Wednesday, November 18, 2015

Presentation of Mary in the Temple


Bernart van Orley, Presentation of the Virgin,
From a polyptych painted for the Brussels Beguinage
Flemish, 1520
Brussels, Musée du Centre public d'aide sociale

Drawing on earlier writings, like the Protoevangelion of James, the Golden Legend tells us that

“when she had accomplished the time of three years, and had left sucking, they brought her to the temple with offerings. And there was about the temple, after the fifteen psalms of degrees, fifteen steps or degrees to ascend up to the temple, because the temple was high set. And no body might go to the altar of sacrifices that was without, but by the degrees. And then our Lady was set on the lowest step, and mounted up without any help as she had been of perfect age, and when they had performed their offering, they left their daughter in the temple with the other virgins, and they returned into their place. And the Virgin Mary profited every day in all holiness, and was visited daily of angels, and had every day divine visions.”1

Although there is no evidence that any such group of temple virgins existed in Jerusalem the belief that Mary was somehow set aside, even as a child was in existence by the middle of the second century when the Protoevangelion was written.





A feast of the Presentation of the Virgin Mary has been celebrated in the Eastern (Greek-speaking) Church since before the end of the first millennium, but it was not introduced into the Western (Latin-speaking) Church until the late 14th century. In the immediate aftermath of the Council of Trent its celebration was abolished by Pope Pius V (1568), but it was reinstituted shortly after by Pope Sixtus V (1585). Currently, the Presentation of the Virgin Mary is celebrated as a memorial on November 21. Since it is based on a non-Biblical source it is not a major feast.

Whatever the fate of the feast may have been, the story of Mary’s presentation and dedication to the service of God has been a significant inspiration to artists and their patrons. There is something fascinating in the theme of a small girl ascending a long staircase, alone, suspended as it were between the familiar world of home and parents and the amazing future that awaited her. And, in the medieval world, where small children were sometimes given to God as oblates in a monastic community, the experience was a lived one for some.


Perhaps most poignant in this sense of the small girl going forth into the future is the illumination from the Très Riches Heures of the Duc de Berry by Jean Colombe, who was chosen to complete the manuscript near the end of the 15th century. Here the tiny Mary is seen in isolation as she climbs the steps toward the waiting clergy, her mother and father left behind. The temple is represented by a Gothic cathedral. The gestures of Anne and Joachim seem to portray both prayerful reverence and sadness. They know that they have vowed her to the service of God and that the angelic messengers told them she would be great, but their expressions suggest that, for all that, they feel the same sadness as any parent does in seeing their little one set out into the world.


Jean Colombe, Presentation of the Virgin
From the Tres Riches Heures of the Duc de Berry
French, c. 1485-1480
Chantilly, Musée Condé
MS 65, fol. 137r





Similar emotions seem to pervade the interpretation of the scene by Paolo Uccello in the cathedral of Prato earlier in the 15th century. Here Anne and Joachim stand in prayer to one side of the staircase, while little Mary appears to rush gladly up the steps to the waiting High Priest.  On the right side of the composition some onlookers, clad in 15th-century clothing may include the kneeling donor of the painting.


Paolo Uccello, Presentation of the Virgin
Italian, c.1435
Prato, Cathedral



The vision of Giotto over 100 years earlier shows Anne taking a more active role in the scene. In the fresco from the Arena Chapel, Anne has climbed the steps with the slightly older Mary and, with a gesture that is both encouraging and protective, offers her to the High Priest. Joachim, meanwhile, stands at the bottom of the stairs, along with the servant who carries a basket with their material offering.

Giotto, Presentation of the Virgin
Italian, c. 1304-1306
Padua, Arena/Scrovegni Chapel




Fra Carnevale’s 1467 pendant to the Birth of the Virgin reduces the Presentation to an almost unreadable action, set in a vast temple structure that resembles a great early Christian basilica. Mary and Anne appear in the center of the foreground as a grand lady and her teenage daughter.
 

Fra Carnevale, Presentation of the Virgin
Italian, 1467
Boston, Museum of Fine Arts

They are accompanied by an entourage of three other women and two men, as they pass a group of beggars and a dog. Joachim is not included. The building they are about to enter is bustling with figures, predominantly elegantly dressed young men, going about their business or chatting together. It is only in the innermost part of the temple, at the end of more steps (but not a grand staircase) that we can see the tiny figures of the waiting clergy.


