The icon of Our Lady of Czestochowa in Poland.
Saint Luke is the only Evangelist to describe the night that Jesus was born. Some say that is why he gets credit for painting a devotional image of the Virgin Mary with the Baby Jesus, the prototype of which is fittingly named “The St. Luke Icon.”
by Braelyn Snow
It is a bit of a surprise to find myself in my living room gazing at an image of Our Lady of Czestochowa, humming the tune we just sang at Mass, Bogoroditse Devo, “Rejoice, O Virgin.”
You see, many of my ancestors were members of the Society of Friends (Quakers). Their faith required conscientious objection to all wars, silent Holy Spirit-led meetings, and egalitarianism of members. They were also anti-slavery and early abolitionists. Their founders were vehemently against the arts, music, and most every form of recreation, lest these activities lead to sin, idolatry, or detract from purity and sobriety.
While the specific denomination to which I belonged has shifted away from many of their formerly strict views on artistic activities, there was still little emphasis on fine art in the church and certainly no use of icons.
Art deepens faith
My conversion to Catholicism was foreshadowed by a deep interest in sacred art starting during undergraduate art history courses. Altarpieces, especially, became my newfound joy. Until then, my understanding of a church altar was that of the front of the sanctuary where people laid hands on and prayed for you; where you went to accept a personal relationship with the Lord; and where people got married – not the Eucharistic sacrifice.
Upon entering the Catholic Church a few years later, I began to find my purpose as an artist, which no longer existed as a separate part of who I was; instead, I was delighted that I could use art to deepen my faith.
Much credit for the changes in my life goes to one of the apostles, St. Luke, whose feast we celebrate on Oct. 18.
Religious imagery
Saint Luke, one of the four Gospel writers, is typically described as both a physician and an artist, and is the patron saint of painters. Luke’s work as an artist was only acknowledged starting in the sixth century (some sources say as late as the eighth century), which could cause one to question the validity of the tradition.
Keep in mind, however, that the early Church was in many ways still Jewish, and the laws against “graven” or other images were at times strict. As time marched on (three centuries after the establishment of the Church), the connection between the Incarnation of the Son of God and the possibility of religious imagery became clearer.
The Church was split on the issue of images for many rounds of debate, eventually resolving in the Second Council of Nicaea (787 A.D.) in favor of the use of icons for reverence and veneration.
Without Luke’s patronage, most of the religious artwork we esteem today may not exist. Post-medieval artists promoted his artistic legacy to give their profession legitimacy, naming artist guilds after him, such as the famous St. Luke’s Guild in Delft, in the Netherlands, in the specific location now used to focus on the work of Vermeer.
Without belonging to a guild, one would be without a license to operate and would not be taken seriously as a respectable artist or craftsman.
Popular theme
Over the centuries, the theme of St. Luke painting the Virgin has been popular among artists. The interpretation varies and shifts over time, reflecting the different thinking of the times. Sometimes Luke is depicted drawing directly from life on a small sketchpad, reflecting a view that he may have known Mary and sat down with her to capture a likeness. Other times, his hand is guided by an angel or Mary herself, recording what appears to be a mystical vision. Luke is frequently depicted shoeless to indicate he’s standing on holy ground, and with an ox, his traditional symbol as an Evangelist.
The clothing and painting technology shift in the depictions. Imagine a 21st century St. Luke in surgical scrubs, squeezing out his paint from modern paint tubes or drawing on a digital tablet; this is essentially what the Renaissance painters did.
Saint Luke is the only Evangelist to describe the night that Jesus was born. Some say that is why he gets credit for painting a devotional image of the Virgin Mary with the Baby Jesus, the prototype of which is fittingly named “The St. Luke Icon.” Many variations of this image have been made over the millennia, several of which have been directly ascribed to Luke. Many countries claim to have one of his images in their churches and shrines, some taken from the Holy Land, some miraculously produced in their location.
The practice of artists creating religious images of this sort is alive and well, from the techniques and style to the prayerful method of incorporating different physical symbolic elements (for example, gold; human breath; eggs) to represent theological mysteries.
Two icons
One of the icons credited to St. Luke is that of Our Lady of Czestochowa (Poland). The icon is said to have been painted on wood from a table made by St. Joseph (some say from the table of the Last Supper) and shows Christ as a miniature adult man, indicating wisdom. One key source of the icon’s fame is Poland’s miraculous military victory against the Swedes in 1655 (3,000 attacking against 250 defending), credited to Our Lady’s intercession.
During an earlier raid, an enemy sword scarred the Madonna’s cheek. The lines were intentionally painted back on during a later restoration, depicting her as Our Lady of Sorrows.
Many pilgrims, from the beginning of this icon’s existence until modern times (St. John Paul II included), have come to venerate the image and seek miracles at what is called the “Polish Lourdes.”
An older icon, Our Lady of Vladimir (Russia), whose origins are another mystery (though likely Byzantine), is nearly synonymous with the country. Our Lord and Lady glow with an otherworldly light, and Jesus clings closely to Mary.
This icon also has been associated with protection in battles. Many legends surround her patronage, such as a recorded miracle in 1164, during which the Russian army faced and defeated the Bulgars. The Vladimir icon was always present during battle, and was stated to have produced and bathe the army in a fiery divine light. This icon, too, faced vandalism in the late 1100s and early 1200s. It was later removed from church during the Communist era and placed in a museum (which, ironically for them, resulted in many secular conversions, echoing the story of Joseph in Genesis: “You intended to harm me, but God intended it for good to accomplish what is now being done, the saving of many lives” [Gen 50:20]). Forces attacked both icons in an attempt to halt the spiritual work happening through the invocation of Our Lady, but the attempts failed.
Perhaps we will never know in this lifetime whether St. Luke truly painted the images of our Lord and Lady. Whatever the case may be, artists and Christians of all stripes can be grateful for the work of St. Luke and seek his intercession. Even in legend, his work as an Evangelist is powerful and effective in drawing souls to our Lord. His gospel is like a verbal icon of the merciful love of our Lord and the tender compassion of Our Lady.
Blessed Mother, who is both Our Lady of Czestochowa and Our Lady of Vladimir, pray for us!
Saint Luke, pray for us!
Braelyn Snow is a writer and artist based in Savannah, Georgia. Her birthday is Aug. 26, the Feast of both Our Lady of Czestochowa and Our Lady of Vladimir.
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