Celine Martin, one of St. Therese of Lisieux’s sisters, was a gifted artist. Their father was very supportive of his daughter's gift and Celine had opportunity and ability to develop her creative skill. Like any artist, she drew from life around her - friends, still life, scenery, etc. And, like many a Catholic painter, she created religious works of art as well. Later, when Celine joined her sister as a Carmelite nun, she continued to use her talent, much to the benefit of the community. In fact, when Therese died, Celine painted portraits and scenes from the saint’s life - which became well known and loved among devotees of St. Therese.

While still living in the world, Celine cared for her ill and aging father, with whom she naturally shared her art. On June 16th, 1888 she showed him her finished piece of the Mater Dolorosa - or Sorrowful Mother. The image featured both Our Lady and Mary Magdalen, grieving from the Passion. The Crown of Thorns is on the Virgin Mary's lap, while her companion leans against Her - desolate and heartbroken.

Mr. Martin was very impressed with Celine's work and the painting was put on display in their home.

From there, Celine’s Mater Dolorosa turned out to play an unexpected role in a remarkable incident, which Celine relates in her own words:

"We were in the little house in rue Labbey near my uncle’s house. Papa, paralyzed, was with us. To care for him, we had a servant. This man was of a good and Christian family, but his conduct, in all respects, did not correspond to his education.

"Now, one day when he was cleaning the big room where this painting was, he came to me all in tears, threw himself at my feet telling me that the painting had spoken to him and that he wanted to change his life.

"‘Until now,’ he told me, ‘I seemed to be doing my religious duty, but it was so as not to upset my mother and my sisters. I was committing sacrilege.’

"He continued his confession to me, but I stopped him, telling him to go quickly and find the priest. I wanted him to enjoy the grace that at that moment was intense. He went there and came back to me all radiant. Father Rohée, senior parish priest of St. Pierre, whom he had addressed, came in the afternoon to see his penitent again. He told me that this conversion was one of the finest of his ministry. He was exultant."

Celine of course did not take credit for the conversion. On the contrary, viewing her work with a critical eye, she saw its artistic flaws. In concluding this beautiful story, Celine speaks in humble, loving amazement:

"I was very grateful to the good Lord who deigns to use the most miserable instruments to work these wonders."