In the Tornabuoni Chapel frescoes in Florence’s Santa Maria Novella, Domenico Ghirlandaio similarly sets the action in the midst of much activity. However, his scene is easier to read than Fra Carnevale’s, as it sets Anne and Joachim apart, gives them appropriate clothing and haloes, includes the stairs and makes Mary the center of the painting.

Domenico Ghirlandaio, Presentation of the Virgin
Italian, 1486-1490
Florence, Church of Santa Maria Novella, Tornabuoni Chapel



At almost the same time that Vittore Carpaccio was creating the lovely, clear and contemplative vision now in the Brera Gallery in Milan, Albrecht Dürer, in Germany, was creating his image for the Life of the Virgin series of woodcuts.


Vittore Carpaccio, Presentation of the Virgin
Italian, 1504
Milan, Pinacoteca di Brera


Albrecht Dürer, Presentation of the Virgin,
from Life of the Virgin
German, 1503

Dürer’s vision is slightly disturbing. His Mary is shown almost disappearing behind a column, while Anne appears to be completely overcome with emotion. The scene is observed by moneychangers at their tables and sacrificial offerings occupy the front plane of the image.



The culmination of the pre-Trent image of the Presentation of the Virgin is surely Titian’s great painting of 1534, now in the Galleria dell’Accademia in Venice.

Titian, Presentation of the Virgin
Italian, 1534
Venice, Galleria dell'Accademia
  
Commissioned for the Scuola della Carità, a Venetian charitable institution, the painting was meant to sit on a long wall pierced by two doors; hence the unusual shape of the painting. Set in an expansive urban setting, the fearless Mary, surrounded by a heavenly light, mounts the stairs toward the waiting High Priest. It is not immediately clear which of the spectators are her parents, but they may be the two people kneeling at the foot of the stairs.  


Just prior to the suppression of the feast of the Presentation by Pope Pius V Daniele da Volterra offered a typically Mannerist composition in which the ostensible subject matter is almost lost in the multiplicity of irrelevant actions. Instead of focusing on the primary actors, Volterra distracts us with multiple unrelated figures that are also ascending and descending the temple stairs, all the while beset by resident beggars. Mary and her parents are seen from a distance only in the upper right corner of the composition.


Daniele da Volterra, Presentation of the Virgin
Italian, 1555
Rome, Church of Santa Trinità dei Monti



Following the reintroduction of the feast paintings on the subject continued to be produced.

The Antwerp Mannerist painter Denys Calvaert, who settled in Bologna, Italy, presents a traditional composition, although with typical Mannerist distortions of proportion and disturbingly tight compression of multiple figures in the compositional space.  In his rendering Mary's role as the new Eve is underscored by the placement of a "relief" image of the Temptation of Adam and Eve in the space at the base of the stairway.


Denys Calvaert, Presentation of the Virgin
Flemish, 1585-1600
Bologna, Pinacoteca Nationale



Pietro Testa's painting of the subject, from the 1640s, seems to represent a combination of Mannerist and classicizing Baroque styles, with its clearly classical figures squeezed into a somewhat contorted space and its fitful, flickering lighting effects.  Here strange figures emerge out of the half-light areas of the image, including the youth carrying the large candlestick.  They may possibly to be read as angels, in addition to the obvious air-borne angels in the upper right.


Pietro Testa, Presentation of the Virgin
Italian, c. 1641-1644
St. Petersburg, State Hermitage Museum



In contemporary, classicizing, France, the scene imagined by the 17th-century painter Eustace LeSueur has been stripped to essentials. Instead of multiple actors and much activity, we see an almost everyday scene as Anne escorts her daughter to the temple entrance, as three beggars appeal for alms.


