"Love follows knowledge."
"Beauty above all beauty!"
– St. Catherine of Siena

Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Friday, January 2, 2026

Redeemer in the Womb: Jesus Living in Mary by John Saward, Post #5

This is the fifth post of six posts on Redeemer in the Womb: Jesus Living in Mary by John Saward.

You can find Post #1 here. 

Post #2 here.  

Post #3 here. 

Post #4 here. 

 


 

Chapter 5: First Step Into the World: The French School

Kerstin’s Summary:

In the seventeenth century the French School of Spirituality was inspired by Pierre Cardinal de Bérulle (1575–1629). They devoted much time to Jesus’ time in the womb. Bérulle is quoted throughout the chapter.

 

A ‘Copernican’ Christology

The most marked feature of the theology of Bérulle is its Christ-centeredness. Pope Urban VIII called him “the Apostle of the Word incarnate,” and one of his successors as superior general of the French Oratory, Fr. Bourgoing, suggested he had been sent by God “as a new St. John to point out Jesus Christ.” Bérulle worked a ‘Copernican revolution’ in the sacred sciences. He attempted in theology what his older contemporary Galileo achieved in astronomy.

“One of the outstanding intellects of this age has tried to maintain that the sun, and not the earth, is at the center of the universe. . . . This novel opinion, little followed in the science of the stars, is useful and must be followed in the science of salvation. For Jesus is the sun, immobile in his grandeur and moving all things. . . . Jesus is the true center of the world, and the world must be in a continual movement towards him. Jesus is the sun of our souls, from whom they receive all graces, lights, and influences.”

The Lodgings of the Son of God Like the Syriac theologians, Bérulle compares and links the diverse lodgings (séjours) of Jesus: the bosom of God the Father, the womb of the Blessed Virgin, and the altars of the Catholic Church.

“There are three states of Jesus that deserve singular and daily consideration: in the womb (sein) of the Father as Son of God, God from God, consubstantial and equal with his Father; in the womb of the Virgin as Son of Man, both man and God, the Mediator of God and men; in the womb of the Church, which is his centre and altar, as Lamb of God and victim of praise and propitiation, which she [the Church] presents to the eternal Father.”

The marvel of the Incarnation is this: it enables God to worship God. God the Son in his humanity adores God the Father, with whom, in his divinity, he is coequal. What is more, this filial worship of the Father begins at the first moment of the Incarnation and has its first sanctuary in the Virgin’s womb.
[…]Bérulle follows St. Thomas’ teaching that, from the first moment of his conception, Christ has the use of his human free will and at the summit of his soul enjoys the beatific vision of God.
“He is living in the Virgin, and he is life itself. He is holy by the grace of the hypostatic union, which is the grace of graces. He is in glory by the state of his soul, established at the very hour of its making in the vision of God.

 

The Unborn State of Christ

 

The Christology of Bérulle is a doctrine of état, “state.” […] Bérulle uses état in the latter sense to revive St. Irenaeus’ theology of recapitulation and the Thomist doctrine of Christ’s headship. As man, but because he is God, Christ is “the head of human nature.” In assuming a complete and concrete human nature, the eternal Word in some way unites himself to all men, and, by living a complete human life from conception to the last breath, he touches and hallows every stage of every man’s journey through this world.

 

“By this high, divine, and lofty counsel, we do not just have a Man-God, which is what the Incarnation gives us. We have an infant God, a mortal God, suffering, trembling, weeping in a cradle; a God living and walking on earth, in Egypt, in Judaea. . . . God wants us to have all the miseries, conditions, and lowlinesses of our nature relieved by the divine subsistence and personality, a God suffering and dying on the cross, a God dead in the tomb, for he who took our nature by the mystery of the Incarnation wanted to take all these states and conditions of our nature and to honour them with the divine subsistence, what the ancient Fathers of the Church call the economy and dispensation of the divine mystery. For the Incarnation of the Word is the basis and foundation of a supreme dignity, in other words, not only of the sanctification but also of the deification of all the states and mysteries that share the life and wayfaring condition of the Son of God on earth.”

