presentation convent st. john's

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The Veiled Virgin

This statue was executed in flawless Carrera marble by the renowned Italian sculptor Giovanni Strazza (1818-1875) in Rome. Other examples of Strazza's work may be seen in the Vatican Museums and at the Archbishop's Palace in Milan. The St. John's Veiled Virgin was described by The Newfoundlander (4 December 1856) as the second such work by Strazza on the subject of a veiled woman.

During the mid-19th century, Italian nationalism was on the rise, and there was a resurgence in nationalism in the Italian arts and music. Strazza's Veiled Virgin is of a piece with this Risorgimento school of Italian nationalist art. The image of a veiled woman was a favourite subject of whole school of Strazza's fellow sculptors, with Pietro Rossi and Rafaello Monti the most important among them. Often, the image of the veiled woman was intended to embody Italia, in the same manner in which Britannia symbolized England, Hibernia symbolized Ireland, and Lady Liberty symbolized the United States.

There are similar marble busts depicting veiled women in Canada, the United States, Ireland and England. None, however, are as meticulously crafted as the Newfoundland Veiled Virgin by Strazza: the facial features and the braids in the hair are clearly visible through the stone veil.

On 4 December 1856 Bishop John Thomas Mullock recorded in his diary: “Received safely from Rome, a beautiful statue of the Blessed Virgin Mary in marble, by Strazza. The face is veiled, and the figure and features are all seen. It is a perfect gem of art.” The Veiled Virgin remained at the Episcopal Palace adjacent to the Roman Catholic Cathedral in St. John's until 1862, when the bishop presented the bust to the Superior of Presentation Convent, Mother Mary Magdalene O'Shaughnessy. Bishop Mullock's sister, Sister Mary di Pazzi Mullock, was a professed member of that community, and later its Superior.

Strazza's sculpting confidently revives the ingenuity of the Baroque, and represents a technical triumph which surpasses that of any other work of art found in 19th century Newfoundland. The Veiled Virgin also testifies to the close linkages of the Irish Catholic community in St. John's with cultural and nationalist movements of the day in Europe.

The Veiled Virgin remains in the care of the Presentation Sisters, Cathedral Square. It may be viewed by appointment.

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• Heritage Property Search

Presentation Convent Grounds Municipal Heritage Site

Municipal heritage building structure or land.

Description

The Presentation Convent Grounds had been the site of Our Lady of Mount Carmel Convent from 1876 to 1986. The land is located in Renews, NL, and lies adjacent to Holy Apostles Church and in front of the Grotto de Lourdes on Mass Rock. The designation is confined to the green space identified locally as the convent grounds.

Statement of Significance

Formal recognition type.

Municipal Heritage Building, Structure or Land

Heritage Value

The Presentation Convent Grounds have been designated a municipal heritage site by the Town of Renews-Cappahayden due to their historic, cultural and aesthetic value.

The historic value of the Presentation Convent Grounds lie in their association with the expansion of the Presentation Order in Newfoundland and Labrador. In St. John’s in 1833, the Presentation Order established the first English-speaking convent in what would become Canada. From modest beginnings in St. John’s, the Presentation sisters gradually expanded to rural areas, seeing to the educational needs of generations of young Newfoundlanders. On August 9, 1876, members of Our Lady of Mount Carmel Presentation convent were moved from Admiral’s Cove (now Port Kirwan) to Renews, with the construction of a proper convent and school building to follow. The annals of the convent from 1877 report that, “the Convent School was opened. Sixty five children were in attendance.” By the following summer there were more than one hundred pupils registered. A monument has been erected on the site, acknowledging the work of the Presentation Order in Renews. The site is also a reminder of a way of life that is quickly changing in communities along the Southern Shore. In this largely Roman Catholic region, many families have relatives who chose a religious vocation. It was a source of great pride to have a daughter in the sisterhood or a son a priest. Presently, is it extremely rare for young people to enter into a religious life and in their daily lives younger generations experience little of the influence of the Roman Catholic faith as their parents and grandparents had.

The Presentation Convent Grounds have cultural value because the site is a physical reminder of the influence of the Presentation Order in the community of Renews and the role it played in the education of the community’s youth. It is a reminder of a time when education in Newfoundland and Labrador was conducted largely under the leadership of religious institutions. On the Southern Shore, where the majority of the population is Roman Catholic, many were taught by members of religious orders. On June 20, 1981, four days after Renews school was closed for summer break, the convent at Renews was officially closed and the keys turned over to the Generalate in St. John’s, the conclusion to more than a century of education in Renews under the guidance of the Presentation sisters. The convent itself was demolished in 1986. The community of Renews places a great cultural value on the green space where the convent once stood, seeing it as a symbol of an earlier time that saw the church involved in many spheres of community life.

