"Four Spaniards and One Saint"

On March 12, 1622, Pope Gregory XV capped off the Counter-Reformation era by canonizing four great reformer saints: St. Ignatius of Loyola, St. Francis Xavier, St. Teresa of Avila, and St. Philip Neri and the patron saint of Madrid, St. Isidore the Farmer. In Rome, they were most proud of St. Philip Neri, the one Roman among the canonized, thus the quip, "Four Spaniards and One Saint." Jesuits around the world celebrate this day as a day of thanksgiving, according to this website:

A little-known day of Jesuit thanksgiving was celebrated on March 12 to mark the canonizations of two of the most famous Jesuits: St. Ignatius of Loyola and St. Francis Xavier. Every year on that date, each Jesuit offers a special prayer or Mass of Thanksgiving for the gift of the saints’ canonizations, which occurred on March 12, 1622 — 66 years after the death of Ignatius and 70 years after the death of Xavier.

The founder of the Society of Jesus, Ignatius lived most of his priestly life in a small room in Rome, directing the newly founded Society. Francis Xavier, one of the Society’s most well-known missionaries, lived most of his Jesuit life traveling around Asia, preaching and baptizing.

Pope Gregory XV was responsible for canonizing the two Jesuits, and he held religious orders in high esteem. The pope was educated by the Jesuits at the “Collegio Romano,” the university founded by Ignatius in Rome that is now known as the Gregorian University.

On the same day Ignatius and Francis Xavier were canonized, Pope Gregory XV also canonized Teresa of Avila, reformer of the Carmelites; Philip Neri, founder of the Oratorian Fathers; and Isidore of Madrid, a simple but devout farmer, now patron of farmers, peasants, day laborers and rural communities.

The grouping of these five dissimilar saints took some by surprise and illustrated that there is no mold for being holy or even for becoming a canonized saint. Pope Gregory XV was never canonized, but he did keep his connection to the Jesuit saints. The pope was buried in the Church of Saint Ignatius in Rome when he died in 1623.

Blessed John Henry Newman wrote of St. Philip Neri, his patron as an Oratorian:

It is not surprising that, with this tenderness, with this prudence, and with the zeal and charity to which both were subordinate, his influence increased year by year, till he gained a place in the heart of the Roman population, which he has never lost. There are those whose greatest works are their earliest; there are others, who, at first scarcely distinguishable from a whole class who look the same, distance them in the long run, and do more and more wonderful works the longer they live. Philip was thirty-five before he was ordained; forty, before he began his exercises in his room; fifty, before he had a church; sixty before he formed his disciples into a congregation; near seventy, before he put himself at the head of it. As the Blessed Virgin's name has by a majestic growth expanded and extended itself through the Church, "taking root in an honourable people, and resting in the Holy City," so the influence of Philip was, at the end of many years, paramount in that place which he has so long dwelt in as an obscure, disregarded stranger. Sharp eyes and holy sympathies indeed had detected "Philip Neri, as a saint living in caves," when he was a youth; but it required half a century to develope this truth to the intelligence of the multitude of men. At length there was no possibility of mistaking it. Visitors to Rome discerned the presence of one who was greater than Pope and Cardinals, holy, venerable and vigilant as the rulers of the Church then were. "Among all the wonderful things which I saw in Rome," says one of them, writing when Philip was turned fifty, "I took the chief pleasure in beholding the multitude of devout and spiritual persons who frequented the Oratory. Amid the monuments of antiquity, the superb palaces and courts of so many illustrious lords, it appeared to me that the glory of this exemplar shone forth with surpassing light." "I go," says another visitor, ten years later, "to the Oratory, where they deliver every day most beautiful discourses on the gospel, or on the virtues and vices, or ecclesiastical history, or the lives of the saints. Persons of distinction go to hear them, bishops, prelates, and the like. They who deliver them are in holy orders, and of most exemplary life. Their superior is a certain Reverend Father Philip, an old man of sixty, who, they say, is an oracle, not only in Rome, but in the far-off parts of Italy, and of France and Spain, so that many come to him for counsel; indeed he is another Thomas à Kempis, or Tauler."

