Showing posts with label religious devotion. Show all posts
Showing posts with label religious devotion. Show all posts

Monday, May 21, 2018

Monsignor Knox and King Henry VI


If Henry VII would have had his way, we would be celebrating the feast of Henry VI today. The son of Henry V died on May 21, 1471 in the Tower of London, probably killed at the orders of the newly re-crowned King Edward IV (although Thomas More cites Richard, the Duke of York as the responsible party). The official version was that Henry VI died of melancholy after hearing about the results of the Battle of Tewkesbury, which the House of York won and his son Edward, the Prince of Wales, had been killed.

This blog explains some aspects of the development of Henry VI's cult and cause for canonization, which was of course, cut short by Henry VIII's English Reformation:

The great mystery of Henry VI’s posthumous popularity has been grappled with for centuries. Many distinguished historians have dismissed the cult as a purely political phenomenon, and at first look this explanation is rather appealing. At the time of Henry VI’s oddly suspicious death from “pure displeasure” in that most hospitable of structures, the Tower of London, England had been embroiled in a bloody civil war for twelve long years [1]. The War of the Roses was fought between the House of Lancaster (represented by poor Henry), and the House of York, led by King Edward IV. Likely killed at the hands of his York cousins, rumors quickly spread of Henry’s murder by the creepiest of English uncles, Richard III. Most significantly, the supposedly violent homicide of Henry VI saw him reimagined in popular medieval culture as an innocent martyr. And political martyrdom, in late medieval England, was a particularly transformative process. It turned the unsuspecting victim into an impressively sacred figure, and bestowed the deceased monarch with a legitimacy denied him in life. As such, the initial impetus for Henry’s cult did rely upon his sacred political martyrdom.

Henry VII, who was the Lancastrian King’s half nephew, reinforced and strengthened the political nature of Henry VI’s posthumous cult. Defeating Richard III at the Battle of Bosworth in 1485, Henry Tudor shamelessly manipulated his uncle’s growing cultic popularity to legitimize his own claim to the throne. Not only was the long reigning “Martir by great Tormernting” continuously referred to in Henry VII’s inaugural pageants [2], the Tudor King also aggressively patronized the widespread cult, and petitioned three successive Popes to have his uncle canonized as a Saint. While Henry VI’s canonization was never secured, the process did produce a remarkable work titled The Miracles of King Henry VI [3]. This 1500 AD compilation of 174 miracle stories left out a staggering 300 accounts, and strongly suggests that Henry’s saintly popularity went much deeper than political manipulation.

The Miracles of King Henry VI demonstrates that the cult began, at least, with popular lay piety and not royal propaganda and patronage:

the English people worshipped Henry for his remarkable gentleness, compassion and leniency. Although odd qualities for a medieval King to possess, Henry’s renowned mercy and benevolence in life rendered him an extremely accessible royal figure. The late monarch was generous to the poor, commonly exempted dangerous criminals, and abhorred violence of any kind. As a Saint, he consequently appealed to those in great need of divine charity, which in bleak medieval times happened to be the majority of the English population. Saintly Henry aided criminals, madmen, plague sufferers, innocent children, lowly servants and stricken noblemen. The common theme in all his miracles was that his followers found themselves in critical emergencies, and yearned for divinely sympathetic intervention.

Henry VI posthumously provided such divine sympathetic intervention, and emerged as the patron saint of tragedy and all worldly suffering. During his catastrophic reign, Henry himself experienced extended bouts of mental illness, physical incapacitation and visible torment. His patent suffering invested the Lancastrian King with a unique saintly power, that of empathy. In The Miracles, Henry saves individuals from fatal fires, cures the terminally blind, and amazingly resurrects children from the dead. As a tormented monarch, Henry embodied both sacred power and profane suffering. His embodiment of sacral power and worldly misery explains much of his posthumous popularity, as Henry VI was never far from the minds of those in serious need.

Ronald Knox, the Catholic convert son of the evangelical Bishop of Manchester, developed a devotion to King Henry VI when he was at Eton, which Henry had founded in 1440 as The King's College of Our Lady of Eton besides Windsor. In 1923, just six years after he had become a Catholic and five years after becoming a Catholic priest, Cambridge University Press published his translation of The Miracles of King Henry VI. He also preached a sermon, included in the collection published by Ignatius Press, in which he asked the congregation to pray for the beatification of King Henry VI!

Well, even if Henry VII and Monsignor Ronald Knox had had their way and May 21 was the feast of King St. Henry VI, on this May 21, since it is on Monday the day after Pentecost, we would still be celebrating Mary, Mother of the Church, as determined by Pope Francis and the Congregation for Divine Worship and the Discipline of the Sacraments. In view of the devotion King Henry VI had to Our Lady, he would be most satisfied.

