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THE MOTHER WHO PRAYS

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Our second Indian saint to be canonized in November isBLESSED EUPHRASIA ELUVATHINGAL who was born in 1877 in the village of Kattoor, in Kerla. Her mother’s deep piety and great devotion to the Mother of God, had a strong influence on little Rose from her childhood. From the stories that her mother told her, especially about St Rose of Lima, she grew with a strong desire to be holy in a quiet, hidden manner.

During her developing years Rose began to detach herself from earthly possessions and pleasure and took a great interest in spiritual matters. This was all the more rooted in her at the age of 9 by means of an apparition of the Blessed Mother, after which the young girl offered herself totally to the Lord.

Her father wanted Rose to marry into a rich family,  but she wanted to become a nun. Her intense prayer life, which included the rosary, fasting and abstinence, as well as the rather sudden death of her younger sister, brought about a change of heart in her father who granted Rose permission to enter the convent. He then personally accompanied her  to the convent of the Congregation of the Mother of Carmel at Koonammavu

Even with her desire to be a nun, Rose was often afflicted with various illnesses which caused her intense suffering. Once, during a particularly painful attack, the Sisters were resolved to send her away for ever, but through an apparition of the Holy Family she received a miraculous healing that permitted her to continue following God’s call.

In 1900 she made her perpetual vows  and for almost 48 years she observed a life of prayer and holiness. The local people called her “Praying Mother”, and her Sisters in community referred to her as the “Mobile Tabernacle”, because the divine presence she kept within her radiated to all she encountered.


Bl. Euphrasia gave her love and tenderness to those who sought her help, giving them the comforting words of Jesus’ Gospel. For each little kindness bestowed upon her she would reply, “I will not forget it, not even after death”.

Bl. Euphrasia had a profound sense of Church and she personally felt the sorrows and problems of the Church of her day. She offered her sufferings and penances for the conversion of the schismatics threatening the Church at the time, and asked the novices and children to pray for them. She died in 1952.

After Bl.  Euphrasia’s death many of those who had obtained her help during her lifetime now continued to beseech her help at her tomb. In 2006, she became the fifth Blessed of Kerala, India, and the sixth in India.




PROCESSION

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Procession (Amadeo de Souza Cardoso- Portugal -1913)
Last year at this time I was once again in Piura, Peru, and was able to see the Catholic youth of that city  in Procession for the feast of CORPUS CHRISTI. Each College within the Uni had its own "station" decorated with flowers and set up with an altar where there would be brief Adoration. While it was already summer here, it was winter there so the whole process was by candle light- thousands of candles lighting the darkness. My friend and I who partook of that solemn, lovely night, were most impressed with the devotion of Peru's young  and old.

For centuries after the celebration was extended to the universal Church, the feast was also celebrated with a Eucharistic procession, in which the Sacred Host was carried throughout the town, accompanied by hymns and litanies. The faithful would venerate the Body of Christ as the procession passed by. While it is still  celebrated in our monastery, this practice has almost disappeared in recent years in our own country, though some parishes still hold a brief procession around the outside of the parish church.



Corpus Christi Procession (Jack P. Hanlon, Ireland 1943)

The Feast of Corpus Christi, or the Feast of the Body and Blood of Christ, goes back to the 13th century, but it celebrates something far older: the institution of the Sacrament of Holy Communion at the Last Supper. While Holy Thursday is also a celebration of this mystery, the solemn nature of Holy Week, and the focus on Christ's Passion on Good Friday, overshadows that aspect of Holy Thursday.

St. Thomas Aquinas composed the Office (the official prayers of the Church) for the feast, which is widely considered one of the most beautiful in the traditional Roman Breviary. It is the source of the famous Eucharistic hymns "Pange Lingua Gloriosi", "Lauda Sion" and "Tantum Ergo Sacramentum."


Gerald Cassidy (New Mexico-1934)
Jesus, Shepherd mild and meek,
shield the poor, support the weak;
help all who Thy pardon sue,
placing all their trust in You:
fill them with Your healing grace!
Source of all we have or know,
feed and lead us here below.
grant that with Your Saints above,
sitting at the feast of love
we may see You face to face.
Amen. Alleluia. (last verse "Lauda Sion")

OUR MOTHER UNTIES OUR MESSES

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The original painting
MARY UNTIER of KNOTS (or Mary Undoer of Knots) is the name of both a Marian devotion and a Baroque painting (German: Wallfahrtsbild or Gnadenbild) which represents that devotion. The painting by Johann Georg Melchior Schmidtner, of around 1700, is in the Catholic pilgrimage church of St. Peter am Perlach in Augsburg, Bavaria, Germany. Pope Francis saw the image while in Germany as a student and promoted her veneration in Latin America.

The concept of Mary untying knots is derived from a work by St. Irenaeus of Lyons "Against Heresies". In Book III, Chapter 22, he presents a parallel between Eve and Mary, describing how "the knot of Eve's disobedience was loosed by the obedience of Mary. For what the virgin Eve had bound fast through unbelief, this did the virgin Mary set free through faith."

I came across this image weeks ago when looking for art for Eastertide.  Amazing!  Who do we turn to when in distress to "bail us out"  but our mother, and how more appropriate to ask our Heavenly Mother to undo our messes!

The painting, executed in the Baroque style  shows the Blessed Virgin Mary standing on the crescent moon surrounded by angels and with the Holy Spirit hovering above her circle of stars as she unties knots into a long strip and at the same time rests her foot on the head of a "knotted" snake.

Below are shown a human figure and his dog accompanying a much smaller angel. This scene is often interpreted as Tobias with his dog and the Archangel Raphael traveling to ask Sara to be his wife. The two small figures have also been interpreted as a representation of Wolfgang Langenmantel, the grandfather of the benefactor, guided in his distress by a guardian angel to Father Jakob Rem, S.J.  in Ingolstadt.  Wolfgang was on the verge of separation from his wife Sophia Rentz  and therefore sought help. Father Rem prayed to the Blessed Virgin Mary and said: “In this religious act, I raise the bonds of matrimony, to untie all knots and smoothen them”. Immediately peace was restored between the husband and wife, and the separation did not happen. In the memory of this event, their grandson commissioned the painting of the “Untier of Knots”.

(Theophilia)
The image of "Mary Undoer of Knots" is especially venerated in Argentina and Brazil.This devotion has grown since Jorge Mario Bergoglio, S.J. (later Pope Francis), brought a postcard of the painting to Argentina in the 1980s after seeing the original while studying in Germany. The devotion reached Brazil near the end of the 20th century.  The Holy Father had this image of Mary engraved on a chalice he presented to Pope Benedict XVI and another chalice bearing her image, the work of the same silversmith, is to be presented to Pope Francis on behalf of the Argentine people.

MARY'S HEART

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(Cameron Smith-USA)
Today is the Feast of the SACRED HEART of JESUS but tomorrow is a lesser known feast of the Mother of God.
 
THE IMMACULATE HEART of MARY
is a feast in which we commemorate the interior life of the Blessed Virgin Mary, her joys and sorrows, her virtues, and above all, her  love for her son Jesus, and as well as her compassionate love for all her children.

Devotion to the Immaculate Heart of Mary is primarily based upon the Sacred Scriptures. In the New Testament, there are two references to the Heart of Mary in the Gospel according to St. Luke: .."Mary treasured all these things and reflected on them in her heart. " (Lk 2: 19) and " His mother meanwhile kept all these things in her heart. " (Lk 2:51)

While we catch a glimpse of the beginning of this devotion in the 12 Century, through St. Anselm and St. Bernard, St. Gertrude the Great, and St. Mechtilde,  St. Bernardine of Siena (d.1444) has been called the Doctor of the Heart of Mary due to his writings on Mary's heart. He wrote, "from her heart, as from a furnace of Divine Love, the Blessed Virgin spoke the words of the most ardent love."

St. John Eudes (d.1680) helped by his writings to begin a renewal in this devotion. Both Pope Leo XIII and Pope St. Pius X called him, "the father, Doctor, and Apostle of the liturgical cult of the Sacred Hearts of Jesus and Mary”.



Inigo Hicks- USA
Pope Pius XII instituted the feast of the Immaculate Heart of Mary in 1944 to be celebrated on 22 August, coinciding with the traditional octave day of the Assumption, but in 1969, Pope Paul VI moved the celebration of the Immaculate Heart of Mary to the  Saturday, immediately after the Solemnity of the Sacred Heart of Jesus.

On October 13, 2013, as part of the Marian Day celebration, Pope Francis consecrated the world to the Immaculate Heart of Mary.


Traditionally, the heart is depicted pierced with seven wounds or swords, in homage to the seven sorrows of Mary. Also, roses or another type of flower may be wrapped around the heart.



Stephen B. Whatley- England





THE WEST'S FASTEST NUN

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As we celebrate our Independence Day, I put forth someone most if us have never heard about, but who played a great part in the Western part of the USA. One who kept the gun-slingers of our West in check!

SISTER BLANDINA SEGALE,  known for her work in New Mexico, is on her way to becoming a saint. This is the first time in the history of the Catholic Church in New Mexico that a decree opening the cause of beatification and canonization has been declared.

 Rosa Maria Segale was born Jan. 23, 1850, in Cicagna, Italy, and was 4 when her family moved to Cincinnati. Her first word as a child was reportedly “Gesu” (Jesus). In 1866, she and her sister, Maria Maddelena, entered the Sisters of Charity of Cincinnati, becoming Sister Blandina and Sister Justina.


