Tag Archives: St. George

Mother of God as Fortress and Incense

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This icon, similar to the icon in Rome of the Mother of God known as “Health/Salvation of the Roman People,” illustrates the Song of Songs 4:4, which reads, “Like the Tower of David is your neck … a thousand shields hang upon it, all arrows of the mighty.”

“Who is she that goes up from the desert, as a pillar of smoke of aromatic spices–of myrrh and frankincense and all the perfumer’s powders?” (Song of Songs 3:6)

The friends of the groom are surprised by what they see, St. Gregory of Nyssa tells us. They know she is beautiful more splendid than gold or silver. But now they see her ascending and are struck with amazement and compare her beauty and virtue to not just a simple, single variety of incense but to a mixture of frankincense and myrrh together.

“One aspect of their praise is derived from the association of these two perfumes: myrrh is used for burying the dead and frankincense is used in divine worship…. a person must first become myrrh before being dedicated to the worship of God. That is, a person must be buried with Christ who assumed death for our sake and must mortify themselves with the myrrh–understood as repentance–which was used in the Lord’s burial.” (St. Gregory of Nyssa, On the Song of Songs)

A person must embrace ongoing self-examination and repentance; only then is it possible to then possible to enter the presence of God as the frankincense which is offered by the angels before the throne of God (Rev. 8:4).

Another of the spices used by perfumers was cinnamon. It was thought to have several remarkable properties, such as stopping putrefaction or infection and would cause a sleeping person to answer questions truthfully. So the application of “spiritual cinnamon” would stop anger, induce honest/truthful self-examination, and calm the anxious.

Myrrh and cinnamon were therefore metaphors for attitudes and practices that would protect a person from sin. In the Song, the bride–who was a type of the Mother of God–was not only myrrh and cinnamon but a protective fortress as well. The bride–in patristic sermons, the Mother of God–is a fortress with shields hanging from the battlements. The walls of the fortress are impervious to spears. The early fathers took this to mean that the prayers of the Mother of God could protect Christians from the darts and arrows of temptation. The fortress could also be seen as the Church herself, steadfast and immoveable on the rock of faith.

There were 18th century icons to illustrate this idea of the Mother of God as fortress; the inscription at the top of these icons was commonly:

“Like the Tower of David is your neck, built on courses of stone; a thousand shields hang upon it, all arrows of the mighty.” (Song of Songs 4:4)

In the example of this kind of icon seen above, the two saints appearing at the sides are additions generally not found in other versions.  They are the Martyr Adrian and the Martyr Natalia.  Some examples have instead the military saints such Alexander Nevsky at left, and George at right, but many have no saints added to the main image.

Much thanks to the Icons and Their Interpretation blog for information about this icon.

Dragons, Dragons Everywhere

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Every culture has dragon folktales and these dragons share the same characteristics. David Jones reaches fascinating conclusions about our fear and fascination with these creatures, including that we are essentially “hardwired” to believe in them. Get a copy here.

Dragons are not just fairy tale creatures who like to eat an occasional princess or fight a knight or two. Dragons are mythic-poetic creatures used in tales or sermons to make sophisticated points. Perhaps rooted in early human experience of three major predators–lions, eagles, and large serpents–dragons both warn of danger and show how to escape that danger.

Although we think of dragons as fire-breathing serpents with legs and wings, the oldest stories report that dragons had a foul, poisonous breath, the stench of which could kill anything that inhaled it. Dragons are Chaos. Dragons are spiritual and emotional energy that is out of control. Unfocused. Wild. They are in stories or texts what horses with loose, untied tails are in icons.

In the New Testament (Revelation 12:3) we read about a vision of a Great Red Dragon with seven heads, ten horns, seven crowns, and a massive tail, an image which is clearly inspired by the vision of the four beasts from the sea in the Book of Daniel and the Leviathan described in various Old Testament passages. This dragon is the enemy of the woman clothed with the sun, with the moon beneath her feet, and a crown of 12 stars upon her head: the Church. The dragon attacks the Church at the End of Days and slays the martyrs as Judgement Day approaches. In the lives of the saints–such as SS. Margaret or George–a dragon is the enemy of the saint or of specific persons now, during history.

