Tuesday, 3 October 2023

The Feast of Ste. Thérèse of Lisieux

 Ste Thérèse de l'Enfant Jésus


Today at the beginning of October, the month of the Most Holy Rosary, we remember the feast day of Ste. Thérèse of Lisieux. She died aged 24 on the 30th September 1897, promising to spend her time in Heaven doing good on earth. It was only 
after 67 years that I discovered I was baptised in a church dedicated to St. Theresa of the Child Jesus and she seems to have played am important role at significant points in my life. I am reposting a translation I made of her poem entitled: Pourquoi je t'aime, ô Marie (Why I love thee, O Mary). The translation seeks to follow fairly closely the words and images of the original and has sought to reflect the same metre and rhyming scheme. Ste. Thérèse wrote the poem in May 1897 and it was the last poem she wrote before her death. In this poem, Thérèse sets forth the reasons she loves Mary, our Blessed Mother


Pourquoi je t'aime, ô Marie

(Why I love thee, O Mary)

1.
Oh ! je voudrais chanter, Marie, pourquoi je t'aime
Pourquoi ton nom si doux fait tressaillir mon cœur
Et pourquoi la pensée de ta grandeur suprême
Ne saurait à mon âme inspirer de frayeur.
Si je te contemplais dans ta sublime gloire
Et surpassant l'éclat de tous les bienheureux
Que je suis ton enfant je ne pourrais le croire
O Marie, devant toi, je baisserais les yeux !…

Oh Mary I would sing of reasons I love thee,
Of how thy sweetest name doth thrill my very heart;
Thou greatest art of all, as Faith reveals to me,
Yet calm remains my soul, no fears doth thou impart.
Exalted and sublime thy glory I perceive,
Eclipsing all the saints with thy refulgent light;
To be a child of thine, I scarcely can conceive —
Oh Mary I incline my gaze before thy sight.


2.
Il faut pour qu'un enfant puisse chérir sa mère
Qu'elle pleure avec lui, partage ses douleurs
O ma Mère chérie, sur la rive étrangère
Pour m'attirer à toi, que tu versas de pleurs !....
En méditant ta vie dans le saint Evangile
J'ose te regarder et m'approcher de toi
Me croire ton enfant ne m'est pas difficile
Car je te vois mortelle et souffrant comme moi....

The child who wants to love his mother more and more

Responds when she doth share his worries and his fears;
Beloved Mother dear, upon this foreign shore,
Thou drawest me to thee with thy maternal tears.
Whilst musing on thy life, revealed in Holy Writ,
I dare to contemplate and aye draw close to thee;
To think that I’m thy child is no hard requisite,
A mortal thou art too, who suffereth like me.


3.
Lorsqu'un ange du Ciel t'offre d'être la Mère
Du Dieu qui doit régner toute l'éternité
Je te vois préférer, ô Marie, quel mystère !
L'ineffable trésor de la virginité.
Je comprends que ton âme, ô Vierge Immaculée
Soit plus chère au Seigneur que le divin séjour
Je comprends que ton âme, Humble et Douce Vallée
Peut contenir Jésus, l'Océan de l'Amour !...

From Heav’n an angel came who asked would thou be Mother
Of God Himself Whose reign doth o’er us all perdure;
Thy preference expressed a myst’ry like no other:
To guard thy maiden’s vow, a life forever pure.
I see thy soul is graced with chastity’s own veil,
Delightful to our Lord for more than passing visit;
I see thy humble soul as like a little dale
That holds the mighty tides of Jesus’ love exquisite.


4.
Oh ! je t'aime, Marie, te disant la servante
Du Dieu que tu ravis par ton humilité
Cette vertu cachée te rend toute-puissante
Elle attire en ton cœur la Sainte Trinité
Alors l'Esprit d'Amour te couvrant de son ombre
Le Fils égal au Père en toi s'est incarné....
De ses frères pécheurs bien grand sera le nombre
Puisqu'on doit l'appeler : Jésus, ton premier-né !...

Oh Mary, I love thee — thou “handmaid of the Lord,”

Whose humble virtue filled thy Lord with such delight;
This very same to thee all power doth afford
And draws the Triune God to thee from Heaven’s height.
The Holy Spirit’s Love didst overshadow thee,
The Father’s equal Son within thee was begun;
His brethren, sinners all, how numerous they be,
Since he perforce is called thy very first-born son!


5.
O Mère bien-aimée, malgré ma petitesse
Comme toi je possède en moi Le Tout-Puissant
Mais je ne tremble pas en voyant ma faiblesse :
Le trésor de la mère appartient à l'enfant
Et je suis ton enfant, ô ma Mère chérie
Tes vertus, ton amour, ne sont-ils pas à moi ?
Aussi lorsqu'en mon cœur descend la blanche Hostie
Jésus, ton Doux Agneau, croit reposer en toi !...

Oh Mother dearly loved, I know I’m only small

But God Almighty lives in me just like in thee;
I know I’m also weak but have no fear at all,
For Mother loves to share her treasures all with me.
Oh Mother, I’m thy child and thou art my delight,
Thy virtues and thy love, don’t they belong to me?
When greeting in my heart the little Host so white,
Then Jesus, Gentle Lamb, believes He rests in thee! 


6.
Tu me le fais sentir, ce n'est pas impossible
De marcher sur tes pas, ô Reine des élus,
L'étroit chemin du Ciel, tu l'as rendu visible
En pratiquant toujours les plus humbles vertus.
Auprès de toi, Marie, j'aime à rester petite,
Des grandeurs d'ici-bas je vois la vanité,
Chez Sainte Elisabeth, recevant ta visite,
J'apprends à pratiquer l'ardente charité.

Thou makest me to feel I almost could believe

I’m walking in thy steps, O Queen of souls elect;
The strait and narrow way through thee I now perceive,
Thy humble virtues grant my practice to perfect.
Oh Mary when with thee ‘tis small I choose to be,
The great are often vain, I see with clarity;
To help Elizabeth thou journeyed selflessly,
Grant I may practise too such ardent charity.


7.
Là j'écoute ravie, Douce Reine des anges
Le cantique sacré qui jaillit de ton cœur.
Tu m'apprends à chanter les divines louanges
A me glorifier en Jésus mon Sauveur.
Tes paroles d'amour sont de mystiques roses
Qui doivent embaumer les siècles à venir.
En toi le Tout-Puissant a fait de grandes choses
Je veux les méditer, afin de l'en bénir.

The sacred canticle which from thy heart doth spring,

Oh angels’ Gentle Queen, I hear with such delight;
The praises all divine thou teachest me to sing
And glorify myself in Jesus’ saving might.
Thy fragrant words of love, with mystic roses’ scent,
The ages yet to come adorn in sweet prediction;
Within thee great things worked thy Lord Omnipotent,
Grant I may think on them and pray God’s benediction.


