Review - he Liturgy of Flowers In A Mary Garden
Chat and Photos
Review of Andrea Oliva Florendo's
The Liturgy of Flowers In A Mary Garden
Jul 12 2005 John Stokes to Associates & Correspondents
Attached is a draft review of Andrea Oliva Florendo's "The Liturgy of
Flowers In A Mary Garden - A contemplation", which is a most
impressive contribution to the present day Mary Garden restoration
movement.
I say "draft" because the extensive quotes from the book will be cut
down in size for the final sending to editors, etc.
The special importance of the book is that it derives Mary Gardens
and the Flowers of Our Lady deductively from the historical writings
of the Church Fathers, saints, theologians and poets; whereas our
approach at Mary's Gardens has been inductive - starting with the
named symbolism of flowers themselves of Medieval popular rural
religious traditions, as preserved along with their legends by
botanists, folklorists and lexicographers, and then developing their
devotional and meditative meanings directly in relation to the
creedal deposit of faith.
Thus, the author's deductive approach and our inductive approach meet
in union, much as in mathematics the deductive differential calculus
and inductive integral calculus meet.
As a consequence, the book devotes little - a two page listing - to
what the author terms the "Our Lady" and "Mary" Flowers of the
medieval countrysides, of which she lists forty-three; whereas she
devotes two chapters to flowers symbolic of Mary's emblems, virtues,
and in Rosariums, in the writings of churchmen.
However, as mentioned, the two approaches - written and oral,
deductive and inductive - meet devotionally and meditatively in
union, through which the author immeasurably enriches Mary Gardening
with the former; and it is hoped that this will facilitate the
adoption of Mary Gardening in national Catholic cultures where it is
seen as outside of established tradition.
o O o
The Liturgy of Flowers in a Mary Garden
Editors' Background Information John Stokes
Mary's Gardens, Phildelphia
Book review marysgardens@mgardens.org
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The Liturgy of Flowers in a Mary Garden
"The Liturgy of Flowers in a Mary Garden - A Contemplation", Andrea
Oliva Florendo, 2004, 160 pages, 75 colored images - Rosetti Della
Virgine Books, Oliva and Florendo Publishers, Rosetti della Virgine
Books, New York, $29.95
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Andrea Oliva Florendo's "The Liturgy of Flowers in a Mary Garden"
admirably fulfills a need envisaged from the outset in the founding
of Mary's Gardens in Philadelphia in 1951 - for a thorough,
documented, historical study from academia tracing how Mary Gardens
of Medieval Flowers of Our Lady became devotional distillations of
the floral imagery of the Bible and the Church Fathers.
Paradise Lost and to be Regained
The author does this, beginning with the first chapter, "In the
Beginning - And The Bright Green Shoots of Symbolism", by recalling
our God's initial showing forth of the divine goodness, truth and
beauty in the Garden of Eden in which he created us humans.
Following our first parents expulsion from this garden of
self-sufficiency into a world of need and pain - as a consequence of
their acceptance of temptation by the serpent of Satan to enjoy
forbidden fruit - all gardens of God's plants, retaining their
original created goodness, truth and beauty, have continued down
through history to be reminders of the paradise from which we came,
and intended for us for all eternity.
The author then sets forth God's prophecy of Genesis of the coming
of the woman who would, through her offspring, conquer the serpent
with her heel; and the prophecy of Isaiah, under the image of a
miraculously blossoming rod of Jesse, that this Savior would be born
of a Virgin of the royal house of David.
The Savior and His Virgin Mother Seen Mystically as the Spouse
and Bride in the Garden of the Song of Songs
Continuing in the next two chapters - "The Flower Imagery of Mary"
and "This Little Garden of Paradise" - the author then sets forth
how the Church Fathers, saints, theologians and poets discerned that
the Savior and his Virgin Mother were to be perceived mystically as
the Groom and Bride of the mystical garden of the Song of Songs
(Canticles) and its flower imagery.