She spent much of her ministry helping those in New Mexico. She helped start schools in Albuquerque and Santa Fe. Along with the Sisters of Charity, she founded St. Joseph’s Children Health. That organization petitioned for her canonization. Sister Blandina, a nun with the Sisters of Charity of Cincinnati, came to Trinidad, Colorado, in 1877 to teach poor children and was later transferred to Santa Fe, where she co-founded public and Catholic schools.


During her time in New Mexico, she worked with the poor, the sick and immigrants. She also advocated on behalf of Hispanics and Native Americans who were losing their land. Church officials said the work she’s done embraces issues still prevalent in today’s society.


But while this  Italian-born sister  was dedicated to helping the sick and immigrants, it is her encounters with Western outlaw Billy the Kid that has became the stuff of legend. Seems she  intervened to stop the Kid murdering four doctors who had refused to treat his friend's gunshot wound.  Sister Blandina nursed the friend back to health and when Billy came to Trinidad, Colorado, to thank her, she asked him to abandon his violent plan and  he agreed.

Another story claimed that when the Kid spotted Sister Blandina during an attempt to rob a covered wagon he called off the attack. He just tipped his hat and left.



Many of the tales were recorded in letters that  Sister Blandina wrote to her sister, which were later published in the book, At the End of the Santa Fe Trail.

Later The nun found St Joseph's Hospital in Albuquerque before returning to Cincinnati in 1897 to start Santa Maria Institute, which served recent immigrants.








Her life is well documented in the order’s archives in Cincinnati. She was friends with Cecil B. DeMille and exchanged letters with Edison that included sketches for new hearing aids. At age 81, she traveled to Rome to meet with Pope Pius to plead the case for canonization of St. Elizabeth Seton.

Sister Blandina died in 1941 at the age of 91, but her work still resonates today, with poverty, immigration and child care still high-profile issues.


Her encounters with Old West outlaws later became the stuff of legend and were the subject of an episode of the CBS series Death Valley Days. The episode, called The Fastest Nun in the West, focused on Sister Blandina's efforts to save a man from a lynch mob. But her encounters with Billy the Kid remain among her most popular and well-known Western frontier adventures.


MADNESS OR MAGIC?

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Séraphine de Senlis

I am sometimes asked, due to my love of art, if I  am an artist- to which I reply only in my mind! When I was in college many years ago, in a rigorous pre-med program, I found myself weekly, if not more often in the local art museum, a small but real gem with a fabulous library.  If I had spent as much time on chemistry and physics as I did perusing art tomes, I might be a doctor today.  My father was an artist, who rarely got time to do anything really creative- he was also a mathematical genius, so am not sure how the two went hand in hand. He studied architecture but did not put that gift into practice into later in his life.

Recently, I saw the movie SERAPHINE, a wonderfully moving film about the French painter, Séraphine de Senlis (1864-1942).

Self-taught, she painted in the naive’ or ‘modern primitive’ style, inspired by her religious faith and and love of nature. The intensity of her images, both in her magical colors and in repeating designs, are sometimes interpreted as a reflection of her own psyche, walking a tightrope between ecstasy and mental illness.

Both her parents died when she was a small child so she was raised by an older sister.  She first worked as a shepherdess but, by 1881, she was engaged as a domestic worker at the convent of the Sisters of Providence in Oise. Beginning in 1901, she was employed as a housekeeper for middle-class families in the town of Senlis.
Séraphine



She painted by candlelight, largely in secret isolation, until her considerable body of work was discovered in 1912 by German art collector Wilhelm Uhde, whose house she cleaned. He was amazed by her talent but his support had barely begun when he was forced to leave France in 1914 due to the war.

They  reestablished contact in 1927 when Uhde, back in France and living in Chantilly, visited an exhibition of local artists in Senlis and, seeing Séraphine's work, realized that she had survived and her art had flourished. Under his patronage, she began painting large canvases, gaining  prominence as the naïve painter of her day. In 1929, Uhde organized an exhibition, "Painters of the Sacred Heart," that featured Séraphine's art, launching her into a period of financial success she had never known. Then, in 1930, with the effects of the Great Depression destroying the finances of her patrons, Uhde had no choice but to stop buying her paintings.


Tree of Life

In 1932, Séraphine  was admitted for "chronic psychosis" at Clermont's insane asylum, where her artistry found no outlet. She died friendless and alone and  was buried in a common grave.

Séraphine Louis's works are often rich fantasies of intensely repeated and embellished floral arrangements. She used colors and pigments that she made herself from unusual and exotic ingredients she never revealed, but which have stood the test of time for durable vividness.



In 2009, the film Séraphine by director Martin Provost won seven César Awards, including Best Film and Best Actress for Yolande Moreau who starred in the title role.

Yoloande Moreau as Séraphine
I am most grateful to be introduced to this remarkable woman, who never let any hardship stand in the way of her passion. A lesson for us all! In her simplicity she saw her Lord in nature and in her own heart.



ISLAND ART

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"Tree" - Todd Spalti

Our neighboring Island (Orcas) has for years had a treasure of a museum, which few know about, and now seems to be on its last legs-  which we hope is not happening!  Several years ago Oblates took us to this treasure-house of fabulous local art, conducted by Leo himself.  He then became a friend, one we see not often enough.

Located on a high bluff overlooking East Sound, THE LAMBIELMUSEUM, houses an extensive collection of art exclusively by artists from the San Juan Islands. “As far as I know, I’m the only person who is collecting local art,” said Leo. “The purpose of the museum is to house, preserve, and display the best pieces by the best artists who live or have ever lived in the San Juan Islands.”

Leo, who is from the same part of California I am from and was born 4 months before me ( I remember this, because one of his own works of art is a ceiling in which he shows the sky over Los Angeles the day he was born), moved to Orcas Island when he was 21 years-old. 


 
Front Room
For 50 years Leo has collected art, from painting and sculpture, to glasswork, photography and ceramics. The collection contains between 800-900 pieces, from about 270 local artists, the earliest dating back to 1915. 



The museum has  the world’s largest collection of Helen Loggie
"The King Goblin" - Helen Loggie



On display are one hundred and forty-two of her original pencil and charcoal drawings, etchings, pastels, and oil paintings."The artists that I am exhibiting know their best pieces are in the Lambiel Museum and they are happy that they are in one place to be experienced instead of having them scattered all over the country."


Now Leo is concerned over the future of his vast collection. “I’m not going to live forever, and I need to start making plans for the future of the museum, and the collection." 

Currently Leo is in discussion with Western Washington University, which could result in a portion of the collection going to Bellingham, the property being sold, and the balance of the art being scattered all over. WWU is interested in the Helen Loggie collection as they own the second largest collection of Helen's work.


Helen Loggie

“I think that the art should stay in the community, stay together, and continue to grow. But I’m getting older, and I want to have it organized. Ultimately, I’m trying to assess if people care, and if they even know that this museum exists. My questions is, is it important to Islanders that such a large collection of local art stay in our community And does the community want it?”




People appreciate fine art. It fulfills a need of the human heart. The creativity of the artist is admired, the diversity of expression is enjoyed, the meaning of the content is educational, and the perception of the beauty is uplifting.

If you are in our area this summer, make an appointment for the tour. The museum is open daily by appointment only and the two-hour guided tours are by donation. Even those who do not like museums will love this. Leo is a genius in his own right and one can see his many "inventions".



HEAVEN PREVAILS

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Most of us are great fans of FLANNERY O’CONNOR, especially her spiritual writings. As the story goes, the Dominican nuns of Hawthorn begged her to write a book about the child in this blog. Flannery basically said:  are you nuts? I don’t do such things.  But so often in the case of nuns, heaven prevailed and the book was written.  



MARY ANN LONG was born in 1946, one of four children to a poor, Kentucky family. At age 3, after undergoing X-rays, radium, and losing an eye, Mary Ann was diagnosed with an incurable cancer by the Tumor Clinic in Louisville.  Her mother was ill herself, too ill to care for a sick child, and at the advice of her doctor, Mary Ann was sent to live in a home run by the Dominican Sisters.  Although sending their dying child far from home to live with strangers was heartbreaking for her loving parents, there was no other option financially possible.

Mary Ann was described as “a loveable little girl who touches the hearts of everyone she meets.”  Mary Ann’s one good eye was brown and sparkled with the joy of life.  She greeted the Sisters with laughter and had no hesitation or shyness toward them.
She was curious about the other patients living in the ward and spent her short life consoling residents in her own sympathetic and cheerful way.  There was something special about her ability to console those who came to console her.  Mary Ann had a special gift of displaying her interior beauty despite her disfigured outer appearance.  She forgot herself in favor of meeting the needs of others.

Mary Ann was baptized into the Catholic faith and took lessons in religion.  She seemed to absorb her lessons in a mature way.  She was a fast learner and very intelligent, the sisters taught her much about God’s love.  She often prayed, “Jesus, I love you with all I got,”- it was as close to “with all my heart” as she could get.  Mary Ann was allowed to make her First Communion at the age of five and was confirmed at the age of six.  She chose the name Joseph for her confirmation name, her reasoning being that St. Joseph took care of baby Jesus and he would also take care of her.


