.

[12] Catholic Church, The Roman Martyrology 139-40 (revised ed., reprint 1916).

[13]  Jason Farago, “The Saint Who Stopped an Epidemic Is on Lockdown at the Met,” N.Y. Times (Mar. 26, 2020), https://www.nytimes.com/2020/03/26/arts/design/van-dyck-metropolitan-museum-virus.html.

[14]  Id.

[15]  Id.

[16]  Id.

[17]  Id.

[18]  Id.

[19]  Rosa Giorgi, Saints in Art 323 (Thomas Michael Hartmann trans., Stefano Zuffi ed., 2002).

[20]  Id.

[21]  Id.

[22]  Id.

[23]  Farago, supra note 13.

[24]  Id.

Share this:

  • Facebook
  • Twitter
  • Pinterest
  • Reddit
  • Tumblr

Like this:

Like Loading...

The Catacomb Saints: Bedazzled Skeletons of the Counter-Reformation

07 Sunday Aug 2016

Posted by Reliquarian in Reliquary, Textile

≈ 3 Comments

Tags

Austria, catacomb saints, catacombs, Germany, Hall in Tirol, Munich, Saint Munditia, skeleton

Waldauf Chapel - Saint Catherine

Skeleton of Saint Catherine, Pfarrkirche Sankt Nikolaus, Hall in Tirol, Austria.  Photo by Reliquarian.

The Work of the Dead

In the third century BCE, Diogenes the Cynic famously insisted that a corpse was mere matter, fundamentally profane and profoundly irrelevant.  To emphasize his point, Diogenes ordered that upon his death his own body should be tossed over the wall of the city and be left unburied.  His friends were stunned.  “What!” they replied.  “To the birds and beasts?”  “By no means,” he answered.  “Place my staff near me, that I may drive them away.”  “How can you do that, for you will not perceive them,” they responded.  “How am I then injured by being torn by those animals, if I have no sensation?” he rejoined.[1]

Josse Lieferinxe, Saint Sebastian Interceding for the Plague Stricken (1497-99), Walters Art Museum, Baltimore, Maryland

Josse Lieferinxe, Saint Sebastian Interceding for the Plague Stricken (detail) (1497-99). The Walters Art Museum, Baltimore, Maryland.  Photo by Reliquarian.

In The Work of the Dead:  A Cultural History of Mortal Remains, historian Thomas W. Laqueur explores an intriguing question:  Why do human beings care for the dead?[2]  Laqueur observes that Diogenes, with his “seemingly commonsense rejection of all that decency and custom prescribe,” made the case “against the pretensions of the dead body more uncompromisingly” than anyone else in the Western tradition.[3]  Laqueur further contends that “[i]f Diogenes had not existed, we would have had to invent him,” because “[w]e need someone to insist that the dead do not matter so that we can respond with reasons for why they do.”[4]  As Laqueur explains, “[t]he history of the work of the dead is a history of how they dwell in us—individually and communally.  It is a history of how we imagine them to be, how they give meaning to our lives, how they structure public spaces, politics, and time.  It is a history of the imagination, a history of how we invest the dead . . . with meaning.”[5]  In short, Laqueur writes, the dead “are a powerful category of the imagination,” and then as now, “the corpse is their token.”[6]

The Roman Catacombs

On 31 May 1578, laborers along the Via Salaria in Rome uncovered something mysterious in a nearby vineyard:  a dark, forbidding hole that disappeared deep into the earth.[7]  Further investigation revealed the hole to be the entrance to an ancient, subterranean cemetery known as the Coemeterium Jordanorum, or Jordanian Cemetery.[8]  The discovery of other ancient cemeteries soon followed.  Begun in the 1st century, these burial places were initially known as hypogaeum (a subterranean place) and later as coemeterium (a sleeping place).[9]  We, however, have come to know these Roman cemeteries by a different name:  the Roman Catacombs.

View of the Roman Forum.  Photo by Reliquarian.

The cemeteries of the Roman Catacombs are linked by a multitude of galleries that cross and recross each other to form a vast labyrinth beneath the city.  As J. Spencer Northcote and W. R. Brownlow explain in Roma Sotterranea, “The galleries are from two to four feet in width, and vary in height according to the nature of the rock in which they are dug.  The walls on both sides are pierced with horizontal niches, like shelves in a bookcase or berths in a steamer, and every niche once contained one or more dead bodies.”[10]  Note that the Roma Sotterranea, published in 1869, states the niches “once contained one or more bodies.”[11]  In 1578, the bodies were still there.