The Presentation Convent Grounds have aesthetic value due to their environmental setting. Located at the foot of Midnight Hill and nestled between Holy Apostles Church, the old rectory and the Grotto de Lourdes on Mass Rock, it lies at the centre of a large plot of land recognized in its totality as church grounds. From these manicured, groomed grounds there is an unobstructed view of Renews Harbour.

Source: Town of Renews-Cappahayden Regular Council Meeting Tuesday, February 7, 2006

Character Defining Elements

All those elements which represent the historic, cultural and aesthetic value of the site, including:

– size, style, location and orientation of monument acknowledging the work of the Presentation Order in Renews;

– open, expansive green space where convent building and yard had been, and;

– unobstructed view towards the harbour from the Presentation Convent Grounds.

Location and History

Municipality.

Town of Renews-Cappahayden

Construction (circa)

1876 - 1986

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Archival Moments

Selections from the archives, live from st. john's, nl, tag archives: basilica presentation convent, the veiled virgin: “this statue is a perfect gem of art”.

ARCHIVAL MOMENT

December 4, 1856

“ Received safely from Rome, a beautiful statue of the Blessed Virgin Mary in marble, by Strazza.The face is veiled, and the figure and features are all seen. It is a perfect gem of art.”

The Veiled Virgin was placed in the library of the Basilica Cathedral Parish in St. John’s until 1862, when Mullock presented the statue to the Superior of Presentation Convent.  His sister was a member of that convent.

This statue was executed in flawless Carrera marble by the renowned Italian sculptor Giovanni Strazza (1818-1875) in Rome. Other examples of Strazza’s work may be seen in the Vatican Museums, Rome and in the city of Milan. The Veiled Virgin was described by the St. John’s newspaper The Newfoundlander (4 December 1856) as the second such work by Strazza on the subject of a veiled woman.

The newspaper reported:

  “To say that this representation surpasses in perfection of art, any piece of sculpture we have ever seen, conveys but weakly our impression of its exquisite beauty. The possibility of such a triumph of the chisel had not before entered into our conception. Ordinary language must ever fail to do justice to a subject like this – to the rare artistic skill, and to the emotions it produces in the beholder. These themes are rather.”

The Veiled Virgin remains in the care of the Presentation Sisters, Cathedral Square, St. John’s.  It may be viewed by appointment.

Recommended Archival Collection : Search the online database for descriptions of our archival records at The Rooms and view thousands of digital photographs. See more at: https://www.therooms.ca/collections-research/our-collections

Recommended Archival Collection :  Presentation Congregation Archives –Cathedral Square, St. John’s, NL 709-753-7291

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The Convent of Our Lady of Mercy Registered Heritage Structure

St. John's, Newfoundland and Labrador, Canada

Formally Recognized: 1990/04/27

Other Name(s)

Links and documents, construction date(s), listed on the canadian register: 2005/01/19, statement of significance, description of historic place.

Located on Military Road in St. John’s, NL The Convent of Our Lady of Mercy is a four storey, granite building built in the Second Empire style. The attached chapel, the Oratory of the Sacred Heart, is a granite building built in the Renaissance Revival style. The designation is confined to the footprint of the building.