 

The human conception of the Son of God and his life in the womb have a redeeming purpose. The virginal and miraculous character of his conception and his perfections as a human child in the womb are intended “to repair the ruins of our pitiful entry into the world as sinners.”

 

“Seeing that he wanted to be an infant on earth, in order to consecrate and sanctify human infancy contaminated by Original Sin, could this infancy have been better restored than by a Virginal Conception, a miraculous birth, a light of glory before the light of the world, a divine power in the powerlessness of the Child, the use of a holy and perfect life with God his Father and the Virgin his Mother before the use of his senses and the force of nature?”

 

“But we see sensibly that in this present state she is more close and more conjoined, while he is in her, while he is part of her, while she lives for him, and he lives by her, and he is in a continual state of dependence and even of indigence with regard to her.”



 

The Visitation

 

The Visitation, says Bérulle, is the only visible work reported by Scripture that Jesus and Mary performed during the nine months the divine baby was in his Mother’s womb.

 

“God has become a child, and so he wants first to be known and adored by a child, and this is one of the first emanations of the childhood of God, manifesting himself to the universe. God is a child, the world ignores, heaven adores, and a child is the first person in the universe to recognize and adore him, and he does so by the homage and secret operation of God himself, who wants to act upon children. He wants to honour himself as child by giving the first knowledge of himself to a child in the world, making him his prophet in the universe. Thus, the Infant-God is recognized and manifested, not by an angel, but by a child. His first prophet is a child, just as shortly his first martyrs will be children.”

 

Jesus in Mary: A Union of Hearts

 

Between any expectant mother and the child in her womb, there is more than a merely physical presence of the one to the other, of the one in the other. The bodily closeness is the basis of an intimacy of knowledge and love, a union of hearts. This natural bond is wonderfully strengthened by the unique fullness of grace with which the God-man and his Mother, each in their own way, are endowed.

 

“All her senses are directed at him, for this is a sensible mystery, a mystery that is sensible in her. And the whole of human sensibility owes homage to its God made sensible for human nature. All her spirit is applied there. . . . The grace infused into the Virgin, grace so excellent and exalted, applies and absorbs all the senses, all the faculties, and all the spirit of the Virgin. . . . Thus grace and nature conspire in her to establish an excellent disposition, one that enraptures her heart and her soul in Jesus her Son and her God.”

 

The French Poet Paul Claudel expressed it in this way:

 

At the end of this third month after the Annunciation,

which is June,

The woman who is God’s has heard the tune

Of heartbeats under hers and felt the movement

of her Son.

Within the sinless Virgin’s womb commences a new era.

The Child who is before all time assumes time in his

Mother of his Mother,

And in the primal Mover man’s breathing is begun!

She moves not, speaks not a word. She adores.

She withdraws from the world. For her, God is not

outdoors:

He is her work, her Son, her Baby, borne as her All!

Satan rules and the whole wide world offers him incense

and gold.

God penetrates like a thief in this Eden of death

overbold.

A woman was once deceived, and now a woman

cheats hell.

O God, in a woman hid! O Cause, in this bondage

bound!

Jerusalem knows naught; even Joseph sees darkness

profound.

The Mother alone with her Child feels his ineffable

moving.

 

For nine months, says Bérulle, Mary is the only person on earth who worships the mystery of the Incarnation. It takes place “on the earth, for the earth, and yet is not known by the earth.” For the benefit of the whole world, Mary alone in the world worships Jesus.

 

The Graces of Mary’s Womb Burden

 

Jesus . . . in his states and mysteries is himself our portion, and, while giving us a universal share in him, he wants us also to have an individual share in his diverse states depending on the different ways in which he has elected us and we are devoted to him. Thus, he shares himself with his children, making them partakers of the spirit and grace of his mysteries, appropriating to some his life and to others his death, to some his infancy, to others his power, to some his hidden life, to others his public life. . . . In all these different states and conditions he gives himself to all. He gives us his heart, his grace, and his spirit.

