The Icons

Iconography was developed in the 4^th
century AD in Byzantium. The Church at this time had become free to create new
ways of communicating the Gospel to a great number of new converts, most of
whom could not read. This meant that understanding the Christian religion was
no longer limited to a few. It would take nearly 200 years for the Church to
develop the symbolic language of the image to its definitive form; a visual
theology which was a symbolic language that expressed through images, the
Christian faith.

As the icon is a Holy Image, it should not contain
anything synthetic or artificial. Only pure and natural materials are chosen
for the writing of the icons. Prayer and contemplation begin and end each step
of the icon writing process. Everything involved in writing a liturgical icon
has spiritual meaning tied to Scripture and reveals different levels of
manifestation of God’s Presence within the iconographer.

• The dimesions of the wood – the vertical dimension symbolises the
  Tree of Life and the horizontal dimension represents the Tree of
  Knowledge, together, they are a reminder of Paradise
• The direction of the grain of wood – runs vertically in order to
  receive the Spirit from Heaven.
• The indentation of the board symbolises the Arc of the Covenant.
• The inner surface represents Paradise which is separated by the
  border from the outside world or cosmos
• Sealing of the wood and application of linen – linen cloth
  smbolises the shroud of Jesus
• Applying 10 coats of gesso represents the state of inaction before
  Creation – a state of pure potential
• Etching the image into gesso symbolises the verge of Creation
  before it receives the breath of Life
• Application and burnishing of clay – Clay on the halo symbolises
  our body or physical nature as vessels for the Spirit. Clay on the borders
  and sides of theboard represents the Old Testament.
• Adhering the gold to the clay through the breath of the
  iconographer – symbolises the Spirit breathed into Adam
• Applying the red line around the gilded halo represents the
  transfigured physical nature of the clay after being ‘fired’ by the gold –
  the clay emerges in a purer state and is fit to receive the Spirit just as
  a clay pot is fit to hold water after it has been fired in a kiln.
• The  first layer of
  colours are dark, dense, gritty, earthy colours and symbolise the chaos of
  Creation without consciousness of God.
• By redrawing the lines etched on gesso, the iconographer
  differentiates the shapes of colours and establishes boundaries between
  them thus symbolising the law of nature.
• The first layer of highlights defines shapes of objects and
  represents the physical world.
• The second layer of highlights represents the inner life of man and
  his/her own self consciousness.
• The third layer of highlights symbolises the realm of bodiless
  beings of the Heavenly Hierarchy.
• The green line around the edge of the board is panted next to the
  clay border symbolises the New Testament and alludes to the olive trees in
  the Garden of Gethsemani.
• The bright whisps of light symbolise God’s Life-Giving Light.
• White hghlights of the eyes and the halo symbolise enlightenment.
• Sealing the icon or annointing with linseed oil and the blessing
  given to the icon by the priest durng the liturgy establishes a connection
  between the image of the person depicted and its prototype, transforming
  the icon into a perfect instrument for prayer and contemplation. The icon
  at this stage has become a window to Heaven. 

The Vincentian Icons

On the Feast of St. Vincent de Paul, 27th September
1999, three newly commissioned Vincentian icons were unveiled for veneration in
St. Peter’s Church. They present the central figures in the Vincentian family,
St. Vincent, St. Louise and Blessed Frederic Ozanam. They were written by
Fearghal O’Farrell and are accompanied here by his own comments.

The
saints, Vincent, Louise and Blessed Frederic are all shown seeking to
communicate directly to us as we view them. They not only look out directly to
us. They also reach out. One of the Vincentian traditions is that of reaching
out and engaging with people. The icons present the double Vincentian tradition
of contemplation and mission. The faces while based on well known portraits are
portrayed in the spiritual manner of the icons. They are painted from dark to
light – the spiritual life of the Spirit shines through their faces. It is the
Christ, the light of the world who is the guiding force in all their works and
who speaks to us as we venerate them. Yet each of them is shown engaged in
charitable missionary work. Thus Vincent is bringing food, loaves of bread,
Louise is bringing towels and water to care for the sick and Frederic is
bringing clothing. These parts of the icons are painted in a more naturalistic
manner as befits the practical implication of the act and the spirit of mission
involved. Thus each seeks to inspire us to listen to Christ, to see him in all
whom we meet and to express his love in whatever way he calls.

Fearghal
O’Farrell.
Iconographer

Icon of The Baptism of Christ

The Baptism
of Christ based on a XVI Cent. Greek Icon

This
is the day when Christ became known to all – the Icon reproduces in colour the
Gosepl testimony. The mystery of the Trinity was made manifest in sensory forms
– three persons in one Godhead. In the upper part of the icon there is a
segment of a circle symbolising the opening heavens which Adam had closed to
himself. From here the Father speaks ‘This is my beloved son in whom I am well
pleased’.

Within
the ray of light descending to the Saviour there appears the Holy Spirit in the
form of a dove. As the dove was prefigured announcing the end of the flood to
Noah so too now the dove announces God’s mercy in the world and the remission
of sin.

Jesus stands in the Jordan
symbolising His total immersion. The initiative belongs to him. He stands
meekly before His cousin the Baptist. John with his right hand having blessed
the water, which becomes an image of birth into new life, places his hand over
the Saviour’s head.This sacramental gesture has always been part of the ritual
of Baptism. With the left hand he makes a gesture of prayer. Beside him is shown
the axe which ‘is laid to the foot of the trees.’

The
Angels are shown attending and witnessing the baptism. Three are shown looking
at Jesus and one looking up to the Holy Spirit descending on him. All have
their hands covered by their cloaks a sign of humility and reverence before
God. 

Original
Icon by Fearghal O’Farrell, Iconographer

©June 2002

Prayer at
the Icon

John the Baptist came to announce 
the coming of Jesus Christ
He anointed with water
and pointed to the One who would come
and baptise with the Holy Spirit
God
our Father let this icon
be a message for us
Announcing that we are
A chosen race, a royal priesthood, 
a people set apart

Father
remind us as we pray here that you have
called us out of darkness into your own wonderful light
Awaken us so that we might respond to the Spirit’s call

Let us be a sign of your life in the world
And never let us be parted from you

I
bless this icon
In the name of the Father
And of the Son
And of the Holy Spirit
Amen.