In the words of the Groom, Mary was the Sister, Spouse, Flower of
the Field, Lily of the Valleys, Garden Enclosed and Fountain
Sealed Up. As the Garden Enclosed, with all its flowers
representing her virtues, Mary seen as the garden of paradise
bearing Christ; and from the prophecy of Isaiah of the Virgin
Mother as blossoming Rod of Jesse, all flowers, were seen in their
various symbolisms as signatures of Mary's virtues and other
attributes.
The Church Imaged as a Mary Garden of Blossoming Souls.
Tracing this in quotes from the Church Fathers, and in its
incorporation liturgically in the Little Office of the Virgin and
the Books of Hours, the author concludes with a quote from Honorius
of Auton (c. 1156) that "if Mary is the singular Garden of God,
blossoming with virtues, bearing Jesus as the fruit of her womb",
then "the Church, too is a Marian garden to the extent that it
imitates her."
Of this, under the heading, "The Heart of the Mary Garden", the
author observes that this Marian interpretation of the mystical
devotional writings is the key to the understanding of the present
day Mary Garden and its symbolic flowers; and that since it is a
symbol of Mary, type of the Church and the Bride of Christ, it is
the model for each believer, as the bride who has "maternal and
cherishing concern" for the Christ Child and the Church. Thus, in
the words of the author:
22 "A Mary Garden is the quintessimal garden of the Virgin Mary.
The Medieval laity understood it as reflective of God's love.
It can be traced from the small secret gardens within a
garden of the Middle Ages, in which biblical scenes from Mary
were set within a walled garden. These gardens, rich in
flower symbolism reveal their charms behind closed doors. For
the artists and poets in those days, a rose was not a plant,
a plant not just a plant but a sacred story; a tree, a divine
truth; a flower, a virtue....
"The name "Mary Garden" has its recorded origins in Medieval
and Renaissance religious art in which prints and then
paintings of the Virgin and Child are depicted in an enclosed
garden surrounded by symbolic flowers. The connection
between the Virgin and the Mary Gardens proceeds via the
iconography of the "hortus conclusus" in its prefiguration
of the Incarnation. The Medieval image of Paradise is an
allegory of Mary's immaculate Conception and virginity....
"In this metaphor lies the essence of a Mary Garden. Its
basic features of the enclosed wall, the sealed fountain,
the tree, the raised beds are held together by pictures of
Mary and the Infant Christ seated together alone, surrounded
by symbolic flowers, and sometimes by rose arbor with a
chorus of angels and songbirds."
23 "This introduces us to one of its distinctive features - the
flowery mead. Herbs and flowers came to be sanctified as a
series of botanical specimens, and gained significance as
floral emblems. Each flower within the Mary Garden is seen
to mirror the Virgin's noble virtues and attributes. Its
over-all composition proclaims the allegorical symbols of the
mystery of the Incarnation. . . .
33 "In view of this, it is easy how Our Lady could become the
center of a tender devotion. Mary is seen as the ultimate
sealed garden evoking the plenitude of God. And in the
gardenıs abundance, the flowering of virtues in the individual
soul. As Mary came increasingly identified as the enclosed
garden from whom we got Christ, the tree of Life, the vision
of Paradise as a garden continued to remain a symbol of hope.
The garden lyrics described by poets and theologians advanced
much understanding and inspired the artists to give it a visual
representation. By the twelfth century, Medieval Europe
already obsessed by the garden imagery of the Song hailed its
supremacy as the image of paradise.
"Mary," said St. Jerome (c. 350-420) "is a garden of delights
into which are sown all kinds of flowers and spice plants of
the virtues." Each flower cultivated within a Mary Garden is
seen to mirror the Virgin's noble virtues and attributes. And
happily we have a list of trees and flowers with their
allegorical virtues compiled by Hugh of St. Victor. Biblical
images describing Mary have been added through the efforts of
Adam of St. Victor: "a flower without thorns, a fountain of
the gardens, a storehouse of fragrant unguents and pigments, a
sweetsmelling nard, a flower of the field, a lily of the
valleys, a celestial paradise."