Mary Anne with one of the nuns
Mary Ann’s parents missed her terribly and when she was six, they decided to bring her back home with them.  She was only home for a short time before they decided to take her back.  They said, “We just don’t seem to be able to make her happy here…”  Although Mary Ann loved her family, she found that she was much happier and more comfortable at the home with the Sisters whom she came to love so dearly.
She won over many friends with her lively and charming personality.  People would ask her, “Why don’t you pray for God to cure you?”  She would reply simply, “This is the way God wants me.”  Her obedience to God’s will was an inspiration.  Often, her cheerful acceptance of her state in life made it easier for the other patients to accept their state.

In 1958, her condition began to grow worse.  Mary Ann had always wanted to become a sister, and the sisters fulfilled her wish by allowing her to become a Dominican tertiary.   When a large growth appeared in her mouth, it became impossible for her to eat normally.  She never complained.  Just before Christmas, a serious hemorrhage occurred.  The sisters lit a candle at her bedside, prepared for the worst.  Mary Ann prayed over and over, “Dear Jesus, I love You.”
Mary Ann died quietly in her sleep on January 18, 1959, at the age of twelve.  In her hand she clutched the rosary she had been saying when she fell asleep.  No one can deny that in the 12 years alotted her, Mary Ann knew, love, and served the Lord.



PRIME IMAGES

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In doing my new artists "research", I came across a letter St. John Paul II  wrote in 1999 to artists:

"To all who are passionately dedicated to the search for new “epiphanies” of beauty so that through their creative work as artists they may offer these as gifts to the world".

His letter, which should be read by all in the arts, no matter their genre, is magnificent  and long. It led me to ask what is art??? And why the Catholic Church, which was once the main source of Art and Literature in the Western World has produced so little of lasting value- or has it?

"The purpose of art is nothing less than the upliftment of the human spirit."  St. John Paul II

We need to consider that many of the great artists were considered "failures" in their day, but now we value their works highly.  We live in a vibrant time- so loud colors can wonderfully convey the artists message.  We need new images of our Faith, to express us here and now, but with reverence. I find that ethnic art so often does this for us, and why I use it often in my Blogs, to illustrate my message.

Our world has gotten smaller due to all the communication resources at hand, so we need to understand the visions of others.

Flannery O’Connor acknowledges the plight of the contemporary Catholic author, but I feel it applies to all forms of art. She says:

      I don’t believe that we shall have great religious fiction (art) until we have again that happy combination of  believing artist and believing society. Until that time, the novelist (artist) will have to do the best he can in travail with the world he has. He may find in the end that instead of reflecting the image at the heart of things, he has only reflected our broken condition and, through it, the face of the devil we are possessed by. This is a modest achievement, but perhaps a necessary one.     “Novelist and Believer,” Mystery and Manners: Occasional Prose.

I have found many Catholic women in the USA whose art I feel worthy of entrance in to this Blog. I will start with one Catholic artist from the 20th Century.  She is one whose art we "grew up" with in our Novitiate, mainly due to her relationship to Dorothy Day. Ade did many of the early illustrations for the Catholic Worker, a newspaper edited by Dorothy. While I am not sure Ade ever visited our Mother Abbey, she certainly must have known our Mother Prisca (Dorothy Day was her “god-mother at M.P.’s clothing), and knew Jacques & Raissa Maritain (friends of The Abbey).
Ade with her Grandfather, Viscount Terlinden


 ADE BETHUNE
was born Adélaide de Bethune, Baroness, in 1914 in Schaerbeek, Belgium. Her family were of the nobility but emigrated to New York after World War I in 1928. Her parents were interested in both the progressive movements of the day and the deep traditions of the Church.

Even at a young age Ade had a strong interest in the Church, liturgical art, and the Progressive movement. Ade was educated at Cathedral High School in New York and later, the National Academy of Design and Cooper Union.

She volunteered her illustrations to improve the quality of the Catholic Worker when she was a nineteen-year-old art student, impressed with the work of Dorothy Day. She continued this interest throughout her life, especially in providing housing for the elderly, particularly the poor.

Ade with Dorothy Day  Jacques Maritain & Peter  Maurin, 1934


In 1938 she moved to Newport, RI. In 1969, she founded the Church Community Housing Corporation in Newport County, Rhode Island, to design and build housing.

In 1954, Ade began writing about church architecture and how it could support and enhance the liturgy and  became involved in the Liturgical Movement. Peter Maurin (Co-founder of the Catholic Worker) encouraged her in public speaking and writing, persuading her to communicate both the ideals of the Catholic Worker and her own ideas.


The many articles Ade wrote on church design became very influential, some of them foreshadowing changes later brought about by the Second Vatican Council. She was seen as an authority on the subject, and over time people wanted her art and her ideas as well.  Ade would go on to provide liturgical design and consulting services for almost 300 churches up until the early 1990s.

From 1949 to 1962, she contributed to the Catholic children's comic book Treasure Chest of Fun and Fact, and a series called "Jesus Spoke in Parables"  where she illustrated the parables of Jesus with modern images.


 Her iconographic style was well-suited to comics, and she wanted children to actively engage with her art as a mode of religious self-instruction:  "For a small child all of life is full of signs and wonders. But in certain signs he comes to experience more closely something of God and of the Church, in terms he can grasp - in terms not of people or of words, but of images, smells, colors, lights, myths. His first impressions are lasting. The prime images he forms - in art or nature - must thus be such as can remain valid for life".

In 1991 she founded 'Star of the Sea' to renovate a former Carmelite convent into an intentional community and state of the art housing for the elderly, where she lived until her death in 2002.  She is buried at Portsmouth Abbey (Benedictine), Portsmouth, Rhode Island.


While Ade was an advocate of traditional iconography, the people in her drawings tend to be working class, ordinary people, dressed in the common clothes of the present-day. They perform everyday chores, and often are shown in what she called "acts of mercy," such as nursing the sick, feeding the hungry, and housing the homeless.  

Dorothy Day, in her autobiography, The Long Loneliness, wrote of Ade Bethune:
      Whenever I visited Ade I came away with a renewed zest for life. She has   such a sense of the sacramentality of life, the goodness of things, a sense that is translated in all her works whether it was illustrating a missal, making stained-glass windows or sewing, cooking or gardening.






Judith Stoughton: Proud Donkey of Schaerbeek: 
                       Ade Bethune, Catholic Worker Artist 1988






WOMEN WHO BRING THE SAINTS ALIVE

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Every genuine artistic intuition goes beyond what the senses perceive and, reaching beneath reality's surface, strives to interpret its hidden mystery. The intuition itself springs from the depths of the human soul, where the desire to give meaning to one's own life is joined by the fleeting vision of beauty and of the mysterious unity of things. All artists experience the unbridgeable gap which lies between the work of their hands, however successful it may be, and the dazzling perfection of the beauty glimpsed in the ardour of the creative moment: what they manage to express in their painting, their sculpting, their creating is no more than a glimmer of the splendour which flared for a moment before the eyes of their spirit.   (St. John Paul Letter to Artists, 1999)


In my search for Catholic women artists in the USA, I found very few  21 C. sculptors that I would like to introduce. I am sure there are more out there but….  here are two favorites.


Rachel Mourning Her Children
St. Benedict-  SJ
SONDRA JONSON has been a professional sculptor since 1985, and has produced and installed over 25 life-size monuments in seven states. Her small works have been exhibited and collected throughout the U.S., and in Italy. Her collectors include the White House and the Vatican.


A convert from Judaism, and a life-long artist, Sondra has acquired a keen insight into the relationship between art and the Church. Although her sculpture installations include many in public parks and buildings, it is her liturgical art that she considers the highlight of her career.

.
She was born in Philadelphia, Pennsylvania, and studied at the Philadelphia College of Art, the Pennsylvania Academy of Fine Arts, in Madrid, Spain, and graduated, Magna Cum Laude, from Bryn Mawr College and the Frudakis Academy of Art. She lives in Cambridge, Neb., has 3 teenage sons, and is involved in the local 4H Club



St. Francis- SJ

She says that her Catholic identity is inseparable from her craft.  She entered the Church in 1982, after growing up in a secular Jewish family, the daughter of two doctors.

Today, she sees her purpose as a Catholic artist as one of teaching and inspiring, like the great Catholic painters and sculptors of old: “We liturgical artists hope to inspire those who encounter our work with a sense of the mystery and truth of Christ.”


St. Katerine Drexel-SJ
Her style which is both classical and contemporary, powerful yet tender, leaves us with a powerful message. And like the sculptors of old, one feels one can touch her pieces and they jump to life.











A Voice Heard in Ramah
Interestingly enough, both of these woman artists have strong, poignant works of Rachel weeping for her children.

 Our other Catholic sculptor is SARAH HEMPEL IRANI, a figurative artist, specializing in liturgical, memorial, and portrait sculpture. She has spent countless hours in the studio working with live models, pouring over anatomy books and copying old Master drawings in order to gain a keen understanding of the human form. She is passionate about integrating the arts into her local community and inspiring people to engage their creativity.

Jesus is Laid in the Tomb


 Sarah  is a classically trained sculptor, working in clay, plaster, bronze and marble. In 2000, she graduated from Hillsdale College, Michigan.  After graduation, she moved to Maryland in order to work as an apprentice to Jay Hall Carpenter, former Artist-in-Residence at the Washington National Cathedral. In 2001, she established Hempel Studios in Frederick, Maryland.

