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History of the Leslie Lindsey Memorial Chapel
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Since its completion in 1924, Lindsey Chapel has been hailed as one of the architectural gems of Boston. Its proportions and complex ornamentation are executed with such grace that the atmosphere is not of formal and overwhelming opulence, but instead of intimate, peaceful reverence.
Allen & Collens of Boston, with offices at 75 Newbury Street, were the chapel’s architects. The firm was founded in 1904 by Francis R. Allen (1843-1931), who had been the architect for Emmanuel Church’s 1898-9 expansion. Well known for its work in the collegiate Gothic Revival style, Allen & Collens also designed Andover Hall at Harvard Divinity School (1910-1), West Newton’s Second Church (1916), Union Theological Seminary (1910), Riverside Church (1928-30) and the Cloisters (1938) in New York City, and many buildings at Middlebury, Vassar and Williams colleges.
Sir John Ninian Comper (1864-1960) of London, one of the best known ecclesiastical architects and designers of the 20th century, designed the altar and altar screen, and designed and executed the stained glass. A Scottish Anglo-Catholic, he trained as a stained glass painter, initially at the London studio of Charles Eamer Kempe (1834-1907) (which in 1902 furnished 17 of the windows for Emmanuel’s expanded nave). Comper then became an architect and, over a 70-year career, built fifteen complete churches, but is best known for his decoration, furnishings and windows for many others. His designs are noted for coupling pure white interiors with decorative work in harmonious riots of strong clear colors (often rose and green) and gilding. The architectural critic (and English poet laureate) Sir John Betjeman admiringly jested that Comper was “perfectly satisfied so long as gold leaf is heaped on everywhere.” In his stained glass windows, Comper utilized the strawberry as his signature badge to honor his father, who was rector of an inner-city church in Aberdeen for thirty-one years and died while giving strawberries to poor children in Duthie Park. Comper is buried in Westminster Abbey beneath his own windows.
Lindsey Chapel’s general contractor was L.P. Soule & Son of Boston, who also built Tremont Temple (Baptist) (1894). The North and South windows were installed by Charles J. Connick Co. of Boston. Interior limestone work was by Alexander Thomson, Inc. of Cambridge. Bath Stone was furnished by Tompkins-Kiel Marble Co. of New York, and the marble flooring by Johnson Marble Co. of Cambridge. The ceiling vault of timbrel tile and the soffit course of Akoustolith tiles were by the Rafael Guastavino Co. of New York and Boston. Roofing and sheet metal work were by W.A. Murtfeldt Co. of Boston.
The altar and altar screen were fabricated and carved by Mr. W.D. Gough of London, who later made the Welsh National War Memorial in Cardiff (1926-8), also designed by Comper. The altar screen was painted by Mr. H.A. Bernard-Smith of London. Mr. Roland Baldrey did the drawings for appointments and furnishings. The oak tympana over the entrance doors and the oak chancel furnishings were carved by Mr. Angelo Lualdi (1881-1979) of Florence and Cambridge, MA, who also carved the hanging Rood for the church of All Saints, Ashmont (1893), the pulpit for West Newton’s First Unitarian Society (1905), and the altar statues for the National Cathedral in Washington, D.C. The oak font cover was by Mr. Lualdi and Henderson & Nolan of Boston. Lights and other ornamental ironwork were fabricated by Gustav L. Koralewsky Co. of Dorchester. The organ is by Casavant Freres of Quebec.
The architects for the 1966 restoration were Campbell, Aldrich and Nulty of Boston.
Exterior
The chapel exterior is built of the same Roxbury puddingstone as Emmanuel Church, rich in brown and warm colors, and offset with lighter Indiana limestone trim and tracery. Roxbury puddingstone (or Roxbury conglomerate) is a sedimentary rock formed over millions of years when white quartz sand and a combination of pebbles and stones, washed by the ocean and buried under rocks, hardened and cemented together under the pressure of retreating glaciers, giving it the appearance of a plum pudding. It is found in deposits between Boston’s Blue Hills and the Atlantic Ocean, and has been designated the Massachusetts state rock.
Because of the chapel’s design as a Lady Chapel, the exterior stone ornamentation is Marian in theme.
A statue of the Virgin Mary, holding the Child Jesus, stands high in the gable overlooking Newbury Street, surrounded by a field of fleur-de-lis. To the left of the Virgin are three interlocking rings in a Nimbus of light (symbolic of the Holy Trinity), and on the right three roses (symbolic of the Virgin Mary). In the quatrefoil band under the statue appear four symbols: the Greek Cross, the Dove of the Holy Spirit, the Crown and Keys, and the Anchor of Hope (Heb 6:19).
Beneath, on the belt course that runs around the chapel’s front and right sides, are traditional Marian emblems. On the chapel front, these include (from left) the Unicorn (which legend holds can be tamed only in the lap of a virgin), the Crown, the Crescent Moon (traditional symbol of Artemis/Diana, virgin yet symbol of fertility and protector of the newborn), the Tower of Ivory and the Sealed Fountain (both symbols of virginity; cf. Song of Solomon 4:4, 12), the Cedars of Lebanon (symbolic of strength and beauty; cf. Ezra 31:2-9), the Globe, Noah’s Ark, and the Heart pierced by Swords of sorrow (Luke 2:25). Some of these emblems are repeated on the right side.
About midway between the window and the stone arch of the doorway, the carved stone pendants under the right-hand buttress cap recount a legend told of Genevieve of Paris (422-512 c.e.). In the first, Genevieve holds a distaff in her hand while the devil with his bellows blows out the candle by whose light she is spinning. In the second, an angel relights the candle and treads under foot the devil and his evil bellows.
In the archivolt (stone band surrounding the arch) over the main entrance door, the Vine of Christ trails out from the Lamb of God in the center, encompassing to the left an Ox and a Man, and to the right a Lion and an Eagle, symbols of the four Evangelists.
These four symbols, suggestive of the strongest, wisest, noblest and swiftest of creatures, probably originated with the four-faced Karibu guardian deities which stood outside Babylonian palaces. In his vision, the prophet Ezekiel (ca. 593-573 b.c.e.) demoted them to drawing the chariot of the transcendent God of Israel (Ez 1:10). The apostle John (ca. 90 c.e.) incorporated them in his own apocalyptic vision (Revelation 4:7). In Christian tradition they have become symbolic of the four Gospel writers – Luke, Matthew, Mark and John – although their respective associations are variously explained.
In the carved oak tympanum surmounting the chapel doors is the apostle John the Divine. He carries the book of his Gospel, and at his feet is a cup and a dead serpent who has tasted the poisoned wine it contains, an allusion to the legend of John’s attempted assassination at Rome by the high priest of Diana.
Narthex
In the chapel’s small narthex (or vestibule), the interior oak tympanum over the outside doors includes in a central niche a statue of Elizabeth of Hungary (1207-1231). She is a traditional exemplar of patience and charity, holding in her apron loaves of bread transformed into roses.
The low-vaulted narthex ceiling has the chapel’s first set of intricate ceiling bosses, ornate round keystones set into the ceiling where the ribbed vaulting meets. In the narthex the ceiling bosses are carved flowers and fruits: the Rose (traditional flower of Venus, goddess of love), the Passion Flower, the Grape (symbol of the Eucharist), the Lily (emblem of purity), and the Pomegranate (with its hundreds of seeds, an ancient symbol of abundance and fruitfulness.)
Nave
Like many English churches, Lindsey Chapel’s charm is due to its mixture of styles. It combines features from all three periods of English Gothic: Early English (to 1290) in the ceiling vaulting and in the low arcading of the nave walls, the English Decorated Period (1290-1350) in the window tracery, the rich ornamentation, and the elaborate symbolism of the stone and wood carving, and the English Perpendicular (from 1350) in the complex rib patterns and the slender and vertical general proportions.
The chapel’s stone ceiling vault rises 46 feet in height, and extends for 85 feet. It is divided into seven equal bays, the last of which forms the chancel, with a deep traceried arch.
Along with the pointed arch, the development of the complex groined vault was essential to the emergence of Gothic architecture. Since it transfers the ceiling weight to four concentrated points rather than along the entire wall, it made possible enormous heights with a few supporting columns rather than heavy supporting walls. In Lindsey Chapel, the clustered vertical columns on each side wall carry the weight of the ceiling and roof.
