Bartholomew the Apostle

"Bartholomew" redirects here. For other uses, see Bartholomew (disambiguation).

Bartholomew was one of the twelve apostles of Jesus according to the New Testament. Most scholars today identify Bartholomew as Nathanael, who appears in the Gospel of John (1:45–51; cf. 21:2).

Saint Bartholomew the Apostle
St Bartholomew by Rubens, c. 1611
Apostle and Martyr
Born	1st century AD Cana, Galilee, Roman Empire
Died	c. 69/71 AD Albanopolis, Kingdom of Armenia
Venerated in	All Christian denominations which venerate saints
Major shrine	Saint Bartholomew Monastery in Turkey Saint Bartholomew Church in Baku relics at Basilica of San Bartolomeo in Benevento, Italy Holy Myrrhbearers Cathedral in Baku, Azerbaijan Saint Bartholomew-on-the-Tiber Church, Rome Canterbury Cathedral the cathedrals in Frankfurt and Plzeň San Bartolomeo Cathedral in Lipari
Feast	24 August (Western Christianity) 11 June (with St. Barnabas) (Eastern Christianity) 25 August (translation of relics, with Saint Titus) (Eastern Christianity) 29 August (Syriac Orthodox)
Attributes	Knife and his flayed skin Red Martyrdom
Patronage	Armenia Azerbaijan bookbinders butchers Florentine cheese and salt merchants Gambatesa, Bojano, Italy Catbalogan, Samar Magalang, Pampanga Malabon, Metro Manila Nagcarlan, Laguna San Leonardo, Nueva Ecija, Philippines Għargħur, Malta leather workers neurological diseases skin diseases dermatology plasterers shoemakers curriers tanners trappers twitching whiteners Los Cerricos, Spain Barva, Costa Rica

Bartholomew the Apostle, detail of the mosaic in the Basilica of San Vitale, Ravenna, 6th century

New Testament references

The name Bartholomew (Greek: Βαρθολομαῖος, transliterated "Bartholomaios") comes from the Imperial Aramaic: בר-תולמי bar-Tolmay "son of Talmai" or "son of the furrows". Bartholomew is listed in the New Testament among the Twelve Apostles of Jesus in the three Synoptic Gospels: Matthew, Mark, and Luke, and in Acts of the Apostles.

Tradition

Eusebius of Caesarea's Ecclesiastical History (5:10) states that after the Ascension, Bartholomew went on a missionary tour to India, where he left behind a copy of the Gospel of Matthew. Tradition narrates that he served as a missionary in Mesopotamia and Parthia, as well as Lycaonia and Ethiopia in other accounts. Popular traditions say that Bartholomew preached the Gospel in India and then went to Greater Armenia.

Mission to India

Two ancient testimonies exist about the mission of Saint Bartholomew in India. These are by Eusebius of Caesarea (early 4th century) and by Saint Jerome (late 4th century). Both of these refer to this tradition while speaking of the reported visit of Saint Pantaenus to India in the 2nd century. The studies of Fr A.C. Perumalil SJ and Moraes hold that the Bombay region on the Konkan coast, a region which may also have been known as the ancient city Kalyan, was the field of Saint Bartholomew's missionary activities. Previously the consensus among scholars was at least skeptical about an apostolate of Saint Bartholomew in India. Stallings (1703), Neander (1853), Hunter (1886), Rae (1892), Zaleski (1915) supported it, while scholars such as Sollerius (1669), Carpentier (1822), Harnack (1903), Medlycott (1905), Mingana (1926), Thurston (1933), Attwater (1935), etc. do not. The main argument is that the India that Eusebius and Jerome refer to should be identified as Ethiopia or Arabia Felix.

In Armenia

Saint Bartholomew Monastery at the site of the Apostle's martyrdom in historical Armenia, now ruinous

Along with his fellow apostle Jude "Thaddeus", Bartholomew is reputed to have brought Christianity to Armenia in the 1st century. Thus, both saints are considered the patron saints of the Armenian Apostolic Church. According to these traditions, Bartholomew is the second Catholicos-Patriarch of the Armenian Apostolic Church.

