The Dawn of Becoming…Mary at Your Age
Introduction
The idea for this project began as I was in my first year of teaching at Josephinum
Academy, a Catholic school, educating young women in grades 6-12. Josephinum, affectionately
known as “The Jo,” is rooted in the educational philosophy of the Religious of the Sacred Heart
and affiliated with the Network of Sacred Heart Schools.1 The student population of Josephinum
Academy is varied in culture and economic status.2 The students use public transportation to
travel from many different zip codes in the city of Chicago, to N. Oakley Blvd, in the Wicker
Park Neighborhood. Two-thirds of the student population qualifies for government assisted
breakfast and lunch and most of the girls receive financial scholarship.
Being part of Network of Sacred Heart Schools, the students of Josephinum Academy
participate in the rich traditions and festivities of Sacred Heart Education.
There are special days at the Sacred Heart on which you will celebrate the mystery of
God’s goodness. Eucharistic liturgies commemorate the great love of our God who
became a human being and lived among us. The symbol of this love which is openness,
invitation, and unlimited space for others is the Heart of Christ. Several days in the
school year are marked by commemorations of persons special in Sacred Heart History.
The Feast of Saint Madeleine Sophie is cause for you to remember and rejoice in her
vision, the heritage that is yours today: an education that is strong in its studies, serious in
its principles, and rich in the spirit of life and love. The Feast of Blessed Philippine
Duchesne celebrates the courage of this pioneer missionary who first brought Sacred
1
The Network of Sacred Heart Schools is comprised of 22 Network and two Affiliated schools in the United States.
The Network is dedicated to the educational Philosophy of the foundress of the Religious of the Sacred Heart,
Madeleine Sophie Barat. The Network of Schools in the United States is also affiliated with educators and
institutions of other Sacred Heart Schools in 44 countries around the world. The Network of Sacred Heart schools
“provides a means of mutual support and development among the schools through sharing of intellectual, spiritual
and other resources in furthering the Mission of Sacred Heart education.” For more information see the web site:
www.sophie.org.
2
2004-2005 School Year Statistics: Population 142 High School - 31 Middle School students; 53% Hispanic –
45% African American – 2% bi-racial; 56% of the students are Catholic, Baptist as the second highest
denomination.
1
Heart schools to North America. The Feast of Mater Admirabilis commemorates the
place that Mary has in your life.
- Life at the Sacred Heart3
It was one of these “special days at the Sacred Heart,” October 20, the Feast of Mater
Admirabilis, that caught my attention as I looked into the eyes of my African American and
Hispanic students and tried to initiate them into the traditions of the Sacred Heart Education. I
was aware that I was introducing them to a Sacred Heart tradition, but felt challenged by the
Roman Catholic devotion that this image of Mary had attached to her. This image is Pauline
Perdreau’s, a Postulant with the Religious of the Sacred Heart, painted interpretation of Mary as
an adolescent. How could I possible convince these religiously, culturally, economically diverse,
21st Century, students that this pale skinned, petite, 19th century young lady, had anything to
offer them as “patron” of Sacred Heart Students? This is the moment where tradition meets
contemporary culture and I as a Religious of the Sacred Heart began looking for ways to bridge
the gap of culture and tradition to meet my students where they were at in the hopes of bringing
Mater to today’s adolescents.
This project is a study in the area of Practical Theology applying James D. and Evelyn E.
Whitehead’s, Theological Reflection in Ministry Model. I will use the lenses of Religious
Tradition, Culture and Experience as dialogue partners as I reflect upon the 19th Century Fresco,
“Mater Admirabilis,” and the Sacred Heart Tradition of the Feast of Mater Admirabilis. My goal
is to explore what catechetical process might be useful for engaging 21st century, United States,
Sacred Heart students with this 19th Century European image of Mary. The hope is that this
3
Life at the Sacred Heart is given to each Sacred Hart student as they begin their education in one of the Sacred
Heart Schools. It is a contemporary edition of an oral tradition of the original School Rule and Plan of Studies. The
quote is from the most recent edition written in 1985.