"Both were among the Church Fathers who valued the enclosed
garden primarily for the effects it awakens, the images it
provides for personal devotion and communal reflections."
Thus, the Mary Garden is to be seen symbolically as so much more
than a garden where a focal statue of Our Lady is surrounded by her
flower symbols.
Author's Childhood Spiritual Inspiration by Flowers
"The Liturgy of Flowers in a Mary Garden", however, contains so much
more: a beautiful account of the author's spiritual inspiration by
flowers from the earliest childhood; and then her discovery of the
spiritual efficacy of their symbolism. Again in her own words:
15 "In a sense, the idea for this book began with my father,
one that I embraced years ago when as young girl,
deeply enchanted with growing things, I was told the
miracle of the seed in a jar. His plot rose in a dreamlike
sequence which coaxed me to stay, listen, beg for more
and literally look for the sprout. Though not physically
there at first, I knew it was folded within, asleep, waiting,
and in its essence, alive.
"The next morning when I woke up and the pale green wonder
emerged, it was truly a magical moment. But the real wonder
was that it had been there all along. Within the seed was
an entire earth, God's Eden - fresh as the day it was
created, Such discovery, however slight, captured my soul
and captured a vivid impression.
"Each of us is like a flower in a garden. We participate
in some way in the spirit of the Creator. Like the plant
of self in a bud, there is an identity in us that is
continually unfolding. I found mine in that seed and
through others in the garden of my soul. One day
blossoming; the next leaving, but always unfolding its
tender secrets.
Author's Expression of her Love of Flowers in her Garden Journal and
in Paintings
". . . I became an avid gardener, claiming any green thing
showing above the earth - whether it was a plain weed, a
timid spike, on an abandoned sprig. In my art there was
the glory of root, tendril, leaf and petal. It was all
gift and miracle, a festival of gratitude.
"My attempts to record my feelings in art and in journals
was exhilarating. These efforts forged my determination
to understand and paint the divine beauty....The distance
between dream and reality is precisely the distance
between the handicrafts and paintings. The time it took
to traverse this journey was necessary for the magic to
come into being. Hundreds of paintings later, I still feel
in awe of God's immense natural wonder."
21 "...Always there is a language that will draw us to the
sacred in ourselves. Once we recognize the voice we begin
to unfold like plants moving toward the light. For now
we are invited to follow ray of light and step into a
paradise garden, the Mary Garden, and linger there."
Discovery of the Mary Garden and Its Spiritual Nurturing
21 "In search of flowers I found a Mary Garden. Tender shoots
and buds bear silent witnesses to my restoration. I can
remember when I was young and nature like people was alive.
Fragrant thoughts lifted from the heart of wind; language
found it speakers in trees and flowers....Always there is a
language which will draw us to the sacred in ourselves.
Once we recognize the voice, we began to unfold like plants
moving toward the light. For now we are invited to follow
a ray of light and step into a paradise garden, the Mary
Garden, and linger there. . . .
25 "The garden as God's handiwork is a rich source of
inspiration, because in it we encounter God, the Creator
in creation. The basis for understanding the Mary Garden
is through discovering its devotional meanings. Symbolism
is the system that provides the meaning. As we resurrect
our ties with the natural world, we become more open to
receive the Divine which is constantly at work in the
rhythm of nature and in us. We will know when the
connection comes to fruition. We find the little green
shoot of our beginning, we operate in joy and like a
flower, we unfold beautifully."
29 "The vitality of symbolism flowered in the thirteenth
century. It was at this period described as an age of
faith that men saw the world of nature as a mirror of
the Divine."