Skeleton of Abbot Konrad II (center) with the Bodies of Four Catacomb Saints, Collegiate Church of Saint Michael, Mondsee, Austria

Skeleton of Abbot Konrad II (center) with the Bodies of Four Catacomb Saints, Collegiate Church of Saint Michael, Mondsee, Austria.  Photo by Reliquarian.

The Protestant Reformation

Holy relics were anathema to proponents of the Protestant Reformation.  In his Treatise on Relics, for example, John Calvin railed against the use of relics as objects of worship.[12]  Early Christians, he wrote, obeyed “the universal sentence, that all flesh is dust, and to dust it must return.”[13]  In contrast, later Christians disinterred the bodies of the faithful “in opposition to the command of God . . . in order to be glorified, when they ought to have remained in their places of repose awaiting the last judgment.”[14]

Protestant disdain for relics, however, was not limited to verbal expressions of disapprobation.  Throughout Protestant Europe, countless relics were also physically damaged or destroyed.[15]  Paul Koudounaris observes, “Not even the esteemed church fathers such as St Irenaeus were safe.”[16]  The saint’s “nearly 1,400-year-old remains in Lyons were burned and cast to the wind by Huguenots in 1562.”[17]

Relics of Catacomb Saints, Church of Saint Nikolaus, Hall in Tirol, Austria.

Relics of Catacomb Saints, North Wall, Pfarrkirche Sankt Nikolaus, Hall in Tirol, Austria.  Photo by Reliquarian.

The Counter-Reformation

The Council of Trent, which met between 1545 and 1563, sought to address issues raised by Protestant reformers, including the preservation and veneration of holy relics.  Ultimately, the Council reaffirmed the significance of relics, declaring that “they who affirm that veneration and honour are not due to the relics of saints; or, that these, and other sacred monuments are uselessly honoured by the faithful . . . are wholly to be condemned.”[18]  However, acknowledging that relics had been the subject of much abuse in the past, the Council also introduced strict rules governing their visitation and authentication.[19]  For example, the Council declared that in the veneration of relics, “every superstition shall be removed [and] all filthy lucre be abolished.”[20]  The Council also required all new relics to be officially recognized before they could be offered for veneration.[21]

While the Council’s decision provided a doctrinal resolution to the relic debate, many churches now faced a more practical problem:  the Protestant Reformation had created a shortage of holy relics, particularly in areas close to Protestant regions.[22]  Given this scarcity, how would Rome meet the renewed demand for sacred relics?  Where would churches find new relics for devotional display?

The discovery of the Roman Catacombs seemed to provide a providential answer.

Jean-Léon Gérôme, The Christian Martyrs' Last Prayer, oil on canvas (1863-883). The Walters Art Museum, Baltimore, Maryland.

Jean-Léon Gérôme, The Christian Martyrs’ Last Prayer (detail), oil on canvas (1863-883). The Walters Art Museum, Baltimore, Maryland.  Photo by Reliquarian.

Invasion of the Body Snatchers

In his arresting book Heavenly Bodies:  Cult Treasures & Spectacular Saints from the Catacombs, Paul Koudounaris notes that after their discovery in 1578, the dusky passageways of the catacombs became the focus of a “public obsession.”[23]  Koudounaris writes, “While no one was quite sure in the early years whose bones were down there, the consensus was that they must certainly be sacred because they dated from the blood-soaked days of state-sponsored persecutions.”[24]  In other words, it was believed the bones were those of early Christian martyrs.[25]

Soon, bones began to trickle northward as churches sought to replace relics lost during the Protestant Reformation with the bones of Katakombenheiligen or “catacomb saints.”[26]  These relics were officially authenticated, as required by the Council of Trent, although identification of could be tricky.  As Koudounaris explains, relic hunters first looked for funerary plaques identifying martyrs, but “[i]f the word ‘martyr’ was absent, a capital ‘M’ was considered sufficient as shorthand—although ‘M’ was also used in Roman times as an abbreviation for the name Marcus, memoria (memory), mensis (month) or manis (dead).”[27]  Similarly, the abbreviation sang, or simply sa, were believed to mean sanguis (blood).[28]  In the absence of written clues, symbols were used to decipher the graves of martyrs.  For example, the presence of a palm frond, long understood to be a symbol of martyrdom, could denote a martyr’s tomb.[29]  Alternatively, the presence of a phial or ampule was understood to mark the grave of a martyr because, it was believed, a sample of a martyr’s blood was commonly interred with the martyr’s body.[30]

Meanwhile martyrs lacking identifiable names were given new names in a process known as battezzati or “baptism.”[31]  Some were named after popular saints, such as Saint Boniface.  Others were named in Latin after virtues, such as Constantius for constancy, Clemens for clemency, or Innocens for innocent.