Eustache LeSueur, Presentation of the Virgin
French, c.1641
St. Petersburg, State Hermitage Museum



In 18th-century Hungary, the Austrian painter Franz Anton Maulbertsch decorated the ceiling of a portion of the Episcopal residence in the town of Szombathely with a vision that, while harking back to some of the elaborate compositions of the Renaissance, is still simple and easy to read. We can easily identify the High Priest, Mary, Anne and Joachim.
Franz Anton Maulbertsch, Presentation of the Virgin
Austrian, 1782
Szombathely, Episcopal Residence

                                   
In late 19th-century Italy Prosper Piatti set his Presentation of the Virgin in a reconstructed space that shows the accumulated knowledge of a century of archaeology and study of middle Eastern culture. It is also the first image I have seen that includes other little girls among the welcoming group at the top of the temple stairs. The glances of Mary and Anne are directed, therefore, not to the High Priest, as in former versions, but toward these youngsters. This is the group that, presumably, Mary is to join. It also, to a certain extent, removes Mary from the supernatural level and places her on the natural level.  She no longer hastens upward to a mysterious, singular future but, like any child on her first day of school, looks to her classmates as her new reality.

Prosper Piatti, Presentation of the Virgin
Italian, 1899
Private Collection
_
_______________________________________
1. The Golden Legend or Lives of the Saints. Compiled by Jacobus de Voragine, Archbishop of Genoa, 1275. First Edition Published 1470. Englished by William Caxton, First Edition 1483, Edited by F.S. Ellis, Temple Classics, 1900 (Reprinted 1922, 1931.), Vol. 5, pages 47-54.

© M. Duffy, 2011/2012






Saturday, November 14, 2015

Paris Attacks

Saints of France, pray for Paris, for France and for all of us.

Saint Joan of Arc                                                                      
Jules Bastien-Lepage, St. Joan of Arc
French, 1879
New York, The Metropolitan Museum of Art

Saint Genevieve
Jules Cebron-Lavau. St. Genevieve Repulsing Attila
French, 1900-1925
Angers, Musée des Beaux-Arts

Saint Louis
Saint Louis Carrying the Crown of Thorns
French (Tours), c. 1245-1248
New  York, Metropolitan Museum of Art, the Cloisters Collection

Saint Thérèse of Lisieux
Maurice Denis, Apotheosis of St. Thérèse of the Child Jesus
French, 1939
Autun, Musée Rolin

Saint Martin of Tours                                                                       
Saint Martin of Tours
from Sacramentary of Mont-Saint-Michel
French, 1050-1065
New York, The Morgan Library
MS M 641, 173r 
                                                                                                          

  Saint Denis

  
Jean-Auguste Dominique Ingres, St. Denis, First Bishop of Paris
French, 1844
Paris, Musée du Louvre
        
   Saint Bernard of Clairvaux                                        

Jean Bourdichon, St. Bernard with Chained Devil
from Hours of Frederic of Aragon
French, 1501-1504
Paris, Bibliotheque nationale de France
MS Latin 10532, fol. 330


Saint Peter Julian Eymard                                                       

                       



St. John Vianney
Stained Glass Window, Saint John Vianney
French, c. 1920
Paris, Church of Sainte-Marguerite

Saint Michael the Archangel
Eugene Delacroix, Fall of the Rebel Angels
French, 1854-1861
Paris,  Church of Saint Sulpice

Wednesday, November 11, 2015

Saint Martin of Tours -- European


St. Martin of Tours As Bishop
from Sacramentay of Mont-Saint-Michel
French (Mont-Saint-Michel), c. 1050-1065
New York, The Pierpont Morgan Library
MS M 641, fol. 173r
Martin of Tours is one of the great saints of Europe.  Traditionally, one of the patron saints of France, he actually spent large parts of his life elsewhere as well.  In fact, he got around quite a bit.  Born in the Roman province of Pannonia, today’s Hungary, shortly after the conversion of Constantine to Christianity, he grew up in northern Italy, where he was converted to Christianity at a young age.  He served in the Roman cavalry in Gaul and Germany.  Finally rejecting his participation in the army he became a disciple of St. Hilary of Poitiers, whom he followed to Italy and then back to Gaul.  Martin eventually settled in what was still the Roman province of Gaul, at Tours, where he was acclaimed as bishop in 371.  

