A Greek Poem in Marble

Thorwaldsen illustrates a quaint little Greek poem by Anacreon (563-478 B. C.) in his "Cupid Wounded by a Bee":

The whole idea of the beautiful little poem is expressed by Thorwaldsen in high relief (20 x 10 inches). Venus sits upon a rock; at the base, two doves (her symbol) cooing. The wounded Cupid, with a plucked rose in his left hand, weeping, extends the other to his mother for her sympathy. Behind Cupid is the rose-bush in bloom, over which the bee hovers. This is one of four marble-reliefs executed for a prince of the Island of Rugen, the other three being "Cupid, the Lion Tamer," "The Birth of Venus," and "Mercury, Bacchus, and Ino."

123. ST. CECILIA BY RAPHAEL.--Academy, Bologna.

The most celebrated work of art in Bologna is the St. Cecilia of Raphael. It was painted in 1516 for the church of San Giovanni-in-Monte, one of the oldest churches in Bologna, founded by St. Petronius in 433. It was ordered by the Bentivogli family for their chapel in this church, and remained there until removed by Napoleon to Paris in 1796. After the "Peace of Paris," in 1815, it was restored to Bologna, where, after being carried in procession, it was placed in the Academy, and is now the gem of the collection. It is sometimes called "St. Cecilia in Ecstasy." St. Cecilia was one of the four Great Virgins of the Latin Church, St. Agnes, St. Agatha, and St. Lucia being the others. The first two were Roman, the last two Sicilian martyrs. The veneration paid to St. Cecilia may be traced back to the third century (280 A. D.).

To her it was vouchsafed to hear the angels sing, and she has always been regarded as the patron saint of musicians and the inventress of the organ. The angels, in love with her for her musical skill, were said to bring her, nightly, roses from Paradise. So in Art she is frequently crowned with roses. The beautiful legends of St. Cecilia are among the most ancient handed down by the early church, and she has been a favorite theme for poets as well as painters.

In Raphael's "St. Cecilia in Ecstasy," she is standing with her head turned towards Heaven, listening to the angel choir, far above her in the fleecy clouds, touched with the softest tints, yet distinctly visible, singing from music books. To the left of her is a noble figure of St. Paul, and St. John is near him, while on the right are St. Petronius and St. Mary Magdalene. Musical instruments are scattered at her feet in the foreground, and the portion of an organ, reversed, falls from her listless hands. All seem aware of her "ecstasy," and are listening to catch the sounds she hears-but only to the blind Cecilia do the angels sing.

The invention of the organ is generally ascribed to St. Cecilia. She was a Roman lady, who lived in the reign of the Emperor Alexander Severus. Her parents, who were secretly Christians, brought her up in their faith. When she was but sixteen years of age, her parents married her to a young Roman--virtuous, rich, and of noble birth--named Valerian. Her husband was still in the darkness of the heathen religion. Cecilia accepted the husband whom her parents had selected; but beneath her bridal robes she wore the coarse garb of penance, and as she walked to the temple she prayed that she might have strength to convert her husband to the faith in "the Jesus," the Saviour of the World. As she walked to the temple she not only persuaded her husband (elect) to respect her vow, as a follower of Jesus Christ, but persuaded him to accept "the Christ." Then Valerian had an "angel vision" that said: "Because thou hast followed the chaste counsel of thy wife and hast believed her words, ask what thou wilt, it shall be granted to thee."

Valerian replied: "I have a brother named Tiberius, whom I love as my own soul; grant that his eyes may be opened to the truth." The legend goes on to relate that his prayer was answered, and that Cecilia and husband Valerian went about doing good, and both won the crown of martyrdom. The age was one of religious intolerance. The martyrdom of St. Cecilia was, owing to her high birth, ordered to take place in her own house. First she was cast into a bath of boiling water, but it had no more effect than if it had been a life-giving spring. Then an executioner was sent to put her to death with the sword; but his hand trembled, so that after giving her a wound in the neck he went his way, leaving her to bleed to death. Then the Christians came, and, supposing her to be dead, solemnly entombed her body by night in her own home, which she requested should be henceforth consecrated as a church. Hence the Church of St. Cecilia, Rome. The little room containing her bath, or in which she was murdered or received martyrdom, is now a chapel. The tomb of St. Cecilia, closed in 820, was opened in 1599. "She was found clad in womanly attire, but turned over in her casket." Pope Clement VIII. ordered that the relics should remain untouched; that the cypress coffin should be enclosed in a casket of silver and reinterred beneath the altar. This reinterment of St. Cecilia was attended with great pomp and ceremony. Stefano Maderno, architect, sculptor, and secretary of the Pope, was ordered to execute the beautiful and celebrated statue of St. Cecilia lying dead upon her tomb; intended to commemorate the attitude in which she was found. A gold circlet around the neck conceals the fatal wound. On the ceiling of the chapel is the "Apotheosis of Saint Cecilia." She is carried into heaven by the angels. One bears an organ; others the sword, the palm and the crown.

The beautiful legend of St. Cecilia is one of the most ancient handed down to us by the early church. We cannot separate historic truth from fiction, but we can look with reverence upon the art records of those who have lived and died that the "Christ Spirit" might still rule the hearts of men.