The nave ceiling is constructed of interlocking tiles, using a vaulting technique developed by Rafael Guastavino (1842-1908), an accomplished Barcelona architect who emigrated to New York in 1881 and patented his Guastavino Tile Arch System in 1885. He borrowed from traditional Catalan vaulting techniques (also called “timbrel” vaulting, after the membrane of the small tambourine of that name), a structured system of layering ceramic tiles in equal proportions of mortar to form a solid curved shell. Unlike heavy medieval vault webbing, the strength of the timbrel vault derives not from its mass but from its geometry: the compressed strength of its cohesive curved vault. Guastavino improved the ancient technology with modern hydraulic cement and standardized tiles three-quarters of an inch thick, set in two or three layers, creating a thin, incredibly strong, self-supporting, continuous membrane of light-weight masonry that does not rely on gravity for its stability and therefore can span large openings. Until the steel-reinforced concrete dome gradually replaced it, Guastavino’s vaulting technique was structurally essential to some of the most famous public spaces built in America, including the Boston Public Library (1889), Carnegie Hall (1891), the Great Hall at Ellis Island (1900), the 162-ft. vault of the Cathedral of St. John the Divine (1911), and the U.S. Supreme Court building (1935). Dissatisfied with the quality of American ceramics, Guastavino opened a factory in Woburn in 1907 to manufacture his own, at the invitation of Woburn’s mayor William Blodgett, who had been Guastavino’s immigration sponsor.
The chapel has a soffit tile course of Akoustolith ceramic tile, an acoustically-absorbent, porous tile also developed by Rafael Guastavino and patented in 1916. At a time of primitive public address systems, it became a popular way to deaden reverberation, in order to dampen ambient noise levels and maximize the intelligibility of the spoken word.
The ceiling bosses in the seven bays of the vaulted ceiling represent an ascending heavenly hierarchy. From the rear, the ceiling bosses in the first three bays repeat the symbols of the twelve apostles, four in each bay. Emblems of the four evangelists decorate the fourth bay.
The fifth bay has symbols of the Virgin Mary: the monograms am (Ave Maria) and mr (Maria Regina), the Mirror of Wisdom (wisdom being “a spotless mirror of the working of God,” Wis 7:26) and the Sun and Moon (based on the Heavenly Woman “clothed with the Sun, and the Moon under her feet” of revelation. 12:1).
The sixth bay has emblems of Jesus: the crucifixion Nails, the CR or Chi Rho (the first two letters of the Greek name Christos, “Christ”), the Lamb of God, and the Fish (the Greek word for which, Icthys, was an early Christian acrostic for Iesous Christos Theou Yios Soter, “Jesus Christ, God’s Son, Savior”).
In the final, chancel bay are ceiling bosses symbolic of the Holy Trinity – the Three Interlocking Rings, plus the Divine Hand and shining Nimbus of the Creator, the Cross and Crown of the Redeemer, and the Dove of the Holy Spirit.
The narrow site, only the width of a brownstone wedged between tall adjoining buildings, posed a design challenge, but proved complementary to the Gothic style, and the architect’s response is highly successful. While the side walls are pierced with only two windows, this is counterbalanced by the lofty slender columns, the blind arcade (row of decorative arches) fronting panels of warm stone, the carved cresting, and the rich fan tracery and carved bosses of the groined ceiling. The interior wall panels are of Bath stone, an oolithic limestone formed during the Jurassic period, and composed of ooliths – small rock particles with the appearance of fish roe. The nave floor is of Travertine marble.
Flanking the narthex doors are rounded corbels of the Ship of the Church (symbolizing the church making her way through the storms of this world), and a Pelican in her piety, gashing her bosom to feed her young.
The pelican is a medieval symbol of self-sacrifice and nurturing. The redness of its beak tip and breast plumage prompted the legend that it feeds its young by drawing blood from its own breast, and therefore has the greatest love of all creatures for its offspring. In heraldry, this image is described as “a pelican vulning herself” or, when the young are also shown, as “a pelican in her piety.”
To the left inside the doors is the stone baptismal font, with a silver bowel inside oak doors banded with iron, and surmounted by a carved oak canopy capped with a pelican vulning herself.
Around the nave runs a foliated horizontal band or chéneau in which emblems of the saints and ecclesiastical symbols appear at regular intervals.
On the left wall, moving from the entrance forward, are the Double Crown of the philanthropist Elizabeth of Hungary, the Hand-held Stone of Timothy, Paul’s companion (by tradition stoned at the festival of Dionysius in 97 c.e.), the Stones of the martyred deacon Stephen (Acts 6:8-7:60), the Saw of the apostle Simon (by tradition sawn in half by pagan priests), the x-shaped Cross Saltaire on which the apostle Andrew was legendarily crucified, the scallop Shell of the apostle James the Elder (the emblem of pilgrims to his shrine at Santiago de Compostela in Spain), the Pen of the evangelist Luke, the Hatchet of the apostle Matthew (decapitated after being crucified), the Sword with which the apostle Bartholomew was beheaded, and the Rose of the Virgin Mary. Then follow the Dove of the Holy Spirit, the IHS monogram of the Redeemer (from the first three letters of the Greek IHSOUS, Iesous, “Jesus”), the triangular Nimbus of the Creator, and the AW or Alpha and Omega (the first and last letters of the Greek alphabet).
The right wall chéneau, again from the entrance forward, displays the Apples of the martyr Dorothy of Cappadocia, the Pincers of the martyr Agatha of Catania and the Ointment Jar of Mary Magdalene, the Square of the apostle Thomas (thought to be a carpenter by trade and symbolically a “church-builder”), the Inverted Cross on which the apostle Jude died, the legendary Fuller’s Club with which the apostle James the Younger was killed, the Poisoned Cup and Snake of the apostle John the Divine, the Book and Serpent of Paul of Tarsus, the Keys of the apostle Peter, and the Fleur-de-lis of the Virgin Mary. Then come the Book and Dove of the Holy Spirit, the crucifixion Nails of Christ, the Cross and the Divine Hand, the triangular Nimbus enclosing the Hebrew word Imanu’el (“Emmanuel”), and the Blessing Hand of the Creator.
Inscriptions
The left (west) wall has the dedicatory inscription memorializing Leslie Lindsey and Stewart Mason, and subsequently-added inscriptions in memory of Leslie Lindsey’s sister Dorothy and brother Kenneth.
Dorothy Lindsey Leydet
1898-1978
This chapel, consecratedin the year of our Lord 1924is erected by Williamand Anne Hawthorne Lindseyin loving memory of their daughterLeslie Lindseyborn on the 11th day of June, 1886and her husbandStuart Southam Masonof Sproughton, Ipswich, Englandborn on the 5th day of February, 1885.They departed this life togetherMay 7, 1915in the sinking of the Lusitania.
Kenneth Lovell Lindsey
1888-1969
The right (east) wall inscriptions memorialize Leslie Lindsey’s father William Lindsey and her mother Anne Hawthorne Lindsey.
To the glory of Godand in memory of William Lindseyborn on the 12th day of August 1858died the 25th day of November 1922beloved husband ofAnne Hawthorne LindseyHe in his life as in his writingscombined knowledge of the pastwith efficiency in the present andexpressed in word and act theprinciple of Christian charity.
Also in grateful testimonyto the love of Godand in abinding memory ofAnne Hawthorne Lindseyborn the 19th day of June 1863died the first day of March 1943beloved wife of William Lindseyand mother ofLeslie Lindsey
Chancel
The floor and steps of the chancel are of Bottichini marble, a nice contrast to the Travertine marble of the nave floor. Supporting the pulpit and lectern is a chancel rail of Bath stone. The pulpit base is of Caen stone, a soft, fine-grained, cream-colored cretaceous limestone quarried near Caen in Normandy.
The pulpit, lectern and choir stalls are of richly carved oak. On the end of the left stall screen are the Crowns and Sword, the emblem of the Diocese of Massachusetts, and on the end of the right stall screen the Lilies (symbol of purity) and Cross. Beneath the hinged seats of the rear choir stalls are “misericords,” small shelves supported by grotesque and foliated bosses, which gave medieval monks some partial support while standing through the long hours of the sung office. Against the warm background of the Bath stone walls, the lacework patterns of the oak canopies rise in pinnacles (spires) covered with crockets (projecting spurs) and topped with finials (foliated tip ornaments).
Decorating the front of the oak organ screen on the right chancel wall are the figures of the peacemaker Barnabas (d. ca. 61), St. Paul’s first companion (Acts 4:24, 36ff; 9:26-30; 11:22ff; 15:39), and Cecilia of Rome, patron of music, bearing a small reed organ. Four singing and playing angels also appear on the front of the organ screen, and another two on its sides.