At only twenty-five years of age, Sarah was awarded a commission to create two larger-than-life sized marble sculptures of Saint Joseph and the Virgin Annunciate for Our Lady of Mercy Catholic Church. To give an idea of what a woman goes through to create massive pieces of art I quote: I Sarah articulated each of the sculptures full-scale in clay and had the plaster casts carved in Carrara marble by a crew of talented stone carvers. The Virgin Mary was carved in Virginia by former carver at the Washington National Cathedral, Malcolm Harlow. Saint Joseph was carved in Pietrasanta, Italy at Studio Antognazzi. Each of the sculptures weighed over two tons!"  For her work in sculpture, Sarah was awarded a Maryland Arts Council Individual Artist Award in 2009.


St. Joseph the Carpenter

In November 2010, a half-life-size sculpture entitled, “A Voice in Ramah,” was awarded third prize at the Third Annual Catholic Arts Exhibition, at St. Vincent's College, Latrobe, Pennsylvania, by Sister Wendy Beckett. In January, 2011, she graduated with a Master’s of Arts in Humanities, with a concentration in Medieval and Renaissance Studies, from Hood College Graduate School in Frederick, Maryland.

Sarah moved to Northwestern Pennsylvania in 2009, where she lives in a little yellow cottage with her husband and their daughter.


Virgin Annunciate


Sarah and Mary
"Art is always a spiritual act, but with sacred art, people approach it seeking God. And there is that hope that the piece you made, carefully, painstakingly, lovingly with your own hands, somehow connects the viewer to something, Someone Higher."  SHI


Jesus Falls Third Time
Jesus Meets His Mother

ART AS PRAYER

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Descent from the Cross


The artist, image of God the Creator
     None can sense more deeply than you artists, ingenious creators of beauty that you are, something of the pathos with which God at the dawn of creation looked upon the work of his hands. A glimmer of that feeling has shone so often in your eyes when—like the artists of every age—captivated by the hidden power of sounds and words, colors and shapes, you have admired the work of your inspiration, sensing in it some echo of the mystery of creation with which God, the sole creator of all things, has wished in some way to associate you. (St. John Paul Letter to Artists, 1999)

ROXOLANA LUCZAKOWSKY ARMSTRONG was born in Stanislaviv Ukraine in 1938. Her family, victims of Soviet persecution, fled to the West in 1945 to settle eventually in Philadelphia in 1950. Her art education started with study under renowned Ukrainian painter Pietro Mehyk, and at the Pennsylvania Academy of Fine arts in Philadelphia. She is a graduate of the University of Pennsylvania and an active member in the Fellowship of Catholic Scholars. Roxolana, along with her teaching commitments, works at church decoration, book illustration, icons, as well as architectural and landscape painting. Her artistic endeavors may be seen both in museums and private collections on both sides of the Atlantic.

In 1964 Roxolana moved to Malaga, Spain, with her husband, the American sculptor, Hamilton Reed Armstrong, where they proceeded with their professional careers while participating in Spanish artistic and social life.

At this time Roxolana while working independently in the techniques of classic mosaic and stained glass stumbled through the use of transparent polymer resins on her own vision of a transparent, luminous three dimensional mosaic. These creations under the name of "Crystal Art" may be found in homes, churches, and public buildings, both in Europe and America.

 Roxolana has continued through the years drawing and painting in oil, acrylic, and watercolor, exhibiting in group and individual shows on both sides of the Atlantic. Her work is found in the Marian Center of Studies, Cincinnati, Ohio; the John Paul II Center in Washington, D.C., and numerous private collections around the world.   She lives in Front Royal, Va., with her husband.

Holy Saturday

For Roxolana, painting religiously inspired images is a form of prayer: "I try to put myself in the scene of these historical events to grasp their meaning. It is what St. Ignatius of Loyola called, Compositio loci. In this painting, "Descent from the Cross," there are echoes of the "Pietas" of past artists, but not consciously copied."

In her "Holy Saturday," she says  that the painting came as a "personal mystical experience. It involves the special privilege of trust that the Mother of Jesus was given in that dark moment while her son was in the tomb. It is meant to invite the viewer to contemplation of the Passion and personal trust."





 In 1983 Roxolana did a series of water colors depicting the horrors of the enforced famine.
for the 50th anniversary of the forced starvation of 7,000,000 Ukrainians by the Soviet Regime in 1933.  Her simple images but use of colors make us feel the cold and deprivation of her people.

ICONS

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Our Lady of Vladimir
Our Lady of Czestochwa

Through his “artistic creativity” man appears more than ever “in the image of God”, and he accomplishes this task above all in shaping the wondrous “material” of his own humanity and then exercising creative dominion over the universe which surrounds him. With loving regard, the divine Artist passes on to the human artist a spark of his own surpassing wisdom, calling him to share in his creative power. Obviously, this is a sharing which leaves intact the infinite distance between the Creator and the creature, as Cardinal Nicholas of Cusa made clear: “Creative art, which it is the soul's good fortune to entertain, is not to be identified with that essential art which is God himself, but is only a communication of it and a share in it. That is why artists, the more conscious they are of their “gift”, are led all the more to see themselves and the whole of creation with eyes able to contemplate and give thanks, and to raise to God a hymn of praise. This is the only way for them to come to a full understanding of themselves, their vocation and their mission.  (St. John Paul Letter to Artists, 1999)

Next to our new Chapel, is the parlor, which I call the ICON room, as there are 16 Icons, some hand "written" for us, hanging on the walls.  I have found several woman who paint or write lovely examples of this art form which I present here.  But what is an icon and how does it differ from other religious art?

ICONOGRAPHY is the original tradition of Christian sacred art, and has been an integral part of the worship and mystical life of Christians since apostolic times. Referred to in the Eastern Christian tradition as "windows into heaven," they have inspired and uplifted millions of the faithful, and have at times been the instruments for demonstrating God's miraculous intercession in the life of mankind.  The most famous are  Our Lady of Vladimir  which is one of the most venerated Orthodox icons, regarded as the holy protectress of Russia.

One of the most exquisite icons ever painted, Our Lady of Vladimir is imbued with universal feelings of motherly love and anxiety for her child. Throughout history miracles were attributed to this image of our Mother, the most recent in December 1941.As the Germans approached Moscow, Stalin ordered that the icon be taken from the museum and placed in an airplane and  carried around the besieged capital. Several days later the German army started to retreat.

The Black Madonna of Częstochowais a 14th century Polish icon which is credited with miraculously saving the monastery of Jasna Góra from a Swedish onslaught.

In Christiantity, an icon (from Greek  eikon, "image") is a flat picture of Christ, Mary, or other saints. Most icons are painted in egg tempura on wood, but some are created with mosaic tiles, ivory, or other materials. In Orthodox Christianity, icons are sacred works of art that provide inspiration and connect the worshiper with the spiritual world. The scenes depicted in icons usually relate to liturgical celebrations rather than directly to historical events.

In addition to the style of the painting (or writing as it is called), the actual technique of making an icon is rich with symbolism. Icons are a visual form of prayer in line and color that seek to tell us something true about God and the saints. They follow a long tradition of truths that are communicated visually rather than through words, a theology passed on from one artist to the next. They are meant to help us open ourselves to God's love.

Mother of God- Elizabeth Lemme

The first of our modern artists isELIZABETH LEMME who is originally from Spokane, WA. Her studies cover a wide range of disciplines, including classical music, theology, philosophy, and psychology. In visual art, she received a formation in drawing, painting, ceramics, and jewelry. Mrs. Lemme earned a Bachelor of Arts degree in piano performance and pedagogy from Whitworth University, and a Master of Music degree in piano performance and pedagogy from the University of Nebraska-Lincoln.

(Close-up)


Her conversion to the Catholic faith led her to discern the contemplative monastic life. During her four years as a contemplative nun with the Sisters of St. John, she devoted her life to prayer, and study of medieval sacred art. Her studies in iconography led her to attend intensive icon workshops in Rome, Denver, San Antonio, and Omaha. .

Elizabth resides in Lincoln, NE where she is in the process of creating a new studio of traditional sacred art: Ad Orientem Sacred Arts.  She paints in the traditional style and her use of colors is exquisite.


Jodi Simmons- Pieta


JODI SIMMONS from Massachusetts  had never given much thought to religious art, until a near death experience turned her life around, and she felt the desire to express her new found faith in visual terms. She took art courses but a friend suggested she see the icons in a Ukrainian Catholic Church in Deerfield, Massachusetts. The experience was so moving, Jodi knew this was the kind of art she was meant to make.  “I began studying, painting, and praying with what has become the greatest mystery, joy, teacher and friend in my life: the icon.”


Transfiguration of Christ-  Jodi Simmons
 Jodi is an example of modern icon writers who cross over canonical boundaries in her handling of sacred subjects. Why, for example, is Christ shown so often without a beard? Jodi points out that early Christian imagery, like the 5th century mosaics in Ravenna, shows a beardless Jesus.




Maid of the Snow
St. Francis

(Any artist who uses birds in her art is a friend of mine!)

"From beginning to end, a lot of time, attention and care goes into my work. The work gives back to me too. I learn from the research. The slow and often tedious methods teach me patience (ha!). When I finish an icon, it always looks back at me as if it were its own, individual entity...a lively gem - and the traditional, quality methods and materials ensure it will shine for many years."

The Gift- Jodi Simmons



Mary Jane Miller



Our last artist MARY JANE MILLER is the least traditional- at least in her new phase of work, but her message is the same:  "I want to paint icons always with the hope of bringing people closer to God. Even when painting modern icons the artist entices people to come closer to God, through the beautiful image. We copy traditional images as doctrine and discipline as well as prayer. The painting of the image is considered service".