87 "Early Christian gardeners so loved the Blessed Virgin
that they were moved to reflect on her life, grace and
mysteries, and saw her image in plants. Sentiments
were satisfied through their works of of horticultural
education and dissemination of flower symbolism.
Religion teachers used flowers as illustrations for
their texts, bringing them into the service of the
Church.
"The combined action of the Church and the people,
religion and popular culture clothed the Virgin in
countryside plants and christened them to to reflect
the service they offered her as suggested by the plant's
form, color and season of bloom. It may seem trivial
to use plants to explain a theological concept in
such magnitude. But if we can tun our eyes to Mary
and the Doctrine of Incarnation, it will help us to
understand the flowering of the symbolism.
"...We think of (Mary) as a visual image, an object
carved in wood, or sculpted in stone, but the emotions
she expresses transcend form, and their vitality is
powerful. When our affection to Mary is aroused through
particular plant or flower, we are linked through an
emotional bond.
128 "Wherever your interest leads you, the knowledge of
symbolism will make your pursuit and devotion to Mary
more meaningful. Christian symbolism with its
filament of beauty and sanctity still binds today.
Meanwhile, try to paint flowers, plant trees and
grow Mary Gardens. Acquaint yourself with the plants
- leaf by leaf, and blossom by blossom. Get down on
your knees, and dig! Compete with thorns and thistles.
...The sense of fulfillment from this labor brings
gifts of earthly delights. Some days, heaven will seem
to undress its soul to a quietness only you can
fathom. Other times,it will feel like you are in
purgatory. I assure you however, that anyone who has
a Mary Garden can take pride in it as his Eden."
The Flowers of Cathedral Carvings and Renaissance Religious
Paintings
18 "Certainly it was not a matter of chance that the concept
for this book flowered at Notre Dame in Paris, one of many
cathedrals that I visited that was built under the patronage
of the Virgin Mary. Inside this cathedral, the sylvan imagery
in stones, on capitals, arches, roof bosses of the naves
blossomed for me....Each exploration of Medieval cathedrals
...added to the richness of learning.
"The standard accoutrement of botanical symbolism in its
literary and artistic repertoire continues to gleam with
the glory which prophets, Church Fathers and the common
people have celebrated in their prayers, poetry and songs!
Thw blooming, for me is in itself a proclamation of
Biblical literature!
"Certainly much remains to be collected. Compiling this
treasury has made me realize that I am only skimming the
surface. Doing the illustrations, however, has been a
delightful contemplation...."
Flower Symbolism in the Writings of the Church Fathers, Saints,
Theologians and Poets
As distinct from the simple, direct, clear symbolism of the Flowers
of Our Lady of the Medieval countrysides, the author sets forth the
poetic and mystical elaboration of flower symbolism encountered in
her research of the Church Fathers - to which she devotes the next
two chapters: "Mary Flower Sermons: Medieval and Renaissance
Botanical Symbolism" and "Rosarium: Maryıs Rose-ary Garden", saying:
55 "This chapter seeks to enumerate that which the Church
Fathers and Medieval and Renaissance laity said about
their beauty and representation of Mary's virtues. The
familiar flowers each having its character formed by
the meadows and fields, can teach us a sacred story,
a divine truth and enhance some aspects of our faith
and virtue. The Christian orientation attached to the
flowers may help us explore some plants to constitute
our present day Mary Garden plantings."
However, as the symbolism of these flowers is set forth in poetry
and prose, rather in simple, direct, clear forms and colors
indicted by religious names, most do not quicken reflection,
meditation and contemplation in the garden, unless one has an
attuned memory, or a book in hand. Thus, their inspiration comes
primarily when reading of their symbolism while bringing their
forms, color and growth to mind from memory.
