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BRAND EXTENSION- MARKETING STRATEGY MOCK- UP 1

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BRAND EXTENSION- MARKETING STRATEGY MOCK- UP 1

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AI generated: create an arm chair with tartans

Slogan: group idea

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https://www.charactour.com/hub/characters/view/Madeline-Perez.Euphoria (last accessed- 25th April 2024)

AI generated: If Maddy from Euphoria could be a Mob wife fictionally what would her qualities be

AI generated: what would be her fashion style as a Mob wife

AI generated: Why is the Mob wife trend popular on social media

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https://refikanadol.com/information/ (last accessed 22nd April 2024)

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Both the exhibition was visited on the 6th march 2024- I chose Refik Anadol exhibition as his work relates to nature calmness and peaceful whereas when I went to visit Barbara Krugera's exhibition I felt quite frightened because of the disturbing images that were on the wall, it was difficult for me to look at them and understand however I just managed to take pictures of it quickly as I felt uncomfortable and didn't feel like staying there for more than a second.

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the brand website: https://slowlivinglifestyle.com/collections/dirty-six (last accessed 24th April 2024)

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AI generated- Suggest a earth pollution poster caused by the fashion industry (accessed 24th April 2024)

https://earth.org/fast-fashions-detrimental-effect-on-the-environment/ (accessed 22nd April 2024)

https://www.mcsuk.org/news/combatting-ocean-pollution-through-sustainable-fashion-solutions/#:~:text=Plastic%2Dfree%20solutions&text=There%20are%20two%20main%20ways,tiny%20plastics%20entering%20our%20waterways. (accessed 22nd April 2024)

https://teemill.com/ (accessed 24th April 2024)

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Draft 1 of the final brand collaboration

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Draft 1 of the final brand collaboration

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FINAL BRAND COLLAB POSTER- FENTY BEAUTY AND GUCCI MAKEUP COLLABORATION CHATGPT

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FINAL BRAND COLLAB POSTER- FENTY BEAUTY AND GUCCI MAKEUP COLLABORATION CHATGPT

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The DIOR typo underneath the perfumes

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The model- Shoe

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Week 3 Brand collaboration- Dior x Nike Air Jordans 1

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Week 3 Brand collaboration- Dior x Nike Air Jordans 1

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Modern Collectibles is analyzing the Dior Air Jordan 1 in partnership with Sotheby's. Visit Sotheby's to purchase a pair of the Dior Jordans.
When Michael Jordan was drafted third overall by the Chicago Bulls in the 1984 NBA Draft, basketball shoes were miles away from the technical marvels they are today. The market was dominated by simple leather, nylon and rubber silhouettes like the Converse Fastbreak and the adidas Forum. Nike had a plan to change that, and Jordan was at the center of that strategy.

After his junior year at the University of North Carolina where he'd been named a consensus All-American and national player of the year, Jordan was a rising star. Nike - which he'd signed with even though he desperately wanted to be an adidas athlete - aimed to make him the face of his own line, launching with a shoe created by veteran designer Peter Moore.

On the other side of the world, Dior was a 40-year-old French fashion house known for its elegant couture that had just come under the wing of Bernard Arnault; the businessman shelled out $80 million to purchase Dior's ailing parent company Boussac with a moonshot goal of creating a fashion conglomerate the likes of which the world had never seen.

Both parties were grand in their ambitions, but totally unrelated in their practices. So how and why, 36 years later, did Dior set its sights on the Jordan Brand to create the Dior x Air Jordan 1 "Air Dior," a show-stopping blend of sport and high fashion that was one of the most viral sneaker moments ever? Here's the timeline, and visit Sotheby's to purchase this limited release.

Michael Jordan wasn't too warm on signing with Nike initially. He played in Converse during his time at the University of North Carolina and wanted to sign with adidas as he headed into the pros. Even Nike's pitch to build an entire brand around him left him largely unswayed for one simple reason: he didn't like the shoes they showed him. However, with the assistance of Peter Moore - Nike's first-ever creative director who was also responsible for the Dunk - and a reworked silhouette with a thinner midsole, the Swoosh was eventually able to win Jordan over.

The Air Jordan 1 was put into production but wouldn't launch until the tail end of Jordan's rookie year in 1985, so he took to the court in the Nike Air Ship, a basketball shoe from 1984 with several similar design elements. It didn't take long for the red and black Air Ships Jordan was wearing to run afoul of the NBA's uniform requirements. The NBA sent Nike a vaguely-worded letter in February 1985 to inform them that Jordan's on-court footwear wasn't in-line with their standards, stating that "rules and procedures ... prohibited the wearing of certain red and black basketball shoes by Chicago Bulls player Michael Jordan on or around October 18, 1984."

This ambiguity allowed the marketing masterminds at Nike to quickly create their own narrative around the "banned" shoes. Since the Air Ship was similar in shape and shade to the Air Jordan 1, Nike was able to infer that the Air Jordan 1's black and red "Bred" colorway, which Jordan never actually wore during an NBA game, was in fact "banned" by the league, a false narrative cleverly furthered by a commercial that placed black bars over the shoes on Jordan's feet and quipped, "Fortunately, the NBA can't stop you from wearing them. Air Jordans from Nike." All that mattered here was that the public thought the Air Jordan 1 was banned, firmly established as a luxurious-yet-rebellious option.

Surprisingly, the Air Jordan 1 also found favor among skateboarders. Renowned for its supportive high-cut upper and durable build, the shoe even made an appearance in the Bones Brigade's seminal 1987 skate film The Search for Animal Chin.

By 1988, Jordan Brand was ramping up: the Air Jordan 3 had arrived. With its Tinker Hatfield-designed ⅝ cut and brand-new elephant print embellishment, there was nothing like it in the world of basketball footwear. The marketing was just as impactful as the shoe itself - Jim Riswold and Bill Davenport of powerful advertising firm Weiden + Kennedy saw a trailer for Spike Lee's debut film She's Gotta Have It with the fast-talking Mars Blackmon (played by Lee himself), and immediately pegged Blackmon as a perfectly spastic comedic foil to the smooth and serious Jordan.

Though Lee thought Riswold and Davenport were playing a joke on him when they first contacted him, he quickly signed on for a now-classic Air Jordan 3 spot and would return as Blackmon in later ads. Looney Tunes characters like Bugs Bunny and Marvin the Martian followed by hawking Jordans in the '90s. These ads served a dual purpose: they humanized Jordan, who in the early part of his career was known as little more than a ruthless competitor, but more crucially, they built a cult of personality around his footwear.

With Jordan Brand's sneakers increasingly used for off-court wear, they became a status symbol that some would give up their life for. The May 14, 1990 issue of Sports Illustrated addressed this issue with a chilling cover story entitled "Your Sneakers Or Your Life," which spotlighted a myriad of cases in which teenagers were murdered for their Air Jordans and Starter jackets.

The article addressed the dark side of Air Jordans' esteemed status in stark terms: "Something is very wrong with a society ... in which pieces of rubber and plastic held together by shoelaces are sometimes worth more than a human life." Michael Jordan could not ignore the perverse power his shoes had taken on, as he stated in the article: "I thought people would try to emulate the good things I do, they'd try to achieve, to be better ... I never thought because of my endorsement of a shoe, or any product, that people would harm each other."

