Tag: New Testament

The Four Church Fathers

The Four Church Fathers

Pre-Medieval Think Tank…

The Four Church Fathers were influential theologians and highly intellectual writers who established from the 4th to the 5th century the foundations of Christianity. Let’s see how we can identify these four guys in pictorial art, based on some of their legends. Their Latin names are Ambrosius, Augustinus, Gregorius and Hieronymus, in English Ambrose, Augustine, Gregory and Jerome. Each of them has its own fairytale legend, and these stories are perfect for recognising them as a group and as individuals.

Jacob Jordaens (1593 – 1678), “The Four Church Fathers” (c.1640), 219x252cm, Nationalmuseum, Stockholm.
From left to right: Jerome with the Cardinal’s hat and and with his friend the lion, Augustine in Bishop’s costume with mitre, pastoral staff and with the flaming heart, Gregory as Pope with the Papal tiara, and Ambrose as Bishop and with his beehive.

Their common attributes are books, quills to write with and sometimes a dove, who whispers holy spiritual inspiration into their ears. They are scholars and sitting in their study while writing, reading or discussing; or at least they give the impression that they are in deep thoughts! And they are all saints and you might see the “halo”, which is a symbol of holiness represented by a circle around the head of a saint. Ambrose and Augustine were Bishops, they wear a “mitre” on their head. Gregory was Pope, he wears the papal “tiara”. Jerome was Cardinal and he wears a “galero”, the Cardinal’s hat.

Ambrosius, Engraving (c.1575), Print maker Petrus Cool after design by Maerten de Vos, 29x22cm, RijksMuseum, Amsterdam.
Abrose wears the Bishop’s mitre and staff, and his beehive-symbol on the background.

Ambrose (Saint Ambrosius, c.340 – 397) was Bishop of Milan. He is dressed as a Bishop, with a mitre and the pastoral staff. There is a famous legend about Ambrose. When he was in his cradle as a baby, a swarm of bees covered his face and left a drop of honey. That’s the sign of Ambrose’s future ability as an eloquent and sweet-tongued speaker. His attribute is a beehive and he is Patron Saint of beekeepers, candle makers, and Milan. Ambrose is buried in the Basilica di Sant’Ambrogio, Milan. His feast day is December 7th.

Augustinus, Engraving (c.1600), Print maker Aegidius Sadeler (II) after design by Peter de Witte, 15x11cm, RijksMuseum, Amsterdam.
He is a Bishop, thus the mitre and the pastoral staff. And that toddler in the foreground told Augustine that he will have emptied the sea with a spoon before Augustine will have understood the essence of God. Well, that makes one think; and certainly Augustine!

Augustine (Saint Augustinus, c.354 – 430) was a Bishop, like Ambrose, and dressed as such with a mitre and Bishop’s staff. Often Augustine is portrayed with a child with a spoon in his hand. According to the legend, Augustine was walking along a beach one day when he meets a child trying to empty the sea with a spoon into a hole in the sand. When Augustine asked the child if he would ever succeed, the child replied: “Certainly before you will understood the essence of God”. Augustine is also often depicted with a flaming heart, as symbol of his love for God. He is the Patron Saint of printers and theologians and his feast day is August 28th.

Gregorius, Engraving (c.1600), Print maker Aegidius Sadeler (II) after design by Peter de Witte, 15x10cm, RijksMuseum, Amsterdam.
Gregory is the only Pope amongst these four Church fathers; his Papal tiara, the three-tiered crown, in the background.

Gregory (Saint Gregorius, c.540 – 604) was Pope, and thus shown in Papal vestments and with the Papal tiara, the three-tiered crown. Gregory renewed church music, now known as “Gregorian Chanting”. He is the Patron Saint of musicians, choristers and singers, teachers and Popes. His feast day is September 3th and he is buried in Saint Peter’s Basilica in the Vatican.

Hieronymus, Engraving (1589), Print maker Antonie Wierix (II) after design by Cornelis Ingelrams, 17x21cm, RijksMuseum, Amsterdam.
Jerome is here with his friend the lion and Jerome’s Cardinal hat hangs on the wall. The look on the face of the lion is, in my opinion, adding to the seriousness of Jerome studying on the book!