Christian tradition offers three accounts of Bartholomew's death: "One speaks of his being kidnapped, beaten unconscious, and cast into the sea to drown."

In the Hellenic tradition, Bartholomew was executed in Albanopolis in Armenia, where he was martyred for having converted Polymius, the local king, to Christianity. Enraged by the monarch's conversion, and fearing a Roman backlash, King Polymius's brother, Prince Astyages, ordered Bartholomew's torture and execution. However, this version of the story appears ahistorical, as there are no records of any Armenian king of the Arsacid dynasty of Armenia with the name "Polymius". Other accounts of his martyrdom name the king as either Agrippa (identified with Tigranes VI), or Sanatruk, king of Armenia.

The 13th-century Saint Bartholomew Monastery was a prominent Armenian monastery constructed at the presumed site of Bartholomew's martyrdom in Vaspurakan, Greater Armenia (now in southeastern Turkey).

In present-day Azerbaijan

Saint Bartholomew Church (Baku) before the destruction

Azerbaijani Christians hold the official position that Apostle Bartholomew was the first person to bring Christianity to the lands of modern Azerbaijan and believe that he preached there. Saint Bartholomew Church (Baku) was built in 1892 with donations from the local Christian population on the site where the Apostle Bartholomew was believed to have been martyred. Azerbaijani Christians believe that in the area near the Maiden Tower, the apostle Bartholomew was crucified and killed by pagans around 71 AD. The church continued to operate until 1936, when it was demolished as a part of the Soviet campaign against religion.

Veneration

Main article: Feast of Saint Bartholomew

The Armenian Apostolic Church honours Saint Bartholomew and Saint Thaddeus as its patron saints.

The Eastern Orthodox Church venerates Bartholomew on June 11. Bartholomew is also venerated on August 25 in commemoration of the transfer of Bartholomew's relics. He is also venerated as one of the twelve apostles on June 30.

In the Synaxarium of the Coptic Orthodox Church of Alexandria, Bartholomew's martyrdom is commemorated on the first day of the Coptic calendar (i.e., the first day of the month of Thout), which currently falls on 11 September (corresponding to 29 August in the Julian calendar).

Hence, the Russian Orthodox Eparchy of Baku and Azerbaijan and Catholic Prefecture of Azerbaijan honour Saint Bartholomew as the Patron Saint of Azerbaijan and regards him as the bringer of Christianity to the region of Caucasian Albania, modern-day Azerbaijan. The feast day of the Apostle is solemnly celebrated there on 24 August by the Christian laity and the Church officials alike.

In the current Roman General Calendar Saint Bartholomew's feast occurs on 24 August.

Bartholomew the Apostle is remembered in the Church of England with a Festival on 24 August.

Relics

Altar of San Bartolomeo Basilica in Benevento, containing the relics of Bartholomew

The 6th-century writer Theodorus Lector averred that in about 507, the Byzantine emperor Anastasius I Dicorus gave the body of Bartholomew to the city of Daras, in Mesopotamia, which he had recently refounded. The existence of relics at Lipari, a small island off the coast of Sicily, in the part of Italy controlled from Constantinople, was explained by Gregory of Tours by his body having miraculously washed up there. A large piece of his skin and many bones that were kept in the Cathedral of St. Bartholomew in Lipari, were translated to Benevento in 838, where they are still kept in the Basilica San Bartolomeo. A portion of the relics was given in 983 by Otto II, Holy Roman Emperor, to Rome, where it is conserved at San Bartolomeo all'Isola, which was founded on the site of the temple of Asclepius, in pagan times an important Roman medical centre. This association with medicine caused Bartholomew's name to become associated in course of time with hospitals. A part of Bartholomew's alleged skull was transferred to the Frankfurt Cathedral, while an arm was venerated in Canterbury Cathedral. In 2003, Patriarch Bartholomew I of Constantinople brought some of the remains of St. Bartholomew to Baku as a gift to Azerbaijani Christians, and these remains are now kept in the Holy Myrrhbearers Cathedral.

Saint Bartholomew has been credited with several miracles.

Art and literature

In artistic depictions, Bartholomew is most commonly depicted holding his flayed skin and the knife with which he was skinned. Of this a well known example is featured in Michelangelo's Last Judgement.

