We are a small Episcopal Church on the banks of the Rappahannock in Port Royal, Virginia. We acknowledge that we gather on the traditional land of the first people of Port Royal, the Nandtaughtacund, and we respect and honor with gratitude the land itself, the legacy of the ancestors, and the life of the Rappahannock Tribe. Our mission statement is to do God’s Will in all that we do.

Art

Ascension Art

The Ascension has always been a challenge to understand through the scriptures. Artists have played a role in giving us a visual depiction of the event. They have been doing this for over a 1000 years.

By the 6th century the iconography of the Ascension had been established and by the 9th century Ascension scenes were being depicted on domes of churches.   

There are many traditions in Ascension art.

In some representations there may be no mountain and he may be climbing a mandorla, or be lifted towards Heaven in a mandorla by angels.

In the Eastern Church and in some western paintings, the Virgin Mary is at the center of the group of Apostles (representing the Church) who look upwards towards the ascending Christ.

In Romanesque depictions sometimes just the feet of Christ are shown as he disappears up into the clouds; this depiction became the most popular in Northern Europe, where it lingered in provincial wood reliefs until well after the Reformation.

Ascension scenes fall naturally into two zones, an upper heavenly part and a lower earthly part. The ascending Christ may be carrying a resurrection banner or make a sign of benediction with his right hand. The blessing gesture by Christ with his right hand is directed towards the earthly group below him and signifies that he is blessing the entire Church. In the left hand he may be holding a Gospel or a scroll, signifying teaching and preaching. From the Renaissance on the angels may not be present.

The earthly part of the Ascension depictions do not only represent those believed to have been present at the Ascension, but the entire Church. In some Ascension depictions both Apostle Paul and the Virgin Mary may be present. Given Paul converted to Christianity after the Ascension, and that the New Testament does not directly place the Virgin Mary at the Ascension, these depictions represent "the Church" rather than the specific individuals

More modern views often omit the disciples focusing on Jesus. The sky in many cases is not specifically shown and he is alone. One of the most radical is Dali’s horizontal Jesus.  Another type of image is a three dimensional space emphasizing Christ’s movement, accompanied by brilliant colors.  

Modern Stained Glass Windows for Revelation

This Eucharistic Window, inspired by the Lamb from the Revelation 5, symbolizes the crucified and risen Christ as the Paschal Mystery celebrated in the Eucharist. Christ, depicted as the Apocalyptic Lamb, is the vulnerable God who suffers with humanity, but also epitomizes the hope and joy of resurrection.

Richard King, drawing on Revelation 5:6–10, states that:

“The central theme of this design is the Apocalyptic Lamb shown standing on the Book of the Seven Seals with the ‘seven horns’ of light on his head. The Lamb was slain—wound in breast—but for us the blood is not wasted, but is caught up in the chalice for our salvation. The lamb rose again and so bears the banner of the Resurrection. The seven flames represent the lamps seen in the beatific vision and are symbolic of our means of Grace. Below are the Chalice and Host and the wheat and grapes. (Sheehy 2020: 333)

“The style of this window, blending symbolic, expressive colours with contrasts of light and darkness, is conveyed by cubist-abstract forms. The large red cross behind the white Apocalyptic Lamb, recalls the Passion as the condition of the resurrection hope that King so profoundly affirms. This is further indicated by the blood flowing from the wound in the breast of the Lamb into the chalice, signifying the Eucharist. The blue background with some white, showing the Alpha and Omega, indicates Christ as the beginning and the end, while the eyes—signifying angelic hosts—evoke heaven and transcendence.”

The iconography of this stained-glass window reflects Revelation 5:12–13:

Worthy is the Lamb that was slaughtered to receive power and wealth and wisdom and might and honour and glory and blessing!

All these aspects are revealed by the colour, sacramental symbolism, and cosmic vision of this window.

References

King, Richard. N.d. ‘Unpublished explanatory notes concerning the sanctuary windows in the chapel, Sisters of Saint Joseph CentreWest Region’, Archives South Australia: Series 32

Sheehy, Ruth. 2020. The Life and Work of Richard King: Religion, Nationalism and Modernism, Reimagining Ireland Series (Oxford: Peter Lang)

Art -“Christ in the House of Mary and Martha” – Johannes Vermeer

The painting is inspired by Luke 10:38-42 where Jesus enters the home of Mary and Martha. It happens after the Good Samaritan. The passage only occurs in Luke’s Gospel.

Martha greets Jesus but is preoccupied with tasks. Mary chose listening to the teachings of Jesus over helping her sister prepare food. Jesus is friends with this family who live in Bethany. Later, just before the crucifixion, Jesus will raise Mary and Martha’s brother Lazarus.

The three figures are bound in a circular composition. Circular compositions were frequently employed to unite complex figure groupings and impede the viewer’s eye from straying aimlessly around the picture If, however, the implied circle becomes too influential, the observer may feel subliminally entrapped. As a remedy Dutch artists often included a sort of escape route Vermeer provided a similar visual relief in the half-opened doorway  to the dark recess of the upper left-hand corner of the composition.

The work is known for the handling of light and shadow. The play of light on different surfaces such as the loaf of bread or the different fabrics  (Mary seated) is noted. There is color contrast in Mary’s clothing. Martha is statuesque with her downcast eyes. She seems to ignore Jesus pointing. The painting seems to be echoing the last verse. But the Lord answered her, “Martha, Martha, you are worried and distracted by many things; there is need of only one thing. Mary has chosen the better part, which will not be taken away from her.”

Dutch interior paintings are their own genre in the 17th century. Many of the paintings focus on love and/or the virtues of domestic life, the latter appropriate for this painting.  The Dutch had fought a ware for independence culminating in 1648 The new Dutch Republic was the most prosperous nation in Europe and led European trade, science, and art. A distinctive feature of the period, compared to earlier European painting, was the limited number of religious paintings. Dutch Calvinism forbade religious paintings in churches, and though biblical subjects were acceptable in private homes, relatively few were produced.

This is one of the largest and  earliest surviving paintings by Johannes Vermeer (1632-1675). It is also his only known work of a biblical subject though he was a specialist of interiors. It was done between 1654-1656.

Around the time that he painted this picture, Vermeer married Catharina Bolnes, the youngest daughter of a wealthy Catholic in Delft, Maria Thins. This match would have required Vermeer’s conversion to Catholicism, and the young couple soon moved in with the bride’s mother. Given its large size, it is likely that Christ in the House of Martha and Mary was a specific commission, possibly intended for a clandestine Catholic church in Delft or for a Catholic patron, perhaps even Vermeer’s mother-in-law.