Relics of Saint Honoratus, Peterskirche, Munich Germany.

Relics of Saint Honoratus, Peterskirche, Munich Germany. The inscription on the reliquary reads, “Corpus S. Honorati, Martyris.” A second inscription on the side of the reliquary reads, “Hl. Honoratus aus den Katakomben.”  Photo by Reliquarian.

Recalled to Life

Churches treasured the relics they received from the catacombs, and they carefully prepared them for display in a manner befitting their stature.  Full skeletons were especially prized, although reconstructing them correctly could be difficult.  Koudounaris explains, “For extensive reconstruction, the bones would usually have to be sent to experts, most often to nuns who specialized in working with relics.”[32]  In addition to possessing the appropriate religious temperament to work with relics, these nuns also exhibited tremendous skill with textiles and the decorative arts.[33]

Once fully reconstructed, catacomb saints were lavishly decorated with gold, jewels, and sumptuous fabrics.  According to Smithsonian Magazine, the bones were frequently wrapped in a fine gauze to prevent dust from settling on the relics and to use as “a medium for attaching decorations.”[34]  Additionally, “[l]ocal nobles often donated personal garments, which the nuns would lovingly slip onto the corpse and then cut out peepholes so people could see the bones beneath.”[35]  In some cases, a nun would add her own ring to a skeleton’s finger as a personal touch.[36]

Saint Munditia, Peterskirche, Munich, Germany

Saint Munditia, Peterskirche, Munich, Germany.  Photo by Reliquarian.

The resulting displays were majestic, resplendent, regal—though a modern observer might describe them as creepy.  Some catacomb saints wear wax masks over their brittle skulls.  Others feature glass eyes or eye sockets beset with jewels.  Many gesture as if still animate, suspended for a moment in time.

The men and women whom the catacomb saints were meant to inspire, however, responded positively to these displays.  They credited the skeletons with protecting their communities and working miracles on their behalf.  Some named their children after them.[37]  And when they died, many wished to be buried near them.

Waldauf Chapel, Pfarrkirche Sankt Nikolaus, Hall in Tirol, Austria. These skulls formed part of the collection of Florian Waldauf. Waldauf donated his collection to the church in 1501.

Waldauf Chapel, Pfarrkirche Sankt Nikolaus, Hall in Tirol, Austria. These skulls formed part of the collection of Florian Waldauf. Waldauf donated his collection to the church in 1501.  Photo by Reliquarian.

Ultimately, caring for the catacomb saints—the “special dead” as Laqueur calls them—was “a sign of piety, of love, of affection, and of religious devotion.”[38]  It was “a mark of civility and decency:  exactly what Diogenes rejected.”[39]  Saint Augustine had said, “The bodies of the dead, and especially of the just and faithful, are not to be despised or cast aside.  The soul has used them as organs and vessels for all good work in a holy manner.”[40]  Buried for centuries before their discovery, the catacomb saints are proof that Diogenes was wrong, that dead bodies are not irrelevant, that the dead do matter.  The catacomb saints were triumphs of the imagination invested with extraordinary meaning.  And they were recalled to life just when the Church needed them most.

Waldauf Chapel - Saint Catherine 2

Relics of Saint Catherine, Pfarrkirche Sankt Nikolaus, Hall in Tirol, Austria.  Photo by Reliquarian.


[1] Marcus Tullius Cicero, Tusculan Disputations (C.D. Yonge, trans, 1890), at 55-56.

[2] Thomas W. Laqueur, The Work of the Dead:  A Cultural History of Mortal Remains (2015).

[3] Id. at 35.

[4] Id.

[5] Id. at 17.

[6] Id. at 79.

[7] Thomas W. Laqueur, The Work of the Dead:  A Cultural History of Mortal Remains (2015).

[8] Id.

[9] J. Spencer Northcote and W. R. Brownlow, Roma Sotterranea (1869), at 29.  As the authors explain in their preface, the book was based largely on Giovanni De Rossi’s two-volume Roma Sotterranea (1864, 1867), various articles from the Bullettino di Archeologia Cristiana, and other scholarly works and papers.

[10] Id. at 26-27.

[11] Id. (emphasis added).

[12] John Calvin, Treatise on Relics (Valerian Krasinski, trans., 2008), at 55.

[13] Id. (emphasis omitted).

[14] Id.

[15] See Koudounaris, supra note 7, at 30.  Koudounaris observes that Clavin’s followers “proved particularly destructive.  They sacked churches and ruined relics in large numbers, variously broken, discarded or set aflame.”  Id.

[16] Id.

[17] Id.