Not rarely, Bartholomew is shown draping his own skin around his body. Moreover, representations of Bartholomew with a chained demon are common in Spanish painting.

St Bartholomew Manuscript Leaf with the Martyrdom of Saint Bartholomew, from a 'Laudario', by Pacino di Bonaguida c. 1340 Florence

The Martyrdom of Saint Bartholomew by Jusepe de Ribera (1634)

St. Bartholomew is the most prominent flayed Jewish martyr; During the 16th century, images of the flaying of Bartholomew were popular and this detail came to become a virtual constant of iconography. An echo of concentration on these details is found in medieval heraldry regarding Bartholomew, which depicts "flaying knives with silver blades and gold handles, on a red field."

Saint Bartholomew is often depicted in lavish medieval manuscripts. Bearing in mind that manuscripts are in fact made from flayed and manipulated skin, they hold a strong visual and cognitive association with the saint during the medieval period.

Florentine artist Pacino di Bonaguida, depicts his martyrdom in a complex and striking composition in his Laudario of Sant'Agnese, a book of Italian Hymns produced for the Compagnia di Sant'Agnese c. 1340. In the five-scene, narrative-based image, three torturers flay Bartholomew's legs and arms as he is immobilised and chained to a gate. On the right, the saint wears his own skin tied around his neck while he kneels in prayer before a rock, his severed head lying on the ground.

A further depiction is that of the Flaying of St. Bartholomew in the Luttrell Psalter c. 1325–1340. There, Bartholomew is depicted lying on a surgical table, surrounded by tormentors while he is flayed with golden knives.

Reliquary shutters with the Martyrdoms of St. Francis, St. Claire, St. Bartholomew, and St. Catherine of Alexandria by Guido da Siena

Due to the nature of his martyrdom, Bartholomew is the patron saint of tanners, plasterers, tailors, leatherworkers, bookbinders, farmers, housepainters, butchers, and glove makers. In works of art the saint has been depicted being skinned by tanners, as in Guido da Siena's reliquary shutters with the Martyrdoms of St. Francis, St. Claire, St. Bartholomew, and St. Catherine of Alexandria. Popular in Florence and other areas in Tuscany, the saint also came to be associated with salt, oil, and cheese merchants.

The Martyrdom of Saint Bartholomew (1634) by Jusepe de Ribera depicts Bartholomew's final moments before being flayed alive. The viewer is meant to empathize with Bartholomew, whose body seemingly bursts through the surface of the canvas, and whose outstretched arms embrace a mystical light that illuminates his flesh. His piercing eyes, open mouth, and petitioning left hand bespeak an intense communion with the divine; yet this same hand draws our attention to the instruments of his torture, symbolically positioned in the shape of a cross. Transfixed by Bartholomew's active faith, the executioner seems to have stopped short in his actions, and his furrowed brow and partially illuminated face suggest a moment of doubt, with the possibility of conversion. The representation of Bartholomew's demise in the National Gallery painting differs significantly from all other depictions by Ribera. By limiting the number of participants to the main protagonists of the story (the saint, his executioner, one of the priests who condemned him, and one of the soldiers who captured him), and presenting them half-length and filling the picture space, the artist rejected an active, movemented composition for one of intense psychological drama. The cusping along all four edges shows that the painting has not been cut down: Ribera intended the composition to be just such a tight, restricted presentation, with the figures cut off and pressed together.

Although Bartholomew's death is commonly depicted in artworks of a religious nature, his story has also been used to represent anatomical depictions of the human body devoid of flesh. An example of this can be seen in Marco d'Agrate's St Bartholomew Flayed (1562) where Bartholomew is depicted wrapped in his own skin with every muscle, vein and tendon clearly visible, acting as a clear description of the muscles and structure of the human body.

This idea has influenced some contemporary artists to create an artwork depicting an anatomical study of a human body is found amongst with Gunther Von Hagens's The Skin Man (2002) and Damien Hirst's Exquisite Pain (2006). Within Gunther Von Hagens's body of work called Body Worlds a figure reminiscent of Bartholomew holds up his skin. This figure is depicted in actual human tissues (made possible by Hagens's plastination process) to educate the public about the inner workings of the human body and to show the effects of healthy and unhealthy lifestyles. In Exquisite Pain 2006, Damien Hirst depicts St Bartholomew with a high level of anatomical detail with his flayed skin draped over his right arm, a scalpel in one hand and a pair of scissors in the other. The inclusion of scissors was inspired by Tim Burton's film Edward Scissorhands (1990).