8.
Quand le bon Saint Joseph ignore le miracle
Que tu voudrais cacher dans ton humilité
Tu le laisses pleurer tout près du Tabernacle
Qui voile du Sauveur la divine beauté!.....
Oh ! que j'aime, Marie, ton éloquent silence,
Pour moi c'est un concert doux et mélodieux
Qui me dit la grandeur et la toute-puissance
D'une âme qui n'attend son secours que des Cieux.....

St Joseph knowing not the miracle God sent

(Which thou wouldst fain conceal in meek and humble duty),
Thou leavest Him to weep close by the Sacred Tent
That hid from human gaze the Saviour’s Godly beauty.
Oh Mary, how I love thy silent eloquence,
To me a symphony melodiously intoned
That shows almighty power and high magnificence
Within a little soul that trusts in Heaven alone.


9.
Plus tard à Bethléem, ô Joseph et Marie !
Je vous vois repoussés de tous les habitants
Nul ne veut recevoir en son hôtellerie
De pauvres étrangers, la place est pour les grands.....
La place est pour les grands et c'est dans une étable
Que la Reine des Cieux doit enfanter un Dieu.
O ma Mère chérie, que je te trouve aimable
Que je te trouve grande en un si pauvre lieu !....

With Joseph, Mary came to David’s Royal city

Where entry was refused by all the residents;
There was no room for them and none showed any pity
To strangers who were poor; the rich had precedence.
The rich had precedence — so in a stable lowly
The Queen of Heaven bore her tender babe Divine;
Oh Mary Mother dear, so lovable and holy,
How truly great thou art in such a poor confine.


10.
Quand je vois l'Eternel enveloppé de langes
Quand du Verbe Divin j'entends le faible cri
O ma Mère chérie, je n'envie plus les anges
Car leur Puissant Seigneur est mon Frère chéri !...
Que je t'aime, Marie, toi qui sur nos rivages
As fait épanouir cette Divine Fleur !........
Que je t'aime écoutant les bergers et les mages
Et gardant avec soin toute chose en ton cœur !...

When swaddled Babe I see as Lord Omnipotent,

The Word made flesh I hear a-mewling piteously,
Then angels’ joy no more I envy or resent,
Their Lord of Hosts is just a brother dear to me.
Oh Mary I love thee who in this vale of tears
Didst make to blossom forth a little Flower Divine;
The shepherds and wise men brought joy unto thine ears,
In mother’s heart all things with care thou didst consign.


11.
Je t'aime te mêlant avec les autres femmes
Qui vers le temple saint ont dirigé leurs pas
Je t'aime présentant le Sauveur de nos âmes
Au bienheureux Vieillard qui le presse en ses bras,
D'abord en souriant j'écoute son cantique
Mais bientôt ses accents me font verser des pleurs.
Plongeant dans l'avenir un regard prophétique
Siméon te présente un glaive de douleurs.

With women in a group thou didst with one intent

Toward the Temple gate proceed with steady pace;
The Saviour of our souls therein thou didst present
To God through Simeon, who did the child embrace;
At first with smiles I hear his words of thanks and praise
But then my tears do flow, his words grow dark and fierce,
Thy grief he doth foretell in fell prophetic phrase:
A sword of sorrows will thy tender soul transpierce.


12.
O Reine des martyrs, jusqu'au soir de ta vie
Ce glaive douloureux transpercera ton cœur
Déjà tu dois quitter le sol de ta patrie
Pour éviter d'un roi la jalouse fureur.
Jésus sommeille en paix sous les plis de ton voile
Joseph vient te prier de partir à l'instant
Et ton obéissance aussitôt se dévoile
Tu pars sans nul retard et sans raisonnement.

Of Martyrs thou art Queen who ‘til thine end is near,

This sword of sorrows will thy heart impenetrate;
Already thou must flee thy native land in fear,
Avoiding Herod’s rage of jealousy and hate.
Now Jesus is asleep, within thy veil concealed,
When Joseph doth explain the time has come to flee;
Thy meek obedience is graciously revealed,
Thou makest no delay, to leave compliantly.


13.
Sur la terre d'Egypte, il me semble, ô Marie
Que dans la pauvreté ton cœur reste joyeux,
Car Jésus n'est-Il pas la plus belle Patrie,
Que t'importe l'exil, tu possèdes les Cieux ?...
Mais à Jérusalem, une amère tristesse
Comme un vaste océan vient inonder ton cœur
Jésus, pendant trois jours, se cache à ta tendresse
Alors c'est bien l'exil dans toute sa rigueur !…

In Egypt’s land, O Mary, I seem to understand,

Midst poverty thou dwelt, but joy thy heart did leaven;
For Jesus is not He the dearest native land?
Who cares for exile when on earth thou hast thy Heaven?
But in Jerusalem, a sorrow sharp and keen
O’erwhelms thy tender heart with bitter inundation;
For Jesus thou hast lost, for three days He’s unseen,
Thou art in truth exiled by this intense privation.


14.
Enfin tu l'aperçois et la joie te transporte,
Tu dis au bel Enfant qui charme les docteurs :
«O mon Fils, pourquoi donc agis-tu de la sorte?»
«Voilà ton père et moi qui te cherchions en pleurs.»
Et l'Enfant Dieu répond (oh quel profond mystère !)
A la Mère chérie qui tend vers lui ses bras :
«Pourquoi me cherchiez-vous?... Aux œuvres de mon Père»
«Il faut que je m'emploie; ne le savez-vous pas?»

Thou findest Him at last and joy replaces woe,

Thou askest Him Who charm’d the Doctors’ eyes and ears
“Why didst Thou act this way, my Son we fain would know?
Thy father and myself have searched for thee in tears."
The Child Divine replies (O mystery profound!)
Unto His Mother dear who offers loving hands:
“Wherefore did ye seek me? For know that I am bound
To do my Father’s work, do ye not understand?”


15.
L'Evangile m'apprend que croissant en sagesse
A Joseph, à Marie, Jésus reste soumis
Et mon cœur me révèle avec quelle tendresse
Il obéit toujours à ses parents chéris.
Maintenant je comprends le mystère du temple,
Les paroles cachées de mon Aimable Roi.
Mère, ton doux Enfant veut que tu sois l'exemple
De l'âme qui Le cherche en la nuit de la foi.

The Gospel tells us how the Child in wisdom grows,

Submitting to your rule through all His hidden days;
My heart is touched to see what tenderness He shows
To both His parents dear, whom meekly He obeys.
I think I understand the Temple mystery,
Our loving Sovereign’s words a secret signify:
O Mother dear thy Child example gives through thee
To souls who here below do seek the Lord on high.


16.
Puisque le Roi des Cieux a voulu que sa Mère
Soit plongée dans la nuit, dans l'angoisse du cœur ;
Marie, c'est donc un bien de souffrir sur la terre ?
Oui souffrir en aimant, c'est le plus pur bonheur !...
Tout ce qu'Il m'a donné Jésus peut le reprendre
Dis-lui de ne jamais se gêner avec moi.....
Il peut bien se cacher, je consens à l'attendre
Jusqu'au jour sans couchant où s'éteindra ma foi.....

