The Holy Night









We sate among the stalls at Bethlehem;
The dumb kine from their fodder turning them,
Softened their horned faces
To almost human gazes
Toward the newly Born:
The simple shepherds from the star-lit brooks
Brought their visionary looks,
As yet in their astonied hearing rung
The strange sweet angel-tonge:
The magi of the East, in sandals worn,
Knelt reverent, sweeping round,
With long pale beards, their gifts upon the ground,
The incense, myrrh, and gold
These baby hands were impotent to hold:
So let all earthlies and celestials wait
Upon thy royal state.
Sleep, sleep, my kingly One!

by Elizabeth Barrett Browning

















En route to a communist prison camp, missionary Geoffrey Bull spent Christmas Eve in a Tibetan Inn:

“After a meal, and when it was already dark, it was necessary for me to go downstairs to give more hay to the horses. Chien permitted my going and I clambered down the notched tree trunk to the lower floor, which was given over in the usual manner to stabling. Below, it was absolutely pitch black. My boots squelched in the manure and straw on the floor, and the fetid smell of the animals was nauseating. I felt my way among the mules and horses, expecting to be kicked at any moment. ‘What a place,’ I thought. 

“Then, as I continued to grope my way in the darkness toward the gray, it suddenly flashed into my mind, ‘What’s today?’ I thought for a moment. In traveling, the days had become a little muddled in my mind. Then it came to me, ‘It’s Christmas Eve.’ I stood still, suddenly still, in that oriental manger. To think that my Savior was born in a place like this. To think that He came all the way from Heaven to some wretched eastern stable and, what is more, to think that He came for me. How men beautify the cross and the crib, as if to hide the fact that at birth we resigned Him to the stench of beasts, and at death exposed Him to the shame of rogues. God forgive us. 


“Love to the uttermost, love to the uttermost,
Love past all measuring His love must be;
From Heaven’s highest glory to earth’s deepest shame,
This is the love of my Savior to me.”










The Glory of Humility

I remember sitting one Christmas season in London listening to Handel’s Messiah, with a full chorus singing about the day when “the glory of the Lord shall be revealed.” I had spent the morning viewing remnants of England’s glory—the crown jewels, the Lord Mayor’s gilded carriage—and it occurred to me that just such images of wealth and power must have filled the minds of Isaiah’s contemporaries who first heard that promise.

The Messiah who showed up, however, wore a different kind of glory—the glory of humility. The God who roared, who if He so desired could order armies and empires about like pawns, this God emerged in Bethlehem as a baby who could not speak or eat solid food. This God who created all things became dependent on a teenager for shelter, food, and love.

Rulers stride through the world with bodyguards, fanfare, and flashing jewelry. In contrast, God’s visit to earth took place in a shelter for animals, with no attendants present and nowhere to lay the newborn King but a feed trough. Indeed, the event that divided history into two parts may have had more animal than human witnesses. As Phillips Brooks put it:

How silently, how silently, the wondrous gift is given!
So God imparts to human hearts
the blessings of His heaven.

In most religions, fear is the primary emotion when approaching God. In Jesus, God made a way of relating to us that did not involve fear. 

~ Philip Yancey













El Descendimiento...Van Der Weyden








Pintado al óleo sobre tabla hacia 1436 para el gremio de los ballesteros de Lovaina, fue concebido como un tríptico, del que faltan ahora los paneles laterales. A pesar de esta pérdida, el amplio panel central (de 2,2 metros de ancho y 2,6 de alto) es una de las muestras más sublimes del artista.

La composición representa un tema clásico en la iconografía cristiana: el Descendimiento de Cristo y la Quinta Angustia de María. Para ello, van der Weyden muestra en el centro de la escena una cruz ya vacía, de la que se está bajando el cadáver de Jesús, sostenido por Nicodemo, José de Arimatea y un joven alzado sobre una escalera al fondo.




A la vez, se inicia el proceso de envolverlo en un blanco sudario, mientras otra figura masculina, a la derecha, muestra un frasco de ungüentos. Este lateral de la tabla se cierra con el llanto desconsolado de María Magdalena.

En el otro extremo del cuadro, la visión del cuerpo exánime de su hijo provoca el desmayo de María, cuyo cuerpo es sostenido a duras penas por San Juan y una de las santas mujeres, mientras, al fondo, la otra, reproduce los rasgos de sufrimiento de la Magdalena.






El pintor presenta estas diez figuras colocadas sobre un fondo dorado, rematado con tracerías góticas en los extremos superiores. Sin embargo, la parte inferior de la obra deja ver un atisbo de naturaleza, un suelo real en el que crecen algunas plantas.

