Category Archives: Saints

“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.

Moses Atop Mt. Tabor and Mt. Sinai

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The Transfiguration of Christ: Part of an iconostasis from Mt. Sinai in the style of Constantinople (mid-12th century). We see the Prophet Elijah as an older man beside Christ and Moses, holding a copy of the Law given to him on Mt. Sinai, on Christ’s other side. St. Peter kneels below Elijah, with St. John the Divine below Christ and St. James below Moses.

Christ took the apostles Peter, James, and John the Divine to the top of Mt. Tabor to pray. The apostles fell asleep. When they awoke, they saw Christ transfigured–more brilliant than the sun–and Moses was there, with the Prophet Elijah, speaking with Christ about the Passion that Christ would soon experience in Jerusalem. (Moses and Elijah–the primary representatives of the Law and the Prophets of the Old Testament–were also representative of the living and the dead as Elijah was taken alive into heaven by the chariot of fire and Moses died on Mt. Nebo just outside the Promised Land.)

Although seen by the apostles on Mt. Tabor, Moses is more commonly associated with Mt. Sinai. The famous monastery of St. Catherine (a treasure trove of manuscripts and icons) marks the place on Mt. Sinai where Moses is said to have encountered God–his own face shining more brightly than the sun afterwards–and Moses gazes out at the congregation in the monastery church from the Transfiguration mosaic behind the altar-table; the church on Mt. Sinai is dedicated to the Transfiguration, underscoring Moses’ connections with both Sinai and Tabor.

The oldest record of monastic life at Sinai comes from the travel journal written in Latin by a woman named Egeria about 381–384. She visited many places around the Holy Land and Mount Sinai, where, according to the Old Testament, Moses received the Ten Commandments.

The monastery was built by order of Emperor Justinian I (reigned 527–565), enclosing the Chapel of the Burning Bush (also known as “Saint Helen’s Chapel”) ordered to be built by Empress Helena, mother of Constantine the Great, at the site where Moses is supposed to have seen the burning bush. The living bush on the grounds is purportedly the one seen by Moses. The place where Moses is said to have received the Ten Commandments is further up the mountain, behind the monastery.

The library at the monastery preserves the second largest collection of early codices and manuscripts in the world, outnumbered only by the Vatican Library The large icon collection begins with a few dating to the 5th-6th centuries; these icons are unique as the monastery was untouched by Byzantine iconoclasm, and never sacked.

A view of St Catherine’s Monastery on Mt. Sinai
Apse mosaic of the Transfiguration from Saint Catherine’s Monastery, Mt. Sinai, AD 565–6.

Sant’Apollinare in Ravenna & the Magi

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Magi leading the Empress Theodora and the wise virgin-martyrs in procession to the Mother of God and Christ in the church of San Apollinaire in Ravenna.

St. Apollinaire was a Syrian, elected to be the first bishop of Ravenna (which was later the Byzantine capital of Italy). As the first bishop of Ravenna, he faced nearly constant persecution. He and his flock were exiled from Ravenna during the persecutions of Emperor Vespasian (or Nero, depending on the source). On his way out of the city he was identified, arrested as being the bishop, tortured and martyred by being run through with a sword. 

The church of San Apollinaire in Ravenna is a masterpiece, a jewel of Byzantine iconography and mosaics. It was erected by the Ostrogothic king Theodoric the Great during the first quarter of the 6th century. It was re-consecrated in AD 561, under the rule of the Byzantine emperor Justinian I, Justinian and his wife, the empress Theodora, appear in the mosaics of the church, each leading a segment of the offertory procession towards the altar during the celebration of the Eucharist.

The mosaics also depict a procession of the wise virgin-martyrs, led by the Three Magi, moving towards the group of the Madonna and Child surrounded by four angels. (The Magi in this mosaic are named Balthasar, Melchior and Gaspar; this is thought to be the earliest example of these three names being assigned to the Magi in Christian art.)  The Magi are wearing trousers and Phrygian caps as a sign of their foreign origin. The gifts which the Magi and the wise virgins bring are reflections of the gifts which the congregation are bringing to present: bread, wine, water for the celebration of the Eucharist and food or clothes to be distributed among the poor and needy during the week.

The celebration of the Eucharist was often seen as a procession or pilgrimage in which the parish journeyed from earth to the Kingdom of God and then returned to earth to minister during the week what they had received on Sunday. During the celebration, the parish stepped outside time to stand alongside the Magi, the priest-king Melchizedek, Abraham and Isaac—all of whom also appear in the mosaics of this church—with the saints and martyrs of all times and places to worship God in eternity (as described in the Epistle to the Hebrews and the Book of Revelation, which are the first liturgical commentaries). The offertory procession is a visual shorthand to refer to the entire celebration.


The Magi were consistently venerated as the first non-Jews to come and worship Christ so they were considered the patron saints of all Christians of Gentile backgrounds. A shrine of the Three Kings at Cologne Cathedral, according to tradition, contains the bones of the Magi. Reputedly they were first discovered by Saint Helena on her famous pilgrimage to Palestine and the Holy Lands. The remains were first kept in the church of Hagia Sophia in Constantinople; they were later moved to Milan before being sent to their current resting place by the Holy Roman Emperor Frederick I in 1164.

What prompts these thoughts about Ravenna, St. Apollinaire, and the Magi? The martyrdom of the saint and the translation of the relics of the Magi to Cologne are both commemorated on the same day (July 23).

Read more about the Magi in previous posts here and here and here.