Because the King of Heav’n His Mother did allow

To plunge in sorrow deep as in the darkest night,
O Mary is it bless’d to suffer here and now?
Yes, suffering in love is purest of delights!
Each gift Our Lord has given, he can reclaim from me,
So tell Him don’t hold back, remove whate’er the grace;
And if He hides Himself, I’ll wait all patiently
The day when time’s no more, to see Him face to face….


17.
Je sais qu'à Nazareth, Mère pleine de grâces
Tu vis très pauvrement, ne voulant rien de plus
Point de ravissements, de miracles, d'extases
N'embellissent ta vie, ô Reine des Elus !....
Le nombre des petits est bien grand sur la terre
Ils peuvent sans trembler vers toi lever les yeux
C'est par la voie commune, incomparable Mère
Qu'il te plaît de marcher pour les guider aux Cieux.

O Mary full of grace, at Nazareth I see

Thy life is poor yet thou withal dost keep serene;
No raptures, miracles nor ecstasies for thee
But unembellished life for thee the Chosen’s Queen.
The little ones on earth, how numerous they are,
Quite unafraid they raise to thee their trusting eyes;
‘Tis by the common way, O Mother great by far,
Thou guidest them on earth to Heaven as their prize.


18.
En attendant le Ciel, ô ma Mère chérie,
Je veux vivre avec toi, te suivre chaque jour
Mère, en te contemplant, je me plonge ravie
Découvrant dans ton cœur des abîmes d'amour.
Ton regard maternel bannit toutes mes craintes
Il m'apprend à pleurer, il m'apprend à jouir.
Au lieu de mépriser les joies pures et saintes
Tu veux les partager, tu daignes les bénir.

In hope for life in Heaven, beloved Mother dear,

I choose to live with thee, to follow thee each day;
And while I think on thee, I seem to plunge down sheer
Abysses in thy heart, bedecked in love’s array.
Thy tender mother’s gaze is for my fears a cure,
It teaches me in joy, as also in affliction;
Instead of pouring scorn on blessed joys and pure,
To share them is thy wish, with thine own benediction.


19.
Des époux de Cana voyant l'inquiétude
Qu'ils ne peuvent cacher, car ils manquent de vin
Au Sauveur tu le dis dans ta sollicitude
Espérant le secours de son pouvoir divin.
Jésus semble d'abord repousser ta prière
«Qu'importe», répond-Il, «femme, à vous et à moi?»
Mais au fond de son cœur, Il te nomme sa Mère
Et son premier miracle, Il l'opère pour toi...

 At Cana thou didst note the wedding couple’s plight,

They could no more conceal their wine was running out;
The Saviour thou didst ask if He could put things right,
Invoking pow'r Divine to heal the nuptial drought.
At first it seemed thy Son this prayer He might ignore,
"Oh woman what,"quoth He, "is this to thee or me?"
But in His heart He saw the mother who Him bore,
This miracle, His first, He gladly worked for thee.


20.
Un jour que les pécheurs écoutent la doctrine
De Celui qui voudrait au Ciel les recevoir
Je te trouve avec eux, Marie, sur la colline
Quelqu'un dit à Jésus que tu voudrais le voir,
Alors, ton Divin Fils devant la foule entière
De son amour pour nous montre l'immensité
Il dit : «Quel est mon frère et ma sœur et ma Mère,»
«Si ce n'est celui-là qui fait ma volonté?»

One day some sinners came and listened to the teaching
Of Him Whose wish was they might all in Heaven be;
O Mary, thou wast there, and while thy Son was preaching,
Someone didst tell the Lord His Mother would Him see.
Thy Son Divine to show His love for us forsooth
Addressed the multitude before Him on the hill:
“My ‘brethren,’ ‘mother’, who deserves this name in truth
If not that person who doth carry out My will?"


21.
O Vierge Immaculée, des mères la plus tendre
En écoutant Jésus, tu ne t'attristes pas
Mais tu te réjouis qu'Il nous fasse comprendre
Que notre âme devient sa famille ici-bas
Oui tu te réjouis qu'Il nous donne sa vie,
Les trésors infinis de sa divinité !...
Comment ne pas t'aimer, ô ma Mère chérie
En voyant tant d'amour et tant d'humilité ?

O Virgin without stain, with mother’s tender heart,

On hearing Jesus’ words, no sorrow troubles thee,
Rejoicing how thy Son doth here a truth impart:
Our little souls belong in Christ’s own family;
Rejoicing how He gives His life for us down here
And treasures without end from His divinity!
How can we not love thee, beloved Mother dear,
Beholding so much love and such humility?


22.
Tu nous aimes, Marie, comme Jésus nous aime
Et tu consens pour nous à t'éloigner de Lui.
Aimer c'est tout donner et se donner soi-même
Tu voulus le prouver en restant notre appui.
Le Sauveur connaissait ton immense tendresse
Il savait les secrets de ton cœur maternel,
Refuge des pécheurs, c'est à toi qu'Il nous laisse
Quand Il quitte la Croix pour nous attendre au Ciel.

Thy love, O Mary dear, is just like Jesus’ love,

And thou permittest us to part thee from the Lord;
To love means giving all, oneself all else above,
In proof whereof the help to us thou dost afford.
The Saviour understood thy love is unconfined,
The secret He knew well of thy maternal heart:
In thee poor sinners have a refuge He assigned
In hope of Heaven when the Cross He did depart.


23.
Marie, tu m'apparais au sommet du Calvaire
Debout près de la Croix, comme un prêtre à l'autel
Offrant pour apaiser la justice du Père
Ton bien-aimé Jésus, le doux Emmanuel...
Un prophète l'a dit, ô Mère désolée,
«Il n'est pas de douleur semblable à ta douleur!»
O Reine des Martyrs, en restant exilée
Tu prodigues pour nous tout le sang de ton cœur !

O Mary I see thee on Calvary appear

And standing near the Cross, thy role is like a priest
Who offers, to appease the Father’s justice here,
Thy Son, Emmanuel, upon the Cross deceased.
A prophet said to thee, O Mother broken-hearted,
“No one hath e’er endured a pain like unto thine;”
O Queen of Martyrs, still in exile not departed,
Each drop of thy heart’s blood for us thou dost consign.


24.
La maison de Saint Jean devient ton seul asile
Le fils de Zébédée doit remplacer Jésus.....
C'est le dernier détail que donne l'Evangile
De la Reine des Cieux il ne me parle plus.
Mais son profond silence, ô ma Mère chérie
Ne révèle-t-il pas que Le Verbe Eternel
Veut Lui-même chanter les secrets de ta vie
Pour charmer tes enfants, tous les Elus du Ciel ?

Saint John took thee to live with him just like a mother,

Thy Jesus is replaced by John bar-Zebedee;
This Gospel reference is final, there’s no other,
O Heaven’s Queen the texts no more do speak of thee.
Beloved mother dear, this silence so profound
Perhaps reveals a wish by Christ the Word Eternal
Himself to praise in song His mother’s life renowned
And charm the little saints in Paradise supernal.


