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To mark the termination of the Marian Year, the Vatican Postal Administration, at the suggestion of Polish Archbishop Joseph Gawlina, released a set of three stamps depicting the Madonna of Ostra Brame. This set not only paid tribute to the Mother of God, but to the Church in Silence behind the Iron Curtain where this famed painting is found. The design of the stamps was executed by the eminent miniaturist, Casimira Dabrowska, who painted her beautiful miniature while residing in the land of her birth. When you realize how many beautiful paintings of the Blessed Virgin Mary are found in the Vatican Museums alone, you can readily understand why Miss Dabrowska stated, "...You can then realize how happy and proud I am of the great honor done to me and to my unfortunate country. " The Madonna of Ostra Brama is located in the most eastern sanctuary in Europe, Vilna. 'In the early years of the 16th %. century, this town was protected by high walls pierced only by five heavily fortified gates. Above each of these gates, the townspeople placed a picture of their protectors. The southeast gate, the most exposed gate of all, was entrusted to the protection of Mary, the Mother of God. The painting placed over this gate is a little over nine feet high and 71/2 feet wide. Though the artist who painted the picture is unknown it is usually attributed to Fra Luca. It is claimed that he executed this masterpiece in Cracow at the end of the 15th century. The title of Madonna of Ostra Brame has its origin in the fact that it was erected over a spiked gate ( Ostra Brama ) studded with razor-sharp swords. Another story claims the translation of Ostra Brama to be sharp gate and claims this to be due to the fact that the street narrows to a point here. The fame and miraculous powers of this painting soon spread throughout the area. The first documents of miracles obtained through the intercession of this image go back to the 17th century when Pope Clement XIV granted numerous indulgences to the pilgrims who gathered there to pray. For protection, the painting was later moved to the inner side of the wall where a small chapel, approximately forty feet square, was erected by the Carmelites after they had assumed direction of the Church of St. Theresa nearby. They soon spread devotion to the Madonna of Ostra Brame throughout Poland and Lithuania where it was known as " Gate of the Dawn ". So renowned did this shrine become that many generous donations were received for its embellishment. A gold woven veil and a jewel bedecked gown were placed on the image. Over the head was placed two ornate gem-covered crowns to which was added a halo of rays and enshrined in the Church of St. Theresa. The following year the Apostolic Nuncio to Poland crowned the miraculous image amid a gathering of ranking Polish authorities. The painting survived many battles of World War II. In 1942 a Communist soldier came to the shrine to place two large candles as votive lights to the memory of his departed parents. Later, it was discovered that the candles served as a disguise for two sticks of high explosives which were to be set off by the lighting of the candles. As Communist domination continued, they realized that the devotion to Our Lady was a threat to their hold on the people. In November of 1954 they ordered the famous Madonna moved to another church. The Shrine of the Madonna of Ostra Brama was then closed and the surrounding streets heavily patrolled to prevent any form of devotion. Over the niche in the gate where this painting was enshrined, and at the bottom of the stamps is the inscription, " Master Misericordiae " ( Mother of Mercy ). This beginning of a short prayer must have the ending, " et pro nobis ", ( pray for us ) added many times by the oppressed people of Poland that they may again pray before the Shrine of the Madonna of Ostra Brama. Technical Details: Scott Catalogue - 189 - 191 Date Issued - 07 December 1954 Face Value - 20 l, 35 l, 60 l Perforations - 13.25x12.75 Printer - The Italian State Printing Works |
| (From Vatican Notes Volume VIII, Number 6, Pages 11-12) |