Heritage Value

The Convent of Our Lady of Mercy has been designated a Registered Heritage Structure by the Heritage Foundation of Newfoundland and Labrador due to its historic and aesthetic value. The Convent of Our Lady of Mercy was built in 1857 under the supervision of Rt. Rev. Mullock. It was built to replace an earlier wooden convent, constructed in 1842 and situated approximately where the chapel now stands. The Oratory of the Sacred Heart chapel was built in 1892 as a memorial to the Golden Jubilee. The room that served as a chapel since 1857 became the present community room. The Sisters of Mercy are a Roman Catholic order of nuns that started their work in Newfoundland in 1842. The Order was founded in Dublin in 1831 by Sister Catherine McAuley. In 1841, Bishop Fleming decided to establish a convent and day school for families that were capable of paying educational fees. This institution would complement the existing school and convent for the poor operated by the Presentation Sisters. The Sisters of Mercy were commissioned by Bishop Fleming to accomplish this task. The Sisters of Mercy have made an important contribution to St. John’s through their work in various fields. They are known for their work in health care at St. Clare’s Mercy Hospital, their work with the elderly at St. Patrick’s Mercy Home and their work in education. The Convent of Our Lady of Mercy is historically valuable as a symbol of the work of the Sisters of Mercy in Newfoundland. The Convent of Our Lady of Mercy is architecturally valuable as an example of the Second Empire style employed in an institutional building. Many of the typical Second Empire elements are preserved in this building including peaked dormers, a mansard roof, and eaves brackets. Furthermore, an interesting feature of the building is an M-shaped red stone on the west wall of the building. Bishop Mullock received the stone from the Motherhouse of the Carmelite Sisters in Spain. The stone was meant to link The Convent of Our Lady of Mercy with Bishop Mullock’s alma mater, the Carmelite University of Salamanca. The Oratory of the Sacred Heart chapel is architecturally valuable as a fine example of Renaissance Revival architecture in an ecclesiastical context. Constructed of granite, the Oratory of the Sacred Heart features rusticated quoining on the exterior and has large stained glass windows. The front façade of the chapel features a large stained glass window, and a large entranceway with decorative trim. The main entrance is flanked by a small turret on each side with a statue of the Sacred Heart in the centre. It has a gambrel roof and a rounded apse with a domed ceiling at the east end. The chapel has a well-preserved interior that features many elements of the Renaissance Revival style, including a domed ceiling over the altar, elaborate plasterwork and trim painted in bright colors. There are also decorative pilasters with Corinthian capitals and intricate stained glass windows throughout the chapel. The Convent of Our Lady of Mercy has further aesthetic value due to its environmental setting. The Convent of Our Lady of Mercy is located on Military Road near the Basilica of St. John the Baptist and Presentation Convent. Furthermore, it is one of a larger complex of ecclesiastical buildings in this area of St. John’s.

Character-Defining Elements

All those elements that are representative of the Second Empire style convent, including: -mansard roof, eaves brackets, and peaked dormers; -window style and placement; -single hung 1/1 windows; -granite construction; -M-shaped red stone on west wall; -dormer configuration and placement; -central window in fourth storey, and; -transom windows over doorways. All those exterior elements that are representative of the Renaissance Revival style chapel, including: -window style and placement; -granite construction; -stained glass windows; -statue of Sacred Heart on front facade; -gambrel roof with apse; -twin spires; -rusticated quoining on exterior, and; -interior elements including original plaster work, bright colors, faux marble work, rounded apse with domed ceiling and religious elements including elaborate altar, rail and pews. The environmental setting, including: -general massing; -prominent location within the city; -location within a larger complex of Roman Catholic buildings, and; -location within the Ecclesiastical District of St. John's.

Recognition

Jurisdiction.

Newfoundland and Labrador

Recognition Authority

Heritage Foundation of Newfoundland and Labrador

Recognition Statute

Historic Resources Act

Recognition Type

Registered Heritage Structure

Recognition Date

Historical information.

1857/01/01 to 1857/01/01

Significant Date(s)

Theme - category and type.

Building Social and Community Life Religious Institutions

Function - Category and Type

Architect / designer, additional information, location of supporting documentation.

Heritage Foundation of Newfoundland and Labrador, 1 Springdale Street, St. John's, NL, A1C 5V5

Cross-Reference to Collection

Fed/prov/terr identifier, related places, search the canadian register.

St. John's, Newfoundland and Labrador

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Administered by Parks Canada

“The Veiled Virgin” Statue – The Famous Marble Statue With a Veil

Giovanni Strazza’s The Veiled Virgin statue depicts a veiled bust of the Virgin Mary. The precise date of creation of the veiled sculpture is uncertain, however, it was most likely created in the early 1850s. The marble statue with a veil is renowned for the almost translucent quality it possesses.

Table of Contents

• 1.1 The Artist: Giovanni Strazza
• 2.1 The Traditional Use of the Veil in Sculptures
• 2.2 Relocation of the Statue to Canada
• 3.1 Who Created the Famous Marble Statue With a Veil?
• 3.2 Why Was the Concept of the Veiled Statue Popular?
• 3.3 Where Is the Veiled Statue Now?

The Story About the Marble Statue With a Veil

Sculptors have been producing statues in marble f or millennia, a material prized for its smoothness and translucence. These properties make the metamorphic material ideal for sculptures that need fine detail, such as anatomical intricacies and flowing draperies. The Veiled Virgin statue, by Giovanni Strazza, the sculptor from Italy, effectively portrays both of these cases.

There is not much really known about the veiled statue’s development. Historians think Strazza, who was born in Milan, created the sculpture in the 1850s while residing in Rome.

The Virgin Mary is shown in the Veiled sculpture with a veil wrapped over the curves of her accurately drawn features. With her eyes shut and her head inclined down, the woman looks to be either quietly praying or expressing mourning, both of which are fairly common in depictions of the Virgin Mary.