25.
Bientôt je l'entendrai cette douce harmonie
Bientôt dans le beau Ciel, je vais aller te voir
Toi qui vins me sourire au matin de ma vie
Viens me sourire encor... Mère... voici le soir !...
Je ne crains plus l'éclat de ta gloire suprême
Avec toi j'ai souffert et je veux maintenant
Chanter sur tes genoux, Marie, pourquoi je t'aime
Et redire à jamais que je suis ton enfant !......

La petite Thérèse 1897

Sweet harmony of grace, pray soon I shall be drawn
To thee in Paradise, where thou shalt be my guide;
Thou who didst smile when I emerged at my life’s dawn,
O Mother, smile once more in my life’s eventide!
Thy glory’s brightness now no longer gives me fear,
I’ve suffered too with thee and now have one request:
Upon thy lap to sing why thou to me art dear,
Forever to repeat: “I am thy infant blest!”

PB 2020-21


Ste Thérèse in death; after a painting by her sister Céline.

The text in the scroll reads: “Au soir de cette vie vous serez jugés sur l’amour,” “In the evening of this life, you will be judged on love,” (St. John of the Cross)


Totus tuus ego sum
Et omnia mea tua sunt;
Tecum semper tutus sum:
Ad Jesum per Mariam.

Saturday, 30 September 2023

The death of Ste Thérèse of Lisieux

 

[Reposted from 30 September 2022]


S. Teresa - ora pro nobis
Today is the anniversary of the death in 1897 of Ste Thérèse of the Child Jesus. 

On Friday 27th November 1953, I was baptized at the age of three weeks in a church dedicated to St Theresa of the Child Jesus. Since then, she has featured at various points in my life, most notably in my return to the Faith in the 21st century. I pray she may continue to let fall petals of her roses, especially within my family, as she spends her time in Heaven doing good on earth.

Below is an extract from The Story of a Soul - in English followed by the French original.

+      +      +


    At last dawned the eternal day. It was Thursday, September 30, 1897. In the morning,
the sweet Victim, her eyes fixed on Our Lady's statue, spoke thus of her last night on earth:
"Oh! with what fervour I have prayed to her! . . . And yet it has been pure agony, without a
ray of consolation. . . . Earth's air is failing me: when shall I breathe the air of Heaven?"

Enfin, l'aurore du jour éternel se leva! C'était le jeudi, 30 septembre. Le matin, notre douce victime, parlant de sa dernière nuit d'exil, regarda la statue de Marie en disant:

«Oh! je l'ai priée avec une ferveur!... mais c'est l'agonie toute pure, sans aucun mélange de consolation...

«L'air de la terre me manque, quand est-ce que j'aurai l'air du Ciel?»


    For weeks she had been unable to raise herself in bed, but, at half-past two in the afternoon, she sat up and exclaimed: "Dear Mother, the chalice is full to overflowing! I could never have believed that it was possible to suffer so intensely. . . . I can only explain it by my extreme desire to save souls. . . ." And a little while after: "Yes, all that I have written about my thirst for suffering is really true! I do not regret having surrendered myself to Love."

A deux heures et demie, elle se redressa sur son lit, ce qu'elle n'avait pu faire depuis plusieurs semaines, et s'écria:

«Ma Mère, le calice est plein jusqu'au bord! Non, je n'aurais jamais cru qu'il fût possible de tant souffrir... Je ne puis m'expliquer cela que par mon désir extrême de sauver des âmes...»

Et quelque temps après:

«Tout ce que j'ai écrit sur mes désirs de la souffrance, oh! c'est bien vrai! Je ne me repens pas de m'être livrée à l'amour.»


    She repeated these last words several times. A little later she added: "Mother, prepare
me to die well." The good Mother Prioress encouraged her with these words: "My child, you
are quite ready to appear before God, for you have always understood the virtue of humility."
Then, in striking words, Thérèse bore witness to herself:
"Yes, I feel it; my soul has ever sought the truth. . . . I have understood humility of heart!"

Elle répéta plusieurs fois ces derniers mots.

Et un peu plus tard:

«Ma Mère, préparez-moi à bien mourir.»

Sa vénérée Prieure l'encouragea par ces paroles:

«Mon enfant, vous êtes toute prête à paraître devant Dieu, parce que vous avez toujours compris la vertu d'humilité.»

Elle se rendit alors ce beau témoignage:

«Oui, je le sens, mon âme n'a jamais recherché que la vérité... oui, j'ai compris l'humilité du cœur!»


    At half-past four, her agony began—the agony of this "Victim of Divine Love." When the Community gathered round her, she thanked them with the sweetest smile, and then, completely given over to love and suffering, the Crucifix clasped in her failing hands, she entered on the final combat. The sweat of death lay heavy on her brow . . . she trembled . . . but, as a pilot, when close to harbour, is not dismayed by the fury of the storm, so this soul, strong in faith, saw close at hand the beacon-lights of Heaven, and valiantly put forth every effort to reach the shore.

    A quatre heures et demie, les symptômes de la dernière agonie se manifestèrent. Dès que notre angélique mourante vit entrer la communauté, elle la remercia par le plus gracieux sourire; puis tout entière à l'amour et à la souffrance, tenant le crucifix dans ses mains défaillantes, elle entreprit le combat suprême. Une sueur abondante couvrait son visage; elle tremblait... Mais, comme au sein d'une furieuse tempête le pilote à deux doigts du port ne perd pas courage, ainsi cette âme de foi, apercevant tout près le phare lumineux du rivage éternel, donnait vaillamment les derniers coups de rame pour atteindre le port.


As the convent bells rang the evening Angelus, she fixed an inexpressible look upon the statue of the Immaculate Virgin, the Star of the Sea. Was it not the moment to repeat her beautiful prayer:

"O thou who camest to smile on me in the morn of my life, come once again and smile, Mother, for now it is eventide!"

Quand la cloche du monastère tinta l'Angélus du soir, elle fixa sur l'Etoile des mers, la Vierge immaculée, un inexprimable regard. N'était-ce pas le moment de chanter:

Toi, qui vins me sourire au matin de ma vie,
Viens me sourire encor, Mère, voici le soir!


    A few minutes after seven, turning to the Prioress, the poor little Martyr asked: "Mother, is it not the agony? . . . am I not going to die?" "Yes, my child, it is the agony, but Jesus perhaps wills that it be prolonged for some hours." In a sweet and plaintive voice she replied: "Ah, very well then . . . very well . . . I do not wish to suffer less!"

A sept heures et quelques minutes, notre pauvre petite martyre, se tournant vers sa Mère Prieure, lui dit:

«Ma Mère, n'est-ce pas l'agonie?... Ne vais-je pas mourir?...

—Oui, mon enfant, c'est l'agonie, mais Jésus veut peut-être la prolonger de quelques heures.»