2
tripartite dialogue might bring to birth new meaning and insights as to how Sacred Heart School
communities might “inculturate” the Feast of Mater.4
I. Mater in Tradition
The Feast of Mater has united the Sacred Heart Students from around the globe since
1846 when St. Madeleine Sophie named her the patroness of Sacred Heart students. In a letter to
her brother, Pauline Perdrau, explains the origins of the creation and location of the image:
On Sunday, May 1, 1844, the community was assembled for recreation in the
Cloister, on the first floor, one of the long cloisters of the quadrangle, opening on
the courtyard of the old Monastery of the Minims. We were talking about the
beautiful Roman customs for the month of Mary, when the portress interrupted
the conversation by calling Rev. Mother to see a Cardinal. All exclaimed as she
rose, “Oh, if the Blessed Virgin would only come and take our Mother’s place!”
My glance was directed, as if by inspiration, towards a niche in the opposite wall,
it was deep, arched at the top, and the surface looked to me like a canvas ready for
a picture. At the same time I recalled the Madonna of the Temple, my childhood’s
ideal. “Shall I ask our Lady to come? Shall I place her where she can stay and
work with us?” I exclaimed. “Oh yes!” the Sisters answered, “but how?” That was
my secret.5
Pauline Perdrau’s unique image of Mary (Mater) was inspired by her family nurse “Jacqueline”
who encouraged Pauline at a young age to learn to spin (sew) using the image of “Our Lady at
4
A. Shorter defines “inculturation” as the creative and dynamic relationship between the Christian message and a
culture or cultures. He lists three notable traits of inculturation: 1) Inculturation is an ongoing process and is relevant
to every country or region where the faith has been sown; 2) Christian faith cannot exist except in a cultural form;
3)Between Christian faith and culture there should be interaction and reciprocal assimilation. (A. Shorter, Toward a
Theology of Inculturation [London, 1988] 11.) A. Chupungco defines “liturgical inculturation” as basically the
assimilation by the liturgy of local cultural patterns. It means that liturgy and culture share the same patterns of
thinking, speaking and expressing themselves through rites, symbols, and artistic forms. (A. Chupungco, Liturgical
Inculturation: Sacramentals, Religiosity and Catechesis. [Collegeville, MN, 1992] 30.) For the sake of this paper I
will use these two definitions as a backdrop when I make reference to the word “inculturation.”
5
Extract from a letter of Pauline Perdrau to her brother. Reprinted in the Messenger of the Sacred Heart for October
1899. Religious of the Sacred Heart Archives.
3
your age,” spinning in the temple porticoes of Jerusalem.6 “Ask her to let you sit on her
footstool. She will teach you to spin. You will never grow weary if you remain near Mary. See
how calm she is, how gentle. She is thinking of God and working for Him.”7 In contemplating
this image of Mary, Pauline grew to love her. The mental image of Mater Admirabilis was a
reality long before she was expressed on canvas or wall. Sr. Perdrau had studied art, but she was
no professional painter. She did possess an artistic sense yet ignorant of the proceedings of fresco
paintings, she was at best a mediocre artist, and painted the image as a trial of skill. Pauline
asked permission of Reverend Mother de Coriolis, superior of the house, to paint Our Lady in the
Temple on the wall of a passage on the first floor overlooking the cloister. Though turned away
the first time, she persisted until permission was granted. In Pauline’s words:
I began my picture. I shall not say how easy it was to trace the outline of the
picture so long stamped on my mind and heart. My pencil seemed to have wings
and soon I would send the sketch to my teacher, Monsieur _______. He approved
and even expressed pleasure at the Mystic though embodied.8
She continued her plans to paint the fresco and struggled with the excessive Roman heat that
made working on damp plaster challenging. It took Pauline one month to paint the image. Sadly,
at the end of that month of devotional labor, “My Lily of the Valley, was anything but attractive,
the sky was dark, dingy blue; the trees yellowish green; the dress of the Madonna a dark, brick
red; the mantle canary color; the veil grey; the face a copper color. I was almost horrified at the
6
This image is taken from apocryphal literature, the Protoevangelium of James, a narrative of Mary being presented
in the Temple. This feast, the Presentation of Mary, was celebrated in Jerusalem as early as the 6th century, and
appears in the West as early as the 11th century. It is in the 16th century that it becomes a feast of the Universal
Church. Today we celebrate the feast on November 21, it stresses an important truth about Mary: From the
beginning of her life, she was dedicated to God. See Appendix for the full text. Also another important note is that
November 21, 1800 is the Birth of the Religious of the Sacred Heart of Jesus.