The statue is crafted of Carrara marble, a Tuscany-derived stone that was traditionally employed by ancient Roman buildings and Italian Renaissance craftsmen.

This high-quality Carrara marble stone provided the ideal material for creating veil statues, a common theme among Giovanni Strazza and his contemporaries. They were particularly engaged in sculpting busts and statues of women with their faces hidden under see-through clothes.

The Artist: Giovanni Strazza

There is very little information about the life of Giovanni Strazza. The sculptor from Italy hailed from the city of Milan. Between 1840 through 1858, he flourished in Rome after studying at the Brera Academy in Milan. From 1860 until 1875, he relocated back to Milan and lectured at his alma institution, handing over the Sculpture Chair position to Giosuè Argenti.

Out of all of Giovanni Strazza’s sculptures, his most well-known work is “The Veiled Virgin” statue. Another of Giovanni Strazza’s sculptures, “L’Audace Righetto” (1851) is located in Milano’s Palazzo Litta. He later died in the same city of his birth, Milan.

The Veiled Virgin Statue (c. the 1850s)

Giovanni Strazza, a prominent Italian sculptor, created this figure in perfect Carrera marble in Rome. Other Giovanni Strazza sculptures can be viewed at the Archbishop’s Palace in Milan, as well as the Vatican Museums. The Newfoundlander labeled the veiled sculpture as Strazza’s second piece on the theme of a veiled lady. Nationalism in Italy was experiencing a resurgence in the mid-19th century, and there was a renaissance of patriotism in music and the arts in Italy.

Strazza’s veiled statue fits into the Risorgimento tradition of Italian nationalistic artwork.

The picture of a veiled lady was a favorite subject of Strazza’s fellow sculptors, the most notable of whom were Rafaello Monti and Pietro Rossi. The figure of the veiled lady was frequently supposed to represent Italia in the same way as Britannia represented England, Hibernia represented Ireland, and Lady Liberty represented North America.

Similar marble busts of veiled ladies may be seen in North America, Canada, Ireland, and England. None, though, are as painstakingly made as Giovanni Strazza’s veiled sculpture: the facial features and hair braiding are apparent through the marble veil. The veiled statue was sent to Newfoundland in 1856, as reported in Bishop John Thomas Mullock’s journal on the 4th of December: “Giovanni Strazza sent a lovely marble statue with a veil of the Blessed Virgin Mary safely from Rome. The face is obscured, but the figure and characteristics are fully visible. It is a flawless work of art “.

The veiled statue stayed at the Episcopal Palace at St. John’s, close to the Roman Catholic Cathedral, until 1862, when the bishop handed it to the Superiors of Presentation Convent. Sister Mary di Pazzi Mullock, Bishop Mullock’s sister, was a vowed member of the order and eventually its Superior.

Many Giovanni Strazza sculptures proudly resurrected the Baroque’s creativity and marked a technical success that eclipsed that of any other piece of artwork discovered in 19th century Newfoundland. “The Veiled Virgin” statue also attests to the Irish Catholic culture at St. John’s deep ties with European cultural and patriotic initiatives of the time.

The Traditional Use of the Veil in Sculptures

Why were veils so fashionable among Italian artisans in the 19th century? One explanation why these figures appreciated this subject was because it allowed them to display their artistic abilities. A high level of talent is required to create the illusion that a solid substance, such as stone, is a flowing piece of cloth clinging to a person.

Thus, sculptors have draped their figures in drapery from ancient times to highlight their sculptural ability.

Carvings from Greece’s Hellenistic era and the Italian Renaissance are the most well-known instances of this occurrence. Without a doubt, they served as motivation for Strazza and his colleagues. “From an archaeological standpoint, the veiled statue originates from the practice of ‘wet drapery’ which already had existed in Greco-Hellenistic art,” notes the director of the École du Louvre.

https://www.youtube.com/watch?v=koQRHPT1fuI

“Sculptors have always risen to the occasion.” Artists during this period explored the veil theme in reaction to the Risorgimento, or Italian unity, in conjunction with a Neo-classical reinterpretation of drapery. The picture of a veiled lady became a metaphor for the unified country as the Italian people gained a fresh appreciation of arts and culture.

Strazza chose to mix a patriotic sign with Catholic symbolism for a variety of reasons. While his religious beliefs are unknown, many believe it is a labor of devotion. However, it is probable that he was just influenced by the religious statues done by Renaissance and Baroque craftsmen before him.

