All the World is a Great Altarpiece

by Robert F. Prevost, OSA (His Holiness Pope Leo XIV), appearing in Volume 48

The term “icon” is of Greek origin and means “image.” In contemporary language, according to modern dictionaries, it has two meanings: the first, more technical or restricted, is “a religious picture characteristic of Byzantine art,” and refers to the beautiful and famous icons of the religious art of Eastern Orthodoxy; the second, in the wider sense, is “a symbol that maintains a relationship of similitude to the object it represents,” and is used even today in the computing world (“click on the icon …”).

However, in writing the introduction to this magnificent work of religious iconography, I do not think only of Christian pictorial art, nor do I refer, of course, to the icons on our computer screens. I would like to take the term icon in the generic sense of symbol. And not only of graphic symbols, but also of living symbols. Because the richness of symbolism is not exhausted in its aspect of material and visible image, but also covers likeness in the spiritual and practical order. Not only are there written or painted symbols, but also practical and living symbols: symbolic actions, symbolic gestures, symbolic persons.

These ideas are not alien to the theology and spirituality of Thomas of Villanova, who beautifully presents in one of his sermons the whole creation as an icon or image of God:

Do you want to know how God intervenes in the creation of the world and of all things that refer to him, and in the formation of man? The same as a painter who has decided to make the paintings that adorn a large and beautiful altar, and wants to finish the work in little time. He calls his workers, the ones he has formed, and tells one: “You will be in charge of painting the image of Saint John,” and to another he says: “And you the effigy of Saint Peter;” to another: “To your expertise I entrust the painting of the Magdalene.” The central image, that which will occupy the most prominent place in the altar, I reserve to myself, because it will be the center of what all people see, and which will give the name to the whole altarpiece. Therefore, I do not give it to anyone else, but I reserve it for myself.” Exactly this occurred in the creation of all the universe and of the soul. What more do you think this world is than an enormous altarpiece that offers to men’s knowledge, through varied images, a message from God? This is why the apostle says: “From the creation of the world, the invisible perfections of God were made visible, understood through his works” (Rom 1:20). And what is this if not an insinuation that all the world is a great altarpiece, in whose images the majesty and goodness of God shine forth? Truly, my God, your works are marvelous, and my soul knows them from afar.” 

From this perspective, Jesus Christ is the great sacrament of the Father, the face of God and the face of man, the symbol or icon of the human and the divine. Christians are called to be living symbols or icons of the same Jesus Christ, a vocation made reality in the saints, each one of them according to his own charism. In the case of a Saint Augustine, we see an icon of Jesus Christ in the style of Augustine, or—we could also say—an icon of Augustine that reflects from his own charism the figure and the Gospel of Jesus Christ. I think that few Augustinian saints could be considered “icons of Augustine” with more depth than our Saint Thomas of Villanova. The young Spanish university professor who leaves everything to become a religious, who is converted into a guide and leader of the Augustinian communities, accepts by obedience the episcopate and dedicates his life to the service of the Church in preaching and attentiveness to the people with special care of the poor, is in effect a perfect icon of that African master of rhetoric who, many centuries before, was passionately converted to Christ, received baptism, and renounced all to dedicate himself to contemplation in community, accepted against his will the ministerial service, and spent all his life in study, preaching, and pastoral service to the people, always concerned about the most poor.

Arturo Llin Chafer, priest of the Diocese of Valencia, who wrote the life of Thomas, comments on the importance of Saint Augustine in the life, spirituality, and preaching of Thomas: “Saint Augustine occupies a place of honor in the sermons of the holy archbishop of Valencia. He shows that he knows his thought deeply, that he has dedicated much time to the study of his works, and easily explains the Augustinian texts, which hav ing assimilated, he expresses synthetically in using them to back up an argument in his own preaching.”

Tomás García Martinez, known as Saint Thomas of Villanova for the place where he grew up and was educated (Villanueva de los Infantes, Ciudad Real, Spain), was born in the neighboring town of Fuenllana in 1486. He studied arts and theology in the University of Alcalá de Henares, in which he was later professor. In the year 1516, he entered the Order of Saint Augustine in Salamanca, discharging different roles in the Order. He was sent to Mexico as Prior Provincial, after the first boatload of Augustinian missionaries in 1533, and others in 1535 and 1536, with twelve missionaries in each journey. He was preacher and counselor to the Emperor Charles V, who offered him the bishopric of Grenada without securing the acceptance of Father Thomas, until he finally accepted the episcopal see of Valencia under obedience to his superiors. As a bishop, he stood out for his austerity and intellectual prowess, reformed the clergy and the Diocese, and was always mindful of the most poor, not only by the constant practice of alms, but also by providing original formational initiatives, human improvement, and work, especially for the youth of both sexes. He said many times that alms are not only giving, but freeing the poor from a state of necessity whenever possible.

If I can be permitted a personal opinion, I would say by way of conclusion that, in the abundant iconography of our saint, I consider one of the most significant portrayals to be that of Zurbarán, the Spanish artist known as the best “painter of friars.” Precisely because of this, he presents Thomas of Villanova with his black Augustinian religious habit, without omitting the other two reasons for which the Saint is remembered: his episcopal ministry (mitre and archbishop’s palium) and his proverbial generosity with the needy (poor, purse, and alms).

The presentation of this book—with images of a man who wanted to dedicate his life completely to God—shows the presence and the great importance of devotion to Saint Thomas of Villanova in peoples from many different places, cultures, and eras. Thomas himself would not have wanted to be an object of art, and in fact did not want to be painted while alive. He rather understood his life as an instrument to bring persons to God. Art, as suggested in the sermon of Saint Thomas we have cited, is also an external manifestation of a profound truth, and can bring us to see, in created beauty, the beauty of the Creator (Saint Augustine, Confessions XI, 4,6). 

I congratulate the authors, editors, and collaborators of this work, hoping that it helps its readers not only to enjoy so many works of art, but above all to deepen their experience of faith and of the richness of Augustinian spirituality.

This article is the Introduction to Santo Tomás de Villenueva: Culto historia y arte, Vol. I and II, Coordinadores P. Antonio Iturbe Saíz y Roberto Tollo (Ediciones Escurialenses (EDES-Madrid) y Biblioteca Egidiana (Tolentino-Italia), 2013). Courtesy of Biblioteca Egidiana and P. Antonio Iturbe Saíz, OSA. It was translated from the original Spanish by the Rev. Royce V. Gregerson, priest of the Diocese of Fort Wayne-South Bend, Indiana.