 

The infancy of the Son of God is a passing state. Its circumstances have passed away. He is no longer a child. Nevertheless, there is something divine in this mystery that continues in heaven and that effects a similar kind of grace in the souls who are on earth, whom it pleases Jesus Christ to affect and to dedicate to this humble and first state of his person.

 

The Good by God the Christ an Embryo:

 

From which His conceiving we may conceive His great love to us-ward. Love, not only condescending to take our nature upon Him, but to take it by the same way and after the same manner that we do, by being conceived. That, and no other better beseeming way. The womb of the Virgin is surely no such place, but He might well have abhorred it. He did not; pudorem exordii nostri non recusavit, saith Hilary; “He refused not that ourselves are ashamed of,” sed naturae nostrae contumelias transcurrit, “but the very contumelies of our nature (transcurrit is too quick a word) He ran through them”; nay, He stayed in them, in this first nine months. I say the contumelies of our nature not to be named, they are so mean. So mean indeed as it is verily thought they made those old heretics I named, and others more who yet yielded Him to be Man, to run into such fancies as they did; only to decline those foul indignities as they took them, for the great God of Heaven to undergo. . . . This sure is matter of love; but came there any good to us by it? There did. For our conception being the root as it were, the very groundsill of our nature; that He might go to the root and repair our nature from the very foundation, thither He went; that what had been there defiled and decayed by the first Adam, might by the Second be cleansed and set right again. That had our conception been stained, by Him therefore, primum ante omnia, to be restored again. He was not idle all the time He was an embryo—all the nine months He was in the womb. . . . This honour is to us by the dishonour of Him; this the good by Christ an embryo.

 

“Oh Wonderful and Incomprehensible Dependence of God”

 

St. Louis-Marie On Jesus in Mary’s Womb:

 

Jesus is at present, as much as he ever was, the fruit of Mary, as heaven and earth tell him a thousand times every day, “And blessed is the fruit of thy womb.” It is certain that, for every human being in particular who possesses him, Jesus Christ is as truly the fruit and the work of Mary as he is for the whole world in general, so that, if a faithful Christian has Jesus Christ formed in his heart, he can boldly say, “Great thanks to Mary, what I possess is her fruit and her work, and without her I would not have him.”

 


###

My Comment:

I found this surprising:

 

In the history of the Church, no school of theology and spirituality has given Jesus’ life in Mary more attention than the seventeenth-century French School, of which Pierre Cardinal de Bérulle (1575–1629)…was the chief inspiration.

 

I suppose that’s true. Until this book I had not realized there had been much contemplation of Jesus inside of Mary’s womb.

Frances’s Reply:

I hadn’t either, Manny.

Michelle’s Reply:

This book is the first time I've come across it. It's pretty clueless, but I never really gave much thought to it.

Michael’s Reply on a Different Thought:

Manny wrote: "I found this surprising:
In the history of the Church, no school of theology and spirituality has given Jesus’ life in Mary more attention than the seventeenth-century French School, of which Pierre Cardinal de Bérulle (1575–1629)…was the chief inspiration."


So interesting, Manny. I'll look into it. I think my wife has a book on French Catholic Church spirituality.

###

My Comment:

I found this passage in chapter 5 fascinating and worth deeper meditation.