7
Extract from a letter of Pauline Perdrau to her brother. Reprinted in the Messenger of the Sacred Heart for October
1899. Religious of the Sacred Heart Archives.
8
Ibid.
4
sight, and asked permission to hang a curtain before the niche.”9 Pauline continued to work,
touching up the image and returning to the niche each day after completion in hopes that her
image would have become more beautiful. The painting was finished by July 1st with tones so
glaring the work was considered “hideous.” After three weeks of drying the colors began to
come out and Pauline named the fresco “Madonna del giglio,” “Our Lady of the Lily,” not so
much for the lily at her side, but for the niche containing the saying “Ego flos Campi et Lilium
Convalium” encircling her painting.10 Pauline Perdrau left Rome at the end of 1845, she was
granted permission to be clothed in the habit at the Trinita dei Monte. Then Madeleine Sophie
Barat took her to the novitiate in France. Pauline made her vows in 1847, in Paris, and the rest of
her religious was spent in France. Several times in her life she attempted to journey again to
Rome, but she never again saw her “Madonna del giglio.”
On October 20, 1846, Pope Pius IX, came to visit the Trinita dei Monte, the convent
where Pauline had once lived, and upon seeing the image, he fell to his knees and cried out in
admiration, “It is truly Mater Admirabilis!”11 He then blessed and prayed before the fresco and
the image has been called Mater Admirabilis ever since. Since then pilgrims from all parts of the
world have come to visit the Shrine of Mater Admirabilis.
Mater’s Home
The Trinita dei Monti, rests on the Pincian Hill in Rome. The buildings’ foundations were
laid in 1494 under orders from and financed by Charles VIII of France. A religious congregation
known as the Order of Minims, whose founder St. Francesco di Paola, inhabited the building
9
Extract from a letter of Pauline Perdrau to her brother. Reprinted in the Messenger of the Sacred Heart for October
1899. Religious of the Sacred Heart Archives.
10
Keppel, L. Mater Admirabilis 1844-1944 (London: Sands & Co. Ltd.. nd) p. 15.
11
Extract from a letter of Pauline Perdrau to her brother. Reprinted in the Messenger of the Sacred Heart for October
1899. Religious of the Sacred Heart Archives.
5
until 1798, the midst of the French Revolution, when all the monks, save four who hid in the
infirmary building until 1808. During the Revolution, the building was used as stables and many
of the books and artifacts were stolen and destroyed. In 1816 the Trinita was restored by Mazois
at the orders of Louis XVIII. In 1828, Pope Leo XII had great desire to found an educational
establishment for the higher education of girls, and appealed to St. Madeleine Sophie Barat to
begin a foundation in Rome. It was June 4, 1828 that the Society of the Sacred Heart took
possession of the Church and Convent of the Trinita dei Monti and began the school. Since the
time of Charles VIII, the ownership of the Trinita was the country of France, giving use of it “La
Jouissance” to the Order of Minims, and in 1828, the Religious of the Sacred Heart.
During the process of this project, the Society of the Sacred Heart declared that we will
withdraw from the Trinita dei Monti, no later than June 2006. The Monastic Community of Jesus
will replace us.12 As the details of the decision continue to unfold, the RSCJ’s have been assured
a continuing access to Mater for religious, alumnae/i, pilgrims and visitors to Rome.13
The Fresco
The fresco itself is a depiction of Mary as an adolescent, seated in an area or space that
could be a palace or temple. There are two columns on either side of her, one light the other dark.
In the background it is dawn, and a there is a river running across a mountainous countryside.
Mater is seated with her foot resting on a stool, her arms at a relaxed angle and her head and eyes
glancing downward. She is clothed with a veil and crowned with 12 stars. At her right side a lily
and at her left a distaff, spindle, work basket and overturned book.
There are various interpretations of the many symbols in the Mater painting. I will
attempt to summarize some of them here:
12
13
Letter from RSCJ Central Team dated June 30, 2005.