He was instrumental in spreading the Gospel beyond the Roman cities of Gaul and in combating the Arian heresy, which professed Jesus as a demi-God, but not as fully human and fully divine (the orthodox Christian view).  He also founded monasteries at Ligugé and Marmoutier.  He died in 397 shortly before the invasion of the Germanic tribes that ended Gallo-Roman life in what would become known as France.1

In addition to the historical facts of his life, a number of legends about St. Martin grew up in the decades and centuries after his death.

St. Martin and the Beggar

The most famous is undoubtedly the story of his meeting with a poorly clad beggar, while still a Roman cavalry man and a catechumen (not yet a baptized Christian).  In charity he drew his sword, cut his cloak in half and gave half to the beggar, thus fulfilling one of the corporal works of mercy cited by Jesus at the Last Judgment “I was …. naked and you clothed me” (Matthew 25:36).  Later, in a dream, he realized that the beggar had indeed been Christ.  In some versions of the story, Christ himself returns the half cloak to Martin.
Master of the Roman de Fauvel, Saint Martin and the Beggar
From Vies de saints
French (Paris), c. 1300-1325
Paris, Bibliotheque naitonale de France
MS Francais 183, fol. 165v


Jeanne de Montbaston, Saint Martin and the Beggar
From Vies de saints
French (Paris), c. 1325-1350
Paris, Bibliotheque nationale de France
MS Francais 185, fol. 164v

Mahiet and Workshop, Saint Martin and the Beggar
From Speculum historiale by Vincent of Beauvais
French (Paris), c. 1335
Paris, Bibliotheque nationale de France
MS Arsenal 5080, fol. 326r



Richard de Montbaston, Saint Martin and the Beggar
From Legenda aurea by Jacobus de Voragine
French (Paris), 1348
Paris, Bibliotheque nationale de France
MS Francais 241, fol. 300v


This image is the one that is most often depicted in works of art, especially during the middle ages and especially in the periods in which chivalry was the dominant secular ideal, for this image encapsulates much that was integral to that ideal. 

Jacques de Besancon, Saint Martin and the Beggar
From Legenda aurea by Jacobus de Voragine
French (Paris), c. 1480-1490
Paris, Bibliotheque nationale de France
MS Francais 245, fol. 169r


Master of Claude de France, Saint Martin and the Beggar
from Book of Hours
French (Tours), c, 1515-1520
New York, The Pierpont Morgan Library
MS M 1166, fol. 38r


It appears in manuscripts, especially in the Books of Hours that were the chief religious book used by the laity.  But it also appears in sculpture, in stained glass and in needlework, as well as in full-scale painting. 


Saint Martin of Tours
French (Autun), 15th Century
Autun, Musée Rolin



Saint Martin and the Beggar
German (Mid-Rhineland), c. 1490-1500
New York, Metropolitan Museum of Art, The Cloisters Collection



Chasuble with Orphreys, Saint Martin of Tours appears in the central medallion
Italy, c. 1500-1525
New York, Metropolitan Museum of Art, Robert Lehman Collection



El Greco, Saint Martin of Tours and the Beggar
Greco-Spanish, c. 1597-1599
Washington, DC, National Gallery of Art



Jan Brueghel the Elder, Saint Martin of Tours
Flemish, c. 1600
Nelahozeves Castle (Czech Republic), Lobkowicz Collections
(Here Saint Martin is confronted not with one beggar but with a crowd of the needy.)


Anthony van Dyck, Saint Martin of Tours and the Beggar
Flemish, c. 1618
Zavantem, Saint Martin Church



Jacob van Oost the Elder, Saint Martin of Tours and the Beggar
Flemish, c. 1650
Bruges, Groeninge Museum


Francois Nicholas Delaistre, Saint Martin on Horseback with the Beggar
French, Late 18th Century
Besancon, Musée des Beaux-Arts et d'Archeologie


St. Martin As Bishop

Also prevalent, though more often found in books specifically for the use of the clergy, was the image of St. Martin as a bishop. 


Saint Martin and Archbishop Christian
From the Pontificale of Mainz
German (Mainz), c. 1249-1251
Paris, Bibliotheque nationale de France
MS Latin 949, fol. Av



SaintThomas Becket and Saint Martin of Tours
from a Psalter
German, c.1208-1228
New York, The Pierpont Morgan Library
MS G8, fol. 54v

Here he is often paired with other bishop saints, such as Saint Thomas of Canterbury or Saint Nicholas of Myra.