Up until 1996, Jordan Brand was simply a successful Nike line. Though Air Jordans had their own Jumpman logo, each pair was clearly sold as a Nike product, not a Jordan product. That changed when the Air Jordan 12 became the first sneaker to be packaged in its own distinct Jordan Brand box.

Jordan Brand was - and remains - still under the Nike umbrella, but never before had so much autonomy been granted to a single athlete's products, a treatment not afforded to the Swoosh's other stars of the '90s like Bo Jackson, Andre Agassi and Ken Griffey Jr. Even with Michael Jordan's penultimate retirement on the horizon, Air Jordans had superseded basketball to become fashion statements all their own.

Since its 1985 debut, the Air Jordan 1 had only returned to market once. In 1995, Nike brought it back in the original "Chicago" and "Bred" colorways with a retail price of $80 - but the idea of "retro" sneakers hadn't quite caught on in the mainstream yet. Average consumers were looking for new shoes with modern technology, so the Air Jordan 1's first retro wound up on sales racks for as low as $9.99. Although this was great news for bargain-conscious skateboarders, it wasn't the triumphant return to market that Jordan Brand was hoping for, and the Air Jordan 1 was shelved until 2001.

Around the turn of the century, Nike launched a special CO.JP line whose offerings were exclusive to select Japanese retail partners like atmos and mita sneakers. "CO.JP is the architect [of modern-day sneaker culture]," Jeff Staple told HYPEBEAST in 2020. "If it wasn't for CO.JP, you wouldn't have Tier Zero [Nike] releases, you wouldn't have Nike SNKRS." CO.JP was all about providing products to an extremely discerning customer with a wealth of brand knowledge - the perfect avenue to reintroduce the Air Jordan 1.

In 2001, Nike revived the Air Jordan 1 as a CO.JP release. It was distinct from the unsuccessful 1995 retro for more than just the Japan-only distribution, as it marked the first time the Air Jordan 1 had been produced in new colorways. "Midnight Navy," "Black" and "Navy/Metallic Silver/White" were all made in individually-numbered runs of 3,000 pairs, while the "Tokyo," a metallic silver style was produced in a run of 2,001 numbered pairs, and even came packaged in a silver briefcase. Apart from being the Air Jordan 1's first new styles since 1985, the four-pack of CO.JP releases marked the first time Nike held the model aloft as a beacon of sport luxury.

Collaborative sneakers drop on a weekly basis in 2022, but back in 2008, each collaboration was a major event in and of itself. Jordan Brand entered the collaborative sphere in 2005 with an UNDEFEATED x Air Jordan 4 that was limited to only 72 pairs and now resells for five-figure sums, plus a friends-and-family Eminem x Air Jordan 4 that was produced in a run of 50. They then took three years off from the collaborative sphere before returning in 2008 with a Levi's x Air Jordan 1.

Levi's, an iconic American denim brand, knighted the Air Jordan 1 as a classic piece of Americana in its own right. Dubbed the "23/501" (a pairing of Michael Jordan's jersey number with the model number of Levi's classic shrink-to-fit straight leg jeans), the Levi's x Air Jordan 1 utilized premium denim panels embellished with classic elephant print, and also featured rivet-inspired gold hardware. The shoes were accompanied by a limited-edition pair of jeans and a T-shirt, spotlighting them as a crowning piece of a street style uniform. "The great design paired with the cultural significance of Michael Jordan just makes the Air Jordan 1 such a huge, landmark sneaker for collaborations," says Zack Schlemmer, content manager at Stadium Goods.

Collabs aside, Jordan Brand was not known for impeccable quality control or elevated materials in the first decade of the new millennium. Air Jordans were supposed to be a premium product, but the materials were simply not up to par: paint chipped and cracked on midsoles, cheap leather would tear, thin suede toeboxes folded like paper and many retro releases were not true to their original products in shape and style.

To solve this problem and address the growing cacophony of complaints from consumers, Jordan Brand brought its "Retro Remaster" initiative to market in the spring of 2015, kicking off with the fragment design x Air Jordan 1 designed by the legendary Hiroshi Fujiwara. Using true-to-the-original details, elevated materials and a production process that claimed 100 pairs of hands touched every sneaker to ensure its perfection, the "Retro Remaster" aimed to elevate Air Jordans to a premium lifestyle product.

"The brand is 30 years old, so carrying the torch in creating the next future classics was really important," says Nike product line manager Jeff Atenza. "How we go about doing this is just ensuring MJ's legacy stays alive." With this enhanced focus on luxury came an enhanced price as well, with Air Jordans rising to as much as $220 a pop.

Steeped in the traditions of British sportswear and possessing a world-class knack for tailoring, English designer Kim Jones was no stranger to footwear collaboration - he'd worked on sneakers with Umbro as far back as 2004 - but 2016 saw him team up with NikeLab for his first co-created Nike effort. Jones brought his eye for sportswear and fine details to the Air Zoom LWP, a modernized take on 1995's Air Scream LWP that he said was about "taking the DNA of Nike stuff and mixing it together."

Jones' inaugural Nike silhouette was more of a cult classic than a mainstream smash, but it foreshadowed his many collabs to come. In an interview with Nike News, Jones even mentioned he'd like to "do that mix-and-match, cut-and-paste to get something new," on future collabs - exactly what he'd do on the "Air Dior" a mere four years later.

Nearly a decade after the first Air Jordan 1 collaboration was released in 2008, the sneaker industry had fully woken up to the audience collaboration could attract and the prestige it could bring both parties involved. The Air Jordan 1 was at the center of Jordan Brand's collaborative push from 2017 to 2019, as it was remixed by the likes of Aleali May, SoleFly and Union, but nothing topped Virgil Abloh's Off-White x Air Jordan 1 from his "The Ten" collection.

Abloh, an Illinois native who grew up idolizing Michael Jordan, remixed the Air Jordan 1 as part of his "Revealing" offerings by deconstructing it to its core elements, showing how, even after three decades on the market, its design stood the test of time. The Air Jordan 1 was the most recognizable Jordan - and quite possibly the most recognizable sneaker - in the world, due in no small part to this collaborative effort.

A byproduct of all these collaborations was a swath of desirable in-line releases and increased attention on takedown Air Jordan 1 models that had often been met with scorn in years past. In the months after the Off-White x Air Jordan 1 was released, Air Jordan 1 resell prices skyrocketed. Under-the-radar colorways that could be had at Nike outlets for $50-$100 were suddenly going for upwards of $500, and the demand for Air Jordan 1s became so acute that even the Air Jordan 1 Mid - a chopped-down style that was, until that point, largely the provenance of big-box mall retailers - began selling out and commanding handsome aftermarket sums. "Everyone wants to wear the Air Jordan 1," notes Schlemmer. "It's loved by people from all walks of life, from skateboarders to runway models."

Running parallel to the Air Jordan 1's surge of popularity in 2017-2018, Kim Jones left his post at Louis Vuitton, where he'd kicked down the wall between the streets and the runways by collaborating with fragment design, Supreme and others, to take the top menswear job at Dior.