Alors, d'une voix douce et plaintive:

«Eh bien... allons... allons... oh! je ne voudrais pas moins souffrir!»


Then, looking at her crucifix:

"Oh! . . . I love Him! . . . My God, I . . . love . . . Thee!"

    These were her last words. She had scarcely uttered them when, to our great surprise, she sank down quite suddenly, her head inclined a little to the right, in the attitude of the Virgin Martyrs offering themselves to the sword; or rather, as a Victim of Love, awaiting from the Divine Archer the fiery shaft, by which she longs to die.


Puis, regardant son crucifix:

«Oh!... Je l'aime!... Mon Dieu, je... vous... aime!!!»

Ce furent ses dernières paroles. Elle venait à peine de les prononcer qu'à notre grande surprise elle s'affaissa tout à coup, la tête penchée à droite, dans l'attitude de ces vierges martyres s'offrant d'elles-mêmes au tranchant du glaive; ou plutôt, comme une victime d'amour, attendant de l'Archer divin la flèche embrasée dont elle veut mourir...


    Suddenly she raised herself, as though called by a mysterious voice; and opening her eyes, which shone with unutterable happiness and peace, fixed her gaze a little above the statue of Our Lady. Thus she remained for about the space of a Credo, when her blessed soul, now become the prey of the "Divine Eagle," was borne away to the heights of Heaven.

Soudain elle se relève, comme appelée par une voix mystérieuse, elle ouvre les yeux et les fixe, brillants de paix céleste et d'un bonheur indicible, un peu au-dessus de l'image de Marie.

Ce regard se prolongea l'espace d'un Credo, et son âme bienheureuse devenue la proie de l'Aigle divin s'envola dans les cieux....




Ste Thérèse in death. By Céline. 1897.

The picture  faithfully shows the facial expression and posture of St Therese immediately after her death, 30 September 1897. It is based on a picture by Céline. The words in the picture are: 'In the evening of this life, you will be judged on love.'



Totus tuus ego sum
Et omnia mea tua sunt;
Tecum semper tutus sum:
Ad Jesum per Mariam.

Friday, 15 September 2023

Septem Dolorum Beatæ Mariæ Virginis

Stabat Mater. J-J Tissot.
Brooklyn Museum.
Today, the Church recalls for us the Seven Dolours of the Blessed Virgin Mary

We pray that our Blessed Mother will intercede on behalf of family members who have suffered the catastrophic consequences of sin, asking that her Divine Son will heal the wounds, repair the damage and undo the scandal caused.

SUB tuum præsidium confugimus, Sancta Dei Genitrix. 
Nostras deprecationes ne despicias in necessitatibus, 
sed a periculis cunctis libera nos semper 
Virgo gloriosa et benedicta. 
Amen.

WE fly to thy loving protection, O holy Mother of God; 
despise not our petitions in our necessities, 
but deliver us always from all dangers, 
O glorious and blessed Virgin. 
Amen.


Stabat Mater


STABAT Mater dolorosa
iuxta Crucem lacrimosa,
dum pendebat Filius.
AT, the Cross her station keeping,
stood the mournful Mother weeping,
close to Jesus to the last.

Cuius animam gementem,
contristatam et dolentem
pertransivit gladius.
Through her heart, His sorrow sharing,
all His bitter anguish bearing,
now at length the sword has passed.

O quam tristis et afflicta
fuit illa benedicta,
mater Unigeniti!
O how sad and sore distressed
was that Mother, highly blest,
of the sole-begotten One.

Quæ mærebat et dolebat,
pia Mater, dum videbat
nati pœnas inclyti.
Christ above in torment hangs,
she beneath beholds the pangs
of her dying glorious Son.

Quis est homo qui non fleret,
matrem Christi si videret
in tanto supplicio?
Is there one who would not weep,
whelmed in miseries so deep,
Christ's dear Mother to behold?

Quis non posset contristari
Christi Matrem contemplari
dolentem cum Filio?
Can the human heart refrain
from partaking in her pain,
in that Mother's pain untold?

Pro peccatis suæ gentis
vidit Iesum in tormentis,
et flagellis subditum.
Bruised, derided, cursed, defiled,
she beheld her tender Child
All with bloody scourges rent:

Vidit suum dulcem Natum
moriendo desolatum,
dum emisit spiritum.
For the sins of His own nation,
saw Him hang in desolation,
Till His spirit forth He sent.

Eia, Mater, fons amoris
me sentire vim doloris
fac, ut tecum lugeam.
O thou Mother! fount of love!
Touch my spirit from above,
make my heart with thine accord:

Fac, ut ardeat cor meum
in amando Christum Deum
ut sibi complaceam.
Make me feel as thou hast felt;
make my soul to glow and melt
with the love of Christ my Lord.

Sancta Mater, istud agas,
crucifixi fige plagas
cordi meo valide.
Holy Mother! pierce me through,
in my heart each wound renew
of my Savior crucified:

Tui Nati vulnerati,
tam dignati pro me pati,
poenas mecum divide.
Let me share with thee His pain,
who for all my sins was slain,
who for me in torments died.

Fac me tecum pie flere,
crucifixo condolere,
donec ego vixero.
Let me mingle tears with thee,
mourning Him who mourned for me,
all the days that I may live:

Iuxta Crucem tecum stare,
et me tibi sociare
in planctu desidero.
By the Cross with thee to stay,
there with thee to weep and pray,
is all I ask of thee to give.

Virgo virginum præclara,
mihi iam non sis amara,
fac me tecum plangere.
Virgin of all virgins blest!,
Listen to my fond request:
let me share thy grief divine;

Fac, ut portem Christi mortem,
passionis fac consortem,
et plagas recolere.
Let me, to my latest breath,
in my body bear the death
of that dying Son of thine.

Fac me plagis vulnerari,
fac me Cruce inebriari,
et cruore Filii.
Wounded with His every wound,
steep my soul till it hath swooned,
in His very Blood away;

Flammis ne urar succensus,
per te, Virgo, sim defensus
in die iudicii.
Be to me, O Virgin, nigh,
lest in flames I burn and die,
in His awful Judgment Day.

Christe, cum sit hinc exire,
da per Matrem me venire
ad palmam victoriæ.
Christ, when Thou shalt call me hence,
by Thy Mother my defense,
by Thy Cross my victory;

Quando corpus morietur,
fac, ut animæ donetur
paradisi gloria. Amen.
While my body here decays,
may my soul Thy goodness praise,
safe in paradise with Thee. Amen.


From the Liturgia Horarum. Translation by Fr. Edward Caswall (1814-1878)

"Stabat Mater Dolorosa is considered one of the seven greatest Latin hymns of all time. It is based upon the prophecy of Simeon that a sword was to pierce the heart of His mother, Mary (Lk ii.35). The hymn originated in the 13th century during the peak of Franciscan devotion to the crucified Jesus and has been attributed to Pope Innocent III (d. 1216), St. Bonaventure, or more commonly, Jacopone da Todi (1230-1306), who is considered by most to be the real author.
The hymn is often associated with the Stations of the Cross. In 1727 it was prescribed as a Sequence for the Mass of the Seven Sorrows of Mary (September 15) where it is still used today. In addition to this Mass, the hymn is also used for the Office of the Readings, Lauds, and Vespers for this memorial. There is a mirror image to this hymn, Stabat Mater speciosa, which echoes the joy of the Blessed Virgin Mary at the birth of Jesus."

