Remembering Lot’s Wife: The Structure of Testimony in the Painted Life of Mary Ward
Chapter three identifies the sodomitical subtext informing a hospitality crisis on a different register, one provoked by the controversial pastoral career of Mary Ward (1585-1645), the early modern “Jesuitress” missionary. The ensemble of commemorative paintings chronicling Ward’s career (the so-called Painted Life) suggestively folds both the scandal and the eschatological resilience of Ward’s public teaching ministry into a forgotten legacy of Lot’s wife. The paintings’ visual testimony achieves this by recapturing second-century church father Irenaeus of Lyons’ intuition of the abandoned woman in Genesis 19 as the spiritually radiant figure of the ecclesial community’s patient dwelling between disaster and redemption. The paintings’ anamorphically transfigured markers of Lot’s wife confirm Erich Auerbach’s cherished hope in the adaptability of figura as a means of maintaining neighborly proximity between past and present in historical realism’s secular grammar. The paintings also anticipate the keen interest that Auerbach’s contemporaries from the progressive ressourcement school of Catholic theology would also develop in deploying figura’s resources as a means of opening up more generous – more hospitable – pathways between Catholicism and modernity.