What had been agreed was that she would construct a triptych of scenes. There would be a main panel  of St Bride and two panels that would show some of the events of her life. She was kind enough to send a sketch of her proposal which looked very promising and whetted the appetite for what was to come. Infact, when sister finally arrived with the finished work, it far surpassed our expectation. 

As you look at the icon for the fist time it is closed up, like a box of surprises. Sister has painted on the outside doors, a huge living flame. This flame represents the fire that was lit and kept burning for eight centuries at the tomb of Bride at Kildare. For the parish that has commissioned the icon it is as if we have helped to re-ignite that flame once again.

The doors bearing the flame swing open to reveal the icon. The onlooker is immediately struck by the beauty of the work. The central panel is of Bride herself, dressed in authentic habit of the day, her braided flaxen hair escaping from underneath her veil. She carries in her right hand the reeded cross for which she has become so famous, and in her left hand is a very strong and powerful looking staff of her office as Abbess of Kildare.

Her face is striking: serene, gentle, welcoming – all, as Bride herself was reputed to be in the many legends of her life. The face looks out at the person looking in and invites them to believe that this saint cares for them: if you are broken or lonely, if you are happy or content, if you are sad and distressed; if you are worried or perplexed - she cares for you. One can imagine her in a jaunty way ushering you into the house at Kildare and getting you a cup of milk from that prolific milking-cow which was the mainstay of every good Celtic saint. Back  Next