Category Archives: Icons

“Pleasing is the fragrance of your perfumes….”

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This image of the Mother of God, “Health/Salvation of the Roman People,” dates from the 6th century and is kept in a chapel of the St. Mary Major basilica in Rome. The Mother of God is frequently identified with the bride in the Song of Songs; just as this image is reputed to bring health and salvation to those who venerate it, the fragrance which the bride shares with her companions also brings health and salvation.

“Even though one may gather every perfume and every flower of fragrance from all the different meadows of virtue and is able to make one’s whole life fragrant with the scent of all these virtuous actions … still one could not look steadily upon the Bridegroom, the Word of God, any more than one could look directly at the sun.”

St. Gregory of Nyssa is commenting on a verse from the Song of Songs:

“Pleasing is the fragrance of your perfumes;
    your name is like perfume poured out.” (Song of Songs 1:3)

St. Gregory goes on to quote St. Paul the Apostle, who said that he was “the good fragrance of Christ” (2 Cor. 2:15). St. Gregory points out that the apostle “inhaled the fragrance of that inaccessible and transcendent grace, offering himself to others as a kind of incense for them to partake of according to their ability….” St. Gregory urges us to treasure this fragrance in our hearts, as the bride does in the Song of Songs. The bride makes a sachet of this fragrant perfume and keeps it between her breasts; the warmth of her heart enables all her actions to spread the beautiful scent of the perfume.

Some manuscripts specify that this perfume is frankincense or myrrh. In the medical theory of the ancient world, these scents strengthened and energized certain animals but acted as poison to others. The effect of these scents on humans, however, was the result of human choice: a person could choose to be energized and invigorated by the scent or to be weakened and debilitated by the scent.

The choice is up to us.

“I am dark and lovely:” Part 2

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Our Lady of Montserrat at the Santa Maria de Montserrat monastery on the MontserratMountain in Catalonia, dates from the 12th century. The famed image once bore the inscription ”Nigra Sum Sed Formosa” (Latin: I am Black, but Beautiful). I had the privilege of visiting Our Lady in the church of Montserrat outside Barcelona many years ago; my children wanted to skip along the sheer edge of the mountaintop and protested when I insisted they step away from the edge: “Daddy won’t let us be light-hearted!”

“Do not gaze at me because I am swarthy, because the sun has scorched me,” protests the bride in the Song of Songs (1:5). St. Bernard of Clairvaux–in his sermons on the Song–interprets this swarthiness caused by the scorching sun, as the virtue that comes as the result of hard work and effort. It is also the swarthiness that “is caused by the heat of persecution…. the zeal for what is right…. to be on fire with fraternal love, to weep with those who weep, to rejoice with those who rejoice, to be weak with those who are weak.” St. Bernard tells us, Just like the burning sun therefore, the ardor of desire [for both God and neighbor] darkens her complexion while still a pilgrim in the body….”

She who loves God most ardently and is most burnt by her ardor for God and neighbor is identified by the tradition of the Church as Mary, the Mother of God. She is burnt by the burning sun but, like the burning bush, not consumed by the flame of the Divine. She is zealous for what is right while rejoicing and weeping with those who rejoice and weep. One of the most popular images of the Mother of God as swarthy lover of God is Our Lady of Montserrat.

The image is one of the Black Madonnas of Europe, hence its familiar Catalan name, La Moreneta (“the little dark-skinned one” or “the little dark one”). Believed by some to have been carved in Jerusalem in the early days of the Church, it is more likely a Romanesque sculpture in wood from the late 12th century.

Legend has it that the monastic community that developed on the mountain could not move the statue to construct the monastery, choosing to instead build around it. The statue’s sanctuary is located at the rear of the chapel, where an altar of gold surrounds the icon, and is now a site of pilgrimage.

The hymn to the Virgin of Montserrat, known as “el Virolai” and sung at noon each day by the Escolania de Montserratboys’ choir, begins with the words: “Rosa d’abril, Morena de la serra…” (Rose of April, dark-skinned lady of the mountain…). Therefore, this image of the Mother of God is sometimes also known as the “Rosa d’abril” as her feast is kept on April 27.

“I am Black and Beautiful:” the Queen of the South

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  • The Queen of Sheba, from a 15th-century manuscript now at Staats – und Universitätsbibliothek Gottingen
  • Sanctae Mariae Coronavi by Giacomo di Mino‘s Gothic version. Circa 1340–1350

The Queen of Sheba, whom Jesus refers to as “the Queen of the South” who “came from the uttermost parts of the earth”, i.e. from the extremities of the then known world, to hear the wisdom of Solomon (Matthew 12:42, Luke 11:31), has long fascinated us. She is a mysterious figure who appears briefly in 1 Kings 10 and 2 Chronicles 9 and then seems to vanish again. Who was she? What do we really know about her? Why should we care?

Sheba, also known as “Saba,” is mentioned in the Psalms. It was a wealthy kingdom that included modern Yemen and Ethiopia and was connected to a vast network of trading routes and business exchanges. When the Queen came to visit King Solomon, it might well have been a trade mission–a sort of G8 meeting!–to make new trade deals and sign new business agreements between the two monarchs. Solomon and the Queen were both known for their wisdom and keen senses; while striking their business deals, they traded riddles. Folklore has suggested many possible riddles that they might have traded, including the famous, “What land has only seen the sun once?” (Answer: the bottom of the Red Sea, which was exposed to sunlight when it parted for Moses and the Hebrews to escape from Egypt.)

Origen, who wrote a voluminous commentary on the Song of Songs, identified the bride of the Song with the “queen of the South” of the Gospels, i.e. the Queen of Sheba, and assumed she was Ethiopian as the bride in the Song says, “I am black and beautiful” (μέλαινα εἰμί καί καλή ). Not only is the bride in the Song identified as the Queen of Sheba, the bride is also understood by Christians to be an allusion to both the Church and the Mother of God. (It is the identification of the Mother of God with the dark and beautiful bride that results in the depictions of the “black Madonna.”) Because of the identification of the bride as Queen, Church, and Mother of God, the Queen of Sheba herself comes to be seen as a type of the Church and the Mother of God: the wonderful gifts of gold and incense that the Queen brings Solomon is seen as a foreshadowing of the adoration of the Magi (Matthew 2) and the Queen of Sheba enthroned represents the coronation of the virgin.