Salus Infirmorum

Health of the Sick

The representation of Our Lady is that of the Orante with hands folded in prayer of intercession. But the image also expresses Mary’s “compassion,” her suffering with those who suffer: “Quis infirmatur et ego non infirmor” (attributed to Saint Paul). Mary is not the ultimate source of health and redemption (salus). It is God himself who heals all our infirmities, as indicated in Psalm 103:3 topping the whole page.

The image of Mary is surrounded by the symbols of the apothecary and medical professions. The lower half of the illustration contrasts sickness (a sick person on her sick bed) and healing (possibly an allusion to the pool of Bethesda). “Health of the Sick,” Mary is a true physician. But her medical equipment is not the stethoscope. She acts as a healer by radiating holiness (virtue).

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Stella Matutina

Morning Star

This scene tells about the combat between light and darkness. Eventually, morning is breaking. The giant rooster announces the rising sun, while the roaring lion takes flight and the incubi of the night (frightening bats and dragons) sail away in a dark cloud. Taking advantage of the first light of day a ship leaves harbor. The lemma proclaims Jesus’ message to the churches: “I am the root and offspring of David, the bright morning star” (Revelation 22:16). He is the promised one seen by the prophet Balaam. “A star shall advance from Jacob.” However, in this illustration this expression decorates the radiating star with the bust of Mary, which dominates the page.

"Stella matutina," also known as "stella Marina" and "Lux matutina" (12C), and as "stella maris" used by Saint Bernard to explain the meaning of the name "Mary," suggests and announces the rising sun of justice, Jesus Christ (Malachi. 4:3). The glory of her light is but light from eternal light, and praise of the never-ending light of God's love for us.
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The Rise of the Morning Star

Ianua Coeli

Lift up your heads, o gates

Gate of Heaven

The elaborately baroque gate serves as Mary's throne. Her effigy is surrounded by stars and clouds. Her outstretched arms suggest openness, receptiveness. The open gate leads into an enclosed garden, symbol of her virginity. The angel with shield and flaming sword protects the open gate, which can be assimilated with the gates of paradise. The angel proclaims these words, "He has opened the gates of heaven" (Psalm 78:23). On the other side of the gate we discover the presence of the ladder of Jacob, with Jacob sleeping at its foot and angels moving up and down (Genesis 28).

The origin of this Marian allegory can be found in the Acts of the Council of Eplesus 431 (Homily for the Annunciation, 428, by Proclus of Constantinople or Cyzikus). The homily is based on Ezekiel 44:1-3, and thus alludes at the gate which shall remain closed, since the Lord has entered by it. The expression can be found in the "Ave Maria Stella" ("felix porta caeli"), eighth/ninth centies, but also in the "Alma Redemptoris" and the "Ave Regina Coelorum," twelfth century.

The lemma is taken from Psalm 24, "Lift up your heads, o gates."

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Foederis Arca

Ark of the Covenant

Mary's portrait is partially contained in the representation of the Ark of the Covenant. It is surrounded by religious Jewish symbols. Mary's image bears elegant features, the gestures of her hands seem to point to her womb, the true Ark of the Covenant. The inscription in the margin reads, "Arise Lord, come to your resting place, you and your majestic ark" (Psalm 132:8).

The Marian interpretation of the Ark of the Covenant is known since the Council of Ephesus (see: Proclus of Constantinople, 446). Several analogies can be established between Mary and the Ark of the Covenant: the Ark was the throne of God, Mary is the true "Christophora;" the Ark contained the tables of the law, Mary's womb bore the one who is the law of the new covenant; the Ark was precious and beautiful, made in gold, Mary's soul is adorned with the beauty of her virtues; the Ark was a warranty for victory, Mary has been victorious in the battles of God (Pius XII); the Ark found a place in the inner "sanctum" of the Temple, Mary was assumed into heaven.

"What God has made clean, you are not to call unclean (profane)" (Acts 10:15)

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Domus Aurea

"The house of the Temple all in gold" (1 Kings 7)

House of Gold

The sumptuously decorated medallion shows Mary holding a branch or scepter of lilies. The medallion rests on an impressive baroque structure, symbolizing the "golden house." Two inscriptions highlight the Marian connection. The glorious Christ utters these words, "This is my resting place forever; here I will dwell, for I desire it" (Psalm 132:14). The second inscription reads, "The Lord's glory filled the house of God" (2 Chronicles 5:14). Both of these quotes point to the Incarnation. Mary is the "House of Gold" harboring Jesus Christ; she is his "resting place." Thus, she is filled with God's glory.

The designation "House of Gold" goes back to the "Inner Sanctum" of the Tent of the Covenant and to Solomon's Temple (1 Kings 6:20-22). Solomon's Temple gave special distinction to the "Holy of Holiest." It was all in gold as befits the dwelling place of God Almighty. Mary is called "House of God" because she was the dwelling place of God Incarnate, and as such filled with grace and virtues, especially those of humility and purity.

She is in her own right (as says the lemma),
"The house of the Temple all in gold" (1 Kings 7).

