St. Cecilia: The Saint Patron of Music

Saint Cecilia [1896] by John Melhuish Strudwick

Today (22 November) is the feast of St. Cecilia. Saint Cecilia (200 – 222 AD) was a Roman virgin martyr, who became the patroness of music and musicians. Legend has it that Cecilia was a gifted musician from childhood and composed hymns of such beauty that angels came down from heaven to listen to her. She vowed to preserve her virginity to an Angel of God. However, she was married against her will to a pagan nobleman named Valerian (Valerius), and then told her husband to respect her vow. Valerian told her that he would only do so if he saw the Angel himself. Cecilia promised to him that he could if the Church baptised him. He was baptised, and then saw the Angel talking to Cecilia. She, her husband and her husband’s brother were all subsequently martyred for their experiences. Saint Cecilia’s final resting place is in Santa Cecilia Church in Trastevere in Rome, and the first celebration of the Day of St. Cecilia took place in Évreux, Normandy in 1570.

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Allegories in Art I: The Passage of Time

I. A Dance to the Music of Time [c. 1638-40] by Nicolas Poussin

This colourful painting shows four differently-dressed figures who dance to “the Music of Time”, with Time represented by an old man with wings playing a lyre. The figures’ hands are inter-locked and they are supposed to be in a perpetual motion, symbolising the cycle of life. They dance near a pillar topped by a double-faced Janus, the god of beginnings, transitions and endings. One of his heads is facing the future, while the other is facing the past. On the right, a putto holds an hourglass, while on the left, a putto is carelessly blowing bubbles, further alluding to the transience of human life. The painting scene takes place in the morning since Aurora, the goddess of dawn, leads the way for Apollo’s chariot through the sky. In turn, Apollo holds in his hands the Zodiac ring, and the Horae, the goddess of the seasons, conclude the procession.

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Fortune & Fate in Art

Allegorie de la Fortune [1615] by Francken Frans II, The Younger, depicting Fortuna as a lady balancing on a ball, with one hand holding a sail and with another bestowing to some the treasures of the sea.

People have always been obsessed with the question of fate: what does the future hold? Is it possible to reverse the course of one’s destiny? In ancient and medieval times, mortality was particularly high and people felt they had little control over their lives, coupled with the fact that they also usually had little opportunity to move up the societal ladder and were “stuck” in their roles from birth until death. Moreover, those born rich had all the chances to lose everything, and violent death, war, famine, incurable illness and infant death were all just around the corner for all. In this unpredictable environment, appeasing the gods and goddesses of destiny and chance must have been an important task, especially for farmers, soldiers and sailors. After all, these deities were capable of ensuring the survival against all odds and the enduring of the worst and, anyways, a miracle can happen at any moment. It is also partly for that reason that premonitions, dreams and fortune-telling rituals have all been part of various cultures around the world, and Fortuna or Lady Luck in Europe has often been portrayed as ever-changing and fickle, as capable of giving much suddenly as taking it all away in a split second. So, how was Fate presented in art?

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