[T]he one who is from nobler lineage should be the one to speak least about her father. All the Sisters must be equal.
O college of Christ, where St. Peter, being a fisherman, had more authority—and the Lord wanted it so—than St. Bartholomew, who was a king’s son! His Majesty knew what would take place in the world where people dispute over lineage. These disputes in reality amount to nothing much more than a debate about whether the mud is better for making bricks or adobes. God help me, what a great trial we bear! God deliver us, Sisters, from similar disputes, even though they be in jest; I hope in His Majesty that He will do so. When this concern about lineage is noticed in a Sister, apply a remedy at once and let her fear lest she be Judas among the apostles. Give her penances until she understands that she doesn’t deserve to be thought of as made from even a very wretched kind of mud.
You have a good Father, for He gives you the good Jesus. Let no one in this house speak of any other father but Him. And strive, my daughters, so to behave that you will deserve to find your delight in Him; and cast yourselves into His arms. You already know that He will not reject you if you are good daughters. Who, then, would fail to strive so as not to lose such a Father?
Saint Teresa of Avila
The Way of Perfection, ch. 27, no. 6
Teresa of Avila, St. 1985, The Collected Works of St. Teresa of Avila, translated from the Spanish by Kavanaugh, K; Rodriguez, O, ICS Publications, Washington DC.
Featured image: The Last Supper is an oil on panel artwork that was executed between 1555–1562 for the base of the main altarpiece of the Church of San Esteban in Valencia, Spain by Spanish artist Juan de Juanes (Vicente Juan Masip, 1503–1579). We provide a detailed image of the painting. The gallery label from the Prado Museum in Seville provides the following information: Inspired by Leonardo, both in the definition of the space and in the eloquent expressiveness of the apostles, it also shows Juanes’s close relationship with Raphael. In keeping with traditional iconography in Spain, he focussed the scene on Jesus, serene and triumphant at the moment of consecrating the Sacred Host. The chalice which appears in the centre of the table reproduces the one kept in Valencia Cathedral, considered to be the one used by Christ at the Last Supper. The jug and basin in the foreground allude to the foot washing that took place before the supper. All of the Apostles bear halos with their names except Judas Iscariot, whose name appears on the bench where he sits. His beard and hair are red and, in keeping with tradition, he wears yellow -the color that symbolizes envy- and hides a bag of money from his companions. Photo credit: ©Museo Nacional del Prado, used by permission.