Flowers of Our Lady Symbols of the Medieval Countrysides
In addition to setting forth a detailed documentation of the
distilled garden and flower symbolism of the Bible and Church
Fathers, in the envisaged symbolism of the enclosed Mary Garden of
Flowers of Our Lady - as set forth in late Medieval and Renaissance
architecture, art and poetry, and reflected in the liturgy - the
author then examines the simple, direct, clear Marian flower
symbolism derived from these in the oral traditions of the Medieval
countrysides, as circulated through itinerate preachers, mendicant
friars, wandering minstrels, roving players, pilgrims, missionaries
and other travelers; and later recorded by botanists and
folklorists.
Of these she says,
23 "There are hundreds of Mary flowers, surveyed from
different parts of the world and which can be reviewed
in many horticultural, botanical and garden history
books.... Therefore, my way of coming to terms with the
vast mass of Mary-flower symbols is to categorize them
in different themes."
Accordingly, the author thus lists these Flowers of Our Lady - with
some overlapping - as: 11 flowers symbolizing Mary's emblems -
illustrated by her full page paintings of them; 24 symbolizing
Mary's virtues, with quqrter-page paintings; 20 grown in monastic
rose gardens, or "Rosariums", including 7 Advent and Nativity Flora,
4 Mater Dolorosa Flora, and 4 Mater Gloriosa Flora; and 43 named as
symbols of Mary's life and mysteries - from the 100's so-named in
the popular oral traditions of the late Medieval European and Latin
American countrysides; and, finally, 63 Flowers of Our Lady
recommended for cultivation today in Mary Gardens.
Through these listings the author brings together flowers of Mary's
emblem and virtues from the writings of saints, theologians and
scholars; Rosarium flowers from monastery gardens in the tradition
of St. Benedict; and, in the last two groups, from flowers
symbolically named for Mary in the countrysides.
Flowers For Present Day Mary Gardens
The list of 63 of Flowers of Our Lady recommended by the author, in
the 6th Chapter, "The Making of a Mary Garden", for cultivation
today in Mary Gardens consists of 19 herbs for inner beds; 4 herbs
for outer beds; 7 herbs as ground covers; 15 low-growing perennials;
and 18 other annuals, perennials and biennials. As these are listed
only by their common and botanical names, the symbolic Marian names
of some are to be obtained from the above-mentioned list of 43 of
Mary's life and mysteries; but those of others must be obtained
from religious or gardening books; or from the Internet, such as at:
www.mgardens.org/OLG-100H-LIST.html - !00 Herbs for Mary Gardens
www.mgardens.org/OLG-200-LIST.html - 200 Flowers for Mary Gardens
These are herbs and countryside Flowers of Our Lady preferred for
present day Mary Garden cultivation because they immediately quicken
reflection, meditation and contemplation through the directly
discernable symbolism of their forms and colors - as indicated by
their old names.
However, the author has performed an invaluable service for Mary
Gardeners by setting forth the broader background flower symbolism
of the Church, from which the symbolism of the countryside Mary
Garden Flowers of Our Lady is derived. Through reading of the
broader flower symbolism of our Lady's emblems, virtues and
Rosariums, the Mary Gardener is more fully disposed to discern the
symbolism of the garden flowers.
Rosary Mary Gardens
The Marian Flower symbolism in the book's fifth chapter, "The
Rosarium" - like that of the fourth chapter, "Mary Flower Sermons",
- consists of summaries from the writings and poems of the Church
Fathers, saints, theologians and poets, including the the joyful
symbolism of 7 Advent and Nativity Flowers; the sorrowful symbolism
of 4 Mater Dolorosa Flowers, and the glorious symbolism of 4 Mater
Gloriosa Flowers.
In an introductory section of this chapter, "The Rose Chaplet",
the author mentions the 15 Mysteries of the traditional Rosary of
Our Lady - 5 joyful, 5 sorrowful and 5 glorious - meditated on in
the praying the Paters and Aves, saying, "It is to this beloved
tradition that we turn to Mary to help us meditate the way to
Jesus through the Joyful, Sorrowful and Glorious mysteries. By
recalling the mysteries, the devotee also practices the virtues."