Ibid.
6
The Lily - symbolic of her purity, meaning the heart-strength that permits a true and transcendent
vision, single-heartedness in our quest for God
The distaff and spindle - representing work and diligence
The work-basket and Book of Holy Scriptures - all typifying her love of labor and of the Word
of God. It is possible that Mater has just finished praying lectio and is now in contemplation on
the Word of God, thus her lowered gaze reminds us to take time for quiet moments and
contemplation in the midst of our hectic lives
The veil and crown of 12 Stars - symbolic of the Revelations 12:1 image of Mary in the New
Testament and striking similarities to Our Lady of Guadalupe
The palace or temple and columns – symbolic of a great portico over the world
The pink dress – some have said that Pauline, wanted to wear her favorite pink dress at a time
when her nurse thought it to be inappropriate. Pauline got her way with her image of Mary!
Mater tradition in Sacred Heart Schools
Saint Madeleine Sophie Barat, foundress of the Religious of the Sacred Heart, thought
that copies of this fresco should be placed in all the Sacred Heart Schools as an inspiration to the
many children of the Sacred Heart. On this feast, the students are asked to think of Mary as a
young girl, someone who went through the universal adolescent struggle of growing up into an
unknown future. Mary (Mater), has not figured out what she is being called to in life or by God.
Her relationship with God, love for God, and desire to be faithful to God’s word, all grow as she
does. Mater is the Patron Saint of Sacred Heart students because she is like them, waiting and
wondering on the threshold of life. One of the Sacred Heart Schools traditions on the Feast of
Mater, is to give each student a medal of Mater. The first medal struck in 1848, portrays Mater
surrounded in a garland of roses. Mater’s Medal is a precious heritage to children of the Sacred
Heart. It is a reminder of Mater’s generosity to the world at large, the glorious hope which she
has given to so many to follow after God’s own heart.
7
The beloved tradition of Mater for Sacred Heart students transcends the boundaries of
culture and most importantly, people who have known her as a child have found reasons to
contemplate and mine the riches of the Mater’s symbols and images for well over 100 years.
This rich longevity seems to suggest a transcending of the European, white, 19th Century image
and allows the room to inculturate the image today.14
14
See Appendix for other symbolic interpretations.
8
II. Mater in Culture
It was on the occasion of Mater’s feast 2004, at Josephinum Academy that I found myself
searching for ways to bring this image to life as we celebrated the Mater medal ritual with our
school community. I began asking the question “have any of the 3600 RSCJ serving in 44
countries of the world done anything to inculturate this image?” This section of my project will
focus on some of the findings from my world-wide email conversations. While this is a good
beginning, there could easily be far more were it not for the barriers of distance and language.
Rome
The original “Madonna del giglio,” later known as “Mater Admirabilis,” was painted by
Pauline Perdrau a postulant of the Religious of the Sacred Heart, in the Summer of 1844 at the
Trinita dei Monti, Rome.
9
United States
As stated earlier, all Schools of the Sacred Heart have an image of Mater since she is the
patroness of Sacred Heart Students. In the United States most of the Schools have a print,
window or statue replica of the original “Mater Admirabilis” from Rome. Below an example of a
few:
Convent of the Sacred Heart
New York, New York
Stuart Hall High School
San Francisco, California
The Academy of the Sacred Heart
St. Charles, Missouri
Josephinum Academy
Chicago, Illinois
(Actual statue is about 12 inches tall)
10
Spain
When I contacted the Province of Spain, I found out that they have three different
paintings of Mater, all done by Pauline Perdrau. The Godella Mater; Mater in her old age known
as “Mater in the House of St. John”; and a replica of the Mater in Rome.
The Godella Mater15
Pauline Perdrau painted this image
of Mater in 1881, while in Layrac, in the
Loire region. During the French
expulsions the RSCJ fled and started a
foundation in Godella. Mater was carried
to the house at Godella in 1898 along with
the furniture of the chapel. From the time
it arrived it has become the patroness of
the house. During the Spanish Civil War
this image of Mater was hidden in the
woods on the school grounds so that it
would not be destroyed.