In the story of St. Margaret, she is swallowed alive by a dragon in her jail cell but she makes the sign of the Cross and the dragon’s stomach explodes… allowing her to step out, unharmed. (Not unlike Red Riding Hood and her grandmother stepping unharmed from the wolf’s stomach.) In the story of St. George (whose horse’s tail is always tied in a knot), the dragon is attacking a town and is about to devour a princess as its most recent victim but George is able to kill it; in some versions, he wounds it so that it becomes a tame beast and he can lead it into the town with a leash made of the princess’ belt.

St. Margaret is clearly attacked by the enemies of God but is able to overcome them by her faith in Christ, crucified and risen. The princess (soul) is attacked by the passions–anger, jealousy, greed, etc.–but is able to either overcome them by the help of the saints and the Cross of Christ (the wooden spear of St. George). In the versions where the dragon is wounded, it means the soul is able to redirect its energy away from destructive desires into constructive desires, such as righteous anger on behalf of the oppressed, desire to care for the needy, or peace-making between enemies.

Dragons are the great enemy both at the End of Time and now, as history plays itself out. They are the spiritual energy that we can channel to come close to God or that we can let it create chaos in our lives to destroy us. We can embrace the dragon within or we can tame it. The choice is ours.

“Domine dirige nos:” The Dragon of London

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The dragon guarding the Southwark landing of the London Bridge is the location of an important episode in Kate Griffin’s “Midnight Mayor.”

At the heart of London are two cities: the City of London and the City of Westminster. The City of London is the ancient part of London that was once known as the Roman city of Londinium. It comprises an area of one square mile and is located north of South Bank and London Bridge. Dragons stand guard at the ancient gates into the ancient city of London, at the bridges and main streets that now bring people into and out of old London. As guardians or gatekeepers of the City all the dragons face outwards, so if the dragon is looking at you, you’re outside the City, if he has his back to you, you’re inside the City. The dragons are poised to protect the City from those coming to attack.

The dragons lean on the shield of London, which show a red cross on a white background and a small red sword. red cross on a white background is the flag of St. George, patron saint of England (along with many other nations around the world). Inside the top left-hand quarter of the flag there is an upright red sword. This commemorates St. Paul, the patron saint of the City of London. Since the 7th century there has been a cathedral dedicated to St Paul on Ludgate Hill in the City. The sword commemorates Paul’s beheading by sword in Rome c. 66 AD during the persecution of Christians under Nero. The Latin motto of London, “Domine dirige nos” (“O Lord, direct/guide us”) is also seen below the dragon and shield.

Why dragons? The reason seems lost in the mists of time. Some suspect the London dragon–which is silver or white–is an old Saxon emblem set to attack the ancient Welsh emblem of another (red) dragon. Some think the London dragon is derived from the story of St. George. Others think that the London dragon is just another dragon commonly used in heraldry to display coats-of-arms and shields. But I like how Kate Griffin describes the dragon that simply IS London in her novel Midnight Mayor:

It was…

…dragon didn’t quite cover it.

Dragon implies something made out of scales, with a nod in the direction of reptilian ancestry: dinosaur meets flamethrower with wings….

To say it was made of shadows would be to imply that light or darkness even got a look-in. Sure, it had crawled out if them, in the way that the diplodocus had once crawled out of the ameba of the sea. And if a comet came from the heavens to smash it, it wouldn’t be squished, just spread so wide and thin across the earth that it would look like night had fallen down, dragging all the stars with it–before, with a good thorough shake to push the stardust off its skin, the creature slid back to its brilliant, angry, maddened shape.

Of course, the dragon might itself be said to have attacked the City in the Great Fire. The Great Fire of London was the conflagration that swept through the central parts of the City from Sunday, 2 September to Thursday, 6 September 1666. The fire gutted the medieval City of London inside the old Roman city wall.

A dragon on the Holborn Viaduct in London. (photo by S. Morris)