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

Arts and Faith, Lent 1, Year C

This scene of the temptation of Christ comes from the Très Riches Heures du Duc de Berry, a 15th-century book of hours, or personal devotional book created especially for Duke Jean de Berry. The book offered meditations based on the time of day, as well as the feasts and seasons of the liturgical calendar. As the Latin text on the bottom tells us, this scene comes from the Gospel for the first Sunday of Lent.

The illuminated scene shows Christ resisting the temptations of the devil atop an ornately detailed Gothic castle. This castle was modeled after a real one, the Duke’s own castle at Mehun-sur-Yevre. Christ standing on top of this castle in the context of his temptation is an image that must have been deeply challenging for the Duke and meant to recall him to humility and conversion.

The scene is a conflation of the three temptations Jesus experienced in the desert. On top of the castle’s tower, he is experiencing the heights the devil asked him to jump from, and seeing all the riches of the world that might entice him. The devil completes the narrative by handing Jesus a stone to turn into bread. Alluding to all three temptations atop of the castle shows the Duke that he is in danger of succumbing to all of these. But rather than casting the Duke into despair and shame, the image offers hope and encouragement: we spot on the bottom right a mighty lion that has treed an ape-like adversary, a metaphor perhaps of the Duke conquering his personal temptations.

The three swans swimming in the moat further connect this scene to the Duke. An often-used symbol for de Berry, the swan was an homage to a woman for whom de Berry’s love was unrequited. To spot the swans in this image connects sin and temptation to one’s own hurts and woundedness. Our own suffering and pain can lead us to grasp tightly at our own reality, sometimes to the point of tearing our wounds even deeper. Conversion of heart means letting go and trusting in God’s healing love to mend the brokenness of our lives.

Story of a painting – Rembrandt’s “Presentation in the Temple”

Rembrandt returned to the subject, "Presentation of Jesus in the Temple" at least 5 times from 1627 to 1654, two paintings, three etchings.

The subject is the biblical story of Simeon. Jesus was still an infant when Joseph and Mary took him to the temple to be presented to God. There they were approached by Simeon, a devout old man who recognised the child as the Saviour and praised him to God.

The most famous of these works was in 1631 when he was about 25 and still living in Leiden. Later that year he moved to Amsterdam. This painting is the high point of Rembrandt’s Leiden years: it represents the sum total of his artistic abilities at that

Most of his paintings are in very dark tones out of which his figures seem to appear to the foreground. Rembrandt was the master of dark and light and most of his pictures are made in this style of struggle between dark and light, night and day, sorrow and joy.

The key to the picture is how carefully and delicate the figures are painted, even those in the darkest part of the painting. The beautiful contrast, between the light on the central group and the soft dimness of the remoter parts of the cathedral, illustrates a style of work for which Rembrandt was very famous.

Our eyes are drawn to the very emotional Simeon, eyes aglow. As with the priest, his figures are often elongated in this period. The pictures is framed by the two figures behind Mary and Joseph in dark contrasting with Mary’s blue and Simeon’s shimmering robe.

Rembrandt adhered fairly closely to the biblical text. Simeon, with the infant Jesus in his arms, praises God with upturned face. To his left kneels the surprised Mary. Joseph holds the two doves he has brought along to sacrifice. Simeon praises Jesus as ‘a light to lighten the Gentiles’, which is why Rembrandt portrayed the Christ Child as a veritable source of light

However, the picture is not realistic of the temple. He depicts a Gothic Cathedral with the beggars looking at the Christ-child. They were beggars of Amsterdam, and the men seated in the wooden settle at the right were like the respectable Dutch burghers of his acquaintance. His style featured large cavernous spaces.

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