The news was met with curiosity and anticipation. How would Jones bring his knowledge of British sportswear to a new house? Who would he collaborate with? Jones dove right into the waters of street culture by working with entities like graffiti writer-turned commercial artist KAWS and Daniel Arsham, bringing a new youthful energy to Dior and setting the scene for the arrival of the Dior x Air Jordan 1.

In the fall of 2019, rumblings of a Dior x Air Jordan 1 collab for 2020 started to surface. Nobody knew exactly what it would look like or what it would be inspired by, with sneaker media outlets guesstimating everything from a Dior B23-inspired design to a repeating logo print. The only piece of early information that proved correct was the shoe's price - $2,000 USD, a staggering amount that was roughly equivalent to the price of a dozen pairs of regular Air Jordan 1s.

When the shoe first saw the light of day on December 9, 2019, at Dior's Pre-Fall 2020 menswear show in Miami, it quickly went viral. Crafted of fine calf leather, sporting Dior's jacquard oblique print on its Swoosh, making use of a signature Dior Grey and white palette and accompanied by a ready-to-wear collection with Air Dior branding, the Dior x Air Jordan 1 grabbed the eyes of the high fashion establishment and the sneaker world, even overshadowing Dior's concurrently debuted collaboration with Stüssy founder Shawn Stussy.

Jones was succinct in his assessment of the shoe, stating "It's been upscaled" in a comment to Vogue after the show. Jordan Brand VP of design Martin Lotti also spoke on the collaboration, saying "Our partnership with Maison Dior will offer a new look into the style of basketball and blend high-end streetwear with luxury fashion. We will pay homage to both brands' rich iconography and draw inspiration from our heritage."

Dior was not forthcoming with release information, letting the hype around the collab build even higher by simply stating that it would be released in Dior boutiques April 2020 (a date that wound up being pushed back due to COVID-19), revealing its low-top counterpart in January 2020 and announcing that it would be limited to 8,500 pairs in March 2020.

While Dior was building anticipation for the Air Dior release, the Air Jordan 1 was getting an equally important - if vastly different - boost in its profile from ESPN and Netflix's The Last Dance, a 10-episode docu-series that began in April 2020 and provided a behind-the-scenes look at Michael Jordan's quest for a sixth and final NBA Championship with the 1997-98 Chicago Bulls. Much of the world was stuck at home due to lockdowns necessitated by the onset of the COVID-19 pandemic, drawing even more attention to the series, and one of its most notable moments was close-up footage of Jordan playing his final game at Madison Square Garden in a 13-year-old original pair of the Air Jordan 1 "Chicago."

The "Chicago" had long been one of the most popular Air Jordan 1 colorways, releasing in 2013 and 2016, but with the red-hot commodity market growing rapidly in the pandemic's early days, it was soon selling for over $2,000. The market for original, game-worn pairs had heated up to supernova temperatures as well - in May 2020, a pair worn by Michael Jordan himself sold at auction for $560,000 USD.

After months of anticipation and postponements, the Dior x Air Jordan 1 finally touched down in June 2020, two months after it was originally slated to release. Made available to the public through a special microsite that let would-be buyers select low or high-top options and the Dior store they'd like to pick their pair up at in early July, the site received over five million hits - or 625 times as many people as the 8,500 total pairs that were available. In London, where an in-store release was hosted at luxury department store Selfridges, a line of hundreds was already queued at 4 a.m. the morning of the release. Five thousand pairs were reserved for Dior's top clients.

Leading end-of-year "best of" lists across the world of sneaker media and selling for anywhere from $7,000 to $13,000 on aftermarket sites like StockX, it was an unabashed success, and the biggest Air Jordan 1 release ever, cementing the Air Jordan 1's status as a luxury item. "People appreciate good design whatever it is," Jones told Vogue. "But nowadays, they can do a lot of research. The Air Jordan [1] in particular, has a huge amount of work behind it to merit its worth." The Air Jordan 1 has grown in profile so greatly over the last four decades that it's almost wholly removed from Michael Jordan himself, and doesn't even need time to increase in value anymore - its value is apparent right off the bat, making it the perfect collaborative canvas for Dior to make its mark on the sneaker world.

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Modern Collectibles is analyzing the Dior Air Jordan 1 in partnership with Sotheby's. Visit Sotheby's to purchase a pair of the Dior Jordans. When Michael Jordan was drafted third overall by the Chicago Bulls in the 1984 NBA Draft, basketball shoes were miles away from the technical marvels they are today.

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When Hailey Bieber launched Rhode Skin in 2022 with its now signature products - the Peptide Lip Treatments - one thought instantly popped into my head: I wish they were tinted. As much as I loved the different flavours, what I really wanted was pigment to go along with the delicious caramel, vanilla and watermelon notes. A little over a year later and my prayers have been answered. The Peptide Lip Tint is here, putting us one step closer to being able to recreate Hailey Bieber's famously juicy pout.

On the 28th of September, fans of the brand will be able to get their hands on Peptide Lip Tint, £16, in four shades: ribbon, a sheer pink; toast, a rose taupe; raspberry jelly, a crushed berry; and espresso, a rich brown. As you may have guessed, the product delivers a sheer-but-buildable gloss finish that is as hydrating as its original counterpart, thanks to key ingredients like moisturising shea butter, peptides (essentially skin-strengthening proteins), cupuaçu (an antioxidant-rich fruit from Brazil), and babassu (a Brazilian palm tree) to replenish moisture. Unlike the OG, the products are unscented, but perhaps you'll get over the absence of flavour when you see how deliciously plump and shiny your lips look after a couple of swipes. The brand recommends using it alone or paired with a lip liner for an even richer, pigmented lip.

The Refinery29 beauty team decided to give the product a spin, but does it live up to the hype? Here are our real and honest reviews on the highly anticipated product.

Sara Tan, Beauty Director in Espresso

As I mentioned above, I've been dreaming of the day Rhode would create their beloved Peptide Lip Treatment in a tint, and to my delight, they did not disappoint. I'm a certified Lip Tint Girlie. One look into my purse and you'll find no less than five lip products made up of tinted lip balms and sheer, hydrating lip tints. Needless to say, I had high expectations for the Peptide Lip Tint. Lucky for me, it was exactly what I had hoped it would be: A balm-meets-gloss with just the right amount of buildable pigment. Products like this are often too sheer where you can't see the colour at all, unless you have fair skin, so I was extremely pleased to find that I could see the colour on my lips after just one swipe!

While I love all of the shades, my two favourites are Espresso (as seen on me here) and Raspberry Jelly. I like to use a lip liner first, lightly outlining my lip and then following with a couple swipes of Peptide Lip Tint. It's the perfect combination. Fingers crossed Rhode comes out with lip liners to match!

Jacqueline Kilikita, Deputy Beauty Director in Raspberry Jelly

When Rhode's Peptide Lip Treatment in Strawberry landed on my desk earlier this month, I was a little disappointed that it didn't include a juicy red tint. That's probably because Hailey Bieber and team were busy dreaming up the latest members of the Peptide Lip family: Toast, Raspberry, Espresso and Ribbon - four new lip tints which impart a subtle wash of colour. I gravitated towards Raspberry because it's quite similar to MAC Cosmetics Lip Pencil in Soar, £20, which is my daily go-to. I lined my lips and applied the lip treatment in the center. It was a perfect match!