But it required to live in Rome to understand what his influence really was. Nothing was too high for him, nothing too low. He taught poor begging women to use mental prayer; he took out boys to play; he protected orphans; he acted as novice-master to the children of St. Dominic. He was the teacher and director of artisans, mechanics, cashiers in banks, merchants, workers in gold, artists, men of science. He was consulted by monks, canons, lawyers, physicians, courtiers; ladies of the highest rank, convicts going to execution, engaged in their turn his solicitude and prayers. Cardinals hung about his room, and Popes asked for his miraculous aid in disease, and his ministrations in death. It was his mission to save men, not from, but in, the world. To break the haughtiness of rank, and the fastidiousness of fashion, he gave his penitents public mortifications; to draw the young from the theatres, he opened his Oratory of Sacred Music; to rescue the careless from the Carnival and its excesses, he set out in pilgrimage to the Seven Basilicas. For those who loved reading, he substituted, for the works of chivalry or the hurtful novels of the day, the true romance and the celestial poetry of the Lives of the Saints. He set one of his disciples to write history against the heretics of that age; another to treat of the Notes of the Church; a third, to undertake the Martyrs and Christian Antiquities;—for, while in the discourses and devotions of the Oratory, he prescribed the simplicity of the primitive monks, he wished his children, individually and in private, to cultivate all their gifts to the full. He, however, was, after all and in all, their true model,—the humble priest, shrinking from every kind of dignity, or post, or office, and living the greater part of day and night in prayer, in his room or upon the housetop.

And when he died, a continued stream of people, says his biographer, came to see his body, during the two days that it remained in the church, kissing his bier, touching him with their rosaries or their rings, or taking away portions of his hair, or the flowers which were strewed over him; and, among the crowd, persons of every rank and condition were heard lamenting and extolling one who was so lowly, yet so great; who had been so variously endowed, and had been the pupil of so many saintly masters; who had the breadth of view of St. Dominic, the poetry of St. Benedict, the wisdom of St. Ignatius, and all recommended by an unassuming grace and a winning tenderness which were his own.

Portrait above; Pope Gregory XV (source).

Richard Crashaw's Hymn to "The Name and Honour" of St. Teresa of Avila

As today is her feast, it seems appropriate to post Richard Crashaw's poetic tribute to St. Teresa of Avila. As Robert T. Petersson notes in his book, The Art of Ecstasy: Teresa, Bernini, and Crashaw, St. Teresa was one of many leaders of the Counter Reformation in Spain. Petersson states that Spanish reformers led the way, in fact, from St. Ignatius of Loyola to St. Teresa and St. John of the Cross, in the efforts to renew and revive the Catholic Church after the Protestant Reformation.

LOVE, thou are absolute, sole Lord
Of life and death. To prove the word,
We'll now appeal to none of all
Those thy old soldiers, great and tall,
Ripe men of martyrdom, that could reach down
With strong arms their triumphant crown:
Such as could with lusty breath
Speak loud, unto the face of death,
Their great Lord's glorious name; to none
Of those whose spacious bosoms spread a throne
For love at large to fill. Spare blood and sweat:
We'll see Him take a private seat,
And make His mansion in the mild
And milky soul of a soft child.
Scarce has she learnt to lisp a name
Of martyr, yet she thinks it shame
Life should so long play with that breath
Which spent can buy so brave a death.
She never undertook to know
What death with love should have to do.
Nor has she e'er yet understood
Why, to show love, she should shed blood;
Yet, though she cannot tell you why,
She can love, and she can die.
Scarce has she blood enough to make
A guilty sword blush for her sake;
Yet has a heart dares hope to prove
How much less strong is death than love....

Since 'tis not to be had at home,
She'll travel for a martyrdom.
No home for her, confesses she,
But where she may a martyr be.
She'll to the Moors, and trade with them
For this unvalued diadem;
She offers them her dearest breath,
With Christ's name in 't, in charge for death:
She'll bargain with them, and will give
Them God, and teach them how to live
In Him; or, if they this deny,
For Him she'll teach them how to die.
So shall she leave amongst them sown
Her Lord's blood, or at least her own.