 

The marvel of the Incarnation is this: it enables God to worship God. God the Son in his humanity adores God the Father, with whom, in his divinity, he is coequal. What is more, this filial worship of the Father begins at the first moment of the Incarnation and has its first sanctuary in the Virgin’s womb. Bérulle, who had a thorough knowledge of the Greek Fathers, repeats what Cyril, Proclus, and Andrew of Crete had recognized before him—namely, that the Virgin’s pure womb, unshadowed by any sin, containing the divine Word himself, is “the holy or sacred temple where Jesus reposes, the true Ark of the true Covenant . . . and the Virgin’s heart is the first altar on which Jesus offered his heart, his body, his spirit, as a victim of perpetual praise.” When Christ comes into the world, he surrenders his new human body and will to the service of the Father: “Lo, I have come to do thy will, O God” (Heb. 10:5–10; cf. Ps. 40:6–8).

 

That God the Son adores God the Father is evident in John’s chapter seventeen when Jesus gives His farewell discourse and great final prayer.

 

When Jesus had said this, he raised his eyes to heaven and said, “Father, the hour has come. Give glory to your son, so that your son may glorify you, just as you gave him authority over all people, so that he may give eternal life to all you gave him. Now this is eternal life, that they should know you, the only true God, and the one whom you sent, Jesus Christ. I glorified you on earth by accomplishing the work that you gave me to do. Now glorify me, Father, with you, with the glory that I had with you before the world began. (Jn 17:1-5)

 

I’m surprised Seward doesn’t allude to it, but here God worships God, the Father the Son and the Son the Father. I guess one could see this worship beginning in the womb with the Incarnation. John’s passage is a statement of the hour of His glory, when at the altar of the cross Jesus will offer Himself in sacrifice. Bérulle see the Virgin’s heart as the very first altar.

###

Note: While in discussion of Chapter 5, Kerstin received an emergency call that her mother in Germany, who was battling cancer, was in a critical state.  She had to rush to Germany.  I took over as lead moderator for the last three chapters.

###

Chapter 6: Our Lady of the Sign: The Liturgy and Sacred Art

My Summary:

This chapter explores how Our Lady, pregnant with Jesus, has shaped the liturgical season, shaped various liturgies, and shaped sacred art. 

 

Saward on the Liturgical Season:

When the eternal God enters time in the Virgin’s womb, time itself is redeemed (see Eph. 5:16). Days and seasons can now be holy and sanctifying and the year becomes liturgical. As she makes the journey from Advent to the last Sunday after Pentecost, the Church relives the mysteries of the life of Jesus, joyful and luminous, sorrowful and glorious, drawing from each a specific grace and lesson. Pope Pius XII writes: The Liturgical Year, devotedly nourished and accompanied by the Church, is not a cold and lifeless representation of the events of the past, nor a simple and bare record of a former age. It is rather Christ himself, ever living in his Church, continuing the journey of boundless mercy that he began in his mortal life when he went about doing good (see Acts 10:38). Its compassionate purpose is to put the minds of men into contact with his mysteries and somehow to live by them. . . .  (p. 103)

 

In a sermon on the Annunciation, St. Aelred, Cistercian abbot of Rievaulx (1109-1167), suggested we become contemporary with all the mysteries of our lord’s life on earth, from the first moment of the Incarnation, through the renewal and representation in the Mass of his sacrifice on the cross, which summed up and perfected all the previous mysteries.  (p. 105)

 

The mystery of Jesus’ life in Mary’s womb is always ‘recent’ in the Church’s memory.  Every evening she sings the Magnificat, the song of the pregnant Virgin Mother, in order to share more fully in her attitude of gratitude and obedience to God.  And at the end of each year, in preparation for the Saviour’s birthday, she enjoys a month’s contemplation of the same mystery.   (p. 105)

 

Saward on the Use of Mary in the Liturgy:

The traditional Advent liturgies thus clearly distinguish and separately celebrate the first moment of the incarnation at the Annunciation, when the Son of God took flesh upon himself in the Virgin’s womb without seed, from its first manifestation at the Nativity, when the Son of God in the flesh came forth from the Virgin’s womb without corruption.  (p. 106)

 

The name of the Mother of God is found on almost every page of the Byzantine liturgical books.  In every sacrament and office, in the celebration of each mystery of Christ’s life, the Panagia (“All-Holy One”) is present, in and with the Church, interceding, contemplating, and adoring.  Her bearing of the Father’s consubstantial Son for nine months in her womb is indelibly imprinted on the liturgical consciousness of the East.    (p. 109)

 

In the Akathist hymn of the Byzantine rite, now an indulgence prayer for all Catholics, the Theotokos is praised as the fulfillment of all the sanctuaries of the Old Testament.

