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Small Arch-Shaped Antique Religious Burwood Wall Plaque of Mary & Baby Jesus w/ Angels & Symbols “Our Mother of Perpetual Help”
Item Number: 1422 |
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Circa: 1920's
Condition: Excellent Original Condition
Size: Height - 5 ½” Width - 3”
Manufacturer: Burwood, US Patent, Copyright Boynton & Company
This is a wonderful antique religious, Burwood, wooden wall plaque featuring Mary holding Baby Jesus in her arms, clasping hands. Both bare a decorative crown and robe. This is a truly endearing scene captured within a plaque. Countless miracles have been attributed to 'Our Mother of Perpetual Help'. Two small Angels can be seen on both sides of Mary’s ornate halo. The Angel on the left is "St. Michael the Archangel". He's depicted holding the lance and spear with the vessel of vinegar and gall of Christ’s Passion. The Angel on the right is identified as "St. Gabriel the Archangel". He holds the cross and the nails.
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All of the letters and symbols are Greek and can be found throughout the background of this plaque. The initials towards the top, beside The Mother’s crown identify her as "Mother of God." The initals beside the child that read, "ICXC", are abbreviations meaning, "Jesus Christ." The bottom of this plaque bares the title, "Our Mother of Perpetual Help". Also, in the bottom right hand corner of the plaque reading vertically in very small letters, is the publisher’s initials, "Copyright B & C". The B&C stands for Boynton & Company. The delicate details and intricate embossing, indeed, brings out the beauty of this piece. This beautiful arch-shaped plaque is ready to hang with its original nail hole at the top. The back of the plaque retains its original Burwood Stamp. Although illegible, it reads, "Burwood, US Patent, Copyright Boynton & Co.". This plaque is in excellent original condition with a beautiful old patina. Circa 1920’s.
*** I've included below, much INFORMATION ABOUT THE HISTORY AND SYMBOLIC NATURE OF THIS PICTURE, "OUR MOTHER OF PERPETUAL HELP":
"A study of the portrait is necessary to understand its historical and artistic qualities. Although its origin is uncertain, it is estimated that the portrait was painted sometime during the thirteenth or fourteenth century. It is painted in a flat style characteristic of icons and has a primitive quality. All the letters are Greek. The initials beside the Mother’s crown identify her as "Mother of God." Those beside the child, "ICXC," are abbreviations meaning "Jesus Christ." The smaller letters identify the angel on the left as "St. Michael the Archangel." He is depicted holding the lance and spear with the vessel of vinegar and gall of Christ’s Passion. The Angel on the right is identified as "St. Gabriel the Archangel." He holds the cross and the nails.
When this portrait was painted, halos were not commonly depicted. For this reason the artist rounded the head and veil of the Mother to indicate her holiness. The golden halos and crowns were added much later. The Madonna in this portrait is out of proportion to the size of her Son since it was Mary whom the artist wished to emphasize.
The angels holding the instruments of the Passion have their hands covered with a protecting veil as a sign of reverence in handling sacred objects. In some Eastern rites, for example the Armenian, the deacon has his hand covered with a silken veil when he carries the gospel book. And in the Roman Rite, the priest covers his hands with the humeral veil when blessing the people at Benediction of the Blessed Sacrament.
The Child Jesus is shown with an adult face and a high brow, indicating His divine Mind of infinite intelligence. As God, He knew that the angelic apparition was prophetic of His future passion. Yet in His human nature as a small child, He is frightened and runs to His Mother for protection. Our Lady hastily picks Him up and clasps Him to her bosom. This action is indicated by the fact that the Lord’s right foot is nervously curled about the left ankle and in such haste that His right sandal has become loosened and hangs by a single strap. Further action is indicated by the way the Child Jesus clasps His Mother’s right hand with both of His, holding tightly to Our Lady’s thumb.
Our Lady is clothed in a dress of dark red which was long reserved in the Byzantine world for the Empress alone, indicating the Queenship of Mary. We know that reddish purple was considered the noblest color in the ancient world. Recall that Our Lord said "Those who are clothed in purple and fine linen are in the houses of kings."
Some commentators on color claim that bluish purple became the color of penance in the Western Church (during Lent and Advent) because purple is a combination of blue and red. The blue reminds us of heaven, to which we wish to arrive by our penance, and the red recalls martyrdom, because all penance requires a dying to oneself, especially mortifying inordinate desire for food and pleasure. The archangels Gabriel and Michael were tunics of purple since they carry the instruments of the passion and death of Christ. IN the usual Byzantine style, the figures of the icon are identified with abbreviations of their names. In this icon Mary is designated by her chief title to glory: Mother of God.
Thus the picture of the Mother of Perpetual Help is a traditional Byzantine icon of Our Lady, but modified by the medieval softening of features in Cardiotissa style, touching the emotion and showing an action story proper to this art form. Our Lady’s face is of unspeakable majesty and calm and yet her large eyes, partly closed, express ineffable sorrow and sympathy. Our Lady is not looking at Jesus, but rather to us, her adopted children, as if to express compassion for us in our fears and sorrows.
The charms of the portrait are many, from the naivete of the artist, who wished to make certain the identity of each subject was known, to the sandal that dangles from the foot of the Child. The expression of the Child Jesus is haunting as He grips the hand of His Mother while gazing sideward at the instruments of torture held by the Angels. Above all, the expression of the Madonna evokes a sadness on the part of the viewer. With her head gently touching that of her Son, and while surrounded with the instruments of her Son’s sufferings, she seems to gaze plaintively—as though seeking compassion from those who look upon her.
Countless miracles attributed to the image extend from the time of its documented history in 1495 through the years until the present day. These seem to give ample testimony and proof of the portrait’s favor with the Mother of God.
The miraculous portrait is still enthroned on an altar in the Church of St. Alphonsus in Rome. The ruins of the Church of St. Matthew, where the image was reverenced for almost 300 years, are found on the grounds of the Redemptorist monastery."
- This wonderfully informative article was cited from the following website: http://www.marys-touch.com/history/olhelp.htm
***I've included below, A LOVELY PRAYER TO OUR MOTHER OF PERPETUAL HELP:
Behold at thy feet, O Mother of Perpetual Help, a wretched sinner, who has recourse to thee, and confides in thee. O Mother of mercy, have pity on me. I hear thee called by all the refuge and the hope of sinners: be, then, my refuge and my hope. Assist me, for the love of Jesus Christ; stretch forth thy hand to a miserable fallen creature, who recommends himself to thee, and who devotes himself to thy service for ever. I bless and thank almighty God, Who in mercy has given me this confidence in thee, which I hold to be a pledge of my eternal salvation. It is true that in the past I have miserably fallen into sin, because I had not recourse to thee. I know that, with thy help, I shall conquer. I know, too, that thou wilt assist me, if I recommend myself to thee; but I fear that in time of danger I may neglect to call on thee, and thus lose my soul. This grace, then, I ask of thee, and this I beg, with all the fervour of my soul, that, in all attacks of hell, I may ever have recourse to thee. O Mary, help me! O Mother of Perpetual Help! Never suffer me to lose my God! |
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