TREASURES OF THE ROSEAU CATHEDRAL:

OUR LADY OF PERPETUAL HELP Triptych.

By Bernard Lauwyck

OUR LADY OF PERPETUAL HELP TRIPTYCH

One of the most loved devotional images of the Roseau Cathedral is the triptych of

Mary, the mother of Jesus, under the title of Our Lady of Perpetual help.

As it was moved to St. Gerard’s Hall last week, we had the opportunity to have a

closer look .

The definition of a triptych is any three-panelled picture , screen or mirror. The

term was originally applied to three-panel religious paintings used on altars in

churches, one of the most famous being the Ghent altarpiece (AD 1432) by Jan

and Hubert Van Eyck called the Adoration of the Mystic Lamb ( in Dutch: Het

Lam Gods or The Lamb of God).

Our triptych needs carpentry repairs and a

good clean up. Some work will be done on

it, this week.

The painting is set into an oak frame with

two side panels attached. When the two

panels are closed, one notices the

inscription :

“GIFT FROM LOUISA POTTER”

I understand that members of the Potter

family, notably Cynthia , played the pipe

organ in the Cathedral for many years.

The left panel reads

“COMFORT TO THE AFFLICTED”

This is based on the fact that Mary is the

mother of God in heaven as she was on earth, because Jesus, remains her Son for

all eternity.

She knows and personally experienced

human misery. She obtains, by intercession with her Son, gentle rest for

all who are laden with trouble and pain;

she gives comfort to the afflicted and healing to the sick.

The wood carvings of roots, stem,

branches, leaves and flower depicts one of

the most commonly Old Testament

prophecies in Christian Art; the TREE of JESSE, which flowers into JESUS, the

flower on top.

“And there shall come forth a rod out the stem of Jesse, and a branch shall grow

out of his roots” Isaiah (11.1)

The right panel reads

“HEALTH OF THE SICK, P.F.U”

( Pray for us).

Mary is asked to pray for us, to

intercede on our behalf before

God, her Son, as she did during the

wedding in Cana.

A prayer to Mary reads :

“O Mary, obtain consolation for the sad,

help for the poor, health for the sick

and forgiveness for sinners.”

When we focus in on the centre panel we notice the word below :

O.L.OF PERPETUAL SUCCOUR, P.F. U.”

OUR LADY OF PERPETUAL HELP, PRAY FOR US”

The Fleur-de-Lys is placed very prominently on top, gold on blue. A stylized lily,

in French, “ fleur de lis” literally means "lily flower". The lily is associated with

Mary for her perfect purity and chastity.

On the centre panel, an delicately carved oak frame contains the letters A M for

AVE MARY or Hail Mary, the greeting spoken to young Mary by the angel

Gabriel, announcing the birth of Christ to her (Luke 1:26): “ HAIL MARY FULL OF GRACE, THE

LORD IS WITH YOU, BLESSED ARE YOU AMONG WOMEN “ .

In this frame is an icon , hand-painted on a wooden rectangular panel in the

traditional style of iconography of the Eastern Orthodox church. The wooden

backing for an icon has to be totally dry and free of blemishes, resin or knots. The

selection of this timber is extremely important both for the painting of the icon and

its preservation.

Like all religious images, an icon is as a “window to Heaven”, a portal through

which one sees greater Truths than can be revealed by word alone. Icons are not

painted but written as a prayer, layer after layer, eight layers or more. The painter

starts with the darker colours and, as he or she proceeds, brings out the light from

darkness by applying lighter colours till the final layer : the bright gold leave.

“THE LIGHT SHINES IN THE DARKNESS”. John 1:5.

Nearly every aspect of this icon has symbolic meaning. Therefore iconographers

will copy older icons as close as possible. Individuality in style and contents is to

be avoided. This icon existed already in the 16th Century Serbia (churches of

Lesnovo and of Konce) under the name “the icon of the Mother of God of the

Passion” (“STRASTNAIA” ).

The title is written on top of the icon: the Greek letters : MP OY. This is the

abbreviation of “METER THEOU”, Greek for “Mother of God”.

Two angels are holding the instruments of Christ’s Passion. They are identified

with Greek letters. On the left is the archangel St. Michael. He is holding the lance

and gall-sop. On the right is the archangel St. Gabriel. He holds the cross and the

nails.

In this icon the Mother of God has one star on the veil over her head. She is the

Star of the Sea the one who brought the light of Christ to the darkened world , the

star that leads us to the safe port of Heaven, Our Lady of safe Haven.

Mary wears a dark blue mantle (as worn by mothers in Palestine) on a red tunic,

the colour worn by virgins at the time of Christ. The icon illustrates that she is

both virgin and mother.

Next to Jesus appear the letters IC XC Greek and old Bulgarian spelling for Jesus

The Christ .

The Mother of God holds Jesus on her left arm, who looks back fearfully at one of

the angels symbolising his passion, his future suffering. For protection, He seeks

refuge with his mother: He seizes with his two hands the right hand of his Mother.

This is so beautiful, so very human.

The entire background is golden, symbolic of Heaven where Jesus and Mary are

now enthroned. The gold reflects on the highlights of the garments of Mary and

Jesus. The holiness of heaven burst out of this artwork.

Jesus is not depicted as the little baby, but as Christ-Emmanuel “ God among us” ,

clothed in glorious gold, red and green. His mission as Saviour is to come into the

world to suffer the Passion. Though he is God, he is human as well and afraid of

this terrifying future. One sandal slips from his foot. He clings to his mother, who

holds him close in this moment of panic and fear.

Mary will be at his side till he dies on the cross. While she can't spare him his

suffering, she can love and comfort him.

This Icon is about Our Lady, not about beautiful colours or shiny gold leave !!!

This is a woman with a saddened tender face looking straight at the spectators.

We, as spectators become part of this icon, we are drawn into her eyes.

Her motherly tenderness, protection and love is not only for her Son, but directed

straight at each of us. She offers us the same comfort and love she gave her Son.

This is the meaning and symbolism of this picture.

This triptych will get a prominent place in St. Gerard’s Hall, till the day it will

return to the Cathedral. In the mean time, let us take the opportunity to re-discover

its meaning and symbolism. One can only appreciate what one understands.

This is high quality religious art on display in Dominica. Do not miss it. Do not

take it for granted.