 

All who hymn thy childbearing praise thee, Mother of God, as an animate temple, for thy womb dwelt the Lord who holds thee in his hand.  He it was who sanctified thee, glorified thee, and taught all to cry out to thee:

Hail, tabernacle of God and the Word!

Hail, greater holy of holies!

Hail, Spirit-gilded ark!

Hail, treasury of unexhausted life!

 



Saward on Our Lady in Art:

One of the most ancient and best-loved icons of the Byzantine tradition, “Our Lady of Sign,” shows the Theotokos with her hands extended in prayer and with the Holy Child in her womb.  The “sign” is the Virginal Conception and Birth prophesied by Isaiah, “the fifth evangelist”:

 

Therefore the Lord himself shall give you a sign.  Behold a virgin shall conceive and bear a son: and his name shall be Emmanuel.  (Isa. 7:14)

 

The Child visible in the womb is the pre-eternal God…The perpetual virginity of God’s Mother is marked by the three stars on her veil, two on her shoulder and one above her brow.  Before and in Jesus’ birth, and forever after, Mary is Virgin.  (p. 112)

 

Images of Jesus in his Mother’s womb are also found in the West.  For example, there is the relief carved by Bartolomeo Buon in the middle of the fifteenth century for the tympanum over the principal doorway of the Scuolo vecchia di Santa Maria della Misericordia in Venice.  Our Lady covers the kneeling members of the Guild of Mercy with her cloak.  The Infant Jesus, his hand raised in blessing, is enthroned within a mandorla in the center of the Virgin’s body.  In the Madonna del Parto of Piero della Francesca, painted in about 1460, the expectant Virgin stands motionless in regal dignity.  Her left hand is on her hip.  Her right points to her womb.  On either side, angels hold back heavy velvet drapes.  They veil and guard the awful mystery.  (p.  114)

 


Saturday, April 29, 2023

Faith Filled Friday: St. Catherine of Siena on Suffering for the Salvation of Souls

This is posted on early morning Saturday, in the wee hours and in the in-between of Friday, which is our faithful remembrance of the Lord’s suffering, and of Saturday, which is April 29th, the feast day of my beloved patroness, and the patroness of this blog, St. Catherine of Siena.  



Painting above is titled, Saint Catherine of Siena and the Beggar by Giovanni di Paolo. You can read about the painting here.  

In the past to commemorate St. Catherine’s feast day I have posted an excerpt from one of her many letters or perhaps a poem prayer she wrote.  But I have never posted an excerpt from her single great book titled, The Dialogue.  The book was initially dictated while Catherine was in a state of mystical ecstasy, but she did attempt to edit herself the writing.  The dialogue is between herself and God the Father, a conversation mostly on truth and love.  The book is the most complex expression of Catherine’s thought, touching on all aspects of Christian faith, from commonplace morality to mystical exchange with the divine.  Indeed, the difficulties I think that some find with the book is that Catherine at times reaches for language to describe a transcendent experience that cannot really be described. 

I excerpt chapter 5, a short two paragraph chapter where the voice is of God the Father responding to Catherine’s wish to take on suffering for the salvation of others.  The salvation of souls was always a deep concern for Catherine.  She felt real horror and pity thinking that some, even though evil, would be damned to hell.  Here is God’s response.

 

The willing desire to suffer every pain and hardship even to the point of death for the salvation of souls is very pleasing to me.  The more you bear, the more you show your love for me.  In loving me you come to know more of my truth, and the more you know, the more intolerable pain and sorrow you will feel when I am offended.