I use this product like a balm rather than a gloss. In other words, sparingly, as I don't like my lips to feel sticky (and I'm always drinking a cup of tea - classic Brit). The star ingredients are peptides, essentially skin-strengthening proteins, which repair, moisturise, and plump. My chronically dry lips are much better off thanks to the lip treatment, and this lush tint is the cherry on top. Or rather, the raspberry.

Megan Decker, Beauty Editor in Ribbon

The pink colour inside of this gloss is so sheer that you could give it to someone looking for a gloss or balm and they probably wouldn't even notice that the colour of their lips had changed. But the faintness is what I like about it. You can't really mess up the application (I've applied it walking to the subway and while sitting in an Uber in stop-and-go traffic) because if the tint bleeds outside of your lip line, it really just makes your lips look a little bigger than they actually are.

The texture is smooth and light, not grainy the way some tubed, squeezable lip glosses turn when they get hot in your bag. I was surprised and at first disappointed that there's no vanilla or caramel smell or taste, but after wearing this colour for a week, I'm glad it's unscented. It feels more grown up that way.

Karina Hoshikawa, Senior Writer in Toast

After Rhode launched its strawberry-girl Peptide Lip Treatment earlier this summer, my lone complaint that it wasn't tinted. Luckily, my wish made it out to the universe, and Hailey Bieber has answered: Peptide Lip Tint is everything I could've dreamed it to be - and more. It has the same cushiony, plump texture as PLT, but with a juicy hint of colour.

And on that note, I want to shout out the chemist who nailed the pigment load; it's not too sheer that it doesn't actually look like anything (which is always disappointing, right?), but not too much so that it feels lipstick-y. My favourite shade of the bunch is Toast, which is a gorgeous warm neutral that is very much giving MLBB (my lips but better). Gone are the days of me layering a lip pencil with a clear glaze of Rhode's lip treatment. Maybe, just maybe, we really can have it all?

At Refinery29, we're here to help you navigate this overwhelming world of stuff. All of our market picks are independently selected and curated by the editorial team. If you buy something we link to on our site, Refinery29 may earn commission.

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Here's What Rhode's Peptide Lip Tint Really Looks Like On Our Beauty Editors

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The Peptide Lip Tint is here, putting us one step closer to being able to recreate Hailey Bieber's famously juicy pout.

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6 FACTS ABOUT ST. ROSE OF LIMA

St. Rose of Lima is a perfect example of a saint whose life was offered in the name of love. She joyously filled her life with ardent dedication, purity and holiness....

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Rose of Lima (born Isabel Flores de Oliva; 20 April 1586 - 24 August 1617) was a member of the Third Order of Saint Dominic in Lima, Peru, who became known for both her life of severe penance and her care of the poverty stricken of the city through her own private efforts. Saint Rose of Lima was born to a noble family and is the Patron Saint of embroidery, gardening and cultivation of blooming flowers. A lay member of the Dominican Order, she was declared a saint by the Catholic Church, being the first person born in the Americas to be canonized as such.

As a saint, Rose of Lima has been designated as a co-patroness of the Philippines along with Saint Pudentiana; both saints were moved to second-class patronage in September 1942 by Pope Pius XII, but Rose remains the primary patroness of Peru and of the local people of Latin America. Her image is featured on the highest denomination banknote of Peru.

She was born as Isabel Flores de Oliva in the city of Lima, then in the Viceroyalty of Peru, on 20 April 1586. She was one of the many children of Gaspar Flores, a harquebusier in the Imperial Spanish army, born in Puerto Rico, and his wife, María de Oliva y Herrera, a native of Lima. Her later nickname "Rose" comes from an incident in her infancy: a servant claimed to have seen her face transform into a rose. In 1597 Isabel was confirmed by the Archbishop of Lima, Toribio de Mogrovejo, who was also to be declared a saint. She formally took the name of Rose (Rosa in Spanish) at that time.

As a young girl, in emulation of the noted Dominican tertiary Catherine of Siena, she began to fast three times a week and performed severe penances in secret. When she was admired for her beauty, Rose cut off her hair and rubbed pepper on her face, upset that men were beginning to take notice of her. She rejected all suitors against the objections of her friends and her family. Despite the censure of her parents, she spent many hours contemplating the Blessed Sacrament, which she received daily, an extremely rare practice in that period. She was determined to take a vow of virginity, which was opposed by her parents who wished her to marry. Finally, out of frustration, her father gave her a room to herself in the family home.

After daily fasting, she took to permanently abstaining from eating meat. She helped the sick and hungry around her community, bringing them to her room and taking care of them. Rose sold her fine needlework, and took flowers that she grew to market, to help her family. She made and sold lace and embroidery to care for the poor, and she prayed and did penance in a little grotto that she had built. Otherwise, she became a recluse, leaving her room only for her visits to church.

She attracted the attention of the friars of the Dominican Order. She wanted to become a nun, but her father forbade it, so she instead entered the Third Order of St. Dominic while living in her parents' home. In her twentieth year she donned the habit of a tertiary and took a vow of perpetual virginity. She only allowed herself to sleep two hours a night at most, so that she had more hours to devote to prayer. She donned a heavy crown made of silver, with small spikes on the inside, in emulation of the Crown of Thorns worn by Christ.

For eleven years she lived this way, with intervals of ecstasy, and eventually died on 24 August 1617, at the young age of 31. It is said that she prophesied the date of her death. Her funeral was held in the cathedral, attended by all the public authorities of Lima. Her feast day is on the 23rd day of August (the 30th day of August in the Traditional calendar).

Rose was beatified by Pope Clement IX on 10 May 1667, and canonized on 12 April 1671, by Pope Clement X, and was the first Catholic in the Americas to be declared a saint. Her shrine, alongside those of her friends Martin de Porres and John Macias, is currently located inside of the convent of Saint Dominic in Lima. The Catholic Church says that many miracles followed her death: there were stories that she had cured a leper, and that, at the time of her death, the city of Lima smelled like roses; roses also started falling from the sky. Many places in the New World are named Santa Rosa after her.

Her liturgical feast was inserted into the General Roman Calendar in 1729 for celebration initially on 30 August, because 24 August, the date of her death, is the feast of Saint Bartholomew the Apostle and 30 August was the closest date not already allocated to a well-known saint. Pope Paul VI's 1969 revision of the calendar made 23 August available, the day on which her feast day is now celebrated throughout the world, including Spain, but excluding Peru and some other Latin American countries, where 30 August is a public holiday in her honor.

She is honored together with Martin de Porres and Toribio de Mogrovejo with a feast day on the liturgical calendar of the Episcopal Church (USA) on 23 August.

Early lives of Rosa were written by the Dominican Father Hansen, "Vita Sanctae Rosae" (2 vols., Rome, 1664-1668), and Vicente Orsini, afterward. Pope Benedict XIII wrote "Concentus Dominicano, Bononiensis ecclesia, in album Sanctorum Ludovici Bertrandi et Rosae de Sancta Maria, ordinero praedicatorum" (Venice, 1674).

There is a park named for her in downtown Sacramento, California. A plot of land at 7th and K streets was given to the Catholic Church by Peter Burnett, first Governor of the State of California. Father Peter Anderson built one of the first of two churches in the diocese to be consecrated under the patronage of St. Rose.