Relocation of the Statue to Canada

While one may anticipate this famous veiled statue to stay in Italy, it has lived in Canada for nearly 150 years. The sculpture was brought to Newfoundland and found its place at St. John’s in 1856 when it was accepted by the bishop and installed in the Episcopal Palace. Mullock lauded his new asset in his journal, writing, “Obtained securely from Rome, a lovely sculpture of the Blessed Virgin Mary in marble, by Strazza.” He continued by saying that “the face is obscured, but the form and characteristics are fully visible […] It is a flawless work of art.”

It was relocated to the adjacent Presentation Convent in 1862, where it has resided and enthralled visitors ever since.

A local newspaper, The Newfoundlander , excitedly covered its relocation as well. “To state that this image surpasses in artistic perfection any piece of artwork we have ever seen offers just a hazy picture of its incomparable beauty,” the paper says. “The thought of such a stunning win had never even crossed our minds. Ordinary words will never do justice to a topic like this – to the extraordinary creative talent and feelings it evokes in the viewer.” 

“The Veiled Virgin” statue, is one of those works of art that continues to elicit debate among art historians and enthusiasts. The bust of the Virgin Mary shrouded in a tiny veil is noteworthy for several reasons. The workmanship Strazza showed in obtaining the shrouded aspect, as well as the cryptic meaning of the sculpture, all add to “The Veiled Virgin’s” distinctiveness. Historians think Strazza, who was born in Milan, created this masterpiece in Rome about 1850. The sculpture has been in Canada for more than 150 years.

Frequently Asked Questions

Who created the famous marble statue with a veil.

The famous veiled statue was created by Giovanni Strazza, the Italian sculptor who was born in the city of Milan. After studying at the Brera Academy in Milan, he flourished in Rome in the time span between 1840 and 1858. From 1860 until 1875, he returned to Milan and lectured at his alma mater, handing over the Sculpture Chair to Giosuè Argenti. The Veiled Virgin statue is the most well-known of Giovanni Strazza’s sculptures. L’Audace Righetto (1851), another of Giovanni Strazza’s sculptures, is housed at Milan’s Palazzo Litta.

Why Was the Concept of the Veiled Statue Popular?

One reason that sculptors liked this subject was that it allowed them to show off their artistic ability. A high level of talent is required to create the illusion that a solid item, such as stone, is essentially a fluid piece of cloth attached to a person. Sculptors have draped their figures with drapery throughout antiquity to showcase their sculptural ability. The most well-known instances of this phenomenon are sculptures from the Hellenistic era in Greece and the Italian Renaissance, and they definitely functioned as encouragement for Strazza and his colleagues.

Where Is the Veiled Statue Now?

The famous statue is no longer in Italy. It was moved to Canada in 1856 and it currently resides at the Presentation Convent.

Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.

Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Learn more about Isabella Meyer and the Art in Context Team .

Cite this Article

Isabella, Meyer, ““The Veiled Virgin” Statue – The Famous Marble Statue With a Veil.” Art in Context. April 20, 2022. URL: https://artincontext.org/the-veiled-virgin-statue/

Meyer, I. (2022, 20 April). “The Veiled Virgin” Statue – The Famous Marble Statue With a Veil. Art in Context. https://artincontext.org/the-veiled-virgin-statue/

Meyer, Isabella. ““The Veiled Virgin” Statue – The Famous Marble Statue With a Veil.” Art in Context , April 20, 2022. https://artincontext.org/the-veiled-virgin-statue/ .

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Application: 180 Military Road (Presentation Convent)

Application

The City is considering removing the Heritage Building designation from the rear extension of Presentation Covent at 180 Military Road.

Description

The entire footprint of Presentation Convent is currently designated as a Heritage Building. The City is considering removing the designation from the rear extension of the building (portion fronting Barnes Road). The Heritage Building designation will remain on the original part of Presentation Convent, built in 1853.

9:30 a.m. Tuesday, December 20, 2022

Provide your comments to the Office of the City Clerk including your name and address to [email protected] or P.O. Box 908, St. John’s NL  A1C 5M2.

Comments received become a matter of public record and are included in the Council agenda for the date a decision on the application will be made. Any identifying information (including your name) will be removed prior to your comment being released publicly.  If you are writing on behalf of a group, organization, business, etc. and wish to remain anonymous, you must indicate as such with your submission.

Collection of personal information is authorized under the Access to Information and Protection of Privacy Act, 2015 and is needed to consider your comments on this application. Questions about the collection and use of your information may be directed to the City Clerk at 709-576-8202 or [email protected].

Council Decision Date

January 9, 2023

Additional Information

Notices are sent to property owners within 150 metres of the application site. For more information call 709-576-6192, email [email protected].

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