Mary Jane Miller
Her work is prolific, she has written books on the art of writing icons, and she has  started a school in San Miguel de Allende, Mexico (a place I "know" as my god-son's family just moved there- so maybe when I visit them I can search out this amazing artist).


The prayerfulness inherent in icon painting drew Mary Jane to the writing of icons 18 years ago." I found myself consciously looking for an answer to the question 'Why we are Here?” Dating back to 500 A.D., iconography is thought to be divinely inspired. Each layer of the icon has symbolic meaning".


Mary Jane Miller
Mary Jane describes the experience of painting icons as “an ongoing revelation for the individual who is looking for a spiritual life. You can find yourself in the paint and in the image. - the spiritual side of it and the physical side of it - and I love the way they harmonize together. The technique is an organic process that allows me to play in the dirt with million year old stone pigments".


"I have used the orthodox tradition yes, with absolute respect. Contemporary Icons challenge the idea that there is still an ongoing understanding of the divine story through image and doctrine.


 Remembering we are all children of God. There is no limit to the imagery in iconography or the expression of God, but many".



INFLUENTIAL ART

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The particular vocation of individual artists decides the arena in which they serve and points as well to the tasks they must assume, the hard work they must endure and the responsibility they must accept. Artists who are conscious of all this know too that they must labor without allowing themselves to be driven by the search for empty glory or the craving for cheap popularity, and still less by the calculation of some possible profit for themselves. There is therefore an ethic, even a “spirituality” of artistic service, which contributes in its way to the life and renewal of a people. It is precisely this to which Cyprian Norwid seems to allude in declaring that “beauty is to enthuse us for work, and work is to raise us up”.  (St. John Paul Letter to Artists, 1999)


VIRGINIA GAERTNER BRODERICK is one of the most well-known and influential religious artists of the 20th Century. Her artwork has been featured in various publications, exhibits, auctions, and can be seen in churches across America. Along with her husband Robert, Virginia's contributions to the religious community has been incalculable.

Virginia was born in Milwaukee in 1917. She asked to attend Catholic school, even though her family was not Catholic, and was accepted at Holy Angels Academy.

Her artistic talent became apparent at the age of nine  when she took classes at the Layton Art School in Milwaukee.  At 16, she converted to Catholicism and graduated magna cum laude from Mundelein College in Chicago in 1939.  In 1941, she married Robert Broderick, who was an important Catholic writer and editor. She and Robert were married for 50 years until his death in 1991.


Virginia is one of  the most important Catholic illustrators of the 20th century. Her iconic work illustrated hundreds of books, missals, liturgical guides, prayer books, and devotionals, while her larger works were commissioned for churches all over the world.



Together, the Brodericks created 14 books, most notably their masterwork, “The Catholic Encyclopedia,” for which Virginia completed 150 illustrations. In 1982, the Brodericks were honored with the highest award the papacy bestows upon the laity when they were both inducted into the Equestrian Order of the Holy Sepulcher.

Virgina's style is simple. Yet beneath that simplicity lies  great depth and technical proficiency. She called her approach to art “Cloisonism,” which contains elements of both Impressionism and Cubism, yet which is uniquely her own. “This is the style I am happiest with. It’s a basic use of the elements of art - line, form, color, and chiaroscuro.”

She will be remembered as an artist who captured the ecumenical spirit of Vatican II showing the essential beauty and truth of the Catholic faith. She died in 2004.


MODERN SAINT MAKERS

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Virginia Marie Romero


Every genuine artistic intuition goes beyond what the senses perceive and, reaching beneath reality's surface, strives to interpret its hidden mystery. The intuition itself springs from the depths of the human soul, where the desire to give meaning to one's own life is joined by the fleeting vision of beauty and of the mysterious unity of things. All artists experience the unbridgeable gap which lies between the work of their hands, however successful it may be, and the dazzling perfection of the beauty glimpsed in the ardour of the creative moment: what they manage to express in their painting, their sculpting, their creating is no more than a glimmer of the splendour which flared for a moment before the eyes of their spirit. (St. John Paul Letter to Artists, 1999)

Some of my favorite art comes from the Southwest. While the artists I present here are alive- and I pray well- their folk art tradition, dates back to the arrival of the first Roman Catholic missionaries from Spain over four centuries ago. This art is about the Catholic tradition influenced by the early priests traveling into this nearly untouched Northern regions of New Mexico.

Since New Mexico was one of the out-lying territories of the New World,  images of Christ, the Virgin Mary and the saints (called santos), were important in helping Spanish settlers and Native American converts keep their faith in the long intervals between visits by itinerant priests.  Since the art from Spain and Mexico was rare, local artisans, who came to be known as santeros (saint-makers), developed an indigenous school of retablo panel painting which was tantamount to the devotional life of the faithful.

With the coming of the railroads in the 19th century mass-produced plaster saints and holy postcards abounded, and the art of the santeros went into decline. It was successfully revived in 1925 by  the Spanish Colonial Arts Society. Today this same organization sponsors the Spanish Colonial Market in Santa Fe every summer and winter, offering santeros a chance to display their works in juried competition. Many of the modern santeros are second and third generation saint-makers.  Lydia Garcia continues her art in the same pueblo home where she worked alongside her father.
Lydia Garcia


Traditionally santos painting are made on hand-carved panels of wood (although sometimes one can find tin used), primed with homemade gesso and using natural water-based pigments, and pinon pine sap varnish, though some modern santeros have succumbed to the use of acrylics. There are no set rules on themes or styles, but today artists tend to draw inspiration from the works of old santero masters. Santeros still work in a deeply-rooted faith tradition, talking of the inspiration they receive directly from their favorite saints.

 

VIRGINIA MARIA ROMERO is one of a handful of “Anglos” to be counted among the santero artists whose work is found in national and international private and museum collections.

VMR- Conception



 Virginia's art is  inspired by the culture of New Mexico and her Polish/Irish heritage.  “Romero has taken an ancient art form and redefined it, reinvented it, and made it her own.Virginia Maria Romero’s art speaks a language unlike any other…it is a language of the heart, of the soul, of life...”







CATHERINE ROBLES SHAW writes: "As a Santera,(Saint Maker) I hope to preserve some of the unique traditions of my Hispanic culture. Retablos are the story tellers of my ancestors. They are the natural extension of the beauty and simplicity of our Spanish lives. My husband, Michael, and I aspire to represent our work with as much historic accuracy as possible.

San Pascal- CRS

My art process uses the same materials that were used in the 18th and 19th centuries and each piece is one of a kind. My first exposure to this art came when, as a child, I visited the churches in the San Luis Valley where my family was among the first settlers.

Marriage of Mary & Joseph- CRS

After visiting these old churches, as an adult, I came to realize the meaning of the little retablos that had been in our family. In 1991 I began making retablos for my family and friends. I have been an artist in the Spanish Colonial Arts Society since 1995."



TMD

Not all Santera come from New Mexico. TERESA MAY DURAN is a respected Colorado santera who, like many latter-day practitioners of the art, took up ‘saint-making’ only later in life while raising a family and pursuing another career. Teresa has participated in both the Summer and Winter Spanish Markets every year.

She started to study Christian symbolism and sacred art in her spare time, especially Byzantine and Spanish Colonial art. On vacations in the American Southwest and South America, she and her husband made a point of visiting places that had examples of Spanish Colonial art as it developed in these regions; and in each of them, Teresa found new inspiration which she brought into her painting.


TMD
Her work is distinguished from that of many other santeras by her attention to symbolic detail and cultural context and by the incorporation of Byzantine iconography. In all of her art, there is a strong sense of story and her depiction of a spiritual or moral ideal.



LYDIA GARCIA  is a life-long Taos, New Mexico resident and her art reflects the remote Northern New Mexico rural atmosphere she lives in. Her work reflects the passion and depth of her cultural Hispanic heritage. She believes that life should include prayer, as well as humor and art and so she signs her finished art pieces on the back and adds a short prayer.  "No one knows that the prayers are on the back and I have always kept this a secret to myself. They seem too personal to share, as then I would have to share my feelings as well. Some things are better left unsaid... don't you agree"?  
Lydia Garcia

MRC- The Good Shepherd
MRC- Pieta
MARIE ROMERO CASH is a folk artist and writer. Her  works are featured in the collections around the world, including The Smithsonian Institution and the Vatican. She has been creating traditional religious paintings and carvings since 1975. She has written several books about New Mexican art and a memoir about growing up in Santa Fe. She says of herself: I believe most of what I see and little of what I hear. I'm a dog lover at heart".   

Her works today tend to move away from the "traditional" aspect of my art but still using the same materials.



MARY JO MADRID was born in Yonkers, NY, to an Irish father and Italian mother. She now lives in NM. with her husband Jimmy and son Nicolás. All the Madrids are accomplished santeros, showing at Spanish Market in Santa Fe in recent years.

MJM- San Pasqual


Like Thersa May Duran, she studied Russian icon painting in addition to other forms and is known for her distinctive retablos style. She makes her own gesso and piñon sap varnishes, as has been the tradition in New Mexico for centuries.

MJM- Holy Family

"We've always earned our living from working with our hands. It is the ultimate spiritual test. Making art must be combined with spirituality. When we're not making art we're raising pigeons and chickens."


Two of the saints most often portrayed in santera art are St. Pasqual (patron of the kitchen) and St. Francis. It is fun to compare these wonderful artists, each unique in her own style and passion for her art.