[Taken from the Treasury of Latin Prayers, by Michael Martin]


Totus tuus ego sum
Et omnia mea tua sunt;
Tecum semper tutus sum:
Ad Jesum per Mariam.



Friday, 8 September 2023

The Nativity of the Blessed Virgin mary


The Vladimiskaya icon. 13th century?
Artist unknown.Church of St. Nicholas,Tolmachi. 
This post is in honour of the Blessed Virgin Mary's birthday.

There is a prayer known in the West as the Sub tuum præsidium and it is considered to be the oldest Christian prayer dedicated to the Blessed Virgin Mary. It has been found, for example, on an Egyptian papyrus dated to the third century A.D. (see the article posted on the New Liturgical Movement website). 

At the beginning of my research into this prayer, I was surprised to find a contrast in the first line between the Latin word præsidium and its equivalent in the Greek version of the prayer: εὐσπλαγχνίαν.

I reviewed the scriptural uses of præsidium online  and found they broadly match the senses given by Lewis & Short (see Logeion website) :

"defence, protection, help, aid, assistance; esp. of soldiers who are to serve as a guard, garrison."

There was a suggested derivation from præsideō, sēdī, 2, n. and a.: "to sit before."

An investigation into εὐσπλαγχνίαν through the Logeion website revealed:

εὐσπλαγχν-ία, ἡ, [eusplanknía]  good heart, firmness. 

Seeking further elucidation, I finally unearthed a surprising insight buried in a detailed article online:

Mirguet, Françoise. “Compassion in the Making: Lexicographic Explorations in Judeo-Hellenistic Literature.” CHS Research Bulletin 1, no. 2 (2013). Here is the link: 

Here is the conclusion of the article :
"§48 Words constructed on the root σπλαγχν- [splankn-] are built on the noun σπλάγχνα, [splankna] the “inner organs” or “womb.” Their association with compassion may have been influenced by the Hebrew term רַחֲמִים (rachamim), “compassion,” whose singular form designates the womb. At some point, the meaning “compassion” seems so attached to the root that both a noun (εὐσπλαγχνία) and a verb (σπλαγχνίζομαι) are coined, referring exclusively to the emotion. Terms built on σπλάγχνα, however, retain their embodied connotations, as reflected in metaphors where compassion is portrayed as a force moving or shattering the inner organs, alongside other bodily metaphors, all suggesting the effect of emotion on the body. The terms, therefore, tend to refer to compassion as a sensation, felt in the body. Besides, the association of σπλάγχνα with the womb, as well as its use in reference to maternal and paternal affection, suggests that compassion is felt for someone vulnerable."

The association of σπλάγχνα with the womb made me think of the words in the Ave Maria : Blessed is the fruit of thy womb and the way this is rendered by our French cousins/neighbours as: "le fruit de vos entrailles est béni." (see Luc i. 42, Bible Crampon).

The use of the word εὐσπλαγχνίαν in the Greek prayer suggests an image of the faithful supplicant flying to the tender and compassionate heart of the Theotokos, the Holy Mother of God.

The use of præsidium in the Latin prayer, however, suggests an image of the faithful supplicant flying to the protective safety of the Holy Mother of God. This imagery of a warrior-protectress is found in other significant references, e.g.,

I will put enmities between thee and the woman, and thy seed and her seed: she shall crush thy head, and thou shalt lie in wait for her heel.
[Genesis iii.15]
Who is she that cometh forth as the morning rising, fair as the moon, bright as the sun, terrible as an army set in array? [Canticles (Solomon) vi. 9 & The Little Office]

There are also numerous references in the Old Testament to valiant women as "types" of Mary, the Theotokos : see Crushing satan's head: The Virgin Mary’s Victory over the Antichrist Foretold in the Old Testament, by Fr James Mawdsley [2023].

*        *        *

The (old) Russian Orthodox version of the prayer, Подъ твою милость (Pod tvoyo milost), seems to follow the Greek sense and this raises the question of whether an apparently minor difference of language reflects a more general contrast in the cultures of the Eastern (Greek/Russian) and the Western (Latin) traditions. I almost fancy this contrast may be heard when comparing a Russian musical setting with two from the West:

Bortniansky (Dmitry Stepanovich,1751 – 1825). Подъ твою милость :  ‘Beneath Thy Compassion’

“Sub tuum præsidium”  – Antiphon to the Blessed Virgin Mary – Gregorian Chant

Finally, the same prayer in a setting by Mozart (c. 1775). After a short orchestral introduction, the hymn begins at around the 48 second mark:

It is my fervent prayer in these dark days that the faithful Eastern (Greek/Russian et al) and Western (Latin) Christians reunite to form the One, Holy Catholic and Apostolic Church as it was in the age of the Church Fathers, the Martyrs and the Doctors - before the "great schism."


The Vladimiskaya icon. 13th century?
Artist unknown.Church of St. Nicholas, Tolmachi.
Here then is the Sub tuum præsidium:


WE fly to thy patronage, O holy Mother of God; despise not our petitions in our necessities, but deliver us always from all dangers, O glorious and blessed Virgin. Amen.

Latin

SUB tuum præsidium confugimus, Sancta Dei Genetrix. Nostras deprecationes ne despicias in necessitatibus, sed a periculis cunctis libera nos semper, Virgo gloriosa et benedicta. Amen.



 



Greek

Ὑπὸ τὴν σὴν
εὐσπλαγχνίαν
καταφεύγομεν
Θεοτὸκε·τὰς ἡμῶν
ἱκεσίας μὴ παρ-
ίδῃς ἐν περιστάσει
ἀλλ᾽ ἐκ κινδύνου
λύτρωσαι ἡμᾶς
μόνη ἁγνὴ
μόνη εὐλογημένη.

Russian (old text)

Подъ твою милость,
прибѣгаемъ богородице дѣво,
молитвъ нашихъ не презри в скорбѣхъ.
но ѿ бѣдъ избави насъ,
едина чистаѧ и благословеннаѧ.


Totus tuus ego sum
Et omnia mea tua sunt;
Tecum semper tutus sum:
Ad Jesum per Mariam.




Tuesday, 22 August 2023

The Feast of the Immaculate Heart of Mary

Re-posted from 22 August 2020 

Three framed prints hang on the wall of our living room. They have been there several years and depict the Annunciation, the Nativity and the Flight into Egypt. They were given by a person unable to specify the name of the painter and it was only a few days ago that I happened by chance to be browsing online through paintings by the great Fra Angelico. To my amazement, I recognised one of the paintings as his and located the other two after a little research. 