 

You asked for suffering, and you asked me to punish you for the sins of others.  What you were not aware of was that you were, in effect, asking for love and light and knowledge of the truth.  For I have already told you that suffering and sorrow increase in proportion to love: When love grows, so does sorrow.  So I say to you: Ask and it shall be given to you.  I will not say no to anyone who asks in truth.  Consider that the soul’s love in divine charity is so joined with perfect patience that the one cannot leave without the other.  The soul, therefore, who chooses to love me must also choose to suffer for me anything at all that I give her.  Patience is not proved except in suffering, and patience is one with charity, as has been said.  Endure courageously, then.  Otherwise you will not show yourself to be—nor will you be—faithful spouses and children of my Truth, nor will you show that your delight is in my honor and in the salvation of souls.  (p. 33)

There are parts of this that I do not fully understand.  For instance, I don’t quite know in a full way how “divine charity is joined with perfect patience.”  I don’t think I really know what perfect patience is.  But I do understand how the desire and request to take on suffering leads to an enlightenment, and in that desire is love of God and neighbor.  With love comes suffering, even with love of God.  I pray for the salvation of all souls. 

I quote from The Catherine of Siena: The Dialogue edition, translated and with an Introduction by Suzanne Noffke, O.P. copyright 1980 by Paulist Press, Inc.  If you have a desire to read it, do not get any other translation but the Noffke translation.  The others you will find are poorly translated and poorly abridged.  It took the Noffke translation to make Catherine’s book readable and coherent in English. 

Sunday, March 5, 2023

Sunday Meditation: Matthew’s Transfiguration

Today Jesus reveals His divine nature.  We have one of the most iconic moments of the New Testament, the Transfiguration.  All three Synoptic Gospels tell of this moment.  In Year A of the lectionary, we have Matthew’s version.

 

Jesus took Peter, James, and John his brother,

and led them up a high mountain by themselves.

And he was transfigured before them;

his face shone like the sun

and his clothes became white as light.

And behold, Moses and Elijah appeared to them,

conversing with him.

Then Peter said to Jesus in reply,

"Lord, it is good that we are here.

If you wish, I will make three tents here,

one for you, one for Moses, and one for Elijah."

While he was still speaking, behold,

a bright cloud cast a shadow over them,

then from the cloud came a voice that said,

"This is my beloved Son, with whom I am well pleased;

listen to him."

When the disciples heard this, they fell prostrate

and were very much afraid.

But Jesus came and touched them, saying,

"Rise, and do not be afraid."

And when the disciples raised their eyes,

they saw no one else but Jesus alone.

 

As they were coming down from the mountain,

Jesus charged them,

"Do not tell the vision to anyone

until the Son of Man has been raised from the dead."

~Mt 17:1-9

  

Last year, I posted Dr. Brant Pitre explaining the transfiguration as told in Luke’s Gospel.  Here he is again explaining it as told in Matthew’s Gospel.

 


There is a lot there to really sink your teeth into.  But I want to end this with one of the great representations of the event, Fra Angelico’s The Transfiguration.

 

 

Notice how Christ is delineated at about twice the size of the three apostles fallen to the ground.  And the blazing white of Christ’s figure is almost blinding.  Christ’s arms are spread out projecting the crucifixion and we see the heads of Moses and Elijah on each side.  I love the delineation of Christ’s face as you can see in this detail.

 


His expression is emotionless and He is thickly bearded, depicted I think as one who has taken “the vow of a Nazirite” (see Numbers, chapter 6).  And consider the detail of the apostles at Jesus’ feet. 

 


The one facing the viewer would have to be Peter with the sash I think signifying authority.  He is turned away from Christ, projecting Peter’s denial of Jesus.  The apostles are not clothed in white garments.  That is reserved for Jesus, and I would guess that the apostle with the blondish hair is John since the hair makes him look youngish.