In the Caribbean twin-island state of Trinidad and Tobago, the Santa Rosa Carib Community, located in Arima, is the largest organization of indigenous peoples on the island. The second oldest parish in the Diocese of Port of Spain is also named after this saint. The Santa Rosa Church, which is located in the town of Arima, was established on 20 April 1786, as the Indian Mission of Santa Rosa de Arima, on the foundations of a Capuchin Mission previously established in 1749.

On the Caribbean Island of Saint Lucia there are two flower festivals supported by their Societies. Each society has a patron saint on whose feast day the grande fete is celebrated. For the Roses it is the feast of St. Rose of Lima on 30 August; and for the Marguerites it is that of St. Margaret Mary Alacoque, 17 October.

Rose's skull, surmounted with a crown of roses, is on public display at the Basilica in Lima, Peru, along with that of St. Martin de Porres. It was customary to keep the torso in the basilica and pass the head around the country.

Saint Rose is the patroness of the Americas, the indigenous people of the Americas, and of Peru, especially the city of Lima, Sittard in the Netherlands, of the Indies, and of the Philippines.

On the last weekend in August, the Fiesta de Santa Rosa is celebrated in Dixon, New Mexico and the Sint Rosa Festival in Sittard, Limburg, Netherlands.

A barony of Saint Rose of Lima was created in the Royal House of Rwanda on 25 July 2016 by the Catholic king in exile, King Kigeli V of Rwanda.

Maywood, California, contains the largest parish dedicated to Saint Rose.[citation needed ]

Dedicated parishes are located in:

Bagong Ilog and Sumilang, Pasig, Philippines

Santa Rosa City, Laguna, Philippines

Santa Rosa, Nueva Ecija, Philippines

Santa Rosa de Lima, Daanbantayan, Cebu, Philippines

St. Rose of Lima, Teresa, Rizal, Philippines

Sainte Rose du Lac, Manitoba, Canada

Santa Rosa de Juarez, Oaxaca, Mexico

Safford, Arizona, United States

Crockett, California, United States

Maywood, California, United States

Milton, Florida, United States

Miami Shores, Florida, United States

Chelsea, Massachusetts, United States

Hastings, Michigan, United States

Dillon, Montana, United States

Littleton, New Hampshire, United States

Belmar, New Jersey, United States

Haddon Heights, New Jersey, United States

Short Hills, New Jersey, United States

Forestville, New York, United States

New York, New York, United States

Rockaway Beach, Queens, New York, United States

Perry, Oklahoma, United States

Cincinnati, Ohio, United States

St. Rose, Ohio, United States

Carbondale, Pennsylvania, United States

Eddystone, Pennsylvania, United States

Dillon, Montana, United States

North Wales, Pennsylvania, United States

York, Pennsylvania, United States

Temple, Sanctuary and Convent where she lived in Lima

She converted a little hut in the backyard into a hermitage, where she often went to pray

Water well where devotees throw letters in memory of St. Rose

Basílica Santuario de Santa Rosa de Lima in Buenos Aires

Statue of St. Rose of Lima in the Catedral de la Asunción de María Santísima in Guadalajara, Jalisco

José Flores Araoz, et al. Santa Rosa de Lima y su tiempo. Lima: Banco de Crédito del Perú 1995.

Manuscript of the Life of St. Rose of Lima

Luis Getino, O.P. Santa Rosa de Lima, patrona de América: su retrato corporal y su talla intelectual según nuevos documentos. Madrid: M. Aguilar 1943.

Teodoro Hampe Martínez. "Santa Rosa de Lima y la identidad criolla en el Perú colonial" (essay of interpretation), Revista de Historia de América, No. 121 (January - December, 1996), pp. 7-26

Leonardo Hansen, Vida admirable de Santa Rosa de Lima, translated by Fr. Jacinto Parra. Lima: Centro Católico 1895.

Fernando Iwasaki Canti. "Mujeres borde de la perfección: Rosa de Santa María y las alumbradas de Lima," Hispanic American Historical Review 73, no. 4 (1993):581-613.

Pedro de Loayza, O.P. Vida ad Santa Rosa de Lima (1619) Reprint, Lima: Iberia, S.A. 1965.

Ronald J. Morgan, "Heretics by Sea, Pagans by Land: St. Rosa de Lima and the Limits of Criollismo in Colonial Peru", chapter 4 of Spanish American Saints and the Rhetoric of Identity. Tucson: University of Arizona Press 2002, pp. 67-97.

Tomás Polvorosa López, "La canonización de Santa Rosa de Lima a través del Bullarium Ordinis F.F. Pratedictorum" in Actas del I Congreso Internacional sobre los Dominicos y el Nuevo Mundo, pp. 603-639. Madrid: Editorial DEIMoS 1987.

Marian Storm. "The Life of St. Rose: First American Saint and Only American Woman Saint", ISBN 978-1258802653

Rubén Vargas Ugarte, S.J. Vida de Santa Rosa de Lima. 3d edition. Buenos Aires: Imprenta López 1961.

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Rose of Lima (born Isabel Flores de Oliva; 20 April 1586 - 24 August 1617) was a member of the Third Order of Saint Dominic in Lima, Peru, who became known for both her life of severe penance and her care of the poverty stricken of the city through her own private efforts.

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Caterina di Jacopo di Benincasa (25 March 1347 - 29 April 1380), known as Catherine of Siena ( Italian: Caterina da Siena), was an Italian mystic and pious laywoman who engaged in papal and Italian politics through extensive letter-writing and advocacy. Canonized in 1461, she is revered as a saint and as a Doctor of the Church due to her extensive theological authorship. She is also considered to have influenced Italian literature.

Born and raised in Siena, Catherine wanted from an early age to devote herself to God, against the will of her parents. She joined the " mantellates", a group of pious women, primarily widows, informally devoted to Dominican spirituality; later these types of urban pious groups would be formalized as the Third Order of the Dominicans, but not until after Catherine's death. Her influence with Pope Gregory XI played a role in his 1376 decision to leave Avignon for Rome. The Pope then sent Catherine to negotiate peace with the Florentine Republic. After Gregory XI's death (March 1378) and the conclusion of peace (July 1378), she returned to Siena. She dictated to secretaries her set of spiritual treatises, The Dialogue of Divine Providence. The Great Schism of the West led Catherine of Siena to go to Rome with the pope. She sent numerous letters to princes and cardinals to promote obedience to Pope Urban VI and to defend what she calls the "vessel of the Church". She died on 29 April 1380, exhausted by her rigorous fasting. Urban VI celebrated her funeral and burial in the Basilica of Santa Maria sopra Minerva in Rome.

Devotion around Catherine of Siena developed rapidly after her death. Pope Pius II canonized her in 1461; she was declared a patron saint of Rome in 1866 by Pope Pius IX, and of Italy (together with Francis of Assisi) in 1939 by Pope Pius XII. She was the second woman to be declared a "Doctor of the Church", on 4 October 1970 by Pope Paul VI - only days after Teresa of Ávila. In 1999 Pope John Paul II proclaimed her a (co-)patron saint of Europe.