Canopied stonework niches are set into the chancel’s left and right walls. Within the left niche is an ambry (vault for reserving the consecrated bread and wine) with doors banded with ornamental iron.
Like the nave walls, the altar and the communion rail are of Bath stone. The altar consists of a single slab measuring 11 feet by 4 feet. The altar frontal incorporates a richly colored and embroidered 15th century Florentine hanging given in 1940 by Mary B. Hunnewell. The communion rail is open and of simple design. The wood communion table was given in 2002 by Evan L. Thayer and James Tirrell.
Windows The chapel windows are based on 15th century Flemish styles and make generous use of the color blue, the traditional color of the Virgin Mary. With their brilliant colors and clear images, the windows hold their own amid the elaborate sculptural decoration of the chapel.
The altar window consists of five panels, divided horizontally by a transom (below this view).
Amid the stone tracery (above) are three figures. In the center section is the prophet Hosea with the verse: “I draw them with cords of a man [i.e., human kindness], with bands of love” (Hosea 11:4). The sections to his left and right show the two most-venerated Roman Sibyls, bearing their prophecies that were taken to refer to the birth of Christ. Capitalizing on the religious influence of the ten prophetic sibyls of the classical world, second century b.c.e. Alexandrian Jews composed verses in the same form, attributed them to the sibyls, and circulated them in order to diffuse Jewish teaching. Second and third century Christians adopted the same practice, and the Sibyls are quoted frequently by early Christian writers, who saw them as bridges between the Greek and Roman world and the Christian era. Here, to the left is the Sibyl of Erythraean bearing the legend Humanabitur proles divina, jacebit in feno agnus (“The divine offspring shall become human, the lamb shall lie in the straw”). To the right is the Sibyl of Cumae bearing the legend Jam nova progenies celo dimittitur alto (“Now from high heaven the new offspring is sent forth”).
Visitation & Nativity Adoration of the Magi Flight into Egypt
The lower sections show scenes related to the birth of Jesus: the Visitation of the Virgin Mary to Elizabeth (Luke 1:39-56), the Adoration of the Shepherds (Luke 2:8-18), the Adoration of the Three Kings (Matthew 2:1-12), and the Flight into Egypt (Matthew 2:13-21). The center section is of solid stone, setting off the central gilded canopy of the altar screen which rises in front of it. Beneath each of the four left and right sections is an angel playing a musical instrument.
Above the transom, in the large central light stands the, Virgin and Child with a roundel beneath showing St. Joseph’s dream in which the angel told him “his name shall be called Jesus” (Matthew1:21).
Virgin and Child over Roundel of St. Joseph's Dream
The two large lights to the left show the angel Gabriel’s Annunciation to Mary (Luke 1:42-38). The two large lights to the right show the legendary Coronation of the Virgin.
Amid the bar tracery (the thin, web-like stone elements) at the top of the altar window, the topmost section displays the Hand of the Creator above the Dove of the Holy Spirit.The remaining five quatrefoil sections in the stone tracery depict prophecies of Jesus’ birth.The middle row consists of two sections, with the prophet Isaiah on the left with the verse “Behold, a virgin shall conceive, and bear a son” (Isaiah 7:14) and the prophet Micah on the right with the verse “Out of thee shall he come forth ... that is to be ruler in Israel” (Micah 5:2). Spanning the two sections, two angels hold a scroll with the continuation of Isaiah’s verse in Matthew’s gospel, “And they shall call his name Emmanuel, which, being interpreted, is God with us” (Matthew 1:23). Top of the Altar Window
The two side windows in the right (east) wall at the back of the chapel are each composed of two lights. The left window represents Cecilia of Rome, patron of music (her face a glowing portrait of Leslie Lindsey Mason, herself a singer), holding a reed organ and attended by an angel.
Leslie Lindsey as St. Cecilia Angels
The right window represents Martin of Tours, patron of philanthropy (his face a portrait of Stewart Southam Mason), sharing his cloak with a beggar. Martin of Tours (316-397) was a conscripted soldier who sliced his military cloak in two and gave half to an unclothed beggar in bitterly cold weather. That night he dreamed of Jesus wrapped in the half-cloak. A catechumen at the time, he immediately asked for baptism, became a conscientious objector, and was briefly imprisoned until a general amnesty was declared. He long refused ordination to the deaconate, but was eventually persuaded to serve as Bishop of Tours (371-397) while living privately as a monk. William Lindsey used the story of Martin of Tours as the signature theme of his novel The Severed Mantle (1909), in which a 12th century troubadour, inspired by Martin’s story, slices his cloak in half and vows to “wear a severed mantle all my life” as a pledge of purity and love. Eventually he becomes a knight as well and learns that human and divine love are complementary. Steward Mason as St. Martin of Tours
The entrance window is composed of five lights (panels) and has as its theme the Bride of the Apocalypse.
Top of the Entrance WindowThe lights amid the stone bar tracery above depict the apocalyptic description of Heavenly Worship, with “the Lamb as it had been slain” (Revelation 5:6) at the top, two lights in the middle depicting angels, and two lights at the bottom of the tracery, each with 12 elders, representing the “four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold” (Revelation 4:4).
In the central light is the figure of the Church as a bride, with an angel below bearing the legend from the Nicene Creed: Credo in unam Sanctam Catholicam et Apostolicam ecclesiam (“I believe in one Holy Catholic and Apostolic Church”). Church as Bride
Heavenly Woman Heavenly Worship
The two lights to the left depict the Heavenly Woman described in the legend beneath them: “And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars” (Revelation 12:1). The two lights to the right represent the apostle John’s vision of the New Jerusalem described in the passage below it: “I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband” (Revelation 21:2). John is depicted kneeling, attended by a standing angel.
Altar Screen (see Index of Saints)
Sir John Ninian Comper’s design for the altar screen (or reredos) embodies his belief that a church exists merely “as a roof over an altar.” It is a magnificent example of Caen limestone covered with a profusion of gilt and color, and incorporating a frieze and 39 statues of carved and polychromed Nottinghamshire alabaster (a translucent marble).
The frieze immediately above the altar measures 13 feet 2 inches by 3 feet 2½ inches, and consists of five alabaster slabs carved in low relief and decorated in gold and color. Each of its five images is encircled by a trailing rose, the stem of which forms the cross of the central image.
On the left are Jesus’ first miracle at the marriage feast at Cana at his mother’s behest (John 2:1-11), and the legendary Via Dolorosa in which she meets Jesus bearing his cross. To the right are the legendary Pieta in which she mourns his dead body outstretched on her knees, attended by the apostle John and Mary Magdalene, and the Risen Jesus appearing to his mother. In the center panel is Jesus on the cross, attended by his mother and the apostle John. The cross becomes a trailing rose or vine which twines out to encircle the other carvings – suggestive of the Tree of Life (Proverbs 3:18; Revelation 2:7) and the Parable of the Vine (John 15:1-8).
Above the frieze are three major statues, each sculptured from a single block of alabaster marble, which stand in the main niches of the altar screen, surmounted by tall gilded canopies. In the center and dominating the whole altar screen is the figure of the Risen Jesus, triumphant and bearing a banner. Such depictions of Jesus as young and unbearded, in the style of the earliest-known Christian catacomb paintings, are highly unusual.
The statue of the Risen Jesus is a reduced (4 feet 3 inch) version of Sir John Ninian Comper’s original in the 1922 War Memorial altar screen of Ripon Cathedral in North Yorkshire. At its dedication, the Archbishop of York spoke of it as “very daringly portrayed, not in suffering or weakness, but radiant, young with perpetual youth, beautiful, strong in the power of the resurrection, a leader with the banner in his hand going forth conquering and to conquer.”
The large figure to the left is of the Virgin Mary as a child being taught the scriptures by her mother Anne. The large figure to the right is of Mary’s kinswoman Elizabeth with her son John the Baptist, who points to the Risen Christ.
Among and flanking the three large statues, are 36 smaller statues of female saints, each 18 inches high, carved from alabaster, and set into its own niche decorated in gilt and color. They represent a selection of women saints from various times and nations, and carry their traditional symbols. They are arranged in three rows.
