We are all familiar with the constant reference of Mary, Our Good Mother, in our Marist tradition. While Mary seems to acquire a title for just about everything, this unique designation for Mary traces itself back to Marcellin’s own lips and spirituality, to Mary, Notre Bonne Mère. One of my favourite things about history, is that there is no effect or consequence without a cause. Or, in other words, everything is connected. Am I sounding a little like Br Graham?! I hope so.
So, I would like to share some excepts from an article from Br André Lanfrey about the connections between the images of Mary, Our Good Mother, and its mysterious predecessors, the Virgin of the Vow. The full article is available in the Marist Notebooks (or the link here:https://www.champagnat.org/e_maristas/Cuadernos/30_EN.pdf). I think it is an interesting addition to our rich Marist history.
“The Good Mother” and the Virgin of the Vow: Reflections on an iconographic tradition
In several recent publications, Brother Agustin Carazo, former postulator general, has been working on the Marial statues of the Institute especially on that of “the Good Mother” (“la Bonne Mère”), a statuette moulded in plaster of virgin and child, about 75cm high, carefully restored and today preserved in Rome. In these texts, he reminds us that this statue probably figured at the Hermitage from 1824 in the “chapel in the woods” and even before, at La Valla, in the room of Fr Champagnat. Replaced subsequently by larger statues, probably more in keeping with the taste of the period, it seems to have been somewhat forgotten, although Brother François mentions its presence at St Genis-Laval in the room which had been occupiedby Brother Jean-Baptiste. It figures again in 1882 in a portrait of Champagnat writing at his work, painted by Brother Wulmer, a Belgian Brother. The statue then took part in the displacements of the Mother House: in 1903 to Grugliasco, in 1939 to Saint Genis-Laval and finally to Rome in 1961. It was there that, in the archives, Brother Agustin Carazo, looking for documents, found it by chance in a bag in February 1982. He then relates the story of the “resurrection” of this statue, which is given the name of “Good Mother” and which photographic reproductions make popular among the Marist Brothers. A Brazilian Brother, Francisco das Chagas Costa Ribeiro, author of a thesis on Mariology in Rome in 1988, indicates that the model of this plaster statue is located in the cathedral of Rouen, under the name of the Virgin of the Vow (La Vierge du Vœu).
From a second statue of “the Good Mother”, crudely painted, and still at the Hermitage, a Brother of the province of Castille (Estebàn Martin) made a mould, and so statues of plaster, wood, terracotta and other materials, of various sizes, have multiplied, especially in Latin America. Nevertheless, this representation does not seem to have gone far beyond the world of the Marist Brothers.
Two original statues of “the Good Mother”?
Brother Agustin has given us a very solid history of the statue of « The Good Mother » among the Marist Brothers which has allowed for a sort of resurrection of this important piece of our early spiritual patrimony. I think, however, that he underestimates the importance of the statue still present at the Hermitage which, in his opinion, is much smaller than the Rome one and of a later date. So he comes up with the hypothesis that it would have been acquired after 1860 by Brother François when he returned to the Hermitage.
In my opinion, this statue is about the same age as the one in Rome. But since my basic proposal is to complete the historical work of Brother Agustin Carazo, I will present the discussion on this particular point at the end of my article.
The Virgin of Lecomte (1777)
The Virgin of the Vow in Rouen is a marble statue of normal height (about 1 m 60) placed today in the chapel of Sainte Marguerite, one of the many side chapels of the nave of the cathedral of Rouen in Normandy. It rests on a stone cube set on the altar in place of the tabernacle, on which is inscribed the formula “Nostra clemens, accipe vota” (Our clemency accept our vows). This inscription confirms the traditional name given to the statue, “the Virgin of the vow”.
Sculpted by Félix Lecomte, it was offered to the Rouen cathedral about 1775 by the Cardinal-Archbishop Mgr. de la Rochefoucauld. It is characterized by one original trait: the baby Jesus is sucking his forefinger. But it should be noted that this statue is not isolated: the altar front bears a bas relief by the same sculptor shows a dead Jesus wept over by Mary and the holy women.
