St. Bartholomew and His Star

 

August 24 is the feast day of St. Bartholomew, one of the twelve apostles and a martyr. According to the flower calendar in the Collectanea of V.S. Lean, the sunflower becomes a star for the feast of St. Bartholomew: 

"And yet anon the full Sun-flower blew,* And became a star for Bartholomew" 

 

It is not entirely clear whether this metaphor for reaching full bloom (or detaching and becoming airborne) is a Roman Catholic or an Anglican tradition. Some sources claim it was already an existing tradition in 15th or 16th century, which would likely place its origin at a time prior to Anglicanism. On the other hand, many sources say the sunflower was not brought to Europe until the 16th century, after Pizarro discovered it in Peru, so there could hardly have been an existing tradition before that time. In any event, Ward and Lovejoy relate:

"The Old English church recommended decorating with the sunflower on St. Bartholomew's day, 24 August, because it represented constancy and devotion [.]"

And Forster says:

"The sunflower is called in the Floral Directory, St. Bartholomew's Star".

See also Gemma's post Summer Yet Solemn for some beautiful sunflower arrangements.

Sources: Forster, Circle of the Seasons (T. Hookham, London, 1828), p. 237. Ward and Lovejoy, A Contemplation Upon Flowers (Timber Press, 1999), p. 347.

 Image: A sunflower in Germany, from Wikimedia Commons. Some rights reserved.

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*Some sources substitute "below" and others substitute "flew"

Assumption Art Series: Rubens

 

Today we see an early 17th century depiction of the Assumption. It is Peter Paul Rubens' Assumption of the Virgin.  It is oil on panel, measures 16 feet by 10.6 feet, and is found at its original site in the Cathedral of Our Lady in Antwerp, Belgium.

Rubens painted in the Baroque style and is known for his affirmation of Catholic doctrine during the latter years of the Counter-Reformation.  This is particularly interesting because although he was born into a Catholic family, his father converted to Protestantism and then his mother converted the family back to Catholicism after his father's death. 

This artwork contains the elements we have seen earlier in this series of Mary in her glorified body being assumed into heaven while the apostles ponder her absence from her tomb or casket.  In this case, the artwork shows the three Marys (Mary Magdalene, Mary Cleophas and Mary Salome) gathering blooms of roses and lilies that have blossomed in Our Lady's empty tomb.

Rubens did many versions of this topic, one of which is in the Kunstplast Museum in Dusseldorf, Germany but this is the one that art historians and commentators generally favor.  

Since today is the feast day, here is a link to the traditional Mass propers at Usus Antiquoir.

Assumption Art Series: El Greco

 

Here we have El Greco's Assumption of the Virgin. This late 16th century artwork is oil on canvas and measures, in round numbers, 159 inches by 83 inches.  It was the central element of an altarpiece commissioned for the church of Santo Domingo el Antiguo in Toledo, Spain, a cloistered Cistercian convent. The painting hung over the main altar.  It is now found in the Art Institute of Chicago, Illinois, USA.

This artwork, like Titian's, shows Mary joyfully being assumed into heaven. As one can see, this painting includes the element of the Apostles standing by Our Lady's empty casket in astonishment.  This event is portrayed in many other artworks but this one seems to show it with unusual clarity.  When one remembers that El Greco initially trained as a icon artist, this is particularly remarkable.

This painting transferred ownership many times before being received by the Art Institute of Chicago.  One can read about its journey at the above link.