Mater Ecclesiae, ora pro nobis!

Saturday, November 3, 2012

A Couple of Surprises

During our Paris visit last month, we found two surprises: the restoration of the interior at St. Eustache in Les Halles, and the statues around the outside of La Madaleine (which had been obstructed by scaffolding before--or we just had not seen!). That's just one of the reasons to return to a place you love: you just might see something new.

The restoration at St. Eustache is cleaning the grime off the beautiful decorations in the side chapels. So many Paris churches contain great artwork in their chapels and aisles, but with the grime of so many centuries of candle and incense smoke, the artwork is obscure. Here is an example of the work that's been achieved along the right aisle of St. Eustache--this "Ecce Homo" statue has been cleaned and the decorative trim around the window, above the statue, and in the chapel repainted:

 
You can see what the statue used to look like here. This picture shows the ceiling of the chapel. gloriously restored:
 
On the left side of the aisle, many of the paintings were still covered with soot and restoration tape holding them to the wall, so St. Eustache restorers have a long way to go. It may have been that they started at the back of the church with the chapel of Our Lady (with the statue by Pigalle):
 
I'll post on La Madaleine another day. By the way, there is an English Reformation connection here in St. Eustache. One of Queen Henrietta Maria's ladies-in-waiting, Susan Feilding, the Countess of Denbigh, followed her mistress in exile to Paris. There she became a Catholic and patron of convert poet Richard Crashaw. The Countess died in 1652, and is buried in St. Eustache. I guess I'll just have to go back and find her tomb to take a picture!

Friday, June 15, 2012

The Five Wounds and the Sacred Heart

In 15th century England, the Friday following the Octave of the Feast of Corpus Christi was dedicated to the Five Wounds of Christ. Devotion to the Five Wounds of Christ, as I mentioned to Brian Patrick on the Son Rise Morning Show last week, is kind of a medieval precursor of devotion to the Sacred Heart of Jesus, which the Catholic Church celebrates today as a Solemnity. The Five Wounds are the piercing wounds to the hands, the feet, and side of Jesus on the cross.

As Eamon Duffy demonstrated in The Stripping of the Altars, this was a very popular devotion to the Passion of Christ in England before the Reformation. Through prayers and meditiations, the penitent recalled the suffering of Jesus on the cross and pleaded for the forgiveness of sins.

During the English Reformation, it developed a powerful symbolism beyond the devotion: Pilgrims opposed to the dissolution of the monasteries carried banners depicting the Five Wounds; Blessed Margaret Pole was attainted of treason because an emblem of the Five Wounds was found in her belongings so Thomas Cromwell argued that she favored the Pilgrimage of Grace. During the Northern Rebellion, the banners flew again, an obvious reference to that earlier rebellion--and a statement to Elizabethan regime that, the Act of Uniformity notwithstanding, some in England still wanted the old time religion of Catholicism.

The connection between the devotion to the Sacred Heart and the Five Wounds of Jesus is surely most clearly seen in the piercing of His Heart by the Roman soldier: "But when they came to Jesus and saw that he was already dead, they did not break his legs, but one soldier thrust his lance into his ide, and immediately blood and water flowed out." (John: 19:34). The blood and water were interpreted from early on in the Church's history as symbolic of the Sacraments of Baptism and the Eucharist, and as the life and spirit of the Church, itself a Sacrament of God's Grace. You might notice that the banner of the Five Wounds makes that connection very clearly, with the Heart and the Chalice at the center instead of a pierced heart.

More on the connection between the Solemnities celebrating the Most Holy Body and Blood of Jesus Christ (Corpus Christi) and the Most Sacred Heart of Jesus here.

Saturday, June 9, 2012

Stile Antico's New Recording

Tune Thy Musick to Thine Heart: "For its latest recording on Harmonia Mundi, Stile Antico is joined by the outstanding viol consort Fretwork to explore the wealth of sacred music written not for church performance, but for the court and for the home. Sung entirely in English, this fascinating programme spans two centuries and a vast range of styles, from the austerity of Browne and Taverner to the harmonic daring of Tomkins and Ramsey, and from the smallest works by Campion and Dowland to the great verse anthems of Gibbons and Amner." The Stile Antico site for this disc contains a few audio samples and a video introducing the recording. I have listened to the album several times and their diction is excellent, although I do have to consult the texts in the CD booklet just because of the interweaving of the vocal line sometimes. Another great release by Stile Antico and Harmonia Mundi!