Farewell then, all the world, adieu!
Teresa is no more for you.
Farewell all pleasures, sports, and joys,
Never till now esteemed toys!

Farewell whatever dear may be--
Mother's arms, or father's knee!
Farewell house, and farewell home!
She 's for the Moors and Martyrdom.

Sweet, not so fast; lo! thy fair spouse,
Whom thou seek'st with so swift vows,
Calls thee back, and bids thee come
T' embrace a milder martyrdom....

O how oft shalt thou complain
Of a sweet and subtle pain!
Of intolerable joys!
Of a death, in which who dies
Loves his death, and dies again,
And would for ever so be slain;
And lives and dies, and knows not why
To live, but that he still may die!
How kindly will thy gentle heart
Kiss the sweetly-killing dart!
And close in his embraces keep
Those delicious wounds, that weep
Balsam, to heal themselves with thus,
When these thy deaths, so numerous,
Shall all at once die into one,
And melt thy soul's sweet mansion;
Like a soft lump of incense, hasted
By too hot a fire, and wasted
Into perfuming clouds, so fast
Shalt thou exhale to heaven at last
In a resolving sigh, and then,--
O what? Ask not the tongues of men.

Read the rest here.

Richard Crashaw was a Catholic convert from Anglicanism at a dangerous time--during the English Civil War. After being born the son of a most anti-Catholic, Puritan, father, William Crashaw, he had attended Pembroke College at Cambridge, a High-Church Anglican college and been a fellow at Peterhouse College, but was too Catholic for that oldest of Cambridge colleges. He fled to the Continent in 1644 and, destitute, was introduced to Queen Henrietta Maria in exile at St. Germain-en-Laye by a friend Abraham Cowley. From St. Germain he went to Rome and died soon after becoming sub-canon the Cathedral of Santa Casa in Loretto. He is  not only one of the Metaphysical Poets, but he is a Baroque poet. The St. Austin Review featured Crashaw in the September/October 2013 issue as "English Poet; Catholic Exile"; the cover is pictured above.

The Baroque and St. Teresa of Avila

The October issue of The New Criterion has an article by F.H. Buckley, "Men of the Baroque: the sculptor & the poet"; you have to subscribe to The New Criterion to see the article on-line. Buckley examines the Baroque interpretation of St. Teresa of Avila's great ecstasy in the sculpture of Bernini and the poetry of Crashaw.

Allow me to share a couple of quotations:

As a style, the Baroque was not rude and irregular, like the Gothic; nor was it refined and simple, like the High Renaissance Palladian; nor had it the Rococo's affectation and irony. Like the Gothic it communicated a sense of awe, but with an exuberance entirely foreign to the Gothic, Like the Palladian it adhered to classical forms, but with a transcendent vision the Palladian lacked. It shaded into the eighteenth-century Rococo, but had a symmetry and grandeur that the Rococo mocked. (pp. 33-34)

Discussing why the Baroque style is not well represented the United States, Buckley comments that it "pre-dated the American colonies" and "as an expression of the Catholic Counter-Reformation is was wholly alien to the country's religious traditions" because it was too triumphalist and sensual for Catholics in America, who were "tinged with an austere Jansenism" (p. 35).

He points out two examples of the Baroque in the United States: Frederick Hart's Ex Nihilo at Washington's National Cathedral and St. Xavier del Bac in Tucson, Arizona.

 

Reading this article lead me to find a book about the connections between the saint, the sculptor and the poet: The Art of Ecstasy: Teresa, Bernini, and Crashaw by Robert T. Petersson (New York: Atheneum, 1974)--first published in 1970 and winner of the National Catholic Book Award in 1971. Professor Petersson retired from Smith College in 1985 and died in 2011. He also wrote a book about Sir Kenelm Digby, son of one of the Gunpowder Plotters (Sir Everard Digby, cousin of Anne Vaux).