- Mary Magdalene, first witness of the resurrection. After Jesus had cast seven demons out of her, Mary of Magdala (a town near Tiberias on the shore of Lake Galilee) was one of the Galilean women who traveled with Jesus, who provided for Jesus and the apostles out of their resources (Luke 8:2), who were present at Calvary and at Jesus’ burial, and on Easter morning went to the tomb to anoint his body, where Mary was the first to see the risen Jesus and to announce his resurrection to the apostles (Matthew 27:55-61, 28:1-10; Mark 15:40-16:11; Luke 23:49-24:10; John 19:25-20:18). Accordingly, Augustine of Hippo called her “the apostle to the apostles.” Rilke celebrated the event in a famous 1912 poem, The Quieting of Mary with the Resurrected One – “when he, pale from the grave, / his burdens laid down, went to her: And they began / quietly as trees in spring / in infinite simultaneity / their season / of ultimate communing.” Since the 6th century, there has been a doubtful Western tradition of identifying Mary Magdalene with the two biblical women who anointed Jesus’ feet with their hair – Mary of Bethany, Martha’s sister (Luke 10:38-42; John 11:2, 12:3) and also an unnamed “sinner” (Luke 7:36-48 and perhaps Matthew 26:6-13). For that reason, she is (as here) frequently depicted carrying an alabaster ointment box and touching her hair. Because of this anointing, and her tears at the tomb, English-speakers have derived from her name the word “maudlin,” meaning “effusively or tearfully sentimental.” This misidentification also led to the medieval establishment of Magdalene houses for the reform of prostitutes. Mary Magdalene is commemorated in the Episcopal Church calendar on July 22.
- Mary Clopas, the sister of Mary the mother of Jesus (John 19:25), along with her four children, the apostles James the Younger, Joseph or Joses, Simon and Jude (Matthew 13:55; Mark 6:3). She is the second of the “three Marys” who followed Jesus and provided for him (Mark 15:41), witnessed his crucifixion (Matthew 27:56; Mark 15:40; John 19:25), and brought spices to embalm him on Easter morning (Mark 16:l; Luke 24:10).
- Mary Salome, the wife of Zebedee with her two children, the apostles James the Elder and John. She is the third of the “three Marys” who followed Jesus, and she asked Jesus for places of honor for her sons in the Kingdom (Matthew 20:23). Legend has it that she was a cousin or half-sister of Mary the mother of Jesus.
- Veronica (her name derived from vera icon, “true image”) is the name given to the legendary woman who, according to ancient tradition, compassionately wiped the face of Jesus on the way to Calvary with (as depicted here) a cloth which retained a print of Jesus’ features. Her legend expresses the longing of early Christians to know Jesus’ face.
- Petronilla of Rome, martyr and virgin (3d century). Ancient tradition held that Aurelia Petronilla, a young virgin, died around the middle of the 3rd century, after refusing to marry a nobleman named Flaccus, instead dedicating herself wholly to Christ. Some versions of the story have her martyred; in others, her intended groom wanted her killed but she died after fasting for three days. A basilica was built at the end of the 4th century over her tomb. Because of her name, an apocryphal tradition developed that she was a daughter of St. Peter. Her usual emblem, like that of Peter, is a set of keys, but here she carries in her arms the crown of roses which she wore to her grave.
- Cecilia of Rome, martyr, virgin and patron of music (d. 280?). In the 4th century a Greek religious romance appeared, written in praise of the virginal life to compete with popular sensual romances. It is uncertain whether any history at all underlies its story of the love of Cecilia and her husband Valerian. In 821, Pope Paschal I, prompted by a dream, found two bodies in the catacombs that he identified as Cecilia and her husband Valerian, and dedicated both a church and a monastery in their honor. Cecilia is regarded as the patron of music because she is supposed to have heard heavenly music in her heart when she was married and (as here) she is represented in art with an organ in her hand.
- Agnes of Rome, martyr and virgin (d. 304). A popular martyr about whom little is known, Agnes is described in the Golden Legend (1275) as a beautiful Roman girl of 13 who, after espousing herself to God, was betrayed by a rejected suitor during Diocletian’s persecution of Christians (303-311). After being forced into a brothel, “the hairs of her head became so long that they covered all her body to her feet” and she remained miraculously unabused. She was eventually killed with a sword. The Emperor Constantine had his daughter Constantia baptized near the spot where Agnes was buried and built a basilica (still extant) on the site. Ambrose of Milan (340-397) and the poet and hymnist Prudentius Fortunatus (348-405) adopted her as a symbol of young courage and purity. Here she carries a prayer book and a palm of victory. Her traditional emblem is the lamb at her feet, a symbol both of innocence and sacrifice, as well as a play on her name and the Latin word for lamb, agnus. Agnes is commemorated in the Episcopal Church calendar on January 21.
- Helena (248-328). There is a dubious legend that Helena was the daughter of the chieftain King Coel of Colchester, England, now remembered as “Old King Cole.” More likely, she was born in Drepanum, on the shore of the Black Sea in Turkey. She married the Roman general Constantius Chlorus and gave birth to his son Constantine (274-337). When Diocletian divided the Roman Empire in 292, Constantius Chlorus became emperor of Britain, Gaul, and Spain. He then divorced Helena to cement a political alliance by marrying Theodora, the daughter of his patron Maximian. After Constantius’ death in 306, the army proclaimed Constantine his father’s successor, and he recalled his mother from political exile. In 312 he issued the Edict of Toleration that legalized Christianity. After her conversion at the age of 63, Helena worked enthusiastically to promote Christianity, and in 325 went to the Holy Land, where she spent large sums to support the poor and to build churches on sacred sites. The tradition is that at Jerusalem she discovered the remains of a wooden cross (here shown in her arms) that was accepted as the true cross on which Jesus was crucified. She died at the age of 80.
- Margaret of Antioch, martyr (d. 306). Margaret (also called Marina) probably existed and was martyred, but the rest of her story derives from legends retold in the Golden Legend (1275). After her conversion, she is said to have been driven from home by her father, a pagan priest. She then became a shepherdess until she spurned the advances of an infatuated Roman prefect, who tortured and imprisoned her. There the devil, in the form of a dragon, swallowed her, but the cross she carried in her hand so irritated his throat that he disgorged her. Equally unsuccessful attempts were then made to burn and then to drown her, and finally she was beheaded. In the Middle Ages she was immensely popular as patroness of childbirth. Here she is shown with the martyrs’ crown, carrying a cross-topped spear and overcoming the dragon.
- Barbara, virgin & martyr (d. 303). The Golden Legend (1275) recounts the apocryphal story that Barbara’s abusive and jealous father Dioscorus shut her up in a tower because she refused to marry as he wished. There, in her forced solitude, she was secretly baptized, decided to become a Christian hermit, and celebrated her decision by having workmen add a third window to her tower to honor the Trinity. Her furious father denounced her to the Emperor Maximilian’s judges and, in a final act of hatred, beheaded her himself, whereupon he was suddenly killed by lightning. This led to Barbara’s role as patron of miners, artillery soldiers, and (somewhat incongruously) those in danger from thunderstorms. Here she is shown holding a prayer book and her traditional emblem, a miniature tower.
- Apollonia of Alexandria, deaconess and martyr (d. 249). Apollonia was a deaconess of the church in Alexandria in Egypt. She was martyred in her old age during a local uprising against Christians during festivities commemorating the millennium of the Roman empire. The crowd beat her teeth out, and threatened to burn her alive unless she renounced her faith. But she asked for a brief delay and jumped into the fire herself without flinching. Later legend transformed her into a beautiful young girl whose teeth were extracted with pincers, with which she is traditionally depicted. Here she also carries a prayer book. She is patron of dentists and those with toothaches.
- Catherine of Alexandria, martyr (d. 307). The apocryphal legend of Catherine (from Greek katharos, “pure”) dates from the 8th century and enjoyed immense popularity through the Golden Legend (1275). She is supposed to have been of noble birth, declared herself a bride of Christ, and denounced the Emperor Maxentius for persecuting Christians. Maxentius then offered to marry her if she would renounce her faith. She refused, and successfully argued her case against fifty philosophers whom he sent to refute her in public debate. She easily won every point, and made them look foolish, whereupon the emperor had them burned alive. Catherine then converted the queen and the 200 soldiers of her bodyguard, all of whom Maxentius then killed. Catherine was tortured on a spiked wheel (hence the “catherine-wheel,” a form of fireworks that spins as it burns) but the wheel flew apart. Ultimately she was beheaded, and angels carried her body to the famous monastery at the foot of Mt. Sinai dating from 527, which bears her name. Here she is depicted crowned as a princess, and she holds a prayer book and the sword of her martyrdom, with the broken wheel at her feet. Catherine is patron of education and librarians (probably by association with the famous collection of ancient manuscripts at the Mt. Sinai monastery), and of potters, spinners and other craftspeople who work with a wheel.