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Litaniae Lauretanae de B.M.V. by Mozart

Wolfgang Amadeus Mozart composed two Litanies of Loreto. Here is one of them - 

K195

Majowe (May Devotion) with Pope Benedict in Czestochowa

When Pope Benedict visited Poland in May 2006, he took part in Majowe (May Devotion) with over 450'000 people in Czestochowa. This was really extraordinary event. You can hear how these many people sing the Litany of the Blessed Virgin Mary.

Vas Insigne Devotionis

Singular Vessel of Devotion

The word devotion exceeds the narrow meaning of devotional practice and refers to total dedication and fidelity in the service of God. Mary’s profession of faith, “I am the handmaid of the Lord,” most adequately expresses the meaning of this advocation. Her total dedication goes to her Son featured in the Mother-child image of the medallion. Total dedication has not only the meaning of service. It refers primarily to openness and receptivity of God’s will and grace. This attitude is illustrated in the lower half of this page with the story of the widow’s oil. On Elisha’s order the widow would pour oil in the vessels they handed her (2 Kings 4:5). God’s grace cannot be exhausted. It takes a “singular vessel of devotion” to receive its plenty, one that has been perfectly purified (“Egredietur Vas purissimum”) (Proverbs 25:4).

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Vas Honorabile

Vessel of Honor

The preeminent symbol in this illustration is the monstrance containing Our Lady, and simultaneously Mary containing and pointing to the radiating host on her chest. The Immaculata is herself a monstrance, meaning transparent of and to God. It is her honor to make God visible through her sinlessness and as dwelling place of the Holy Spirit and her Son Jesus Christ. Mary is, according to 2 Timothy 21 (paraphrased here), “a vessel for lofty use (vas in honorem), dedicated, beneficial to the master of the house." The master of the house here is Christ himself, present in the host held by the “vessel of honor," his mother Mary. She is indeed, as Immaculata, the work of the Almighty One, and thus an “admirable vessel." Monstrances with a Marian motif are typical of the Baroque period.

  

 

Vas Spirituale

Spiritual Vessel

The noun “vessel” imperfectly expresses the intended meaning of this advocation. The Latin “vas” (vessel) is used to translates the Greek term “skeuos” which does not only mean vessel but also instrument or tool. Thus, the expression “spiritual vessel” should be rendered as “instrument of the Holy Spirit." Mary is both dwelling place of the Spirit and his “agent” in the Incarnation. “With and through the Holy Spirit, the Virgin conceives and gives birth to the Son of God” (CCC 723).

The imagery of this advocation highlights this idea. The caption accompanying the symbol of the Spirit refers to the promise of the Annunciation. The Spirit will overshadow you. Mary answers the Trinity in the words of 4 Esdr. (4:14), “If I have found grace with you, send your Spirit into me. ” The picture of Mary expresses both humility (her answer to God) and grandeur (scepter in the form of a lily). The table covered with various vessels underscores the fact that Mary is the most exquisite of God’s vessels. She is a “vessel for a noble purpose” (Romans 9:21).

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Litaniae Lauretanae de B.M.V. by Mozart

 

Wolfgang Amadeus Mozart composed two Litanies of Loreto. Here is one of them - K109

Causa Nostrae Laetitiae

Our Lady is presented as autonomous figure, possibly pregnant as seems to indicate the Visitation scene in the lower half of this illustration. The medallion with Our Lady is flanked by Judith with the head of Holofernes and Esther dancing and playing the tambourine. The captions invite celebration and joy (Esther 10:10 and Nehemiah 12:43).

Separated by a bunch of musical instruments, the scene of the encounter between Mary and Elizabeth illustrates why Mary is cause of our joy. The moment Mary’s greeting sounded in Elizabeth’s ear, the baby leapt in her womb for joy (Luke 1:44). Mary’s role as announcer and cause of joy, the joy of redemption for all, is further visualized in two lateral scenes, one depicting the souls in purgatory, the other a group of Old Testament figures (among them Moses and David) awaiting the Messiah. "Our sadness will be changed into joy," says the lemma, meaning that there is hope for all who believe in the Good News made flesh in Mary, the cause of our joy. 

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Regina Poloniae

Today, May 3rd, we celebrate in Poland the feast of Our Lady, The Queen of Poland. This is also one of the titles of Our Lady that we invoke in the Litany of Loretto during the May Devotion.

Please keep people leaving in Poland in your prayers today.

Our Lady of Rokitno, The Queen of Poland

Collect of the day for dioceses of Poland:

Oremus
Omnipotens et misericors Deus, qui ad defensionem populi nostri in beatissima Virgine Maria, miriabile nobis auxilium constituisti : concede propitius ; ut tali praesidio muniti, certantes in vita, victoriam de hoste maligno consequi mereamur in morte. Per Dominum nostrum...

Oath of king Jan Kazimierz of Poland. The king (kneeling) pledged in the Lviv Cathedral before the altar of Our Gracious Lady, took vows of loyalty to God and declared the Mother of God to be the Queen of Poland-Lithuania and that he will drive the Swedes out of Poland.

Our Gracious Lady, Cathedral of Lviv.

Nabożeństwo Majowe still alive in Poland

In many places in Poland the traditional May Devotions to Our Lady are celebrated by the street shrines.

People usually sing the Litany of the Blessed Virgin Mary and Beneath Thy Protection and some other Marian songs.

Is this tradition still alive in other places in the World?