At first glance you see the very
familiar image of Mater, but the
background of this image is slightly
different. It is the view from the roof of the
ancient Layrac Abby, where Pauline spent
some time being House Superior. On the
horizon there is a train on a bridge and
some castles of the 19th century.
Today this image of Mater hangs in
a chapel at Godella where groups of
children and Alumni celebrate mass and
partake in other Marian devotions.
15
From 8/29/05 e-mail conversations with Carmen Segura, a Religious of the Sacred, Province of Northern Spain.
11
Spain Continued
Mater in the House of St. John16
In 1882, Father Perdrau
(Pauline’s Brother) wrote a book, “The
Blessed Virgin’s Last Years.” He asked
his sister to paint a picture to be included
in the publication. Pauline painted Mater
in her own setting, but with slight
differences: the position of symbols,
Mater’s aging features, the brightness of
the Temple in contrast to the darkness of
her dress and the evening sky.
In the background of this image
there is a chapel with an altar, sanctuary
lamp and a vase of lilies. The familiar
distaff and work basket of the earlier
picture are behind Mater, out of her
reach. She is in the act of completing a
cloth, a finished roll in contrast to the
string of the earlier image. Her right
hand holds scissors as her left hand
contains the final thread of the woven
cloth. Also notable is the position of her
head, raised and expression joyful. “The
little ‘Madonna of the Lily’ of Pauline’s
noviceship days has become the fully
mature Mother of the Church and is
involved in the weaving of salvation
history.” (Cooney, p.138)
16
See Blanca de Sivatte, RSCJ’s article in “Archives – Archivos RSCJ,” (February 2003 – No. 25 – Vol. XIII). See
also Madeleine Sophie Cooney, RSCJ’s article “Mater In Her Old Age,” RSCJ: A Journal of Reflection. (Winter,
1985) Pp. 15-142.
12
New Zealand17
This image of Mater is to be found on the east of the North Island of New Zealand, in the
convent of the Sisters of Our Lady of the Missions at Opotiki. This 1867 original replica was
given to Father Lanuzell, a missionary from Opotiki, on the 27 of January, 1889. Father Lanuzell
brought the painting back to Opotiki, where the Sisters of Our Lady of the Mission came to the
parish in 1890. The picture hangs today “immediately opposite the entrance to the Convent so
that it is the first thing that visitors see as they come inside.” (Dot Hewlett, Archives Newsletter
2003)
17
See Dot Hewlett’s article in Bulletin-Boletin-Newsletter Archives-Archivos RSCJ “Mater Admirabilis Travels to
New Zealand,” (September 2003 – No. 26 – Vol.XIII) Pp 9-11.
13
Mexico
Speaking with an Alumna of a
Sacred Heart School in Omaha, I came
across this statue of Mater from Mexico
City in her collection. She had bought it at
a meeting of the World Association of
Alumnae/i of the Sacred Heart, in 1974. I
made various attempts to contact the
Religious of the Sacred Heart in the
Mexican Province, with no outcome.
Interesting features to note about
this statue: most all the symbols of the
original Mater fresco are present: distaff,
thread, overturned book, work basket,
downcast eyes of an adolescent girl,
quietly sitting. More interesting to note are
the differences: Mater’s Mexican features,
her hair flowers and the blooming cactus
which replaces the lily.
Has this image been truly inculturated?
Since I was unable to contact the artist or
source in Mexico, my response is “it could
be.”
Other Countries
Religious of the Sacred Heart in both Japan and India report that the image of Mater that
they possess have not yet been inculturated in any way and that they use the traditional replica of
the fresco in Rome as their image of Mater in their respective schools and communities.
It is interesting to note that as I search for ways that Mater’s image has been inculturated,
time and time again I come to a dead end. If not for the conversation about this project this
summer with an alumna, I would have never know that the Mexican statue existed. While I
14
found lots of information about Mater, I really was unable to find ways that “Mater Admirabilis”
has been inculturated today. This discovery only confirms my own need and desire to bring
Mater to life for the diverse student populations we educate in Sacred Heart Schools.