[18] The Council of Trent:  The Twenty-fifth Session (J. Waterworth, ed. and trans., 1848), at 234.

[19] Id. at 235-36.

[20] Id. at 235.  The Council also prohibited the visitation of relics “by any perverted into revellings and drunkenness.”  Id.

[21] Id.

[22] See Koudounaris, supra note 7, at 31.

[23] Id. at 33.

[24] Id.

[25] See, id.  Koudounaris states, “The relic hunters who descended into the catacombs . . . were specifically seeking the graves of martyrs.”  Id.

[26] Id.  Koudounaris cites a 1907 study of catacombs saints in Switzerland to provide a sense of the scale of the exhumations.  According to the study, Swiss churches alone possessed over 150 full skeletons and approximately 1,000 fragmentary collections of relics from the catacombs.  Id.

[27] Id. at 39.

[28] Id.

[29] Id.

[30] Id. at 45.

[31] Id.

[32] Id. at 63.

[33] Id.

[34] Rachel Nuwer, “Meet the Fantastically Bejeweled Skeletons of Catholicism’s Forgotten Martyrs,” Smithsonian Magazine, 1 October 2013, available at http://www.smithsonianmag.com/history/meet-the-fantastically-bejeweled-skeletons-of-catholicisms-forgotten-martyrs-284882/.

[35] Id.

[36] Id.

[37] Nuwer, supra note 34.  Indeed in some cases, nearly half the children born in a town after the arrival of a catacomb saint would be named after the saint.  Id.

[38] Laqueur, supra note 2, at 41.

[39] Id.

[40] Id. (quoting Saint Augustine, De Cura Mortuum Gerenda, in Treatises on Marriage and Other Subjects (Roy J. Deferrari, ed., 1955) at 353).

Skull of a Catacomb Saint, Waldauf Chapel, Pfarrkirche Sankt Nikolaus, Hall in Tirol, Austria

Skull of a Catacomb Saint, Waldauf Chapel, Pfarrkirche Sankt Nikolaus, Hall in Tirol, Austria

Share this:

  • Facebook
  • Twitter
  • Pinterest
  • Reddit
  • Tumblr

Like this:

Like Loading...

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.

Share this:

  • Facebook
  • Twitter
  • Pinterest
  • Reddit
  • Tumblr

Like this:

Like Loading...
← Older posts

Recent Posts

  • Ex Indumentis:  Religious Medals and Relics of Saints
  • Green Alternative: When Saint Patrick Wore Blue
  • The Great Heart Heist: The Stunning Theft of Saint Laurence O’Toole’s Preserved Heart
  • The Column of the Flagellation: Relic of the Scourging of Jesus
  • Saint Roch: The Saint “Par Excellence” Against Disease

Top Posts & Pages

  • Saint Theodore: Warrior Saint and Dragon-Slayer
    Saint Theodore: Warrior Saint and Dragon-Slayer
  • The Column of the Flagellation:  Relic of the Scourging of Jesus
    The Column of the Flagellation: Relic of the Scourging of Jesus
  • Relic of the Holy Diaper:  The Swaddling Clothes of Jesus
    Relic of the Holy Diaper: The Swaddling Clothes of Jesus
  • The Altar of the Holy Blood
    The Altar of the Holy Blood
  • Saint Munditia: A Holy Skeleton Near the Rindermarkt in Munich
    Saint Munditia: A Holy Skeleton Near the Rindermarkt in Munich
  • Saint Charles Borromeo:  A Tale from the Crypt of Milan Cathedral
    Saint Charles Borromeo: A Tale from the Crypt of Milan Cathedral
  • The Great Heart Heist:  The Stunning Theft of Saint Laurence O'Toole's Preserved Heart
    The Great Heart Heist: The Stunning Theft of Saint Laurence O'Toole's Preserved Heart
  • Saint Silvan
    Saint Silvan
  • News
    News
  • Index
    Index

Tags

Aachen altarpiece Austria basilica cathedral Charlemagne church Croatia Dubrovnik Fourteen Holy Helpers Germany Hall in Tirol Italy Krakow Magi martyr mosaic Munich pilgrim pilgrimage Poland relic reliquary Rothenburg Saint Blaise Saint Denis Saint Helena Saint James Saint Mark Saint Mary Saints Cosmas and Damian Saint Theodore Santiago de Compostela sarcophagus shrine skeleton skull Tintoretto tomb Venice

Archives

Categories

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 83 other subscribers

Blog at WordPress.com.

  • Follow Following
    • Reliquarian
    • Join 83 other followers
    • Already have a WordPress.com account? Log in now.
    • Reliquarian
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
%d bloggers like this: