From The Mary Of History To The Mary Of Roman Catholicism

From Philip Schaff's History Of The Christian Church (Saginaw, Michigan: Historical Exegetical ‘Lectronic Publishing, 1996):

From her [Mary's] example issues a silent blessing upon all generations, and her name and memory are, and ever will be, inseparable from the holiest mysteries and benefits of faith. For this reason her name is even wrought into the Apostles' Creed, in the simple and chaste words: "Conceived by the Holy Ghost, born of the Virgin Mary."

The Catholic church, however, both Latin and Greek, did not stop with this. After the middle of the fourth century it overstepped the wholesome biblical limit, and transformed the "mother of the Lord" into a mother of God, the "humble handmaid of the Lord" into a queen of heaven, the "highly favored" into a dispenser of favors, the "blessed among women" into an intercessor above all women, nay, we may almost say, the redeemed daughter of fallen Adam, who is nowhere in Holy Scripture excepted from the universal sinfulness, into a sinlessly holy co-redeemer. At first she was acquitted only of actual sin, afterward even of original; though the doctrine of the immaculate conception of the Virgin was long contested, and was not established as an article of faith in the Roman church till 1854. Thus the veneration of Mary gradually degenerated into the worship of Mary; and this took so deep hold upon the popular religious life in the Middle Age, that, in spite of all scholastic distinctions between latria, and dulia, and hyperdulia, Mariolatry practically prevailed over the worship of Christ. Hence in the innumerable Madonnas of Catholic art the human mother is the principal figure, and the divine child accessory. The Romish devotions scarcely utter a Pater Noster without an Ave Maria, and turn even more frequently and naturally to the compassionate, tender-hearted mother for her intercessions, than to the eternal Son of God, thinking that in this indirect way the desired gift is more sure to be obtained. To this day the worship of Mary is one of the principal points of separation between the Graeco-Roman Catholicism and Evangelical Protestantism. It is one of the strongest expressions of the fundamental Romish error of unduly exalting the human factors or instruments of redemption, and obstructing, or rendering needless, the immediate access of believers to Christ, by thrusting in subordinate mediators. Nor can we but agree with nearly all unbiased historians in regarding the worship of Mary as an echo of ancient heathenism. It brings plainly to mind the worship of Ceres, of Isis, and of other ancient mothers of the gods; as the worship of saints and angels recalls the hero-worship of Greece and Rome. Polytheism was so deeply rooted among the people, that it reproduced itself in Christian forms. The popular religious want had accustomed itself even to female deities, and very naturally betook itself first of all to Mary, the highly favored and blessed mother of the divine-human Redeemer, as the worthiest object of adoration....

In striking contrast with this healthful and sober representation of Mary in the canonical Gospels are the numerous apocryphal Gospels of the third and fourth centuries, which decorated the life of Mary with fantastic fables and wonders of every kind, and thus furnished a pseudo-historical foundation for an unscriptural Mariology and Mariolatry. The Catholic church, it is true, condemned this apocryphal literature so early as the Decrees of Gelasius [bishop of Rome]; yet many of the fabulous elements of it - such as the names of the parents of Mary, Joachim (instead of Eli, as in Luke iii.23) and Anna, the birth of Mary in a cave, her education in the temple, and her mock marriage with the aged Joseph - passed into the Catholic tradition....

The titles given to Mary [in the Middle Ages] were far more numerous than the titles given to Christ and every one of them is extra-biblical except the word "virgin." An exuberant fancy allegorized references to her out of all sorts of texts, never dreamed of by their writers. She was found referred to in almost every figurative expression of the Old Testament which could be applied to a pure, human being. To all the Schoolmen, Mary is the mother of God, the queen of heaven, the clement queen, the queen of the world, the empress of the world, the mediatrix, the queen of the ages, the queen of angels, men and demons, the model of all virtues...

Monks, theologians, and poets strain the Latin language to express their admiration of her beauty and benignity, her chastity and heavenly glory. Her motherhood and virginity are alike subjects of eulogy. The conception of physical grace, as expressed when the older Notker of St. Gall called her "the most beautiful of all virgins," filled the thought of the Schoolmen and the peasant. Albertus Magnus devotes a whole chapter of more than thirty pages of two columns each to the praise of her corporal beauty. In his exposition of Canticles 1:15, "Behold thou art fair, my love," he comments upon the beauty of her hair, her shoulders, her lips, her nose, her feet, and other parts of her body. Bonaventura's hymns in her praise abound in tropical expressions, such as "she is more ruddy than the rose and whiter than the lily." Wernher of Tegernsee about 1178 sang:

Her face was so virtuous, her eyes so Bright,
Her manner so pure, that, among all women,
None could with her compare.

In a remarkable passage, Bernard represents her in the celestial places drawing attention to herself by her form and beauty so that she attracted the King himself [God] to desire her. [Schaff explains in a footnote that the term Bernard uses for "desire" is "the usual word for lust".] ...