Bartholomew plays a part in Francis Bacon's Utopian tale New Atlantis, about a mythical isolated land, Bensalem, populated by a people dedicated to reason and natural philosophy. Some twenty years after the ascension of Christ the people of Bensalem find an ark floating off their shore. The ark contains a letter as well as the books of the Old and New Testaments. The letter is from Bartholomew the Apostle and declares that an angel told him to set the ark and its contents afloat. Thus the scientists of Bensalem receive the revelation of the Word of God.

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  Michelangelo's Sistine Chapel depiction.
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  Statue of Bartholomew at the Archbasilica of St. John Lateran by Pierre Le Gros the Younger.
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  Statue of Saint Bartholomew by August Wredow at the roof of the Helsinki Cathedral
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  St Bartholomew Flayed, by Marco d'Agrate, 1562 (Duomo di Milano)
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  The Martyrdom of St. Bartolomew or the Double Martydom Aris Kalaizis, 2015
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  Shield showing three flaying knives, symbol of St. Bartholomew, at the Church of the Good Shepherd (Rosemont, Pennsylvania)
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  St. Bartholomew pictured in the coat of arms of Pertteli

Culture

The festival in August has been a traditional occasion for markets and fairs, such as the Bartholomew Fair which was held in Smithfield, London, from the Middle Ages, and which served as the scene for Ben Jonson's 1614 homonymous comedy.

St Bartholomew's Street Fair is held in Crewkerne, Somerset, annually at the start of September. The fair dates back to Saxon times and the major traders' market was recorded in the Domesday Book. St Bartholomew's Street Fair, Crewkerne is reputed to have been granted its charter in the time of Henry III (1207–1272). The earliest surviving court record was made in 1280, which can be found in the British Library.

In Islam

The Qur'anic account of the disciples of Jesus does not include their names, numbers, or any detailed accounts of their lives. Muslim exegesis, however, more or less agrees with the New Testament list and holds that the disciples included Peter, Philip, Thomas, Bartholomew, Matthew, Andrew, James, Jude, James the Less, John and Simon the Zealot.

Quoting Ibn Is-haq, Qurtubi gives the following details concerning the mission of the disciples of Jesus Christ: He sent Peter and Paul to the Roman lands; Andrew and Matthew to Cannibals; Thomas to Babylon; Philips to Africa; John to Damascus the town of the seven-sleeper; Jacob to Jerusalem; Ibn Talma (i.e., Bartholomew) to the Arab world; Simon to the Berbers; Yehuda and Bard to Alexandria. Allah aided them with points of right argument and they prevailed.

See also

• Gospel of Bartholomew
• Questions of Bartholomew
• Acts of Andrew and Bartholomew
• Feast of Saint Bartholomew
• St. Bartholomew's Day massacre
• St Bartholomew's Hospital
• Bertil
• Saint Bartholomew the Apostle, patron saint archive

