Stories of the torture and execution of beautiful Christian women first appeared in late antiquity and proliferated during the early Middle Ages. A thousand years later, virgin martyrs were still the most popular female saints. Their legends, in countless retellings through the centuries, preserved a standard plot—the heroine resists a pagan suitor, endures cruelties inflicted by her rejected lover or outraged family, works miracles, and dies for Christ. That sequence was embellished by incidents emblematic of the specific saint: Juliana's battle with the devil, Barbara's immurement in the tower, Katherine's encounter with spiked wheels. Karen A. Winstead examines this seemingly static story form and discovers subtle shifts in the representation of the virgin martyrs, as their legends were adapted for changing audiences in late medieval England.

The title Virgin is an honorific given to female saints in both the Eastern Orthodox Church and the Roman Catholic Church. Published in 1901, this work presents short biographies and accounts of the martyrdom of the virgin saints and martyrs. Contents include: Blandina The Slave S. Cæcilia S. Agnes Febronia of Sibapte The Daughter of Constantine The Sister of S. Basil Geneviève of Paris The Sister of S. Benedict S. Bridget The Daughters of Bridget S. Itha S. Hilda S. Elfleda S. Werburga A Prophetess S. Clara S. Theresa Sister Dora

In modern times, the medieval stories of the saints have been either simply ignored or have been interpreted as colorful examples of cultural history, all the while ignoring their central character and initial purpose: Christ. But the legends and stories of the saints were always told within and around the sacramental and liturgical life of the Church. In other words, the saints were tools in preaching and promoting the Gospel of Christ. This clearly written book is a search for a way to read the medieval legends of the saints-- all saints--through the stories of the Virgin Martyrs, so that that their original and powerful stories speak to us once again. The stories of all the saints were written by people who were immersed in the Scriptures and who lived and breathed the words, images, ideas, symbols, poetry.

Virgin martyrs make up one of the largest categories of medieval saints. To judge by their frequent appearances in art and literature, they also figure among the most venerated. The legends of virgin martyrs, retold in various ways through the centuries, illuminate trends in popular piety, values, and literary tastes. Chaste Passions contains sixteen English virgin martyr legends, each of a different saint and each translated into colloquial, modern English prose. Faithful in tone and meaning to the originals, Karen Winstead's lively translations allow contemporary readers to appreciate why virgin martyr legends thrived for hundreds of years. Winstead presents the tales in chronological order, tracing the effects of the composition and tastes of the audience on the development of the genre. The virgin martyr, Winstead tells us, escapes the confining female stereotypes--demure maiden or disruptive shrew--prevalent in writings of the period. Because nearly all of the texts were written by men but addressed to women, they exhibit a fascinating interplay between male views of so-called women's literature and the demands of their intended audience. Familiarity with this widely read genre is essential to a full understanding of medieval culture, and Chaste Passions is an excellent introduction to these often racy, sometimes comic, tales

In this magical retelling of the lives of thirteen saints, we meet Lucy, Margaret, and eleven other courageous young girls who chose purity as a shield against devils, dragons, and devious suitors and earned their halos the hard way. Wonderfully told and illustrated, this lovely gift book is a potent tribute to female strength throughout time and a beautiful book to read and share. 90 full-color illustrations.

The art of Rubens is rooted in an era darkened by the long shadow of devastating wars between Protestants and Catholics. In the wake of this profound schism, the Catholic Church decided to cease using force to propagate the faith. Like Gian Lorenzo Bernini, Peter Paul Rubens (1577–1640) sought to persuade his spectators to return to the true faith through the beauty of his art. While Rubens is praised for the “baroque passion” in his depictions of cruelty and sensuous abandon, nowhere did he kindle such emotional fire as in his religious subjects. Their color, warmth, and majesty—but also their turmoil and lamentation—were calculated to arouse devout and ethical emotions. This fresh consideration of the images of saints and martyrs Rubens created for the churches of Flanders and the Holy Roman Empire offers a masterly demonstration of Rubens’s achievements, liberating their message from the secular misunderstandings of the postreligious age and showing them in their intended light.