La ordenada distribución de los personajes los dispone formando grupos: tres figuras a cada lado, dos en la parte superior y las dos imágenes centrales de Jesús y María, cuyos dos cuerpos presentan un claro alineamiento, a modo de diagonales curvadas que atraviesan la obra y dan un ritmo específico a la composición.







Es de destacar la excepcional capacidad de van der Weyden para manejar el color, con ese rojo impresionante del vestido de San Juan o ese azul desmayado del ropaje de la Virgen. También son notables los efectos de la luz o en la profundidad de cada una de las figuras, en el volumen casi escultórico que muestran, o en la minuciosidad en los pequeños detalles, como en el cabello de San Juan o en la leyenda que figura en el cinturón de la Magdalena.

Pero quizás el elemento más poderoso del cuadro son los propios rostros de los personajes, esos diez rostros que enseñan las diversas categorías del dolor humano: la muerte, la angustia, la pena, el llanto, la desesperación, la tristeza, el desasosiego o la incertidumbre. Dolor contenido en unos casos o dolor explícito en otros, manifestado en las lágrimas que brotan de algunos de los asistentes al descendimiento y en los gestos de las dos mujeres de los extremos. Dolor espiritual e incluso dolor físico. Los rostros del dolor, en definitiva.








Aparte de las diez figuras que aparecen en el cuadro, una más, de carácter simbólico, asiste a la escena. Se trata de la calavera que aparece a los pies de San Juan. La muerte, en síntesis. Pero junto a ella, brotan florecillas. Tal vez aún quede sitio para la esperanza.




 



Jueves Santo...Via Crucis

Carrying the Cross - Giovanni Battista Tiepolo - 1738


Then he delivered Him to them to be crucified. Then they took Jesus and led Him away.
And He, bearing His cross, went out to a place called the Place of a Skull, which is called in Hebrew, Golgotha.

John 19, 16-17, NKJV



Cristo con la Cruz a cuestas - Juan Vicente Masip - 1517






Después de haberle escarnecido, le desnudaron la púrpura, y le pusieron sus propios vestidos, y le sacaron para crucificarle.
Y obligaron a uno que pasaba, Simón de Cirene, padre de Alejandro y de Rufo, que venía del campo, a que le llevase la cruz.


Marcos 15, 20-21, RV1960



Cristo camino del Calvario - Tiziano 1560
 


And a great multitude of the people followed Him, and women who also mourned and lamented Him.  But Jesus, turning to them, said, “Daughters of Jerusalem, do not weep for Me, but weep for yourselves and for your children.  For indeed the days are coming in which they will say, ‘Blessed are the barren, wombs that never bore, and breasts which never nursed!’ Then they will begin ‘to say to the mountains, Fall on us! and to the hills, Cover us’ For if they do these things in the green wood, what will be done in the dry?” 

Luke 23, 26-31, NKJV



Cristo de la Caida - M. Benllurie - Procesiones de Ubeda



El Pasmo de Sicilia - Rafael - 1516



El Encuentro Camino del Calavario - Procesiones de Cuenca



Mare mía de mis amores
Se ve en tus ojos divinos
El rocío de tus Dolores
Que al caer en tu camino
Se va convirtiendo en flores.

(Saeta Popular)





Caida en el camino del Calvario - Giandomenico Tiepolo - 1772



Jesus con la Cruz a cuestas - Procesiones de Burgos



Christ carrying the Cross - Jan Sanders van Hemessen - 1553


Que redoblen los tambores
y las trompetas muy despacio.
Contemplemos al Gran Poder,
va caminando despacio.
Fijarse, gitanos, en él.

(Saeta Popular)





Nuestro Padre Jesus del Gran Poder - Procesiones de Sevilla


No viste, Nazareno, azul el cielo,
saliste siendo oscuro con tu carga,
tanto pesa el amor, tanto el desvelo
y la noche del Jueves es tan larga.

Ni la brisa que besa el terciopelo,
ni la sombra que el madero alarga
obraron el milagro del consuelo,
por eso tu dulzura es tan amarga.

Madrugada, de vieja ya amarilla,
cuando anuncia que el día va a nacer
y regresa el Señor a su capilla.

Quién pudiera mirar amanecer,
bajo el cielo azul y raso de Sevilla
con los ojos que mira el Gran Poder.