- Dorothy of Cappadocia, martyr (d. 303). Born in Cappadocia (now Armenia), the young Dorothy was imprisoned during the persecutions of Diocletian (303-311), and sentenced to death for having converted two female warders. The Golden Legend (1275) recounts that on her way to execution, she joyously announced that she would soon be in a garden, and was then mockingly baited by a lawyer named Theophilus to send him back some fruit and flowers from the garden. As she knelt for her beheading and prayed, a child (or in another version an angel) is supposed to have appeared with a basket of golden apples and roses. Dorothy then put three apples and three roses in a napkin, and asked the child to take them to Theophilus and tell him that she would meet him in the garden later. When Theophilus saw them, he was himself converted and later suffered martyrdom. Dorothy is patron of florists and gardeners, and here is depicted with the basket of golden apples and roses.
- Euphemia of Chalcedon, martyr (d. 307), was martyred for refusing to attend a festival in honor of the god Mars. One version of her death is that she was thrown to wild lions, who refused to devour her, and that eventually a bear mauled her to death. These legends of her death are largely discounted, although her life and martyrdom is confirmed by the early church erected in her honor, which was the site of the Ecumenical Council of Chalcedon in 451. By the late 4th century she was being depicted in the mantle of a Greek philosopher, and she is one of the saints on whom the Eastern church confers the title Great. Here she carries a palm of victory, and one of the lions which refused to devour her crouches at her feet.
- & 16. Perpetua and Felicitas of Carthage, martyrs (d. 203). Two early martyrs of North Africa end the top row of statues. Vibia Perpetua was a 22-year old noblewoman nursing a child, and her slave Felicitas was pregnant, when the two friends and newly-baptized Christians were imprisoned and condemned with four companions for refusing to recognize the emperor Septimus Severus as a god. Perpetua’s father begged her to recant, “saying such words as might move all creation,” and refused to return her infant son to her when she would not do so. Two days after Felicitas went into premature labor and gave birth to a daughter, they were thrown into the arena at the public games, holding on to each other as they were attacked by wild animals and finally beheaded. Their stories are recorded in Perpetua’s journal, the first Christian document known to be written by a woman, which describes her decision to relinquish her roles as daughter and mother, and to define her identity solely in spiritual terms. It also records her many prison visions, in which she found the meaning of her own death. Her journal concludes with an anonymous narrator’s description of Perpetua’s pinning up her hair, “since it was not fitting that a martyr should suffer with hair disheveled, lest she should seem to grieve in her glory,” and her final “shining steps as the darling of God.” Here, Perpetua and Felicitas are both depicted carrying palms of victory. Perpetua and her companions are commemorated in the Episcopal Church calendar on March 7.
At this remove, it is hard for us to appreciate that the consecrated virginity of Petronilla, Cecilia, Agnes, Barbara, and other early Christian women was a fundamental attack on the class structure of Roman society. In their insistence that their bodies belonged to themselves and not to the civitas, they rejected the universal Roman view of ethnic reproduction as a primary civic obligation and the primary value of women. Their independence as women added to the common view that Christians were a threat to the racial distinctions, patriarchal authority, ruthless militarism and slavery on which the Roman Empire was built.
The primary medieval source of information about ancient saints was the immensely popular Aurea Legenda (Golden Legend) compiled in 1275 by Jacobus de Voragine, archbishop of Genoa. It was the most often printed book in Europe for 60 years after its first publication in 1470. In William Caxton’s 1483 English translation, Cecilia informed Valerian on their wedding night that “I have an angel that loveth me which ever keepeth my body.” The surprised bridegroom then had a vision of an angel placing two crowns of roses and lilies on their heads and saying, “Keep ye these crowns with an undefouled and a clean body, for I have brought them to you from paradise . . . nor they may not be seen but of them to whom chastity pleaseth.” The legend continues that Cecilia was later martyred by an apocryphal Roman prefect (after addressing him as “a bladder full of wind”) by being beheaded in a boiling bath, but “the tormentor smote at her three strokes and could not smite off her heed. And the fourth stroke he might not by the law smite and so left her there lying half alive and half dead. And she lived three dayes after in that mannere, and gave all that she had to poor people and continually preached the faith all that while.”
- Blandina of Lyons, martyr (d. 177). Blandina, a frail slave girl, died along with her younger brother Ponticus, a boy of about 15, in the persecution of Marcus Aurelius in 177, twenty-five years after Christianity was first brought to Gaul. The persecution began with a ban on Christians entering private houses, baths, and markets, and then escalated to torture. Her mistress, also a Christian, initially feared that Blandina lacked the strength to endure, but she survived repeated tortures and seeing her brother die. Tied in a net, she was gored to death by a bull. The martyrs’ bodies were left to rot for a week, then burnt, and their ashes thrown into the Rhone. A letter from some survivors, later quoted by the historian Eusebius, says that Blandina ignored the pain because of “her hope and firm hold upon what had been entrusted to her.” Here she is depicted with the martyrs’ crown and carrying a palm of victory.
- Joan of Arc, visionary (1412-1431). The daughter of peasant farmers, Joan was born in Domrémy near the border of Burgundy toward the end of the Hundred Years War, a dynastic conflict over whether the English Plantagenets or the French Valois were to rule France. From the age of 13, Joan reported visions of Michael the archangel and then of Catherine of Alexandria and Margaret of Antioch. They eventually directed her to travel to Chinon to see the Dauphin (the impoverished Charles VII, who had not yet been crowned) in order to inspire his armies to clear the way to Reims for his coronation. Her father refused to let her go but her friends found her a horse and boy’s clothing. As a test, the Dauphin disguised a courtier as king, but Joan went directly to the true king and greeted him. After months of doubt and indecision, the Dauphin gathered an army for Joan to lead. White butterflies were said to follow Joan wherever she rode with her unfurled battle banner with two angels supporting the arms of France. When the army moved to the besieged city of Orleans, the 17 year old Joan’s presence inspired the soldiers with confidence, and she so harassed the English that they withdrew. Her army entered Reims on July 16, 1429, and the next day the Dauphin was crowned as Joan stood by. Over the next year, he refused to take her advice to press his military advantage and, when she attempted to recapture Paris from the English, he denied her adequate support and the attempt failed. During a sortie on May 23, 1430, she was captured by the Burgundians, who sold her to their English allies for 10,000 pounds. Charles made no effort to save her. The English wanted her condemned by a French ecclesiastical court, and the Burgundian-controlled University of Paris provided the charges of heresy and witchcraft. After months of imprisonment in chains and threats of torture, she was tried at Rouen. Asked why she refused to do woman’s work, she replied, “There are plenty of other women to do it.”
On May 23, 1431, she was condemned to be burned unless she recanted. She eventually did recant and her death sentence was commuted to life imprisonment, but the commutation enraged the English, and soon she was accused of relapsing. On May 30, 1431, the 19 year-old Joan was turned over to civil authority, taken barefoot to the Rouen marketplace and burned at the stake. After the French eventually prevailed, Charles VII pressured the church to review the verdict against Joan, and in 1456 a papal court annulled the judgment against her. Eventually she came to be regarded as a French national hero and the patron of soldiers. In 1920 the Roman Catholic Church proclaimed her a saint.
Joan has been called the first Protestant because she insisted on the primacy of her individual experience and singlemindedly refused to submit the validity of her “voices” to the church fathers who judged her. In all her complexity, she has inspired plays by Schiller and Shaw, operas by Verdi and Tchaikovsky, oratorios by Gounod and Honneger, a ballet by Martha Graham, a 1928 film by Carl Dreyer, and even a novel by Mark Twain. “Ardent, impatient, boastful, resistant, implacable, she is like all great saints, a personality of genius, . . . the patroness of the vivid life, prized not for military victories but for the gift of passionate action taken against ridiculous odds, for the grace of holding nothing back” (Mary Gordon).- Gertrude of Belgium, abbess and virgin (626-659). Gertrude was the daughter of Pippin the Elder, founder of the Carolingian dynasty, and because of his wealth she was vulnerable to a forced marriage. When her father made a politically-motivated choice of a husband for her, she (according to a contemporary) “lost her temper and flatly rejected him with an oath.” On Pippin’s death in 639, her mother Itta built double Benedictine monasteries for men and women at Nivelles, which both she and Gertrude joined. Gertrude became abbess when she was about age 20, and was a good administrator who was known for her hospitality to pilgrims and her encouragement of Irish missionary monks. She resigned her office at the age of 30 in favor of her niece, Gudule, and concentrated on the spiritual life until her death three years later. Gertrude was considered patron of gardeners because fine weather on her March 17 feast day meant it was time to begin spring planting. She is also patron of travelers because of the many travelers’ hospices she established; medieval pilgrims traditionally drank a toast (the Gertrudenminte) in her honor before setting out. Continuing in the same line of work, she was also popularly supposed to harbor souls on their three-day journey to paradise, with their first night under the care of St. Gertrude, and their second night protected by St. Michael the archangel. Her symbol is the mouse (shown here crawling up her abbatical crozier), since Teutonic tradition regarded mice as the emblem of souls.