Catherine of Siena is one of the outstanding figures of medieval Catholicism due to the strong influence she had in the history of the papacy and her extensive authorship. She was behind the return of the Pope from Avignon to Rome, and then carried out many missions entrusted to her by the pope, something quite rare for a woman in the Middle Ages. Her Dialogue, hundreds of letters, and dozens of prayers also give her a prominent place in the history of Italian literature.

The house of Saint Catherine in Siena

Caterina di Jacopo di Benincasa was born on 25 March 1347 (shortly before the Black Death ravaged Europe) in Siena, Republic of Siena (today Italy), to Lapa Piagenti, the daughter of a local poet, and Jacopo di Benincasa, a cloth dyer who ran his enterprise with the help of his sons. The house where Catherine grew up still exists.

Lapa was about forty years old when she gave birth prematurely to her 23rd and 24th children, twin daughters, named Catherine and Giovanna. After birth, Giovanna was handed over to a wet nurse and died soon after. Catherine was nursed by her mother and developed into a healthy child. She was two years old when Lapa had her 25th child, another daughter named Giovanna. As a child, Catherine was so merry that the family gave her the pet name of "Euphrosyne", which is Greek for "joy", and the name of an Euphrosyne of Alexandria.

Catherine is said by her confessor and biographer Raymond of Capua's Life to have had her first vision of Christ when she was five or six years old: she and a brother were on the way home from visiting a married sister when she is said to have experienced a vision of Christ seated in glory with the Apostles Peter, Paul, and John. Raymond continues that at age seven, Catherine vowed to give her whole life to God.

When Catherine was 16, her older sister Bonaventura died in childbirth; already anguished by this, Catherine soon learned that her parents wanted her to marry Bonaventura's widower. She was absolutely opposed and started a strict fast. She had learned this from Bonaventura, whose husband had been far from considerate, but his wife had changed his attitude by refusing to eat until he showed better manners. Besides fasting, Catherine further disappointed her mother by cutting off her long hair in protest of being encouraged to improve her appearance to attract a husband.

Statuette by Neroccio di Bartolomeo de' Landi (1475)

Catherine would later advise Raymond of Capua to do during times of trouble what she did now as a teenager: "Build a cell inside your mind, from which you can never flee." In this inner cell, she made her father into a representation of Christ, her mother into the Blessed Virgin Mary, and her brothers into the Apostles in the New Testament. Serving them humbly became an opportunity for spiritual growth. Catherine resisted the accepted course of marriage and motherhood on the one hand, or a nun's veil on the other. She chose to live an active and prayerful life outside a convent's walls, following the model of the Dominicans. Eventually, her parents gave up and permitted her to live as she pleased and stay unmarried.

A vision of Dominic de Guzmán gave strength to Catherine, but her wish to join his order was no comfort to Lapa, who took her daughter with her to the baths in Bagno Vignoni to improve her health. Catherine fell seriously ill with a violent rash, fever and pain, which conveniently made her mother accept her wish to join the "Mantellate", the local association of devout women. The Mantellate taught Catherine how to read, and she lived in almost total silence and solitude in the family home.

It was customary for Catherine to give away clothing and food without asking anyone's permission, which cost her family significantly. However, she requested nothing for herself and by staying in their midst, she could live out her rejection of them more strongly. She did not want their food, referring to the table laid for her in Heaven with her real family.

Giovanni di Paolo, The Mystic Marriage of Saint Catherine of Siena

According to Raymond of Capua, at the age of twenty-one ( c. 1368), Catherine experienced what she described in her letters as a " Mystical Marriage" with Jesus, later a popular subject in art as the Mystic marriage of Saint Catherine. Caroline Walker Bynum explains one surprising and controversial aspect of this marriage that occurs both in artistic representations of the event and in some early accounts of her life: "Underlining the extent to which the marriage was a fusion with Christ's physicality[...] Catherine received, not the ring of gold and jewels that her biographer reports in his bowdlerized version, but the ring of Christ's foreskin." Catherine herself mentions the foreskin-as-wedding ring motif in one of her letters (#221), equating the wedding ring of a virgin with a foreskin; she typically claimed that her own wedding ring to Christ was simply invisible. She wrote in a letter (to encourage a nun who seems to have been undergoing a prolonged period of spiritual trial and torment): "Bathe in the blood of Christ crucified. See that you don't look for or want anything but the crucified, as a true bride ransomed by the blood of Christ crucified - for that is my wish. You see very well that you are a bride and that he has espoused you - you and everyone else - and not with a ring of silver but with a ring of his own flesh. Look at the tender little child who on the eighth day, when he was circumcised, gave up just so much flesh as to make a tiny circlet of a ring!" Raymond of Capua also records that she was told by Christ to leave her withdrawn life and enter the public life of the world. Catherine rejoined her family and began helping the ill and the poor, where she took care of them in hospitals or homes. Her early pious activities in Siena attracted a group of followers, women and men, who gathered around her.

Between the years 1367 and 1374, Catherine devoted herself to helping the sick and incarcerated of Siena. With her help in the Hospital of Santa Maria della Scala and within the neighborhood that she was living, Catherine's acts of charity became well-known. This led to her being known as santa donna, or a holy woman. This reputation of holiness eventually led to her involvement in politics and a hearing with the pope.

As social and political tensions mounted in Siena, Catherine found herself drawn to intervene in wider politics. She made her first journey to Florence in 1374, probably to be interviewed by the Dominican authorities at the General Chapter held in Florence in May 1374, though this is disputed (if she was interviewed, then the absence of later evidence suggests she was deemed sufficiently orthodox). It seems that at this time she acquired Raymond of Capua as her confessor and spiritual director.

After this visit, she began travelling with her followers throughout northern and central Italy advocating reform of the clergy and advising people that repentance and renewal could be done through "the total love for God." In Pisa, in 1375, she used what influence she had to sway that city and Lucca away from alliance with the anti-papal league whose force was gaining momentum and strength. She also lent her enthusiasm toward promoting the launch of a new crusade. It was during this time in Pisa, according to Raymond of Capua's biography, that she received the stigmata (visible, at Catherine's request, only to herself).

Her physical travels were not the only way in which Catherine made her views known. From 1375 onward, she began dictating letters to scribes. These letters were intended to reach men and women of her circle, increasingly widening her audience to include figures in authority as she begged for peace between the republics and principalities of Italy and for the return of the Papacy from Avignon to Rome. She carried on a long correspondence with Pope Gregory XI, asking him to reform the clergy and the administration of the Papal States.

In June 1376 Catherine went to Avignon as ambassador of the Republic of Florence to make peace with the Papal States (on 31 March 1376 Gregory XI had placed Florence under interdict). She was unsuccessful and was disowned by the Florentine leaders, who sent ambassadors to negotiate on their own terms as soon as Catherine's work had paved the way for them. Catherine sent an appropriately scorching letter back to Florence in response. While in Avignon, Catherine also tried to convince Pope Gregory XI, the last Avignon Pope, to return to Rome. Gregory did indeed return his administration to Rome in January 1377; to what extent this was due to Catherine's influence is a topic of much modern debate.