Jerome (Saint Hieronymus, c.347 – 420), was Cardinal and is depicted with the crimson Cardinal’s attire and hat, or just with the cardinal’s hat when he is depicted as a hermit in the wilderness, desert or cave, when Jerome lived for a few years a life of penitence. He is most famous for translating the Old and New Testament from Hebrew and Greek into the “Vulgate”, the simplified Latin Bible version, which became the official version of the Bible for over thousand years. Jerome is mostly depicted together with a lion. There is a well-known legend in which St. Jerome drew a thorn from a lion’s paw. The beast became his companion wherever Jerome went. It is the symbol of compassion conquering brute force. Jerome is the Patron Saint of translators, librarians and teachers. His feast day is September 30 and he is buried in the Santa Maria Maggiore, Rome.

Frans Francken II (1581 – 1642), “The Four Church Fathers” (c.1620), Oil on copper, 16x22cm, Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario.
This is a tiny oil-on-copper painting, just a bit bigger than an A5 sheet of paper. And from left to right: Gregory (Papal tiara), Jerome (Cardinal hat), Augustine (Bishop’s mitre) and Ambrosius (Bishop’s mitre and beehive).

Looking at the paintings in this article, we see Church Fathers who lived from the 4th to the 6th century, but dressed as Church officials from the 16th and 17th century. This imagery appeals probably more to the contemporary viewer than some ancient monk-style non-elaborate dressed men from the pre-medieval centuries. Jerome’s Cardinal hat (“galero”) was only worn from the 14th century. The Bishop’s headgear (‘mitre”) as worn by Ambrose and Augustine was only en vogue from the 11th century, and the Pope’s ceremonial headdress (“tiara”) was used from the 8th century.

Pier Francesco Sacchi or Il Pavese (1485 – 1528), “The Four Church Fathers; Augustine, Gregory, Jerome and Amrose; with the symbols of the Four Evangelists: eagle, ox, angel and lion)” (1516), 196x168cm, Louvre, Paris.
From left to right: Augustine, Gregory, Jerome and Ambrose.

In the last painting, by Pier Francesco Sacchi and painted around 1516, we see again the Four Church fathers, but now they are hijacking the symbols of the Four Evangelist. As if they want to identify themselves with the writers of the Four Gospels, written 1st and 2nd century, opposed to just being the translators and commentors of these holy books. The symbols of the Evangelists are as follows from left to right: John – Eagle, Luke – Ox, Matthew – Angel, and Mark – Lion. The animals are under the table, the angel peeps in between two of the Church fathers. The lion on the right bottom corner is therefore Mark’s lion and not Jerome’s! The Church Fathers from left to right are Augustine, Gregory, Jerome and Ambrose.

Saint Joseph

Saint Joseph

“Carpenter from Nazareth”

Today March 19th is the day dedicated to Saint Joseph. Who is he? Joseph is one of the three members of the Holy Family, together with the Virgin Mary and her child Jesus. He is a carpenter from Nazareth and a widower, who married the Virgin Marry at that time already pregnant with Jesus. The virgin birth of Jesus is the Christian doctrine that Jesus was conceived and born by his mother Mary through the power of the Holy Spirit and without sexual intercourse. Joseph is therefore Jesus’s foster-father. In most paintings with the Holy Family, Joseph has a minor role and just in the background. Only from the 15th century artists gave more attention to Joseph and made him visible as head of the Holy Family. When the bible speaks about Jesus’s brothers and sisters, those are children of Joseph from a previous marriage. Saint Joseph is the patron saint of family life, fathers, unborn children and carpenters and in Western Christianity his celebration day is March 19th. And in Italy, this special day of Saint Joseph (San Giuseppe in Italian) is also Father’s Day. Joseph might be a lesser celebrity in the biblical world, but as “father” he is a figure that means so much in everyone’s life. Even when he is a foster-father.

Robert Campin (1378 – 1444), “Saint Joseph” (right-hand panel of the “Annunciation Triptych – Merode Altarpiece”) (c. 1430), 65x27cm, Oil on Panel, The Metropolitan Museum of Art, New York.

This is the right-hand panel of a triptych. The old man Joseph, who is engaged to the Virgin Mary, works in his carpenter shop. The mousetraps he made, on the bench and in the shopwindow opening onto the street, are symbols of the crucifixion of Jesus which will only happen 33 years later. Jesus on the cross is considered the devil’s mousetrap.

Robert Campin (1378 – 1444), “Annunciation Triptych – Merode Altarpiece” (c. 1430), 65x118cm, Oil on Panel, The Metropolitan Museum of Art, New York.

Looking at the triptych as a whole, the middle panel shows the moment when the Virgen Mary gets the message from the angel Gabriel that she will be pregnant with Jesus. It’s even the moment of the divine impregnation itself. On the right panel Joseph in his workshop, busy making the mousetraps and no idea what is happening to Mary at this very moment. On the left the donors of this triptych.