Who are those two figures on the sides looking in at Jesus?  On the right is St. Dominic.  Fra Angelico was a Dominican friar.  On the left is said to be the Virgin Mary. 

Thursday, January 19, 2023

Art: Double Trinity with Saint Augustine and Saint Catherine of Siena

This painting was highlighted in last month’s Magnificat (Dec 2022) magazine with an analysis by Fr. Gabriel Torretta, O.P. 

 

 



 

I was really smitten with this work.  The artist is anonymous but from Peru and from the Cusco School   The painting, Double Trinity with Saint Augustine and Saint Catherine of Siena, is dated between 1700 and 1730.  I was surprised when I looked up Peruvian Baroque art to find just how rich and superb it is, but this painting may be the crowning achievement.  The Wikipedia entry on the Cusco School explained its origins:

 

The tradition originated after the 1534 Spanish conquest of the Peru,[1] and it is considered the first artistic center that systematically taught European artistic techniques in the Americas. The Spanish contribution, and in general European, to the Cusco School of painting, is given from very early time, when the construction of the Cathedral of Cusco begins. However, it is the arrival of the Italian painter Bernardo Bitti in 1583, that marks a beginning of the development of Cuzqueño art. The Jesuit introduced in Cusco one of the fashionable currents in Europe of the time, Mannerism, whose main characteristics were the treatment of figures in a somewhat elongated way, with the light focused on them.

 

A Trinity in art is of course when an artist renders the Holy Trinity of God the Father, Jesus Christ, and the Holy Spirit.  A Double Trinity is when you couple the Holy Trinity with the trinity of Jesus, Mary, and Joseph—the Holy Family.  That is what you have here.  The scene is supposed to allude to the finding of the boy Jesus at the Temple after being lost (Luke 2:41-52), and the Google Arts and Culture entry mentions how His parents hold him tightly from the experience.

 

The coordination of the clothing pattern and colors of the holy family is striking.  The patterns are very similar but each individually unique.  The two parents seem to have the same shade while that of Jesus’s is lighter—perhaps suggesting youth—but if my eyes are seeing correctly the shade and pattern of Jesus matches that of God the Father’s sleeve.  The similar colors create a diamond shape between the holy family and God the Father with the Holy Spirit binding them in the center.

 

Interestingly here the Holy Trinity is rendered vertically with God the Father looking down and Jesus looking up. The holy family, on the other hand, is aligned horizontally with their eyes looking down at Jesus.  The vertical and horizontal lines notably form a cross with all eyes turned to Jesus. 

 

The artist also includes St. Augustine of Hippo and St. Catherine of Siena in the foreground, on the extreme sides of the canvas.  Fr. Gabriel rightly points out that this makes the painting a Triple Trinity since Jesus and the two saints form a third triangle.  Why St. Augustine and St. Catherine of Siena?  Google Arts and Culture suggests that it may have been the personal preference of the whoever commissioned the painting, and that may be.  But there may be an additional element which may more thought to the painting.    

 

Both St. Augustine and St. Catherine are holding hearts.  Now it is no coincidence that these two saints would hold hearts as part of their iconography.  St. Augustine famously said in his Confessions, “My heart is restless O Lord, until it rests on thee.”  One of St. Catherine of Siena’s most famous mystical experiences was when she lay in a coma and had her heart taken out by Jesus (mystically of course) and replaced with Christ’s heart.  So heart becomes a thematic element of the composition, and with that in mind we can see that not only are everyone’s eyes turned toward Jesus but so is everyone’s heart: God the Father through the Holy Spirit, and the two earthly parents having just found their lost child.  When we gaze at a beloved, it is through eyes but those eyes are linked to our hearts.

 

This painting is a magnificent achievement, worthy of any Italian Renaissance artist.  Who knew that such art was being created in seventeenth and eighteenth century Peru?