Later in this introductory section she cites that "For St. Therese
of Liseaux, popularly known as "The little flower of Jesus", the
meditation on flowers was seen as an individual way of receiving
grace. May the same grace overflow us as we explore the flowers in
Mary's Rosarium."
In 55 years of assisting parents, schools, parishes, convents and
shrines in starting Mary Gardens, we of Mary's Gardens have found
that viewing and organizing the Flowers of Our Lady conceptually
within the context of the mysteries of the Rosary has been a most
effective means of fostering prayer, and spiritual formation and
growth - especially with children.
The Rosary provides a unifying context for the flower symbols, and
the flower symbols elucidate the Mysteries. Pope John Paul II wrote
in 'Rosarium Virginis Mariae' that to use a suitable symbol to
portray each mystery "is as it were to open up a scenario on which
to focus our attention... In the Church's traditional
spirituality...the devotions appealing to the senses...make use of
visual and imginative elements judged to be of great help in
concentrating the mind on the particular mystery."
For their Rosary Mary Gardens, a number of parishes have installed
stepping stone Rosary walks of square stones for the Our Fathers and
round stones for the Hail Mary's - of a length for 5 mysteries in
larger gardens, and 1 mystery in smaller.
Flower symbols of the mysteries have been grouped in various ways,
depending on the space available and the garden layout. As it is
not horticulturally feasible to plant them in linear sweeps for the
20 mysteries (now including the 5 Luminous Mysteries added by Pope
John Paul II), one arrangement has been to group flowers according
to the colors symbolizing each mystery group - white for the Joyful,
red for the Sorrowful, yellow/gold for the Glorious, and purple (of
the royalty of Christ the King and Mary the Queen, of God's Kingdom
being established on earth) for the Luminous.
Those seeking larger lists of flowers symbolizing the Sorrowful,
Glorious, Luminous and Unitive Mysteries are referred to on the
Internet:
www.mgardens.org/FOLAMGFS.html - Background Reference/Index for
Teachers
Concluding Chapter
This brings us to the final, prose-poetry chapter 9 of the book,
"Tis Fragrant Reverie of Mary", in which the author concludes:
"Prayer is part of that continuing search of self that will
again and again unearth your wishes and your dreams,
and help you make them real.
The further you go, the more paths will open up themselves
to you.
"Certainly, the happiest moments are those times
when I am sitting still,
Listening and communicating, getting in touch with who I am,
And what I can be.
Once there, I am a prayer.
There is nothing more:
there could be nothing more when you enter the fullness of God.
Only then will you realize that you are alone
and it is all right."
Surely, according to, "The further you go, the more paths will open
themselves up to you", the author will discover, or has already
discovered, that on entering further into the fullness of the union
with God through meditating on the Glorious Mysteries, she is no
longer alone, but comes forth with Mary, and in emulation of her -
that by Mary's spouse, the Holy Spirit, she "will be created" that
she "will renew the face of the earth" - as we pray in the "Come
Holy Spirit".
The marigold received its name "Mary's Gold" from St. Hildegard of
Bingen in the 12th Century following a mystical heavenly vision, and
it is through the mystical ascent of the Glorious Mysteries that
Mary, as she comes forth from the Heaven of the Trinity clothed with
the sun, "shows us the blessed fruit of her womb Jesus" - for which
we pray in the "Hail Holy Queen".
In the focus of her book on the emblems, virtues and Rosarium of the
Immaculate Conception, Annunciation and Nativity, the author
magnificently exemplifies the opening petition of the Come Holy
Spirit: "Enter the hearts of the faithful, and kindle in them the
fire of your love" - the love of Mary, his spouse. And surely with
her outstanding book and further paintings, she is already sublimely
contributing, per the Luminous Mysteries, to the renewal of the face
of the earth.