Catherine returned to Siena and spent the early months of 1377 founding a women's monastery of strict observance outside the city in the old fortress of Belcaro. She spent the rest of 1377 at Rocca d'Orcia, about 20 miles (32 km) from Siena, on a local mission of peace-making and preaching. During this period, in autumn 1377, she had the experience which led to the writing of her Dialogue and learned to write, although she still seems to have chiefly relied upon her secretaries for her correspondence.

Late in 1377 or early in 1378 Catherine again travelled to Florence, at the order of Gregory XI, to seek peace between Florence and Rome. Following Gregory's death in March 1378 riots, the revolts of the Ciompi broke out in Florence on June 18, and in the ensuing violence Catherine was nearly assassinated. Eventually, in July 1378, peace was agreed between Florence and Rome and Catherine returned quietly to Florence.

In late November 1378, with the outbreak of the Western Schism, the new Pope, Urban VI, summoned her to Rome. She stayed at Pope Urban VI's court and tried to convince nobles and cardinals of his legitimacy, both meeting with individuals at court and writing letters to persuade others.

For many years she had accustomed herself to a rigorous abstinence. She received the Holy Eucharist almost daily. This extreme fasting appeared unhealthy in the eyes of the clergy and her own sisterhood. Her confessor, Raymond, ordered her to eat properly. But Catherine replied that she was unable to, describing her inability to eat as an infermità (illness). From the beginning of 1380, Catherine could neither eat nor swallow water. On February 26 she lost the use of her legs. She was said to have levitated while in prayer, and a priest claimed to have seen the Holy Communion's Eucharist wafer flying from his hand straight to Catherine's tongue.

Catherine died in Rome on April 29, 1380 at the age of thirty-three, having eight days earlier suffered a massive stroke, which paralyzed her from the waist down. Her last words were, "Father, into Your Hands I commend my soul and my spirit."

Libro della divina dottrina (commonly known as The Dialogue of Divine Providence), c.  1475

L'epistole della serafica vergine s. Caterina da Siena (1721)

Three genres of work by Catherine survive:

Her major treatise is The Dialogue of Divine Providence, which is thought to have been begun in October 1377 and finished by November 1378. Contemporaries of Catherine are united in asserting that much of the book was dictated while Catherine was in ecstasy, though it also seems possible that Catherine herself may then have re-edited many passages in the book. This text is described as a dialogue between God and a soul.

Catherine's letters are considered one of the great works of early Tuscan literature. Many of these were dictated, although she herself learned to write in 1377; 382 have survived. In her letters to the Pope, she often addressed him affectionately simply as Babbo ('Daddy'), instead of the formal form of address "Your Holiness". Other correspondents include her various confessors, among them Raymond of Capua, the kings of France and Hungary, the infamous mercenary John Hawkwood, the Queen of Naples, members of the Visconti family of Milan, and numerous religious figures.

26 prayers of Catherine of Siena also survive, mostly composed in the last 18 months of her life.

The University of Alcalá conserves a unique handwritten Spanish manuscript, while other available texts are printed copies collected by the National Library of France.

Catherine's theology can be described as mystical, and was employed toward practical ends for her own spiritual life or those of others. She used the language of medieval scholastic philosophy to elaborate her experiential mysticism. Interested mainly with achieving an incorporeal union with God, Catherine practiced extreme fasting and asceticism, eventually to the extent of living solely on the Eucharist every day. For Catherine, this practice was the means to fully realize her love of Christ in her mystical experience, with a large proportion of her ecstatic visions relating to the consumption or rejection of food during her life. She viewed Christ as a "bridge" between the soul and God and transmitted that idea, along with her other teachings, in her book The Dialogue. The Dialogue is highly systematic and explanatory in its presentation of her mystical ideas; however, these ideas themselves are not so much based on reason or logic as they are based in her ecstatic mystical experience. Her work was widely read across Europe, and survives in a Middle English translation called The Orchard of Syon.

In one of her letters she sent to her confessor, Raymond of Capua, she recorded this revelation from her conversation with Christ, in which he said: "Do you know what you are to Me, and what I am to you, my daughter? I am He who is, you are she who is not". This mystical concept of God as the wellspring of being is seen in the works and ideas of Aquinas and can be seen as a simplistic rendering of apotheosis and a more rudimentary form of the doctrine of divine simplicity. She describes God in her work, The Dialogue (which she referred to simply as "her book"), as a "sea, in which we are the fish", the point being that the relationship between God and man should not be seen as man contending against the Divine and vice versa, but as God being the endless being that supports all things.

According to the writings attributed to Catherine, in 1377 she had a vision in which the Virgin confirmed to her a thesis supported by the Dominican Order, to which Catherine belonged: the Virgin said that she had been conceived with the original sin. The Virgin thus contradicted the future dogma of the Immaculate Conception. Cardinal Lambertini (later Pope Benedict XIV) in his treatise De servorum Dei beatificatione et de beatorum canonizatione, 1734-1738, cites theologians who believed that Catherine's directors or editors had falsified her words; he also cites Father Lancicius, who believed that Catherine had made a mistake as a result of preconceived ideas.

Reliquary of Saint Catherine beneath the High Altar of Santa Maria sopra Minerva, Rome

Catherine was initially buried in the (Roman) cemetery of Santa Maria sopra Minerva which lies near the Pantheon. After miracles were reported to take place at her grave, Raymond moved her inside Santa Maria sopra Minerva, where she lies to this day.

The Chapel of Saint Catherine, Basilica of San Domenico in Siena

The relic of Catherine's skull, exposed in the Basilica of San Domenico, Siena

Her head, however, was parted from her body and inserted in a gilt bust of bronze. This bust was later taken to Siena, and carried through that city in a procession to the Dominican church. Behind the bust walked Lapa, Catherine's mother, who lived until she was 89 years old. By then she had seen the end of the wealth and the happiness of her family, and followed most of her children and several of her grandchildren to the grave. She helped Raymond of Capua write his biography of her daughter, and said, "I think God has laid my soul athwart in my body, so that it can't get out." The incorrupt head and thumb were entombed in the Basilica of San Domenico at Siena, where they remain.

Pope Pius II himself canonized Catherine on 29 June 1461.

On 4 October 1970, Pope Paul VI named Catherine a Doctor of the Church; this title was almost simultaneously given to Teresa of Ávila (27 September 1970), making them the first women to receive this honour.

However, Catherine's feast day was not initially included in the General Roman Calendar. When it was added in 1597, it was put on the day of her death, 29 April; however, because this conflicted with the feast of Saint Peter of Verona, which also fell on 29 April, Catherine's feast day was moved in 1628 to the new date of 30 April. In the 1969 revision of the calendar, it was decided to leave the celebration of the feast of St Peter of Verona to local calendars, because he was not as well known worldwide, and Catherine's feast was restored to 29 April.

Catherine is remembered in the Church of England and in the Episcopal Church on 29 April. The Evangelical Lutheran Church in America (ELCA) also commemorates Catherine of Siena on 29 April.

Catherine ranks high among the mystics and spiritual writers of the Catholic Church. She remains a greatly respected figure for her spiritual writings, and political boldness to "speak truth to power", with it being out of the ordinary for a woman in her time period to have had such influence in politics and on world history.

In his decree of 13 April 1866, Pope Pius IX declared Catherine of Siena to be a co-patroness of Rome. On 18 June 1939 Pope Pius XII named her a joint patron saint of Italy along with Francis of Assisi.