- Elizabeth of Hungary, princess and philanthropist (1207-1231), was the daughter of King Andrew II of Hungary. She was betrothed at birth to the seven-year-old future Landgrave of Thuringia, Ludwig IV, and at the age of four was sent to be raised along with her future husband. Ludwig succeeded at the age of 21, when Elizabeth was 14. Their marriage lasted only six years before she was widowed, but it was renowned as a paragon of mutual happiness and produced three children. Elizabeth lived a simple, almost ascetic life, encouraged by Ludwig in her spiritual life and in her generous charities and ministries to the poor and suffering. Using her own dowry and selling her jewels, she built hospitals and orphanages, established work projects to provide employment, and personally nursed and cared for the needy. After Ludwig died of the plague, her brother-in-law Heinrich, named regent for the eldest of her three infant children, seized the throne and exiled Elizabeth, accusing her of profligate charity. She turned down an offer of marriage from the Holy Roman Emperor Frederick II (1194-1250), and instead became a Franciscan tertiary (lay associate) and ministered to lepers, the poor, and the dying – sewing to clothe the poor and fishing to feed them. She was famed for her constant cheerfulness and positive outlook until her death at the early age of 24. Here she is shown holding out one of the loaves she is distributing to the poor, while the remainder of them, gathered in her mantle, have turned to roses in the sight of her husband Ludwig, who had asked to see what she was carrying. She was declared a saint in 1235, and is patron of bakers, young brides, and widows. The numerous “St. Elizabeth’s Hospitals” throughout the world are for the most part named after her. Elizabeth is commemorated in the Episcopal Church calendar on November 19.
- Margaret of Scotland, queen (1046-1093). After William the Conqueror’s victory at Hastings in 1066, Harold’s uncrowned heir in the old royal Saxon line, Edgar Etheling, went into exile in Scotland with his sister Margaret. In 1070, Margaret married King Malcolm III (son of Duncan, who was murdered by Macbeth) and became Queen of Scotland. Her dowry was said to have included the Black Rood of Scotland – a piece of the alleged Holy Cross set in an ebony crucifix, which she is here depicted holding, and after which Scotland’s government seat, Holyrood House in Edinburgh, is named. Margaret and Malcolm had eight children, including two who became kings of Scotland, Alexander and St. David I. Margaret was a cultured woman who was highly regarded for influencing both the country and her husband for the better, softening his undisciplined and tempestuous personality. She encouraged the founding of schools, hospitals, and orphanages, and herself fed the starving, adopted orphans, ransomed English captives, and inspired her husband to feed crowds of the poor with their own hands. She revived the abbey of Iona in 1072, and founded Dunfermline Abbey as the Scottish equivalent of Westminster. She was less successful in preventing feuding among the Highland clans, and on her deathbed learned that both her husband and her son Edward had been killed in battle against William Rufus of England. She was declared a saint in 1249. Theodoric, a monk who was with her in her last illness, wrote to her daughter, “Let others admire the tokens of miracles which they see in others, I, for my part, admire much more the works of mercy which I saw in Margaret. Miracles are common to the evil and to the good, but the works of true piety and charity belong to the good alone. The former sometimes indicate holiness, but the latter are holiness itself.” She is patron of Scotland. Margaret is commemorated in the Episcopal Church calendar on November 16.
- Hilda of Whitby, abbess and educator (614-680). Hilda (known to contemporaries as “Hild”) was orphaned at 13 and went to live with her granduncle King Edwin of the Angles kingdom of Northumbria. They were baptized together at Easter, 627. At the age of 33 she joined her sister Hereswitha as a nun in France, but returned to Northumbria at the request of St. Aidan, bishop of Lindisfarne, to become abbess at Hartlepool. She later founded and served as abbess of a highly regarded double monastery (a community of men and another of women, with a chapel in between) on a high cliff overlooking the North Sea in Yorkshire. She knew it in Saxon as Streanschalch, “Beacon Bay”; two centuries later Danish invaders renamed it Whitby. It was a beacon of culture and learning for both men and women, where Hilda promoted the study of the Scriptures and thorough education for the clergy. Her nuns were highly sought out as teachers, and five of the monks were later bishops. She also encouraged the poetic leanings of one of her stable-boys, Caedmon, who composed religious poems in Anglo-Saxon and is considered the first poet of the English language. Eventually the English Church had to choose between the old Celtic liturgical customs and the Roman customs that missionaries had brought with them. Hilda herself greatly preferred traditional Celtic customs, but when the Synod that she hosted at Whitby in 664 to determine the matter decided on Roman usages, she accepted them and used her influence to obtain their peaceful acceptance. Though she lived the last six years of her life in constant fever, she continued her duties as abbess and died at the age of 66. Only a century later, Charlemagne prohibited monastic women from teaching due to “the weakness of her sex and the instability of her mind.” Here Hilda is depicted crowned and carrying a church model of the Whitby monastery in her hands. She is commemorated in the Episcopal Church calendar on November 18.
- Ethelreda of Ely, abbess and queen (640-679). Daughter of the King of East Anglia and a niece of Hilda of Whitby, the princess Ethelreda (known as Audrey), married the boy-prince Egfrid and became queen of Northumbria for reasons of state, but refused to consummate the marriage because she had taken a vow of virginity. Twelve years later, her frustrated husband, grown to manhood, tried to bribe the local archbishop, Wilfrid of York, to release her vow, but Wilfred instead released her from the marriage and aided her flight south to the Benedictine abbey of Coldingham. Her husband pursued but gave up after they were separated by a miraculous high tide that was reported to have lasted seven days. Audrey became a Benedictine nun, and in 672 founded and became abbess over a great double abbey for men and women where the present Ely Cathedral now stands. Seven years later, after suffering from neck cancer, she died of the plague. Because of the many miracles attributed to her intercession, she was the most revered of all Anglo-Saxon women saints and Ely became an important pilgrimage site. Throughout the Middle Ages, an annual fair was held at Ely on her June 23 feast day, and the shodiness of the cheap necklaces that were sold there to cure illnesses of the throat led to the coining of the word “tawdry” (a corruption of “St. Audrey”). The English historian, the Venerable Bede, wrote a long hymn in her praise. She is patron of Cambridge University, and of those suffering from throat and neck ailments. Here she is depicted crowned and holding her abbatical crozier and a prayer book.
- Ursula of Cologne and companions. Saint Ursula’s Church in Cologne has an ancient stone plaque indicating that it stands on the site of an earlier basilica built to honor a group of virgins who had been martyred there, perhaps during the persecution of Diocletian (303-311). Almost surely they numbered 11 rather than the traditional figure of 11,000, an exaggeration probably caused by a misreading of Roman numerals. In the 8th or 9th centuries these meager facts were elaborated into two pious fables. One of these, recounted in the Golden Legend (1275), claimed that Ursula was the daughter of a 5th century Christian king of Britain, who was granted a three year postponement of a marriage she did not wish to a pagan prince, set sail to Switzerland with 10 companions (each of whom traveled with 1,000 ladies in waiting), and then crossed the Alps to Rome. On their way back, the leader of the Huns fell in love with her, was spurned, and massacred both Ursula and her 11,000 companions. In the other legend, King Dionotus of Cornwall sent his daughter Ursula to marry Cynan Meiriadog, the Roman general who became the first King of Brittany (ca. 383), along with 11,000 noble maidens as wives for his other colonizers. Their fleet was shipwrecked and all the women were enslaved or murdered. Since Ursula is often (although not here) depicted holding an arrow, these pious fictions may be a conflation of Ursula with the old Teutonic myth of Urschel, the moon goddess who carried a bow and arrow and sailed the Rhine in a ship full of maidens. Ursula is here depicted with her 11 companions under the spread of her cloak.
