Gospel in Art: Saint Charles Borromeo, Bishop

Intercession of Charles Borromeo supported by the Virgin Mary, by Johann Michael Rottmayr. 1714. Ceiling fresco in the © Karlskirche, Vienna

Source: Christian Art

Gospel of 4 November 2026
John 10:11-16

At that time: Jesus said, 'I am the good shepherd. The good shepherd lays down his life for the sheep. He who is a hired hand and not a shepherd, who does not own the sheep, sees the wolf coming and leaves the sheep and flees, and the wolf snatches them and scatters them. He flees because he is a hired hand and cares nothing for the sheep. I am the good shepherd. I know my own and my own know me, just as the Father knows me and I know the Father; and I lay down my life for the sheep. And I have other sheep that are not of this fold. I must bring them also, and they will listen to my voice. So there will be one flock, one shepherd.'

Reflection on the fresco

Today we celebrate Saint Charles Borromeo (1538-1584), Archbishop of Milan and Cardinal. Alongside St Ignatius of Loyola and St Philip Neri, he was a key figure in the Counter-Reformation, working to address the challenges posed by the Protestant Reformation. As part of this mission, Charles spearheaded major reforms within the Catholic Church, including the establishment of seminaries dedicated to the education and formation of priests. His deep appreciation for the arts led him to use beauty as a powerful tool for evangelisation, in response against the Reformation.

The Reformation, particularly in its more radical branches, moved away from the use of religious art. Protestant reformers like Martin Luther and especially John Calvin were critical of the Catholic Church's emphasis on religious images and the veneration of saints. They believed that such practices could lead to idolatry and distract from the direct worship of God. As a result, many Protestant churches removed religious art from their spaces, stripping their interiors of paintings, statues, and other iconography that were common in Catholic worship. This shift was especially evident in Calvinist regions, where iconoclasm (the deliberate destruction of religious imagery) became widespread, as they sought to purify the church of any perceived misuse of images.

In response, the Catholic Church, as part of the Counter-Reformation, not only retained its use of religious art but elevated its importance. The Council of Trent (1545-1563) affirmed the value of sacred art as a means to inspire devotion and educate the faithful. Charles Borromeo was at the forefront of viewing art as a powerful tool for promoting the faith, and helped give birth to the whole era of Baroque art. He insisted though that that sacred art must be clear, emotionally engaging, and theologically sound. Art yes, could moved heart, but ultimately it also had to instruct the mind. His writings and pastoral directives encouraged artists to create works that ultimately drew the viewer into prayer. Art leading to prayer - that was the purpose.

Looking up into the dome of Vienna's Karlskirche, we find Saint Charles Borromeo bringing the suffering of the world before God. Painted by Johann Michael Rottmayr, this magnificent fresco depicts the saint interceding before the Holy Trinity, with the Virgin Mary supporting his prayer. Its subject has a particularly moving connection with the building itself: Emperor Charles VI commissioned the church following Vienna's devastating plague of 1713. The fresco gives that collective plea for help a place in the heavens, turning the ceiling into a vision of prayer reaching beyond the limits of earthly life. There is something reassuring here: Charles is shown in heavenly glory, yet remains concerned with those still suffering on earth. It offers us a beautiful way of understanding the communion of saints, still watching over us.

LINKS

Christian Art: www.christian.art
Today's reading: https://christian.art/daily-gospel-reading/john-10-11-16-2026-2/