Laudetur Jesus Christus et Maria Immaculata!

I offer the following post in honour of Maria Immaculata, on this feast of her Immaculate Heart. The three images are presented with my own annotations. I also pray that the Immaculata will watch over and protect EB whose birthday it is today: ad multos annos !


The Annunciation: setting


The first print is of the second image in a panel (shown below) forming part of the Armadio degli Argenti ("Wardrobe of the Silversmiths"), a series of tempera on panel paintings completed by Fra Angelico 1451-53. Designed for the Santissima Annunziata, a Florentine church founded in 1250,  the Armadio illustrates the life of Christ, culminating with His Passion, Death, Resurrection, the General Judgement  and the Coronation of Our Lady


Armadio degli Argenti. Fra Angelico. 1451-53.  Museo nazionale di San Marco in Florence


The image above shows the first nine of the Armadio series and depicts: 

 Ezekiel's Vision,                   the Annunciation,                             the Nativity
The Circumcision,                the Adoration of the Magi,               the Presentation of Christ in the Temple
The Flight into Egypt,           the Massacre of the Innocents          the Christ Child in the Temple.
                  

The Annunciation: a short commentary



The Annunciation. Fra Angelico. 1451-53.  Museo nazionale di San Marco in Florence

The painting features two scrolls with excerpts from Sacred Scripture:

ecce virgo concipiet, et pariet filium, et vocabit[ur] nomen ejus Emmanuel
Behold a virgin shall conceive, and bear a son, and his name shall be called Emmanuel.[This verse is taken from Is vii. 14. Quære reference to 'Isa. VI. C' - presumably Caput VI]

This is the prophecy of Isaias, made some 700 years before the Word was made flesh. 

There then follow the words uttered by Gabriel to the Blessed Virgin Mary:

Ecce concipies in utero, et paries filium, et vocabis nomen ejus Jesum
Behold thou shalt conceive in thy womb, and shalt bring forth a son; and thou shalt call his name Jesus. [Luc. i. 31]

The parallels are striking: ecce, concipiet/concipies, pariet/paries, filium, vocabitur nomen eius/vocabis nomen eius, Emmanuel/Jesum. 'Emmanuel' means 'God with us' and 'Jesus' means 'God saves (us).'

Dominating the composition are two figures. Mary, who will one day be hymned as the Queen of Angels, is kneeling on the ground. Perhaps she was kneeling in prayer whilst, according to an ancient tradition, she meditated upon the prophecy of Isaias.  Her attention is now completely focused on the second figure, the Angel Gabriel ('Fortitudo Dei', the Strength of God). Despite his lofty status and his role as God's own envoy, he kneels before the future Theotokos ('God-bearer') and the Regina Cæli (Queen of Heaven). She listens attentively to his announcement. His finger points Heavenward and we catch sight of a dove descending towards Mary. We recall his words:

Spiritus Sanctus superveniet in te, et virtus Altissimi obumbrabit tibi. Ideoque et quod nascetur ex te sanctum, vocabitur Filius Dei.
The Holy Ghost shall come upon thee, and the power of the most High shall overshadow thee. And therefore also the Holy which shall be born of thee shall be called the Son of God. [Luke. i. 35]

The Holy Ghost is at the high point of a line dividing the composition into two almost perfectly symmetrical halves. This symmetry suggests a mirror and Mary, the Speculum Justitiae (Mirror of Justice) is also a mirror in other ways. She has been compared to a mirror of the Holy and Undivided Trinity; for she is the daughter of the Father, the spouse of the Holy Ghost and the mother of the Word. Kneeling in humility, she reflects this and all other virtues super-abundantly. Facing Gabriel, Fortitudo Dei, she is the mulier fortis (strong and valiant woman) par excellence (Ecclesiasticus xxvi. 2).

The setting is altogether ascetic in its simplicity and spareness. Fra Angelico, a Domican friar, was himself an ascetic and much of his work reflects the plain architecture and decor of the convent in Florence where he painted many of his works. Adding depth to the composition, the linear perspective has for its vanishing point the end of a 'strait and narrow' corridor, similar to the corridors in Fra Angelico's convent of San Marco.

The Flight into Egypt


This is a print of the seventh image in the Armadio panel (see above).


The Flight into Egypt. Fra Angelico. 1451-53.  Museo nazionale di San Marco in Florence



The texts from Sacred Scripture in this image are as follows:

Ecce elongavi fugiens; et mansi in solitudine.
Lo, I have gone far off flying away; and I abode in the wilderness.[Ps. liv. 8]

This is a Psalm of David (c. 1000 years before Christ): "A prayer of a just man under persecution from the wicked. It agrees to Christ persecuted by the Jews, and betrayed by Judas."[Douay-Rheims]

The bottom text refers to the instruction given to St Joseph by an angel:

Surge, et accipe puerum, et matrem ejus, et fuge in Ægyptum
Arise, and take the child and his mother, and fly into Egypt: [Matt. ii. 13]

With light coming from the left, the compositional lines and arrangement form an arrow pointing to the right, achieving a dynamic effect of movement. The shapes are solidly three-dimensional and depth is suggested by the diminishing proportions in a simple perspective and the slight transition from darker to lighter.

The Blessed Mother cradles baby Jesus tenderly as she gazes into the distance, pondering all these things in her heart.


The Nativity: Setting


This image comes from a different setting, being a fresco on the wall of Cell 5 of the Convento di San Marco in Florence. The Convent, dating from the 12th century, was renovated for the Dominican Order around 1440 and it seems this fresco was completed shortly after this date. Most of the cells have frescoes by Fra Angelico.



The Nativity. Fra Angelico. 1440-41. Fresco, 193 x 164 cm. Convento di San Marco, Florence. 




The Nativity: A short commentary


Fra Angelico painted the newborn baby naked and luminous, following the vision of the mystic St. Bridget of Sweden (c1303-1373). His halo bears the cross that he was Himself to bear before His salvific death on Calvary. The haloes are painted in two dimensions, representing the traditional format  in contrast to the three dimensional versions that the artist tried later in life (see above).  The Baby is lying on straw and His eyes are fixed upon His mother, the Blessed Virgin Mary, who tenderly returns His gaze : Ad Jesum per Mariam...

Four figures kneel in adoration before the Christ child, Who is the Word made flesh. Apart from His mother, we see His foster-father, St Joseph. Behind Mary is St Catherine of Alexandria (martyred c 305 AD) and in the foreground to our right is St Peter the Martyr (1206-1252).

Saint Catherine was a virgin, who was martyred in the early 4th century at the hands of the emperor Maxentius. She became a Christian around the age of 14, converted hundreds of people to Christianity and was martyred around the age of 18. Saint Peter Martyr was a Dominican friar (like Fra Angelico) as well as a priest. He was a celebrated preacher who was killed by an assassin sent by the Cathars. He is buried in Milan, in the Church of Sant'Eustorgio. According to tradition, he conversed with St Catherine.