- Bridget of Sweden, reformer, abbess and educator (1303-1373). Birgitta Birgerstotter was the daughter of the Swedish prince Birger, governor of the province of Upland, and of Ingeburdis, a descendent of the Gothic kings. In obedience to her father, at the age of 16 she married Prince Ulfo Gundarsson, son of the governor of the province of West Gothland, by whom she had eight children. In 1335 she became chief lady-in-waiting to the Queen of Sweden. In 1341, she and her husband made a pilgrimage to the shrine of the apostle James at Compostela in Spain, and on the return trip Ulfo fell ill and died. Birgitta renounced her rank of princess and adopted a more ascetic life. As a child, she had dreams about the suffering of Christ, and now her dreams and visions grew more frequent and vivid, and became the focus of her life. She devoted her life to prayer, to assisting the poor, and to speaking plainly to those in power. She mediated between warring rulers, and warned the Pope at Avignon that it was his duty to return to Rome. In 1351 she founded an order of both monks and nuns, to be governed by an abbess, and with a rule adapted from that of Augustine of Hippo. Popularly called the Brigittines, the order spread through Europe, and was an important educational influence. She was declared a saint in 1391 and is patron of Sweden. Here she is represented crowned and holding a prayer book, and with her traditional emblems, the red spots symbolic of Jesus’ five wounds in the bands over her veil, Jesus’ crown of thorns, and the crucifixion nails.
- Christina of Bolsena, martyr (3d century). Christina of Bolsena, in Tuscany, was probably a real martyr during Diocletian’s persecution (303-311), but her legend has been imported from an Eastern fable of another 3rd or 4th century martyr, Christina of Tyre, and adapted to local Tuscan conditions. Both legends are narratives of ordeals endured and of miraculous occurrences, but are without any historical value. Here she carries a palm of victory, and nearby is her traditional emblem, the millstone to which she was allegedly tied and thrown into the Lake of Bolsena by her pagan father. The legend is that she was saved by an angel, which caused her father to die of spite.
- Clare of Assisi, abbess (1194-1253). At the age of 18, Clare Offreduccio, the daughter of a merchant class family of Assisi in Umbria, heard Francis of Assisi, the 30-year-old Il Poverello (“little poor man”), preach, and was moved to follow his example and commit herself to a simple life. On Palm Sunday, 1212 she remained immobile during the traditional coming-out ceremony when the gowned daughters of the town’s elite received their palm fronds from the bishop. That same night she slipped out of the house through “the door of the dead” (a small side door traditionally opened only to carry out a corpse) and went to Francis, who eventually established her and several similarly-minded women in a small house at San Damiano outside Assisi. Eventually known as the Poor Ladies or Poor Clares, they shared Francis’ new spirituality – its evangelical passion, and its rejection of elaborate ritual and handsome buildings in favor of corporate as well as personal poverty, devoting themselves to prayer, nursing the sick, and works of mercy. Clare refused for three years to assume the role of abbess until (as one of the sisters reported) Francis “almost forced her.” She rebuffed a papal attempt to endow her order with land and buildings, and eventually gained approval to live entirely by the work of their hands and by asking for alms, without any kind of endowments – then a shockingly unorthodox economic arrangement for women. When in 1241 the looting army of the Holy Roman Emperor Frederick II threatened Assisi, she had herself carried to the convent wall clutching the Holy Eucharist and asked the Lord to “protect these Sisters whom I cannot protect now,” when a voice seemed to answer, “I will keep them always in my care” and the soldiers fled. For that reason, she is traditionally pictured (as here) holding a eucharistic paten. In 1250, defying the almost universal proscription against women speaking outside of the personal context, as well as the Fourth Lateran Council’s 1215 ban on the establishment of new religious orders, she became the first woman to write a rule for monastics. It has an assured and tender tone, provides for decentralized governance and anticipates good sense rather than control. In spite of a personal tendency toward ascetic excesses and 28 years of continual illness, often confined to her bed, Clare wrote of moving through life “with swift pace, light step, and unswerving feet.” She finally received papal approval of her rule, and died the next day. On her deathbed, she was heard to murmur, “Go calmly in peace, for you will have a good escort. The one who created you has sent you the Holy Spirit and has always protected you as a mother does her child who loves her.” Asked to whom she was speaking, she answered, “To my soul.” Clare is commemorated in the Episcopal Church calendar on August 11.
- Catherine of Siena, reformer and spiritual teacher (1347-1380). Catherine di Benincasa was the second youngest of 25 children of a prosperous wool dyer in Siena, in northern Italy. She started having mystical visions when she was only six, and the death of her favorite older sister sealed her determination to resist an arranged marriage and to devote herself to Christ as a virgin. Her family retaliated by forcing her to work as the family servant, until her father came upon her praying and saw a white dove above her head, when he dropped his opposition. At 16, she joined a tertiary order of Dominicans, the mantellata, mostly widows who lived in their own homes and cared for the poor and the sick. She spent her first three years at home, living as a hermit in silence and prayer, after which she had an intense mystical experience in which Jesus positioned himself outside her door and told her to come out, too, and serve the poor and sick. She did so, working as a nurse and caring for patients with leprosy, advanced cancer, and plague. Though she urged other women not to follow her example, she was a lifelong anorexic and given to extreme forms of self-mortification (she thought of herself as “a mirror of human weakness”).
She was also a person of extraordinary personal charm and insight (a modern writer calls her “one of God’s own show-offs”) and began to acquire a reputation as a spiritual advisor to all sorts of people. She developed an astonishing public life for a woman of the late Middle Ages – preaching to thousands in public squares, and becoming a renowned mediator in Siena and then in other Tuscan cities, healing the wounds of faction and civil war. “It is through silence that the world is lost,” she explained. She corresponded with men and women of all sorts, including the princes and republics of Italy, and the new pope, Gregory XI, whom she implored to reform the clergy and the administration of the Papal States and to leave Avignon, where popes had been under the political control of the kings of France since 1303. “Don’t make it necessary for me to complain about you to Christ crucified,” she cajoled the pope. On a less happy note, she also ardently threw herself into Gregory’s unrealized plans for a crusade against the Muslims, in hopes of becoming a martyr, and of restoring peace to Italy by putting the wandering companies of mercenaries to other use. In June 1376 she went to Avignon as ambassador of Florence, which was at war with the Papal States. Though unable to make peace, she so influenced Gregory that he returned to Rome in January 1377, over the opposition of almost all his cardinals and the French king. Catherine then became the pope’s own ambassador to Florence, narrowly escaping an enraged mob’s attempt on her life, until peace was signed in August 1378.
She then returned home and dictated her Dialogue, the book of her meditations and revelations which is considered a classic of the Italian language, written in the concrete, earthy Tuscan vernacular of the 14th century. The keynote of her writing is that all of us, whether in the cloister or in the world, must ever abide in the cell of self-knowledge where the traveler from time to eternity is born. At the request of Gregory’s successor, Urban VI, the last two years of her life were spent in Rome, working for the reformation of the church and the end of the Great Schism (1378-1417), which saw three competing claimants to the papacy. She supported Urban, the Roman claimant, but her letters urging him to curb his own arrogance are uncompromising; one historian says that she perfected the art of kissing the pope’s feet while simultaneously twisting his arm. Brokenhearted over her inability to end the schism, one day while praying before a mosaic in old St. Peter’s Basilica, she felt Peter’s fishing boat (a symbol of the church) leave the mosaic and land on her shoulder, crushing her to the ground. She had to be carried home, and was virtually paralyzed and in great pain for three months until immediately before her death when, a priest in attendance reported, “her tearful and clouded eyes became serene and joyous, like one saved from a deep sea.” She died on April 29, 1380, at the age of 33. Catherine was declared a saint in 1461. She has been called a social mystic, and is patron of Italy, and a fit patron for those who feel crushed by religious institutions. Here she carries her usual emblems of a lily and the book of her Dialogue. Catherine is commemorated in the Episcopal Church calendar on April 29.- Agatha of Catania, martyr. Agatha was born and martyred in the city of Catania in Sicily, probably during the persecution of Decius (250-253). There are no reliable details about her death, but the Golden Legend (1275) recounted that after she refused the sexual advances of a judge, Quintian, he had her imprisoned in a brothel, where she was assaulted for a month. She was then repeatedly tortured and denied medical attention before her death. One of these tortures was to have her breasts cut off, the instrument of which she is depicted holding in her right hand, while she reads a prayer book held in her left. She is patron against diseases of the breast and (because her intercession was thought to have prevented an eruption of Mt. Etna shortly after her death) against fire.
- Lucy of Syracuse, martyr and virgin (ca. 283-304). Little is known of Lucy except that she lived in Syracuse in Sicily, and probably died around 304 in the persecution of Diocletian (303-311). One story, found in the Golden Legend (1275), is that her rejected pagan fiancee denounced Lucy as a Christian after she vowed her life to the service of Christ. Her name, which means “light,” probably accounts for the story that her eyes were put out and her eyesight miraculously restored. In Scandinavian countries, her feast day is observed by having a daughter wearing a crown of lighted candles go from room to room singing to awaken the family and offering them St. Lucy’s Cakes. As patron of the blind, she here carries a lamp as her emblem, along with a palm of victory.