Inculturation is not new to our schools and their pedagogy. In 1954 Reverend Mother de Lescure
prompted a revision of the long standing, French influenced, School Rule so as to have the
educational practices of an increasingly international Society more in tune with modern times,
also more inspirational and less prescriptive.18 This was the step away from uniformity that all
our schools had known until that time, and an important step towards inculturation into the
various cultures in which our schools exist.
III. Experience Mater
In this section I will take the learning gained from the tradition and cultural sections of
this project and explore what resources might help a school community celebrating the Feast of
Mater in the 21st Century. Also, at the end of this document I will add a section of collected of
poems, prayers and rituals from all over the US Province. My willing and well informed RSCJ
sisters would inevitably forward an envelope or e-mail of Mater materials a few days after a
conversation. It supported my belief that this project would be a gift to the Network of Sacred
Heart Schools and a tie to our roots. Eventually I will gather them into a computer file so that the
resources can be easily accessed by all constituencies who would find them helpful.
Catechetical Process
One year after the initial inspiration for this inquiry and with a summer of research
informing the content, I have a sense of what catechesis I would use with my students at the Jo to
18
Life at the Sacred Heart, 1985 edition. P.20.
15
introduce them to Mater Admirabilis and her October 20th feast. I would begin with a
PowerPoint using various cultural images of Mary. I would start with some of the images I
remember seeing in Nazareth when I visited the Church of the Annunciation. Throughout the
church is a collection of world images of Mary. Most have been inculturated --they are dressed
in the ritual clothes of the people in which they represent. Also, Mary is depicted with the
physical features of the people of the country the image represents.19
Once the PowerPoint finished, I would lead a discussion about the images they saw,
going slowly back through some of the images in the PowerPoint.
What countries can you identify from these pictures?
What clues do you use to decide that something is of a particular culture?
What are some of the ways we identify with people or images we admire?
What in the person or image draws us to spend time with it?
I would then re-tell the story of Mater as a way of introduction into the tradition story of the
creation of Mater Admirabilis, focusing on the point that Mater is a 19th Century, European,
interpretation of Mary at their age. I would break open the symbols that surround Mater and ask
them what symbols they would have surrounding Mater if they were the artist painting her today
and why?
If I were working with young children I would use the following web site to tell the story
of Mater:
http://www.shschools.org/sjsh/campus_ministry/photos/liturgies/MaterMass/Paulinepaints.html
It is from St. Joseph’s School in Atherton, CA. They have taken the story of Mater Admirabilis
and illustrated it and have it on the web as a way into the story behind Mater.
19
See the PowerPoint presentation titled “Mary of Many Cultures” in the Appendix.
16
I would then show three images – interpretations of Mater as she has been transformed into a 21st
Century woman:
From Stuart Country Day School in Princeton, NJ
The “Mater” at Stuart Country Day School of the Sacred Heart is unique. It was crafted by
Architect Jean Labutut, in the early 1960’s. This design allows the dual perspective of the
viewer looking through Mater into the world using the forest background that changes with the
seasons, and bringing the world into the viewer through Mater. Labutut did not put a face on her
because he wanted each person to create his or her own image of Mater. The glass wall (floor to
ceiling) with a simple black outline of Pauline Perdreau’s Mater image is oriented toward the
center of Princeton.
17
From Convent of the Sacred Heart, Greenwich, CT20
“This interpretation of Mater Admirabilis
was created by our Upper School Fundamental Art
Class for our celebration of the Day of the African
Woman.” (taken from the back of the postcard sent
at Christmas.)
For the past two years, Greenwich has had
an African Task Force which students, faculty and
staff join to learn more about Africa, especially
Uganda. Greenwich has made the new Sacred
Heart elementary school in Uganda a “sister”
school.
The Marian image here is a Ugandan
woman. The photography teacher Kev Filmore and
the rest of the Art Department consulted the
Ugandan RSCJ’s and asked them to describe how a
typical Ugandan would dress, pray, work, etc. The
senior art class created the banner with symbols
that represent ordinary Ugandan life.
The water jug – exemplifies an aspect of work, getting water for her family.
The round disk in the center of the jug – represents the bread which a mother would make.
The raised arms symbolize joy – a dominant emotion in their music, dance and liturgical
celebrations.