References

Sources

• Attwater, Donald; John, Catherine Rachel (1995). The Penguin Dictionary of Saints. Penguin. ISBN 978-0-14-051312-7.
• Bacon, Francis (1942). New Atlantis. New York: W. J. Black.
• Benedict XVI (4 October 2006). "General Audience". vatican.va. Retrieved 24 August 2020.
• Bissell, Tom (1 March 2016). "A Most Violent Martyrdom". Lapham's Quarterly. Retrieved 24 August 2020.
• Butler, Alban; Burns, Paul (1998). Butler's Lives of the Saints: August. A&C Black. ISBN 978-0-86012-257-9.
• Cavendish, Richard (9 September 2005). "London's Last Bartholomew Fair". History Today. Vol. 55, no. 9.
• Crane, Thomas Frederick (2014). Tales from Italy: When Christianity Met Italy. M&J. ISBN 979-11-951749-4-2.
• Damo-Santiago, Corazon (28 August 2014). "Saint Bartholomew the Apostle skinned alive for spreading his faith". BusinessMirror. Retrieved 24 August 2020.
• Decker, John R.; Kirkland-Ives, Mitzi (2017). "Death, Torture and the Broken Body in European Art, 1300–1650 ". Taylor & Francis. ISBN 978-1-351-57009-1.
• DeGrazia, Diane; Garberson, Eric (1996). Italian Paintings of the Seventeenth and Eighteenth Centuries. Edgar Peters Bowron, Peter Lukehart, Mitchell Merling. National Gallery of Art. ISBN 978-0-89468-241-4.
• de Voragine, Jacobus; Duffy, Eamon (2012). The Golden Legend: Readings on the Saints. Translated by William Granger Ryan. Princeton University Press. ISBN 978-1-4008-4205-6.
• Dorkin, Molly (2003), "Sotheby's", Oxford Art Online, Oxford University Press, doi:10.1093/gao/9781884446054.article.t079852
• Fabricius, Johann Albert (1703). Codex Apocryphus Novi Testamenti: collectus, castigatus testimoniisque, censuris & animadversionibus illustratus. sumptib. B. Schiller.
• Fenlon, John Francis (1907). "St. Bartholomew" . In Herbermann, Charles (ed.). Catholic Encyclopedia. Vol. 2. New York: Robert Appleton Company.
• Giorgi, Rosa (2003). Saints in Art. Getty Publications. ISBN 978-0-89236-717-7. OCLC 50982363.
• Green, Joel B.; McKnight, Scot; Marshall, I. Howard (1992). Dictionary of Jesus and the Gospels: A Compendium of Contemporary Biblical Scholarship. InterVarsity Press. ISBN 978-0-8308-1777-1.
• Kay, S. (2006). "Original Skin: Flaying, Reading, and Thinking in the Legend of Saint Bartholomew and Other Works". Journal of Medieval and Early Modern Studies. 36 (1): 35–74. doi:10.1215/10829636-36-1-35. ISSN 1082-9636.
• Lillich, Meredith Parsons (2011). The Gothic Stained Glass of Reims Cathedral. Penn State Press. ISBN 978-0-271-03777-6.
• Meier, John P. (1991). A Marginal Jew: Companions and competitors. Doubleday. ISBN 978-0-385-46993-7.
• Mittman, Asa Simon; Sciacca, Christine (2017). Tracy, Larissa (ed.). Flaying in the Pre-modern World: Practice and Representation. Boydell & Brewer. ISBN 978-1-84384-452-5.
• Noegel, Scott B.; Wheeler, Brannon M. (2002). Historical Dictionary of Prophets in Islam and Judaism. Lanham, MD: Scarecrow. ISBN 978-0-8108-4305-9.
• Post, W. Ellwood (2018). Saints, Signs, and Symbols. Papamoa Press. ISBN 978-1-78720-972-5.
• Smith, Dwight Moody (1999). Abingdon New Testament Commentaries. Vol. 4: John. Abingdon Press. ISBN 978-0-687-05812-9.
• Smith, William; Cheetham, Samuel (1875). A Dictionary of Christian Antiquities: A-Juv. J. Murray.
• Spilman, Frances (2017). The Twelve: Lives and Legends of The Apostles. Lulu.com. ISBN 978-1-365-64043-8.
• Teunis, D. A. (2003). Satan's Secret: Exposing the Master of Deception and the Father of Lies. AuthorHouse. ISBN 978-1-4107-3580-5.
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Further reading

• Hanks, Patrick; Hodges, Flavia; Hardcastle, Kate (2016). A Dictionary of First Names. Oxford University Press. ISBN 978-0-19-880051-4.
• Perumalil, A. C. (1971). The Apostles in India. Jaipur: Xavier Teachers' Training Institute.

External links

• The Martyrdom of the Holy and Glorious Apostle Bartholomew, attributed to Pseudo-Abdias, one of the minor Church Fathers
• St. Bartholomew's Connections in India
• St. Bartholomew at the Christian Iconography web site.'
• "The Life of St. Bartholomew the Apostle" in the Caxton translation of the Golden Legend