The Canticles was regarded as an inspired anthology of Mary's excellences of body and soul. Damiani represents God as inflamed with love for her and singing its lines in her praise. She was the golden bed on which God, weary in His labor for men and angels, lay down for repose. The later interpretation was that the book [Song of Solomon] is a bridal song for the nuptials between the Holy Spirit and the Virgin. Bernard's homilies on this portion of Scripture are the most famous collection of the Middle Ages. Alanus ab Insulis, who calls Mary the "tabernacle of God, the palace of the celestial King," says that it [Song of Solomon] refers to the Church, but in an especial and most spiritual way to the glorious virgin. Writer after writer, preacher after preacher, took up this favorite portion of the Old Testament. An abbess represented the Virgin as singing to the Spirit: "My beloved is mine and I am his. He will tarry between my breasts." The Holy Spirit responded, "Thy breasts are sweeter than honey."

To Mary was given a place of dignity equal or superior to Christ as the friend of the sinful and unfortunate and the guide of souls to heaven. Damiani called her "the door of heaven," the window of paradise. Anselm spoke of her as "the vestibule of universal propitiation, the cause of universal reconciliation, the vase and temple of life and salvation for the world." A favorite expression was "the tree of life" - lignum vitae - based upon Prov. iii:8. Albertus Magnus, in the large volume he devotes to Mary's virtues, gives no less than forty reasons why she should be worshipped, authority being found for each one in a text of Scripture. The first reason was that the Son of God honors Mary. This accords with the fifth commandment, and Christ himself said of his mother, "I will glorify the house of my glory," Isa. lx:7; house, according to the Schoolman, being intended to mean Mary. The Bible teems with open and concealed references to her. Albertus ascribed to her thirty-five virtues, on all of which he elaborates at length, such as humility, sincerity, benignity, omnipotence, and modesty. He finds eighty-one biblical names indicative of her functions and graces. Twelve of these are taken from things in the heavens. She is a sun, a moon, a light, a cloud, a horizon, an aurora. Eight are taken from things terrestrial. Mary is a field, a mountain, a hill, a stone. Twenty-one are represented by things pertaining to water. She is a river, a fountain, a lake, a fish-pond, a cistern, a torrent, a shell. Thirty-one are taken from biblical figures. Mary is an ark, a chair, a house, a bed, a nest, a furnace, a library. Nine are taken from military and married life. Mary is a castle, a tower, a wall. It may be interesting to know how Mary fulfilled the office of a library. In her, said the ingenious Schoolman, were found all the books of the Old Testament, of all of which she had plenary knowledge as is shown in the words of her song which run, "as was spoken by our fathers." [Luke 1:55] She also had plenary knowledge of the Gospels as is evident from Luke ii:19: "Mary kept all these sayings in her heart."...

Bonaventura equals Albertus in ransacking the heavens and the earth and the waters for figures to express Mary's glories and there is a tender chord of mysticism running through his expositions which is adapted to move all hearts and to carry the reader, not on his guard, away from the simple biblical statements. The devout Franciscan frequently returns to this theme and makes Mary the subject of his verse and sermons. He exhausts the vocabulary for words in her praise. She is prefigured in Jacob's ladder, Noah's ark, the brazen serpent, Aaron's rod, the star of Balaam, the pot of manna, Gideon's horn, and other objects of Hebrew history. To each of these his Praise of the Blessed Virgin Mary devotes poetic treatment extending in cases to more than one hundred lines and carrying the reader away by their affluence of imagination and the sweetness of the rhythm.

Imitating the Book of Psalms, Bonaventura wrote two psalteries, each consisting of one hundred and fifty parts. Each part of the Minor Psaltery consists of four lines, its opening lines being "Hail Virgin, tree of life; Hail Virgin, door of liberty; Hail Virgin, dear to God; Hail Virgin, light of the world; Hail Virgin, harbor of life; Hail Virgin, most beautiful." In the Greater Psaltery, Bonaventura paraphrases the one hundred and fifty psalms and introduces into each one Mary's name and her attributes, revelling in ascriptions of her preeminence over men and angels. Here are several selections, but no selection can give any adequate idea of the liberty taken with Scripture. The first Psalm is made to run, "Blessed is the man who loves thee, O Virgin Mary. Thy grace will comfort his soul." The twenty-third runs, "The Lord directs me, O Virgin mother of God - genetrix dei - because thou hast turned towards me His loving countenance." The first verse of Psalm 121 reads, "I have lifted up my eyes to thee, O Mother of Christ, from whom solace comes to all flesh."...

So also Bonaventura pronounces Mary the mediator between us and Christ. As God is the lord of revenge - Dominus ultionum,- he says in his Greater Psaltery, so Mary is the mother of compassion. She presents the requests of mortals to the Second Person of the Trinity, softening his wrath and winning favors which otherwise would not be secured....

Where the thinkers and singers of the age were so ardent in their worship of Mary, what could be expected from the mass of monks and from the people!...

In few respects are the worship and teaching of the Middle Ages so different from those of the Protestant churches as in the claims made for Mary and the regard paid to her. If we are to judge by the utterances and example of [Popes] Pius IX. and Leo XIII., the mediaeval cult still goes on in the Roman communion. And more recently [Pope] Pius X. shows that he follows his predecessors closely. In his encyclical of Jan. 15, 1907, addressed to the French bishops, he says, "In full confidence that the Virgin Immaculate, daughter of our Father, mother of the Word, spouse of the Holy Ghost, will obtain for you from the most holy and adorable Trinity better days, we give you our Apostolic Benediction."