Saint Martin of Tours and Saint Nicholas of Myra
from Huntingfield Psalter
English (Oxford), c. 1212-1220
New York, The Pierpont Morgan Library
MS M 43, fol. 26r
(Saint Martin is here shown dividing his cloak while wearing a bishop's miter, conflating his early and late careers)


Jeanne de Montbaston, Saint Brice with Saint Martin
From Vies de saints
French (Paris), c. 1325-1350
Paris, Bibliotheque nationale de France
MS Francais 185, fol. 173r




St. Martin of Tours
Austrian (Carinthia), c. 1340-1350
New York, The Metropolitan Museum of Art, Cloisters Collection

Saint Martin of Tours
From Legenda aurea by Jacobus de Voragine
French (Paris), c. 1400
Paris, Bibliotheque nationale de France
MS Francais 242, fol. 252v

Follower of Jean Poyer, Saint Martin of Tours
From a Book of Hours
French (Tours), c. 1490-1500
New York, Pierpont Morgan Library
MS M 388, fol. 154v



St. Martin of Tours
German, Late 15th Century
New York, The Metropolitan Museum of Art



Cycles of the Life of St. Martin

There are also several surviving cycles of pictures showing the life of St. Martin.  They appear in manuscript form in books such as Vincent of Beauvais’ Speculum historiale.


St. Martin and the Beggar and Baptism of St. Martin
from a Speculum historiale by Vincent of Beavais
French (Paris), 1453
Paris, Bibliotheque nationale de France
MS Francais 51, fol. 250r





St. Martin Converts a Brigand, Saves a House from Fire and Is Chased from Milan by Arian Clergy
from a Speculum historiale by Vincent of Beauvais
French (Paris), 1453
Paris, Bibliotheque nationale de France
MS Francais 51, fol. 254r



St. Martin Attacked by Soldiers and St. Martin Bringing a Child Back to Life
from a Speculum historiale by Vincent of Beauvais
French (Paris), 1453
Paris, Bibliotheque nationale de France
MS Francais 51, fol. 297r




St. Martin Visited by the Virgin Mary and Saints and St. Martin Tormented by Demons
from a Speculum historiale by Vincent of Beauvais
French (Paris), 1453
Paris, Bibliotheque nationale de France
MS Francais 51, fol. 299t




Translation of the Relics of St. Martin
from a Speculum historiale by Vincent of Beauvais
French (Paris), 1453
Paris, Bibliotheque nationale de France
MS Francais 51, fol. 393v




During the summer of 2015 the Metropolitan Museum of art reunited several related Franco-Flemish embroideries of St. Martin’s life, probably meant for the decoration of liturgical furnishings, which have found their way into various parts of the Museum’s collection.  The small, highly detailed embroideries were artistic marvels in their own right.3


St. Martin Announcing His Conversion to His Parents
Scenes from the Life of St. Martin
Franco-Flemish, c. 1430-1435
New York, The Metropolitan Museum of Art, Robert Lehman Collection



St. Martin and the Brigands
Scenes from the Life of St. Martin
Franco-Flemish, c. 1430-1435
New York, The Metropolitan Museum of Art, Cloisters Collection



St. Martin with St. Hilary of Poitiers
Scenes from the Life of St. Martin
Franco-Flemish, c. 1430-1435
New York, The Metropolitan Museum of Art, Robert Lehman Collection



St. Martin Offers the Wine Cup to a Priest, Bypassing the Emperor and the Empress
Scenes from the Life of St. Martin
Franco-Flemish, c. 1430-1435
New York, The Metropolitan Museum of Art, Robert Lehman Collection



The Empress Kneels Before St. Martin
Scenes from the Life of St. Martin
Franco-Flemish, c. 1430-1435
New York, The Metropolitan Museum of Art, Cloisters Collection



St. Martin and the Repentent Horsemam
Scenes from the Life of St. Martin
Franco-Flemish, c. 1430-1435
New York, The Metropolitan Museum of Art, Anonymous Loan



St. Martin Brings a Dead Man Back to Life
Scenes from the Life of St. Martin
Franco-Flemish, 1430-1435
New York, The Metropolitan Museum of Art, Robert Lehman Collection



However, what is probably the greatest of the cycles of the life of St. Martin is the series of frescoes executed by the Siennese painter, Simone Martini, between 1320 and 1325 in the Chapel of St. Martin in the lower church of St. Francis at Assisi.
  