In the background, a wooden structure has been added to a cave to create the stable where Christ was born. The ox and the ass are clearly visible next to the manger.

Cognovit bos possessorem suum, et asinus præsepe domini sui; Israel autem me non cognovit, et populus meus non intellexit.
The ox knoweth his owner, and the ass his master's crib: but Israel hath not known me, and my people hath not understood.[Isaiah i. 3]

Under the Law, the Jews were forbidden from mingling with the Gentiles. The ox (a castrated bull) was a clean animal but the ass was not; accordingly, the ox represented the circumcised Jews and the ass the Gentiles.

Non arabis in bove simul et asino.
Thou shalt not plough with an ox and an ass together.[Deut. xxii. 10]

The Incarnation was to change all this:

Non est Judæus, neque Græcus : non est servus, neque liber : non est masculus, neque femina. Omnes enim vos unum estis in Christo Jesu.
There is neither Jew nor Greek: there is neither bond nor free: there is neither male nor female. For you are all one in Christ Jesus.
Si autem vos Christi, ergo semen Abrahæ estis, secundum promissionem hæredes
And if you be Christ's, then are you the seed of Abraham, heirs according to the promise.[Gal, iii.28-29].

In the celestial vault over the scene are four winged angels. Like the kneeling figures below, their hands joined in prayer: silent adoration, contemplation, wonder and  joyous peace.


Totus tuus ego sum 
Et omnia mea tua sunt;
Tecum semper tutus sum:
Ad Jesum per Mariam

 

 

 









Tuesday, 15 August 2023

Assumpta est Maria in Cælum

I am republishing last year's post as a gift to Our Blessed Mother, to celebrate her feast day by sharing images of a painting : The Dormition and Assumption of the Virgin by Fra Angelico. I have added a few notes.

The images below are reproduced with thanks to the Isabella Stewart Gardner Museum, Boston. 

Here is the first image showing the painting in its entirety.


    The Dormition and Assumption of the Virgin by Fra Angelico. Isabella Stewart Gardner Museum


Dimension Notes

Tempera with oil glazes and gold on panel, 61.8 x 38.3 cm (24 5/16 x 15 1/16 in.).

Provenance

Possibly commissioned for the church of Santa Maria Novella, Florence by its sacristan Fra Giovanni di Zanobi Masi as one of four reliquaries around 1430, the painting remained at the church until at least 1754.
Collection of Rev. John Sanford (d.1855), Nynehead, Somerset by 1816. Exhibited at the British Institution, London in the same year.
Bequeathed by Rev. John Sanford to Frederick Henry Paul Methuen (d.1891), 2nd Baron Methuen, Corsham Court in 1855.
By descent to Paul Sanford Methuen (d.1932), 3rd Baron Methuen, Corsham Court around 1891.
Purchased by Isabella Stewart Gardner from the art dealers Colnaghi & Co., London on 23 February 1899 for £4,000 through Bernard Berenson (1865–1959), American art historian.


Notes on the lower register


In the lower register, Our Lady's body lies on a stretcher covered in golden drape; her head rests upon a small pillow and the whole is supported by a low bed or mattress, also covered in golden material. Framed by a halo, her head is slightly raised. Her eyes are closed and we are given a glimpse of her right hand clasping her left. Her skin is pale but her lips show a natural colour. She wears a blue cloak and hood, edged with gold.

Her bier is surrounded by four lighted candles of unbleached wax, traditionally used for a Requiem Mass. 

Fifteen bare-footed figures surround Our Blessed Lady. Is it fanciful to catch an echo of the fifteen mysteries of the Rosary?

In the centre stands Our Lord, gazing down at His mother. His tunic is unique amongst those of the other figures - does it suggest Christ as the High Priest? The symbols appear to include the Greek letters Alpha and Omega.


He holds in His arms a small figure whose hands are joined in prayer. This is believed to represent Our Lady. This mirrors in scale but in reverse the traditional image in icons that show the Holy Mother of God holding her Divine Son in a protective embrace. 


Peter, James and John. Fra Angelico. Isabella Stewart Gardner Museum


The cross in the Redeemer's halo finds an echo in the pallium worn by the man on the left of the painting. The modern pallium is a circular band about two inches wide, worn about the neck, breast, and shoulders, and having two pendants, one hanging down in front and one behind. The use of the pallium is reserved to the pope and archbishops, but the latter may not use it until on petition they have received the permission of the Holy See. Bishops sometimes receive the pallium as a mark of special favour, but it does not increase their powers or jurisdiction nor give them precedence. The pope may use the pallium at any time. [Catholic Encyclopedia]. This is evidently Peter, the first Pope, who is reading or singing from a small volume. Perhaps it is a Psalter, or perhaps he is chanting the In Paradisum...

To Peter's left is a figure holding a bucket (aspersorium) and a sprinkler (aspergillum), still used in today's Requiem Mass.

The palm frond.  Isabella Stewart Gardner Museum


On the extreme right of the picture, a man is holding what may be a palm frond. Brian G. Svoboda identifies him as St John the Evangelist: see the Catholic Thing. St John, however, is traditionally portrayed as a clean-shaven young man and I suspect that he is the one with hands clasped in prayer next to St Peter. This would suggest that the man with the aspergillum may be St James, as Peter, James and John are frequently grouped together in the New Testament.

Notes on the middle register



In the middle register, Our Blessed Lady is rising Heavenwards, drawn aloft by the power of her Divine son. her cheeks and her complexion are no longer pale. Her eyes are now open and she is looking upwards. Her hands are raised in what the Abbé Fouard observes is the traditional Oriental manner of praying: in adoration, praise and thanksgiving. 

Her sky blue tunic and robe, edged with gold, with diaphonous and translucent scrolls, dazzle the eye. The golden motifs on her garments suggest tiny winged angels bearing her to Heaven; or perhaps a shower of gifts from the Holy Ghost, in the form of tongues, as it were, of fire. They are echoed in the robes of the Angels around her.

The Angels are portrayed in three groups. The lowest group are four in number and are kneeling before the Queen of Angels. The one on the left seems to be shielding his gaze from the dazzling brightness.

The Angels in the middle group are holding hands as though executing a celestial dance; their movement shows in the flowing pleats of their garments. Music is provided by the uppermost group, an angelic sextet, featuring two trumpets, a tambourine, a psaltery, a fiddle and a lute.


Notes on the upper register


The upper register features Christ in Heaven gazing down towards His mother as she is assumed by His Divine power into His Royal Court. The triangular cutaway in the frame suggests the Holy and Undivided Trinity of Father, Son and Holy Ghost. 


Assumpta est Maria in cælum: gaudent angeli, laudantes benedicunt Dominum.
Mary was taken up into Heaven, the angels rejoice, and with praises bless the Lord. 

[Antiphon from Lauds, the Little Office of the Blessed Virgin Mary]


Totus tuus ego sum 
Et omnia mea tua sunt;
Tecum semper tutus sum:
Ad Jesum per Mariam