French 15th century, “The Expectant Madonna with Saint Joseph” (c.1435), 71x35cm, Tempura on Panel, National Gallery of Art (Samuel H. Kress Collection), Washington DC.

When Joseph was engaged to Mary he found out she became pregnant, and certainly not by him! Joseph was very much doubting if he should indeed marry her. As he considered splitting up, an angel of the Lord appeared to him in a dream. “Joseph” the angel said, “do not be afraid to take Mary as your wife. For the child within her was conceived by the Holy Spirit.” As is written in the bible, see Matthew 1: 18-20. On the picture above you can see Mary, pregnant with Jesus, and Joseph as an old man doubting about what happened. This is not a very common image to see in paintings and it’s obviously a mysterious element in the whole story and even a bit embarrassing for Joseph. The message from the angel to Joseph is then solving this element to everyone’s satisfaction, including Joseph’s. From the 15th century the Holy Family (Maria, Jesus and Joseph) as a subject became way more popular and that helped to raise Joseph in public esteem. Joseph is from then on represented more sympathetically and more prominently.

George de la Tour (1593 – 1652), “Saint Joseph the Carpenter” (1642), 137x102cm, Oil on Canvas, Louvre, Paris.

This painting by George de la Tour (1642, from the Louvre) cannot be missed in any story about Joseph. As patron saint of carpenters, Joseph is working on a beam, helped by his foster son Jesus. The arrangement of pieces of wood on the floor evokes a cross and prefigures the crucifixion of Jesus. The young Jesus with the candlelight shining on his face makes already a reference to becoming the “Light of the World”. George de la Tour shows that even Jesus lived a simple and innocent earthly life, but he included divinity’s presence by way of the light of the candle.

Bartolomé Esteban Murillo (1617 – 1682), “The Holy Family” (1650), 144x188cm, Oil on Canvas, Museo del Prado, Madrid.

Here we see the Holy family with a playing Jesus and two caring parents in a domestic scene. It shows home life but also work, symbolized by Saint Joseph’s carpenter tools on the right. The almost leading role of Joseph, the foster father, corresponds to the increased worship of Joseph as a father figure within the Holy Family. Over the centuries the image of Joseph developed from a grumpy old man to a caring – and younger – father.

Sir John Everett Millais (1829 – 1896), “Christ in the House of His Parents – The Carpenter’s Shop” (1850), 86x140cm, Oil on Canvas, Tate Gallery, London.

This is a painting from the Pre-Raphaelite painter Millais, showing a scene from the boyhood of Jesus and placed in Joseph’s carpenter workshop. It’s full of symbolic messages. Jesus, as a boy, has wounded himself at a nail and is being comforted by his parents Mary and Joseph. Blood is dripping from his hand on his foot. Both spots of blood are foreshadowing the crucifixion. On the right we see the young Saint John the Baptist with a bowl of water, as reference to the baptizing of Jesus Christ. At the back on the wall is a carpenter’s triangle, referring to the Holy Trinity of God, the Holy Spirit, and Jesus son of God. And the dove, symbolizing the Holy Spirit, is sitting on the ladder.

The pre-Raphaelites wanted to strip-away all traditions of painting since Raphael. Millais removed all beauty and placed the scene in an ordinary carpenter workshop, with common people as the Holy Family. The picture prompted many negative reviews. The Times described it as ‘revolting’ and objected to the way in which the artist had dared to depict the Holy Family as ordinary, lowly people in a humble carpenter’s shop. Charles Dickens was one of the most vehement critics, describing the young Christ as ‘a hideous, wry-necked, blubbering, red-headed boy, in a bed gown’. The painting can be seen in the Tate Gallery, London, where it’s now considered one of their masterpieces.

Bartolomé Esteban Murillo (1617 – 1682), “The Heavenly and Earthly Trinities – The Pedroso Murillo” (c. 1680), 293x207cm, Oil on Canvas, National Gallery, London.

This painting illustrates the belief that Jesus was both human and divine, by placing him in the middle of the two “Trinities”. The vertical line is the Holy Trinity, with God the Father, the Holy Ghost (the dove), and Jesus as the Son of God. Jesus looks up towards heaven, but affectionately holds hands with his human parents, Mary and Joseph. The three together, as the horizontal line, make up the Earthly Trinity. Mary’s loving gaze and gracefully upturned palm are directed towards her young son. Joseph looks out of the picture towards us, inviting us to adore Jesus. Murillo transforms a complex theological principle into a very human and accessible image. With Jospeh as the connecting figure between us humans and the divine world of God.