Simone Martini, Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



Simone Martini, Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



These show detailed images of the most important scenes from the saint’s life, from his early conversion to his death.  Throughout the early scenes St. Martin is imagined as a contemporary early 14th century knight, his Roman world equated with the chivalrous ideal. 



Simone Martini, St. Martin is Knighted
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



Simone Martini, St. Martin Divides His Cloak for the Beggar
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



Simone Martini, Dream of St. Martin
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin

(In his dream Martin saw Jesus explain to the angels that he was the beggar to whom Martin had given half his cloak.)



Simone Martini, St. Martin Renounces His Weapons
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



Simone Martini, St. Martin Restores Life to a Dad Child
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



Simone Martini, St. Martin Miraculously Escapes a Fire
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



Simone Martini, St. Martin Meditating
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



Simone Martini, Miraculous Mass of St. Martin
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin
(So great was his devotion that when he raised the host at Mass a ball of light appeared above his head.)



Simone Martini, Death of St. Martin
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



Simone Martini, Burial of St. Martin
Scenes from the Life of St. Martin
Italian, c. 1320-1325
Assisi, San Francesco, Lower Church, Chapel of St. Martin



Other Images

Alongside these three major image streams, other aspects of the saint’s life have also been depicted from time to time.  These include various miracles wrought by the saint either during his life or afterwards. 


Francisco Osana, Death of St. Martin
Spanish, c. 1500-1514
Castres, Musée Goya



Master of Claude de France, Vison of St. Martin
from Book of Hours
French (Tours), c. 1515-1520
New York, The Pierpont Morgan Library
MS M 1166, fol. 38v



Giovanni Lanfranco, Miraculous Mass of St. Martin
Italian, c. 1640
New York, The Metropolitan Museum of Art



Eustache Le Sueur, Miraculous Mass of St. Martin
French, 1654
Paris, Musée du Louvre



Eustache Le Sueur, Apparition of the Virgin with Saints Agnes, Techla, Paul and Peter to St. Martin
French, 1654
Paris, Musée du Louvre


In 1654 Le Sueur painted this pair of images of St. Martin for the Abbey of Marmoutier, founded by St. Martin.



Sebastien Bourdon, St. Martin Raising a Dead Child
French, c. 1655-1660
Dijon, Musée national Magnin



Wolfgang Andreas Heindl, St. Martin Receiving Back His Cloak from Christ
German, c. 1719-1720
Neideralteich, Monastery of St. Mauritius


The feast day of St. Martin of Tours is November 11.  This was once one of the most important saint’s days of Europe, celebrated widely throughout the continent.  This has not entirely departed.  On my first trip to Italy in 1988 I arrived in mid-November to beautiful weather, which a resident friend informed me is known as St. Martin’s weather.

St. Martin of Tours, pray for your continent of Europe which is currently undergoing a time of testing.  Pray especially for your home in France and pray for all of us.

© M. Duffy, 2015

___________________________________________________________
1.  Clugnet, Léon. "St. Martin of Tours." The Catholic Encyclopedia. Vol. 9. New York: Robert Appleton Company,1910. 10 Nov. 2015 <http://www.newadvent.org/cathen/09732b.htm>.
2.  The Golden Legend or Lives of the Saints, Volume 6, page 66. Compiled by Jacobus de Voragine, Archbishop of Genoa, 1275. First Edition Published 1470. Englished by William Caxton, First Edition 1483, Edited by F.S. Ellis, Temple Classics, 1900 (Reprinted 1922, 1931.), at http://legacy.fordham.edu/Halsall/basis/goldenlegend/GoldenLegend-Volume6.asp#Martin
3.  See Scenes From the Life of Saint Martin at http://www.metmuseum.org/exhibitions/listings/2015/life-of-saint-martin