The Gaze of the Ugandan - different from that of Mater, as her head held high, she looks out on
her surroundings.
The halo – has the natural elements of water, air, land, greenery in it, all necessities for
sustaining life.
The squares around the woman – are images of what earth provides to sustain her life.
20
Ann Conroy, an RSCJ in Greenwich, a contact regarding the information about this Mater interpretation.
18
From Convent of the Sacred Heart, San Francisco, CA
Christine Killanovich, a 2002 Graduate of
Convent of the Sacred Heart High School, created this
image after hearing and discussing the story of Mater
in her religion class. She went to the chapel and took a
picture of the large Mater Admirabilis statue and
scanned the image into her computer using it to create
this image. You will notice the similarities of the gaze
and crossed arms of Mater, but as you look at the
image you will see that she holds within her the world.
After showing these modern images of Mater, I would invite the students to create their
own image of Mater Admirabilis, encouraging creativity with their medium, and giving guidance
for dimension and materials. I would have a proposal for the project due one day later and give
them a week to create the project.
Ritual
On the day they hand in their images of Mater, I would use the following ritual:
Gathering Song: Mary’s Canticle (Leon Roberts, GIA Publications)21
Opening Prayer:
21
Mother most admirable,
Guardian of our interior life,
We ask you to loosen our grasp on visible things
And help us to see the invisible which your eyes behold:
See words and music in the Appendix.
19
The Invisible Presence,
The Invisible Life,
The Invisible Action,
The Invisible Love,
All those realities of faith that are for us eternal values.
When we get lost in the devouring activity of visible,
And often not so important things,
Keep us in the light of the unseen,
And make us strong as though we beheld the invisible.
Above and beyond accessory trifles that harass us and carry us away,
That burdens our minds and hearts and distorts our scale of values,
Give us, we ask you, a hunger and thirst for the essential:
The wish of the Lord and the work of his love
To which he has called each on of us. Amen.22
A reading of “Mary, Mother of the America’s”23 divided up between the voice of the class.
Have each student present her image of Mater to the class.
Closing Prayer
Mater Admirabilis,
We call upon you today as our model.
We ask you to keep our school under your motherly protection
And guide each of us in the way that leads to your Son, Jesus.
Help us to follow your example of gentleness by being kind to one
another.
Help us in our classes to listen, to study well,
And to use to the best of our ability, the minds that God has given us.
Help us to be generous with all our gifts,
Teach us to share what we have and all that we are with joyful, open
hearts. Amen.
Closing Song:
Llena de Gracia (Donna Pena, GIA Publication)24
22
Prayer taken from the Circular letters of Mother Marie-Therese de Lescure, RSCJ, Superior General of the Society
of the Sacred Heart from 1946 -1957, dated November 29, 1953.
23
From the Education for Justice web site: www.educationforjustice.org .See the Appendix for a copy of the Prayer
24
See words and music in the Appendix.
20
Conclusion
This project on Mater has been exciting because so many people wanted to talk about the
impact Mater has had on their lives. Unknowingly, I tapped into a rich Sacred Heart tradition
that plumbs the depths of people’s experiences and memories of being a “child of the Sacred
Heart.” With tens of thousands of alumnae and alumni as part of an international family, the
love and passing on of this 141 year tradition of Mater, continues today through the Religious of
the Sacred Heart and through Sacred Heart educators around the world.
I believe this project is important for the spiritual life of our schools because so many of
our schools today have the rich experience of multi-cultural, multi-denominational, multi-faith
student bodies who bring their diversity to the tradition of Mater in a 21st century world. This
project is a starting point, a call to evolve and transform the art and rituals around Mater. I
believe the Mexican image of Mater could truly be an attempt at “inculturation,” but how wide
spread that inculturation has yet to be discovered. Are there places that have done more? I think
as the years unfold I will uncover more, but for now, I hope there is a way to bridge the cultural
gap that exists when those who are not pale skinned are only offered one way to see things one
way. My call as an RSCJ educator is to step into the gap and find ways to connect the past
(Tradition) with the present (Culture) and dream something new (Experience) with the
collaborators and “children of the Sacred Heart” with whom I minister today.
Lisa Buscher, RSCJ
December 2005
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