Virginia Marie Romero


Mary Jo Madrid

Catherine Robles Shaw

Mary Jo Madrid

SAINT MAKERS- PART II

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Every genuine art form in its own way is a path to the inmost reality of man and of the world. It is therefore a wholly valid approach to the realm of faith, which gives human experience its ultimate meaning. That is why the Gospel fullness of truth was bound from the beginning to stir the interest of artists, who by their very nature are alert to every “epiphany” of the inner beauty of things.
 (St. John Paul Letter to Artists, 1999)


 
GRACE  MARÍA GARCIA DOBSON
was born in New Mexico where her father's family has deep roots. When her grandfather, William R. Dobson, came to New Mexico from Colorado, he married Emilia Garcia, a very talented self-taught painter whose family had been sheep ranchers for several generations.



On her mother's side, Grace is Ukrainian, Polish and Hungarian. Because her maternal grandmother was an Orthodox Christian, icons were part of Grace's growing up. Because of this,  Grace was inspired  to become an  iconographer as well as a santera. "There are a lot of things in common between icons and retablos". 

After a pilgrimage to the famous medieval shrine of Santiago de Compostela in Spain, Grace became  interested in her own Spanish art and culture. Wanting to explore this in depth  she majored in Spanish Literature in college and then did graduate work in Art History.

The cultural awakening led Grace to become a self-taught santera. She says that her ancestors on both sides have given her a spiritual as well as a cultural legacy.


San Pasquel

Her use of pastels in most of her art, makes her unique in the world of santeras.  Grace's work is found in private collections across the United States and abroad.












MARILYN MOYES live in the art community of Kayenta in southern Utah. Marilyn started making “functional art” cabinets with her husband John as a hobby. John is a master carpenter, grandson of David Huges, a famous wood carver from England. He is responsible for the wood, furniture and carvings that Marilyn paints on.

San Pasqual

St. Frances of Rome

After retiring from nursing, Marilyn began to explore painting on wood by herself. After she had requests for Frida Kahlo and the Our Lady of Guadalupe icons to be placed on John’s cabinets, Marilyn was inspirated to make retablos. She and John had been collecting Hispanic religious folk art  for many years, so were familiar with its style. Marilyn then began to add milagros (miracles) to the garments of her patron saints to add texture to the saint’s picture and carry on another tradition. In Mexico, a person may pin a milagro onto the garment of a patron saint’s image to remind the saint of the suppllicant’s special favor.

I love her subtle use of colors and also giving us unusual saints, such as St. Frances of Rome, patroness of Benedictine Oblates .
MM- St. Francis

ELLEN SANTISTEVAN
comes from a long line of artists on her mother’s side of the family, with talents ranging from painting to ceramics and metal work. She began painting devotional art in 1995. Though she began working with acrylics, she switched to natural homemade pigments after being taught by Charlie Carrillo, a Santa Fe santero who rediscovered the techniques of the early New Mexico santeros. Ellen carves all her own wood for both retablos and bultos, and also prepares her own gesso and paints from natural materials.


Holy Family

She has won many awards for her work and has shown in many exhibitions.


Together with her husband, Mark,  she created Santos de Santistevan, a cooperative and creative partnership dedicated to creating devotional art. Their motto is, “Connecting people with their faith through art.”  She and her husband are heads of the altar servers’ ministry at their church.


SACRAMENTAL NATURE OF ART

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Song of Creation


 My hope for all of you who are artists is that you will have an especially intense experience of creative inspiration. May the beauty which you pass on to generations still to come be such that it will stir them to wonder! Faced with the sacredness of life and of the human person, and before the marvels of the universe, wonder is the only appropriate attitude... People of today and tomorrow need this enthusiasm if they are to meet and master the crucial challenges which stand before us. Thanks to this enthusiasm, humanity, every time it loses its way, will be able to lift itself up and set out again on the right path. In this sense it has been said with profound insight that “beauty will save the world”.  (St. John Paul Letter to Artists, 1999)



JULIE LONNEMAN  is a freelance illustrator who lives and works in Cincinnati, Ohio where she maintains a studio. Her illustrations on themes of spirituality and social justice have appeared in magazines such as America, Sojourners, and St. Anthony Messenger, and have graced the covers of numerous books and newsletters. Her illustrations were featured on the 2011 Year of Grace calendar published by Liturgy Training Publications  and she recently illustrated a three year cycle of Sunday readings for Living Liturgy, published by Liturgical Press

An amazingly versatile artist, Julie works in many media and styles, but she is best known for her black and white scratchboard images and her colored pencil illustrations. She acknowledges many influences, from tribal, folk, and medieval art to the work of twentieth-century artists Käthe Kollwitz  (my favorite artist of 20th C.) , Fritz Eichenberg and Franklin Carmichael, and  contemporary liturgical artists. Julie is particularly grateful for the insights gleaned from her 25 years of membership in New Jerusalem, a Catholic  lay community founded in the 1970's by Richard Rohr, OFM. His teaching helped her to form the understanding of scripture that underlies her work.


In her "Song of Creation," she shows St. Francis ecstatically singing the Canticle of the Sun: "Though weak and almost blind, he composed this song of praise as the end of his earthly life drew near."

It was also at New Jerusalem that Julie met her husband, Bill, currently an assistant professor of nursing at the College of Mount St. Joseph. They have two daughters, born in 1984 and 1987.

Julie and Bill are actively involved in their working class neighborhood and in Franciscans Network, an organization that supports global human rights work.  Her work is featured at TRINITY STORES




She has said that she is grateful for the "priestly work she has been given as a woman and as an artist."

As a Catholic artist, she recognizes the "sacramental nature of art," through which "we are deepened, refreshed, challenged and re-created."


HOPE IN ART

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This is the last in our series of contemporary American Catholic women artists (at least for now).

I grew up under the care of the Sisters of St. Joseph of Carondelet(L.A.) and have great regard for their fine education. Unlike many teaching orders when I was a child, these women were highly
educated and instilled in us, even back to first and second grade, a love of learning - something absent in much of our education system today.



ANSGAR HOLMBERG, CSJ, studied with Ade Bethune, but her own art moves in a different direction.  Her colorful works are more reminiscent of folk art than conventional religious images.  She does not create for a liturgical purpose; rather, her art results from her own spiritual journey and life changes.  Her interpretations of themes are not fixed in the manner of Icons, but ever changing through time. 

At 77, Sister Ansgar  is happier than she's ever been. The religious life she chose as an 18-year-old still fits. The art she enjoyed as a young nun has become a vital expression of her faith.
Occasionally, an educational purpose sneaks into her work. 
Root of Jesse

Her award-winning folk art flows from a buoyant spirit and serious convictions about care of the Earth and the least among us, a clear reflection of the Sisters of St. Joseph of Carondelet's mission "to love God and neighbor without distinction." 

 
O Adonai

In her painting, Sister finds the process so soothing that it is at times  a "retreat." Art, she explains, is a form of prayer; it both demonstrates and deepens her faith. "There's no separation.”
 
Her vibrant colors bring hope !

 
Gospel According to St. John

OUR FIRST BLACK PRIEST

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SERVANT of GOD AUGUSTINE TOLTON, born in Missouri  in 1854,  was the first Roman Catholic priest in the United States publicly known to be black when he was ordained in 1886.
His mother Martha,  who was raised  Catholic, named him after an uncle named Augustus. Hewas baptized Augustine in St. Peter's Catholic Church in Brush Creek, Missouri, a community about 12 miles from Hannibal. His master was Stephen Elliott. Savilla Elliot, his master's wife
, was Augustine's godmother.

How the Tolton family gained their freedom remains a subject of debate. According to accounts Father Tolton told friends and parishioners, his father escaped first and joined the Union Army. His mother then ran away with her children, Charley, Augustine, and Anne. With the assistance of sympathetic Union soldiers and police, she crossed the Mississippi River into the Free State of Illinois. According to descendants of the Elliott family, though, Stephen Elliott freed all his slaves at the outbreak of the American Civil War and allowed them to move North.

After arriving in Quincy, Illinois, Martha, Augustus, and Charley began working at the Herris Tobacco Company where they made cigars. After Charley's death at a young age, Augustine met Father Peter McGirr, an Irish-American priest, who gave him the opportunity to attend St. Peter's parochial school during the winter months when the factory was closed. The priest's decision was controversial in the parish. Although abolitionists were active in the town, many of Father McGirr's parishioners objected to a black student at their children's school,
but Father McGirr held fast and allowed Augustus to study there.

 

Despite Father McGirr's support, Augustus was rejected by every American seminary to which he applied. Impressed by his personal qualities, Father McGirr continued to help him and enabled him to study in Rome. Augustine graduated from St. Francis Solanus College (now Quincy University) and attended the Pontifical Urbaniana University, where he became fluent in Italian as well as studying Latin and Greek.

He was ordained at the age of 31 in Rome on Easter Sunday at the basilica of St. John Lateran. Fearing that Father Tolton’s priesthood would be filled with suffering given the prevailing racial prejudice that prevailed in the United States, his superiors thought he would serve as a missionary priest in Africa. However, his mentor, Giovanni Cardinal Simeoni, challenged the Church in the United States to accept Father Tolton as its first African-American priest. “America has been called the most enlightened nation in the world. We shall see if it deserves that honor.” He returned to his home Diocese of Alton, Illinois, which once embraced the Dioceses of Springfield and Belleville. After his First Mass in Quincy, he was assigned to St. Joseph Church, the “Negro Parish.”assigned to the diocese of Alton (now Diocese of Springfield), Father Tolton first ministered to his home parish in Quincy, Illinois. Later assigned to Chicago, he led the development and construction of St. Monica's Catholic Church as a black "national parish church", completed in 1893 on Chicago's South Side.