It is hoped she will in time write a companion book reseaching the
flower symbols of purgative, glorious and luminous mysteries, and
their antecedents with the Church Fathers, saints, theologians and
poets, as thoroughly as she has with the affective symbols.
o O o
Further information about the book, photos of some of its Madonna
icons and flower paintings, and information about the author can be
obtained on the Internet, from:
http://www.atlasbooks.com/marktplc/rr01248.htm#table
APPENDIX
The Flowers of Our Lady and Mary Gardens in the author's native
Philippines
From reading a 1953 Catholic Digest article about the offering (at
cost) of introductory "Our Lady's Garden" mail order seed and
literature kits by not-for-profit Mary's Gardens of Philadelphia,
Bishop Gerard Mongeau, O.M.I., Prelate of Cotabato and Sulu,
Philippines, ordered a quantity of these kits for a 1954 Marian
Year Mary Garden contest in the boys and girls departments of 15
diocesan high schools - for the Bishop Mongeau Trophy.
In subequent correspondence we were informed by his Chancellor that,
"In the national Catholic paper, "The Sentinel", an article was
run on the "contest" and several priests, nuns and laymen have
written in asking where they can obtain seeds in the
Philippines...but I just gave them your address...because we could
distribute a million packages of seeds and still need more, if we
gave them out free to everyone. So we are concentrating on our
schools where we know the seeds will be planted and cared for, and
the spirit of the Mary Garden will be talked up by the priests,
brothers, sisters and lay teachers."
Then on April 2, 1954 he wrote:
"I am happy to report that our Mary's Gardens competition in the
Notre Dame schools has been successful. As you know the school year
ends in March and opens in June. Not like the June closing and the
September reopening in the states. So we ended the competition on
March 15th, and presented the prizes at graduation time in the
schools that won.
"The Notre Dame of Morala won first prize - a loving cup suitably
engraved with the words: "Bishop Mongeau Trophy for the Best Mary's
Garden - 1954". The second prize was won by Notre Dame of Marbel,
anda smaller cup was given to them. The third best garden was at
Notre Dame of Cotabato, and the fourth, Notre Dame of Jolo. I am
enclosing pictures of the gardens. Not too good as photos go, but
they give an idea of the work accomplished. We had thirty different
Notre Dame departments in the competition, including elementary,
highschool and college.
"I can not give you a detailed account of the success of the seeds,
although I enclose a very fine report from Brother Herbert, winner
of second prize. The first prize winner had the garden in the form
of a huge rosary, ten small bushes for each Hail Mary, and a large
bush for the Our Fathers - ending in a great big cross. The cross
was filled with water and water lilies. Then at the background they
had erected a nice grotto. you can only get an idea of the garden
from the picture. The third prize winner was a humdinger of a
garden with a little gate marked "Mary's Garden", and the
professionally built grotto - a gift of an engineer living in the
neighborhood. Joly garden was not so good as to the flowers, but
the novel grotto made af coral put it in fourth place.
As a consequence of the "Sentinel" article, we received a request
for seeds from Fr. Depperman, S.J., Director of the Manilla
Astronomical Observatory, with whom we entered into extensive
correspondence about seed germination in the tropics.
In December of 1954 he wrote, "I find that in other convents of the
city, Mary's Gardens are being started." Further Mary Garden
information was conveyed to the Philippines from 1956 to 1974
through the Ravenhill Academy of the Assumption in Philadelphia,
managed and staffed by nuns of the Assumption order from the
Philippines, and which had a delightful school Mary Garden.
This account of the cultivation of Mary Gardens in the Philippines
is given here in some detail, because it is an instructive example
of the restoration of the Flowers of Our Lady and Mary Gardens in
national religious and gardening cultures - to which it is hoped
Andrea Oliva Florendo's "The Liturgy of Flowers in a Mary Garden"
will contribute, especially in countries where the planting of
Mary Gardens of Flowers of Our Lady has in recent history not been
part of the culture.
o O o