- Monnica of Hippo (331-387). Monnica was the mother of Augustine of Hippo (354-430), a major Christian writer and “the son of so many tears,” as he admits in his Confessions. She was born to moderately wealthy Christian parents in North Africa, in what is now Algeria. She was married to Patricius, who became a Christian a year before his death in 371. The marriage is thought to have been an abusive one, and it appears that both were heavy drinkers. Monnica early realized her son Augustine’s intellectual gifts and natural leadership skills, and initially had strong ambitions for his success in a secular career. But when the young Augustine scorned his mother’s Christianity and shopped among pagan philosophies for clues to the meaning of life, she focused all her hopes on his spiritual life. When, as an orator and teacher of rhetoric, he moved to Milan, the widowed Monnica followed him. She attended the church pastored by Ambrose of Milan (340-397), from whom Augustine eventually discovered that Christianity could be intellectually respectable. He was baptized on Easter Eve in 387. Monnica died that same year at the age of 56, when they were about to depart from Rome’s port of Ostia to return to North Africa. Augustine reports that she told him, “Nothing is far from God, and I have no fear that God will not know where to find me, when he comes to raise me to life.” In his Confessions Augustine looked back on his life and recognized the centrality of his mother’s perseverance to his own spirituality and ministry. She is pictured here with hands raised in prayer, the model of unswerving entreaty. Monnica is commemorated in the Episcopal Church calendar on May 4.
- Julia of Corsica, martyr (d. c. 616-620). According to legend, Julia was of a noble Carthaginian family and, when the Vandal king Genseric (c. 389-477) captured Carthage in 439, was sold as a slave to a Syrian merchant. While on the way to Gaul, her ship stopped at Corsica. When Julia refused to participate in a pagan festival that was being held there, the governor of the island, Felix, had her tortured and crucified. She is patron of Corsica.
- Genevieve of Paris (422-512). [statue missing] Genevieve (also known as Genovefa), the patron of Paris, is regarded as the link between the old Celtic-Roman Gaul and the Frankish realm that became France. According to the Golden Legend (1275), she was a shepherdess and the only child of hardworking peasants, Severus and the blind Gerontia, in Nanterre, a village outside Paris. She was seven years old when St. Germain, bishop of Auxerre, passed through her village, singled her out from the crowd, and at her request accepted her dedication of her life to God. When she was 15, her parents died and she went to live in Paris, where Notre Dame now stands. She loved to pray at the shrine of St. Denis alone at night. One night, when a gust of wind blew out her candle, leaving her in the dark, she concluded that the devil was trying to frighten her. For this reason she is often (as here) depicted holding a candle, sometimes with an irritated devil standing near. When Attila the Hun marched on Paris in 451 to take Gaul from the Visigoths, the inhabitants prepared to evacuate, but Genevieve persuaded them to fast and pray instead. She gathered the women of Paris around her, and led them out to the ramparts of the city at dawn, where in the face of the enemy they prayed for deliverance. When Attila suddenly redirected his course of march toward Orléans, she gained her reputation as the protector of Paris. Later, when Clovis (466-511), king of the Salic Franks, prepared to starve out Paris in 486, she is supposed to have captained eleven barges which slipped out at night through enemy lines and returned loaded with grain from Champagne. Under her influence, Clovis became a Christian (though only because he believed he had won a battle with the Christian God’s help) and built a church in the middle of Paris, where at her death genevieve was buried, and in whose honor it was renamed. In 1793 her relics were burned and thrown into the Seine during the Revolution, and Ste. Genevieve was secularized and renamed the Panthéon. In the statue missing from Lindsey Chapel, she is pictured holding a book as she went to pray at the shrine of St. Denis, and in her other hand a taper which a devil, in the shape of a storm, tries vainly to blow out.
- Gudule of Brussels (d. 712). The daughter of a titled family, Gudule was raised at a convent in Nivelles, Belgium, and trained for the religious life by her cousin, Saint Gertrude. After Gertrude’s death, she returned to her parents’ home and spent her days in religious devotion and good works for her neighbors. She is (as here) traditionally shown holding a lantern, which the devil, perched on her left shoulder, unsuccessfully tries to blow out with a bellows as she takes a long night walk to pray at a church two miles from her home. She is the patron of Brussels. The flower tremella deliquescens, which bears fruit in early January, is known as “St. Gudule’s lantern” because not even the winter can extinguish it.
- Eulalia of Mérida, martyr and virgin (ca.292 – ca.304). [statue missing] Eulalia, born in Mérida, Spain, was a famous early martyr praised by Augustine of Hippo (354-430) and by the poet and hymnist Prudentius Fortunatus (348-405). The details of her life are based almost entirely on legend. As a 12 year old girl, Eulalia was said to have reproached a local judge, Dacian, for forcing Christians to worship Roman gods in accord with Diocletian’s edict of 303 c.e.. Dacian was at first amused, but when Eulalia rejected his flattery and trampled on the sacrificial offering cake, he ordered that she be burnt alive. Her legend holds that snow fell over her body (and nowhere else) until she was buried by fellow Christians. The oldest extant poem in the French language, Cantilene de Sainte Eulalie, recounts her life.
- Teresa of Ávila, reformer, prioress and spiritual teacher (1515-1582). [statue missing] Teresa de Cepeda y Ahumada was born in Ávila, Castile. Her paternal grandfather, Juan Sánchez, was a converso, a Jew who had converted to Christianity in 1492 as an alternative to expulsion under Ferdinand and Isabella. At the age of 20, she decided to become a nun and entered the Carmelite convent in Ávila, where she fell seriously ill with malaria and then into a coma. She was partially paralyzed for three years, and her health remained permanently impaired. Convents were then often boarding houses for unmarriageable women, with little sign of religious dedication. Finally, after 23 years in such lax surroundings, unsuccessfully struggling to feel God’s presence by summoning up mental images as she had been taught, she had a flash of insight that her mind understood nothing at all. She then developed a vivid sense of the presence of God, and determined to found a new, self-governing convent that went back to the basics of a contemplative order, a simple life of poverty devoted to prayer. Once her reform plans leaked out, she was denounced from the pulpit, admonished by her fellow sisters to raise money for the convent she was already in, sued by the townspeople of Ávila (since reform would challenge the role of convents as homes for their superfluous daughters and memorial chapels for themselves), and threatened with the Spanish Inquisition (which was deeply suspicious of interior prayer as dangerously private and Protestant). Nevertheless she went ahead and two years later took up residence in the first convent of discalced Carmelite nuns, established in an Ávila house secretly purchased in her sister’s name. The following years, as her convent grew, were the most peaceful of her life. At 51, she felt it was time to spread her reform to the rest of the Carmelite Order. Over the next 16 years, she established 17 reformed convents and, with a young friend half her age, John of the Cross (1542-91), four priories for friars. At the age of 62 she composed her masterpiece, The Interior Castle, on the life of Christ in the heart of the believer. She suffered from many illnesses, some of which were probably psychosomatic, though she may also have had a thyroid problem and later metastasized uterine cancer. Worn out by illness, travel and constant opposition, she died at the age of 67. Teresa is reported to have been unusually attractive and affectionate, a notable cook and a witty and candid conversationalist. “God deliver me from sullen saints,” she said, and advised her nuns who felt depressed to eat steak. Asked by her brother how to meditate on hell, she advised, “Don’t.” After being thrown from her donkey while crossing a swollen river, she seemed to hear within her the voice of Jesus telling her, “This is how I treat my real friends,” to which she shot back, “No wonder you have so few.” Though forbidden as a woman to preach or comment on scripture, she still found a way to function as a spiritual teacher, writing four books and hundreds of letters. She ignored the papal nuncio’s denunciation of her as “an unstable, restless, disobedient and contumacious female” and bluntly wrote her nuns, “They say for a woman to be a good wife, she must be sad when her husband is sad and joyful when he is joyful .... See what subjection you have been freed from, Sisters!” and “I’ve had lots of experience with learned men, and also with half-learned, fearful men, who have cost me plenty.” As if to prove the point, after she was declared a saint in 1622 (for “overcoming her female nature”) and co-patron of Spain along with the apostle James the Elder, some Spaniards objected and the papal bull was revised to make recognition of the female co-patron optional. In the image missing from Lindsey Chapel, she holds one of her treatises and her pen.
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