Father Tolton suffered under increasing isolation and feelings of apprehension, perpetrated by local clergy with whom he needed association, to say nothing of the town’s lay Catholics. He became well known around the country as the first visible Black Catholic priest, renowned for his preaching and public speaking abilities and his sensitive ministry to everyone. He was often asked to speak at conventions and other gatherings of Catholics of both races.


Father Tolton became renowned for attending to the needs of his people with tireless zeal and a holy joy. He was a familiar figure in the streets and
back alleys, in the Negro shacks and tenement houses. He had the pastoral sensitivity needed to bring hope and comfort to the sick and the dying, to bestow spiritual and material assistance, and to mitigate the suffering and sorrow of an oppressed people.

Father Tolton began to be plagued by "spells of illness" in 1893. Like most poor People of Color, Father Tolton lacked adequate health care.  At the age of 43, he collapsed and died as a result of a heat wave in Chicago in 1897.

After his death, St. Monica's was made a mission Church. In 1924 it was closed as a national parish, as black Catholics chose to attend parish churches in their own neighborhoods.





His correspondence with St Katherine Drexel and shows us a humble and prayerful man of remarkable faith. He proved an example of a true priest of Jesus Christ in an extraordinary time, when most Americans could not imagine that a son of Africa could make a significant contribution to society or to the Church. In a June 5, 1891 letter to Mother Katherine Drexel he wrote, “I shall work and pull at it as long as God gives me life, for I am beginning to see that I have powers and principalities to resist anywhere and everywhere I go.”

"Good Father Gus", as he was called by many, was known for his "eloquent sermons, his beautiful singing voice and his talent for playing the accordion."

On the 2nd March 2010 Cardinal George of Chicago announced that he was beginning an official investigation into Father Tolton's life and virtues with a view to opening the Cause for his canonization. This Cause for Sainthood is also being advanced by the Diocese of Springfield, Illinois, where Father Tolton first served as priest, as well as the Diocese of Jefferson City, Missouri, where his family was enslaved.

On February 24, 2011 he was made Servant of God in the first step towards canonization.


 

“He was a man beset on all sides by racism and its tragic consequences. Yet, he dared to believe that no door can be kept closed against the movement of the Lord and the power of the Spirit.”  Father Eugene Kole, O.F.M., President of Quincy University, during the Centennial  Observance of  Father Tolton’s death, July 12-13, 1997





OUR ANIMAL PATRONS

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St. Brigid


We all know to pray to St. Francis of Assisi for protection of our pets, but there are many saints that people have prayed to, even before St. Francis' time, for intercession on behalf of domestic and farm animals. Having had a dairy cow recently come down with milk fever after she had her calf (she is doing well now), we know a thing or two about these patrons.

Who are these saints and how did they get their job as our special patrons? First we will find a few that help us with our cows/cattle.


The first saint, not well known in our country, is ST. BERLINDA of MEERBEKE(Belgium).(d. 702) a Benedictine nun of noble descent.  She is invoked against cattle diseases. She was a niece of St. Amandus and she was disinherited by her father, Count Odelard, after he became sick with leprosy and believed that she would not take proper care of him.


Berlinda fled to a Benedictine convent at Moorsel,  and became a nun. After her father died, she became a hermit at Meerbeke, where her father had been buried. Her tradition states that she spent her life helping the poor and suffering. She later became a hermitess at Meerbeke.

She is depicted as a nun with a cow and either a pruning hook or branch (she is also patroness of trees), but I could not find a reason for either. As long as she does her job helping us out, we do not care!       


ST. BRIGID of IRELAND (451–525) along with St. Patrick is the most well known patroness of cows/cattle. She was probably born at Faughart near Dundalk, Louth, Ireland. Her parents were baptized by St. Patrick, with whom she developed a close friendship. According to legend, her father was Dubhthach, an Irish chieftain of Lienster, and her mother, Brocca, was a slave at his court.

From the start, it is clear that Brigid was holy. Before a name had been given to the infant, Dubthach dreams of three clerics baptizing her. One of the clerics told her father, "Let Brigit be your name for the girl". When the druid tries to feed her, she vomits because he is impure. Dubhthach recognises his impurity and finds a white cow with red ears to sustain her instead. As she grows older, Brigid performs many miracles, including healing and feeding the poor. St Brigid is celebrated for her generosity to the poor. According to one tale, as a child, she once gave away her mother's entire store of butter. The butter was then replenished in answer to Brigid's prayers

Even as a young girl she showed an interest for a religious life and took the veil in her youth from St. Macaille at Croghan and probably was professed by St. Mel of Armagh, who is believed to have conferred abbatial authority on her. She settled with seven of her virgins at the foot of Croghan Hill for a time and about the year 468, followed St. Mel to Meath. About the year 470 she founded a double monastery at Cill-Dara (Kildare) and was Abbess of the convent, the first in Ireland. The foundation developed into a center of learning and spirituality, and around it grew up the Cathedral city of Kildare. She founded a school of art at Kildare and its illuminated manuscripts became famous, notably the Book of Kildare, which was praised as one of the finest of all illuminated Irish manuscripts before its disappearance three centuries ago.


St. Brigid was one of the most remarkable women of her times, her extraordinary spirituality, boundless charity, and compassion for those in distress was great. She died at Kildare and  she is buried at Downpatrick with St. Columba and St. Patrick, with whom she is the patron of Ireland. Her name is sometimes Bridget and Bride. St Brigid is portrayed as having the power to multiply such things as butter, bacon and milk, to bestow sheep and cattle, and to control the weather.



   
 ST. PATRICK
was born to a loving family in the British part of the ancient Roman Empire (probably in modern Wales) in 385 AD. His father, Calpurnius, was a Roman official who also served as a deacon in his local church. Patrick's life was fairly peaceful until age 16, when a dramatic event changed his life significantly.


A group of Irish raiders kidnapped many young men, including 16-year-old Patrick, taking them by ship to Ireland to be sold into slavery. After Patrick arrived in Ireland, he went to work as a slave for an Irish chieftain named Milcho, herding sheep and cattle. Patrick worked in that capacity for six years, and drew strength from the time he often spent praying. He wrote: "The love of God and his fear grew in me more and more, as did the faith, and my soul was rosed, so that, in a single day, I have said as many as a hundred prayers and in the night, nearly the same. ...I prayed in the woods and on the mountain, even before dawn. I felt no hurt from the snow or ice or rain."

One day, Patrick's guardian angel, Victor, appeared to him in human form, manifesting suddenly through the air while Patrick was outside. Victor told Patrick: "It is good that you've been fasting and praying. You will soon go to your own country; your ship is ready."

Victor then showed Patrick how to find his way  to the Irish Sea to find the ship that would take him back to Britain. Patrick successfully escaped and was united with his family. After Patrick had enjoyed several comfortable years with his family, Victor communicated with Patrick through a dream. He showed Patrick a dramatic vision that made Patrick realize that God was calling him to return to Ireland to preach the Gospel message there. So he left his comfortable life with his family and sailed to Gaul  to study to become a priest. After he was appointed a bishop, he set out for Ireland to help as many people as possible in the island nation where he had been enslaved years before.

For more than 30 years, St. Patrick served the people of Ireland, proclaiming the Gospel, helping the poor, and encouraging others to follow his example of  faith and love in action. He died in 461.

Other patrons of cows/cattle are Sts. Perpetua and Felicity and St. Cornelius.



St. Cornelius

SPECIAL FRIENDS OF OUR SHEEP AND LAMBS

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St. Germaine


For years I have prayed to Sts. Genevieve, Germaine and Cuthbert for safe and healthy lambs. But there are more out there waiting to be called upon for their gifts. There are patrons of the sheep themselves, of the lambs, of the ram, of the shepherd and shepherdess, and even of the vet, who may be called in for his/her earthly talents.

ST. GERMAINE COUSINwas born in the remote village of Pibrac in 1579. Germaine was a frail and sickly child. Her right arm was deformed and partially paralyzed. She was prey to every disease of the times due to the unsanitary conditions under which she lived.


Germaine was a shepherdesswho lived with the animals she tended. She had a mattress of hay and twigs in the corner of the barn. She was never sent to school, merely instructed briefly in order to make her First Holy Communion. The girl was shunned by children of her own age, and ignored by adults. Her only refuge was the Church. There she heard Mass every morning.

When St. Germaine died in 1601, the animals were the only ones there to comfort her. The night she passed from this life to the next life, two monks traveling from Toulouse had a remarkable vision. At midnight, they were awakened by heavenly music overhead, accompanied by a pathway of light, inhabited by angels. A tip of the luminous pathway rested over a barn in the distance. It seemed Germaine was being escorted into heaven.

Pope Gregory XVI declared Germaine "Venerable" on May 23, 1845, stating Germaine is the saint we need." Pope Pius IX beatified Germaine on May 7, 1854. He then canonized St. Germaine on June 29, 1867. He said, "Go to Germaine. She is a new star shedding a marvelous glow over the Universal Church."

ST. SOLANGE of BOURGES  (d.. 880) was a Frankish shepherdess,  born to a poor but devout family in the town of Villemont, near Bourges. She consecrated her virginity at the age of seven and according to some, her mere presence cured the sick and exorcised devils. The son of the count of Poitiers was highly taken with the beauty and popularity of Solange and approached her when she was working on tending to her sheep, but she rejected his suit. He argued with her to no avail, and so he decided to abduct her.