According to the Dictionnaire des artistes de l’Ecole française au XIX° siècle Félix Lecomte was born in Paris in 1737 and died in 1817. In 1764 he won the grand prize of sculpture, and in 1771 was accepted as a member of the former Academy of Painting and Sculpture. He was as well professor of the Academy and member of the Academy of the Fine Arts. His statue of the Virgin and the bas relief of Rouen are considered among his master works.
The medieval rood screen and the first Virgin of the Vow
This altar of the Virgin of the Vow is not the first one erected under this title and it is not in its original position. In fact, there existed in Rouen, as in most of the medieval cathedrals, a rood screen separating the choir from the nave. About this one, certainly in the Gothic style, Jean-François Pommeraye gives, at the end of the seventeenth century, the following details:
“The rood screen which closes off the choir has been enriched with two magnificent altars of very rich sculpture, crucifixes and other ornaments of woodwork all gilt […]. The altar of the vow was made from the contributions of the factory. I understand, from the memoirs of an individual who wrote about what he had seen, that this altar of the Virgin was completed at the end of March 1639 […] that on 26 April […] this altar was consecrated by M. François de Harlay the elder who placed in it the relics of St Paul apostle and Nicaise. It was called the vow because of a great plague which afflicted the city of Rouen for a long time; this had obliged them to have recourse to God’s mercy”.
The author adds, “The principal ornament of this altar is the image of Our Lady made of alabaster which was donated about 1357 by a canon named François Le Tourneur” […] “The altar of Saint Cecilia, which is next to the one of the vow is celebrated because of the confraternity of this saint where the musicians gather every year to solemnize her feast”. […] “I learned from several memoirs that on 23 April 1642 this altar was finished and the two images set in place”. To commemorate the event, a procession took place on 20 September and a lamp burns in front of the Virgin’s altar.
Thus, a medieval Virgin, probably already present in the cathedral, is set up in 1643 as the « Virgin of the vow » on the medieval rood screen, in company with St Cecilia who certainly figured there already.
IN CONCLUSION
As always happens, research resolves a certain number of questions and raises new ones. We can say that the Institute possesses two old but quite different statues of “the Good Mother”. The authenticity and age of the one in Rome are not in doubt. As for the Hermitage one, although not well documented, it seems to merit being considered a rare piece dating from the time of Fr Champagnat and attesting to the Marian devotion of the Brothers, perhaps linked to the practice of the Month of Mary.
In the wider context, it seems that quite soon after the Revolution a statue moulding workshop was set up, supplying the religious art shops with smaller statues on the Lecomte model. Moreover, circumstances lent themselves to it: after a phase of iconoclasm which destroyed or dispersed the furnishings and fittings of parishes and convents, this plant allowed the restoration of an important element rapidly and inexpensively, while situating itself in continuity with the aesthetic preferences of the eighteenth century which was still close.
Nevertheless, the small size of these statues, their weakness in evoking a theological message, as well as the rise of a preference for the neo-Gothic, the devotion to the miraculous medal and the emergence of a Saint-Sulpician statue industry, must have progressively marginalized this type. But we have seen that a model of this statue appeared worthy of interest for a Saint-Sulpician art enterprise in the middle of the nineteenth century.
We are left with the question of an iconographic tradition of Virgin and Child current from the fifteenth to the nineteenth century, based on Christ as a baby, and without an obvious theological message. I proposed one interpretation earlier and Brother Agustin Carazo proposes Psalm 130 (131): “ …enough for me to keep my soul tranquil and quiet like a child in its mother’s arms”. But, although interesting, this interpretation appears no more founded on certain sources than mine. It may be precisely because it allows for a great diversity of interpretations, from the most theological to the most sentimental, that this tradition of Virgin with Child sucking its finger holds an attraction through very different periods and despite copies of very unequal artistic value.