On 1 October 1999, Pope John Paul II made her one of Europe's patron saints, along with Teresa Benedicta of the Cross and Bridget of Sweden. She is also the patroness of the historically Catholic American woman's fraternity, Theta Phi Alpha.

The people of Siena wished to have Catherine's body. A story is told of a miracle whereby they were partially successful: knowing that they could not smuggle her whole body out of Rome, they decided to take only her head which they placed in a bag. When stopped by the Roman guards, they prayed to Catherine to help them, confident that she would rather have her body (or at least part thereof) in Siena. When they opened the bag to show the guards, it appeared no longer to hold her head but to be full of rose petals.

Leaf from an anonymous French translation of the Legenda Major by Raymond of Capua showing the vision of the mystic wedding of Catherine and Christ. (Bruges Public Library, MS 767)

There is some internal evidence of Catherine's personality, teaching and work in her nearly four hundred letters, her Dialogue, and her prayers.

Details about her life have also been drawn from the various sources written shortly after her death to promote her cult and canonization. Though much of the material is heavily hagiographic, written to promote her sanctity, it is an important early source for historians seeking to reconstruct Catherine's life. Various sources are particularly important, especially the works of Raymond of Capua, who was Catherine's spiritual director and close friend from 1374 to her death and himself became Master General of the Order in 1380. Raymond wrote what is known as the Legenda Major, his Life of Catherine which was completed in 1395, fifteen years after Catherine's death. It was soon translated into other European languages, including German and English.

Another important work written after Catherine's death was Libellus de Supplemento ( Little Supplement Book), written between 1412 and 1418 by Tommaso d'Antonio Nacci da Siena (commonly called Thomas of Siena, or Tommaso Caffarini); the work is an expansion of Raymond's Legenda Major making heavy use of the notes of Catherine's first confessor, Tommaso della Fonte, that do not survive anywhere else. Caffarini later published a more compact account of Catherine's life, the Legenda Minor.

From 1411 onward, Caffarini also coordinated the compiling of the Processus of Venice, the set of documents submitted as part of the process of canonisation of Catherine, which provides testimony from nearly all of Catherine's disciples. There is also an anonymous piece, Miracoli della Beata Caterina ( Miracle of Blessed Catherine), written by an anonymous Florentine. A few other relevant pieces survive.

The main churches in honor of Catherine of Siena are:

A statue of St. Catherine of Siena at the Parish of St. Catherine of Siena Church in Trumbull, Connecticut

Michele de Meo, Catherine of Siena, Patroness of Europe, 2003, Chapel of St. James, Church of Santa Maria sopra Minerva

Domenico Beccafumi, The Miraculous Communion of St. Catherine of Siena, c. 1513-1515, Getty Center, Los Angeles, California

Domenico Beccafumi, St. Catherine of Siena Receiving the Stigmata, c. 1513-1515, Getty Center, Los Angeles, California

The Virgin Mary Giving the Rosary to St. Dominic and St. Catherine of Siena, Church of Santa Agata in Trastevere, Rome (Bottom of painting: the souls in Purgatory await the prayers of the faithful)

Giovanni di Paolo, St. Catherine of Siena, c. 1475, tempera and gold on panel. Fogg Art Museum, Cambridge, England.

St Catherine and the Demons by an unknown artist, c. 1500, tempera on panel. National Museum, Warsaw.

This painting depicts the Virgin giving the rosary to St. Dominic; in the scene also appear Fray Pedro de Santa María Ulloa, Saint Catherine of Siena and Servant of God, Mary of Jesus de León y Delgado. The fresco is located in the Church of Santo Domingo in San Cristóbal de La Laguna, Tenerife, Spain.

St Catherine's mystic communion by Francesco Brizzi

The Italian critical edition of the Dialogue is Catherine of Siena, Il Dialogo della divina Provvidenza: ovvero Libro della divina dottrina, 2nd edition, edited by Giuliana Cavallini (Siena: Cantagalli, 1995; 1st edition, 1968). Cavallini demonstrated that the standard division of the Dialogue in into four treatises entitled the 'Treatise on Discretion', 'On Prayer', 'On Providence', and 'On Obedience', was in fact a result of a misreading of the text in the 1579 edition of the Dialogue. Modern editors and translators, including Noffke (1980), have followed Cavallini in rejecting this fourfold division.

The Italian critical edition of the 26 Prayers is Catherine of Siena, Le Orazioni, edited bt Giuliana Cavallini (Rome: Cateriniane, 1978)

The most recent Italian critical edition of the Letters is Le lettere di Santa Caterina da Siena: l'edizione di Eugenio Duprè Theseider e i nuovi problemi, (2002), edited by Antonio Volpato

English translations of The Dialogue include:

The Dialogue, trans. Suzanne Noffke, OP Paulist Press (Classics of Western Spirituality), 1980.

The Dialogue of St. Catherine of Siena, TAN Books, 2009. ISBN 978-0-89555-149-8

Phyllis Hodgson and Gabriel M Liegey, eds., The Orcherd of Syon, (London; New York: Oxford UP, 1966) [A Middle English translation of the Dialogo from the early fifteenth century, first printed in 1519].

The Letters are translated into English as:

Catherine of Siena (1988). Suzanne Noffke (ed.). The Letters of St. Catherine of Siena. Vol. 4. Binghamton: Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton. ISBN 978-0-86698-036-4. (Republished as The letters of Catherine of Siena, 4 vols, trans Suzanne Noffke, (Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2000-2008))

The Prayers are translated into English as:

The Prayers of Catherine of Siena, trans. Suzanne Noffke, 2nd edn 1983, (New York, 2001)

Raymond of Capua's Life was translated into English in 1493 and 1609, and in Modern English is translated as:

Letter Excerpts translated into English:

Cross, F. L., ed. (2016). The Oxford Dictionary of the Christian Church. London: Oxford U. P. p. 251. ISBN 978-0-192-11655-0.

Emling, Shelley (2016). Setting the World on Fire: The Brief, Astonishing Life of St. Catherine of Siena. New York: St. Martin's Press. ISBN 978-1-137-27980-4.

Girolamo Gigli, ed., L'opere di Santa Caterina da Siena, 4 vols, (Siena e Lucca, 1707-1721)

Hollister, Warren; Judith Bennett (2001). Medieval Europe: A Short History (9 ed.). Boston: McGraw-Hill Companies Inc. p. 343. ISBN 978-0-07-234657-2.

Faure, Gabriel (1918). Au pays de sainte Catherine de Sienne. Grenoble: J. Rey. OCLC 9435948.

McDermott, Thomas, OP (2008). Catherine of Siena: spiritual development in her life and teaching. New York: Paulist Press. ISBN 978-0-8091-4547-8.

Carolyn Muessig, George Ferzoco, and Beverly Mayne Kienzle, eds., A Companion to Catherine of Siena, (Leiden: Brill, 2012), ISBN 978-90-04-20555-0 / ISBN 978-90-04-22542-8.

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Caterina di Jacopo di Benincasa (25 March 1347 - 29 April 1380), known as Catherine of Siena ( Italian: Caterina da Siena), was an Italian mystic and pious laywoman who engaged in papal and Italian politics through extensive letter-writing and advocacy.