Dedicado a Nuestro Padre Jesús del Gran Poder
Rafael Dominguez Villa (saetayverso.blogspot.com)



Cristo con la Cruz a cuestas - Juan Vicente Masip - 1517





Nuestro Padre Jesus Nazareno del Amor - Procesiones de Cadiz



Jesus con la Cruz a cuestas - Sebastiano del Piombo 1416


Va camino del Calvario
Porque así lo quiso El
Sea la Madrugá el Sudario
Y Sevilla el Sagrario
De Jesús del Gran Poder

  (Saeta Popular)





Saint George and the Dragon


St George and the Dragon - Anonymous - Monastery Asomaton - Amari (Crete)

 
Saint George was a knight and born in Cappadocia. One time he came to the city of Silene in the province of Libya. Near this city was a pond, wherein there was a dragon which was poisoning all the country. Whenever he approached the city he poisoned the people with his breath, and therefore the people of the city gave to him every day two sheep to eat, so that he would do no harm to the people. When they ran out of sheep, he was given a man and a sheep. Then an ordinance was made that the children and young people of the town should be chosen by lottery to feed the dragon. Whoever the lot fell upon, wealthy or poor, he or she was delivered to the dragon.



Saint George and the Dragon - Rogier van der Weyden - 1435

St George and the Dragon - Bernardo Martorell - 1435

St George slaying the Dragon - Jost Haller - 1445-5

St George slaying the Dragon - Jost Haller - 1445-50 (Detail Dragon)

Saint George and the Dragon - Paolo Uccello - c.1456 (National Gallery)

Saint George and the Dragon - Paolo Uccello - c.1459 (Louvre)

One time the lot fell upon the king's daughter, and the sorrowful king said to his people, "For the love of the gods take gold and silver and all that I have, but let me have my daughter."
They said, "Sir, you have made the law, and our children are now dead, but you would do the contrary. Your daughter shall be given, or else we shall burn you and your house."
Seeing that he could do no more, the king began to weep, and said to his daughter, "Now I shall never see you married."
Then he returned to the people and asked for eight days' respite, which they granted to him. When the eight days were passed they came to him and said, "You see that the city is perishing."
Then the king had his daughter dressed like a bride, embraced and kissed her, gave her his blessing, then led her to the place where the dragon was.



Saint George slaying the Dragon - Master of the St. George's Altarpiece - 1470

Saint George and the Dragon - Anonymous - c.1480-90

Saint George and the Dragon - Vittore Carpaccio 1502

Saint George and the Dragon - Vittore Carpaccio 1502 (Detail)

Saint George and the Dragon - Luca Signorelli - 1505

St George fighting the Dragon - Raphael - 1505

St George and the Dragon - Raphael - 1506

When she was there Saint George passed by, and seeing the lady, he asked her what she was doing there.
She said, "Go your way, fair young man, lest you perish as well."
Then he said, "Tell me why you are weeping."
When she saw that he insisted on knowing, she told him how she had been delivered to the dragon.
Then Saint George said, "Fair daughter, doubt not, for I shall help you in the name of Jesus Christ."
She said, "For God's sake, good knight, go your way, for you cannot save me."




St George and the Dragon - Carpaccio Vittore - 1516
 
St. George and the Dragon - Il Sodoma - 1518

St George and the Dragon - Lelio Orsi - 1550

St George and the Dragon - Tintoretto - 1544

While they were thus talking together the dragon appeared and came running toward them. Saint George, who was on his horse, drew his sword, made the sign of the cross, then rode swiftly toward the dragon. He struck him with his spear, injuring him severely.
Then he said to the maid, "Tie your belt around the dragon's neck, and be not afraid."
When she had done so the dragon followed her meekly. She led him into the city, and the people fled in fear.
Saint George said to them, "Doubt not. Believe in God and Jesus Christ, and be baptized, and I shall slay the dragon."



Saint George and the Dragon -  Tintoretto - 1555

Saint George and the Dragon - Anthony van Dyck - c.1600


St. George and the Dragon - Peter Paul Ruebens - 1606


Landscape with Saint George and the Dragon - Peter Paul Rubens - 1630
 Then the king and all his people were baptized, whereupon Saint George killed the dragon and cut off his head. It took four ox-carts to remove his body from the city.
At that time fifteen thousand men were baptized, not counting women and children. The king established a church there in honor of Our Lady and of Saint George, in which there flows to this day a fountain of living water that heals sick people who drink from it.
The king offered to Saint George as much money as he could count, but he refused it, asking instead that it be given to poor people for God's sake. Then he made four requests of this king: that he [the king] should have charge of the churches, that he should honor the priests, that he should hear their service diligently, and that he should have pity on the poor people. Then Saint George took leave of the king and departed.

 Abstracted from The Golden Legend; or, Lives of the Saints, compiled by Jacobus de Voragine, Archbishop of Genoa, 1275. First edition published in 1470. Translated into English by William Caxton, first edition 1483.



Saint George and the Dragon - Edward Burne Jones - 1868

St George and the Dragon - Hans Von Marees - 1880

St George and the Dragon -  Gustave Moreau - 1890

Saint Georges and the Dragon - Briton Riviere - 1908-9









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