At night, he came and took Solange by force, but she struggled so violently that she fell from his horse while he was crossing a stream. Her abductor grew enraged and beheaded her with his sword. Solange's severed head invoked three times the Holy Name of Jesus, according to the fully developed legend. Solange picked up her head in her own hands and walked with it as far as the church of Saint-Martin in the village of Saint-Martin-du-Crot (which now bears the name of Sainte-Solange, the only commune in France to bear this name), only dropping truly dead there.




ST. GENEVIEVE  was born about the year 422, at Nanterre near Paris. When she was little she didn’t attend school as she had to help her father with the sheep that her family owned. When she was watching the sheep, Genevieve often prayed. Sometimes she would just sit and think about how she could carry on the Lord’s mission. 

St. Genevieve

She was seven years old when St. Germain of Auxerre came to her native village on his way to great Britain to combat the heresy of Pelagius. The child stood in the midst of a crowd gathered around the man of God, who singled her out and foretold her future sanctity. At her desire the holy Bishop led her to a church, accompanied by all the faithful, and consecrated her to God as a virgin.


St. Genevieve-Louveciennes, France

When Attila was reported to be marching on Paris, the inhabitants of the city prepared to evacuate, but St. Genevieve persuaded them to avert the scourge by fasting and prayer, assuring them of the protection of Heaven. The event verified the prediction, for the barbarian suddenly changed the course of his march.

The life of St. Genevieve was one of great austerity, constant prayer, and works of charity. She died in the year 512. Her feast day is January 3rd. She is the patroness of Paris.


ST. CUTHBERT of LINDISFARNE is considered one of England's most revered saints. Although tradition says that Cuthbert was the son of an Irish king, it is most likely that he was born in the vicinity of Melrose, in present day Scotland, of poor parents. Certainly we know that he tended sheep on the hills above the abbey when he was older. The young Cuthbert may have been influenced by the nearby monks of Melrose Abbey in his choice of vocation; when he was sixteen he received a vision of the soul of St. Aidan being carried to heaven by angels. This vision may have convinced him to enter holy orders at Melrose, but he did not rush to fulfill his calling.

St. Cuthbert
Instead, Cuthbert spent several years as a soldier, probably in the service of the Kingdom of Northumbria against the attacks of King Penda of Mercia. After that conflict had ended, Cuthbert entered the monastery at Melrose, where his devotion earned him high praise.

At the Synod of Whitby in 664, a decision was made to follow the Roman liturgical customs introduced by Augustine of Canterbury in place of the Celtic practices that were formerly followed. While St. Colman, the local bishop, and his monks refused to accept the decision of the Synod of Whitby and left for Ireland, Cuthbert seemed to have accepted the introduction of the Roman practices and remained. Cuthbert, then, followed his abbot, St. Eata, from Melrose to Lindisfarne, where he became prior and later abbot.


From Lindisfarne, Cuthbert continued his missionary work southward to Northumberland and Durham. Cuthbert had become entranced with the sea and rocky lands of Lindisfarne and yearned for a solitary life there. In 676, he actively turned to such a life by retiring to a cave and shortly thereafter he moved to a cell he built on the isolated island of Inner Farne that was south of Lindisfarne. Yet he was still sought after. After being implored strongly by the king of Northumberland, Cuthbert, in tears, agreed to accept election as a bishop in 684. While initially destined for the see of Hexham, Cuthbert exchanged sees with St. Eata and was consecrated bishop of Lindisfarne in March 26, 685, on the Sunday of the Resurrection, by St. Theodore, Archbishop of Canterbury, and by six bishops in York.

For the next two years, Cuthbert, while maintaining an ascetic life, led his diocese by caring for the sick, distributing alms, working the many miracles that earned him the title of Wonder-worker of Britain. Then, during the Christmas season of 686 in declining health he resigned his office and retired to his cell on the Inner Farne Island where he reposed on March 20, 687.



One of my favorites, but the least known isBL. PANACEA de'MUZZI of QUARONA.  Panacea’s mother died when the girl was an infant. When she was old enough, Panacea worked as shepherdess. Her father re-married, but her step-mother, Margherita di Locarno Sesia, quickly developed a hatred of the girl, partly because she would not work as ordered, and partially because Panacea was a pious little girl and Margherita hated religion.



One spring evening of 1383 , while Panacea, fifteen at the time, was looking after the sheep, the stepmother found the girl in prayer, near the ancient church of St. John. Furious, she scolded the girl severely and, in the throes of rage, struck violently and repeatedly with a spindle, killing her instantly. The woman threw herself in despair into a nearby ravine. Panacea's father, the local priest and villagers tried to lift her off the ground but failed.  


 Finally, the body was carried downstream and placed on a cart pulled by oxen, but the oxen could not pull the wagon and  so were replaced by two heifers. They were to drive the body to a special field, but the owner opposed the burial in his field. The heifers, guided by the spirit of Panacea, resumed their journey towards the plains followed by the Bishop, the clergy and by many people. The church bells rang  and people saw the carriage stop in the cemetery where the mother of Panacea  was buried. 





ST. CUTHMAN of STEYNING  was born about 681, either in Devon or Cornwall, or more probably at Chidham, near Bosham, about 25 miles from Steyning. Most probably, Saint Wilfrid, the Apostle of Sussex (680-685) converted and baptized Cuthman and his parents.


St. Cuthman

His legend states he was a shepherd who had to care for his paralyzed mother after his father's death. When they fell on hard times and were forced to beg from door to door, he built a one-wheeled cart or wheelbarrow  in which he moved her around with him. They set out east, towards the rising sun, from his home and, even though the cart broke, he improvised a new one, deciding that when that cart broke again he would accept it as a sign from God to stop at that place and build a church. It broke at the place now called Steyning, upon which he prayed.

After building a hut to accommodate his mother and himself, he began work on the church (now St Andrew's, Steyning, which in the 20th century instituted a Cuthman chapel in his honor), with help from the locals. As the church was nearing completion and Cuthman was having difficulty with a roof-beam, a stranger showed him how to fix it. When Cuthman asked his name, he replied:

    "I am He in whose name you are building this church."

Whatever date we ascribe to Cuthman, this church was in existence by 857, for we know that King Æthelwulf of Wessex was buried there in that year.

According to one legend, one day as he was watching his sheep, he drew a line around his sheep with his staff so that he could get away to collect food. On his return, he found that the flock had not left the invisible boundary. This miracle may have taken place in a field near Chidham, which for centuries was known as ‘St Cuthman’s Field’ or ‘St Cuthman’s Dell.’ It was said that a large stone in the field, ‘on which the holy shepherd was in the habit of sitting,’ held miraculous properties.

St. Cuthman
Christopher Fry wrote a play on him in 1938 called "The Boy with a Cart", performed at the Lyric Theatre, Hammersmith, in 1950, directed by John Gielgud and with Richard Burton as Cuthman, from which the following is a quote:
            “ It is there in the story of Cuthman, the working together
            Of man and God like root and sky; the son
            Of a Cornish shepherd, Cuthman, the boy with a cart,
            The boy we saw trudging the sheep-tracks with his mother
            Mile upon mile over five counties; one
            Fixed purpose biting his heels and lifting his heart.
            We saw him; we saw him with a grass in his mouth, chewing
            And travelling. We saw him building at last
            A church among whortleberries…"




ST. BERNADETTE SOUBIROUSis one of our more modernpatronesses of sheep. Most know her story as it was to her Our Lady appeared at Lourdes, while Bernadette watched her sheep. She was born in Lourdes, France, on January 7, 1844, the daughter of Francis and Louise Soubirous. Bernadette, a severe asthma sufferer, lived in abject poverty. On February 11, 1858, she was granted a vision of the Blessed Virgin Mary in a cave on the banks of the Gave River near Lourdes. She was placed in considerable jeopardy when she reported the vision, and crowds gathered when she had further visits from the Virgin, from February 18 of that year through March 4.The civil authorities tried to frighten Bernadette into recanting her accounts, but she remained faithful to the vision. 


On February 25, a spring emerged from the cave and the waters were discovered to be of a miraculous nature, capable of healing the sick and lame. On March 25, Bernadette announced that the vision stated that she was the Immaculate Conception, and that a church should be erected on the site. Many authorities tried to shut down the spring and delay the construction of the chapel, but the influence and fame of the visions reached Empress Eugenie of France, wife of Napoleon Ill, and construction went forward. Crowds gathered, free of harassment from the anticlerical and anti-religious officials. In 1866, Bernadette was sent to the Sisters of Notre Dame in Nevers. There she became a member of the community, and faced some rather harsh treatment from the mistress of novices. This oppression ended when it was discovered that she suffered from a painful, incurable illness. 

St. Bernadette
She died in Nevers on April 16,1879, still giving the same account of her visions. Lourdes became one of the major pilgrimage destinations in the world, and the spring has produced 27,000 gallons of water each week since emerging during Bernadette's visions. She was not involved in the building of the shrine, as she remained hidden at Nevers. Bernadette was beatified in 1925 and canonized in 1933 by Pope Pius XI. 

 Other patrons of sheep are: Sts. Regina, Drogo, George,  Castulus of Rome, Dominic of Silos, Julian the Hospitaller, Pascal Baylon, andUrsinus of Bourges andRaphael the Archangel.




  
St. Drogo


 
St. Pascal
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