The Visual Rosary is for those who already know the prayers and want inspiration and classic paintings for the Sorrowful Mysteries and more.
Preparation Start by making the sign of the Cross: In the name of the Father, and of the Son and of the Holy Spirit. Amen. Then recite the Apostle’s Creed: I believe in God, the Father Almighty…
The Visual Rosary is for those who already know the prayers and want inspiration and classic paintings for the Luminous Mysteries and more.
The History of the Rosary, 15 Promises of the Rosary, How to Pray the Rosary Step by Step and Catholic infographics, plus other great quotes
If you're yearning for a little self-care, you've stumbled upon the ultimate online oasis. Feast your eyes on a vast array of 15 ent...
One of my favourite objects in the exhibition is this extraordinary rock-crystal rosary decorated with gold leaf. Almost certainly it belonged to a person of great wealth, as its size and materials would have been very expensive in Renaissance Italy.
These Rosary "doodle note" pages offer a creative, fun, interactive way to take visual notes on how to pray the Rosary and on the Mysteries of the Rosary.You can use these when learning about Mary and the Rosary or during the month of May.The Perfect Way to Introduce the Rosary to Students-A printab...
I handcraft heirloom quality gemstone rosaries in classical chain work. The rosary bead parts are vintage reproduction.
The "Parts of the Rosary" labeling worksheet AND ANSWER KEY is a valuable resource designed to help students understand and identify the various components of the Rosary. With a clear and visually engaging layout, it provides an opportunity for students to practice their knowledge of the Rosary's st...
Crosses, rosary beads and other religious items draped on a statue.
Christ at Emmaus From a Picture Bible French, 1190-1200 The Hague, Koninklijk Bibliotheek MS KB 76 F 5, fol. 22v “And it happened that, while he was with them at table, he took bread, said the blessing, broke it, and gave it to them. With that their eyes were opened and they recognized him, but he vanished from their sight. Then they said to each other, “Were not our hearts burning within us while he spoke to us on the way and opened the Scriptures to us?” So they set out at once and returned to Jerusalem where they found gathered together the Eleven and those with them who were saying, “The Lord has truly been raised and has appeared to Simon!” Then the two recounted what had taken place on the way and how he was made known to them in the breaking of the bread.” (Luke 24:30-35) Gospel for Third Sunday of Easter, May 8, 2011 As discussed in my previous post, images from the journey to Emmaus are somewhat scarce, but images of the moment of recognition at the dining table (what came to be called “The Supper at Emmaus”), are numerous and often the work of great painters. Prior to 1600 there were already images of this scene. Among them are an early 12th century French pictorial Bible from the Benedictine abbey of St. Bertin, now in the Koninklijk Bibliotheek at the Hague, seen above. Most of them are combined with images of the journey to Emmaus, either within the same image or as a part of a group of images related to the Resurrection, as, in fact, is this one. Scenes from the Resurrection narratives from a Picture Bible French, 1190-1200 The Hague, Koninklijk Bibliotheek MS KB 76 F 5, fol. 22v At its simplest, the scene of the recognition shows Jesus and the two disciples seated at a table. Jesus is always shown holding, or actually in the act of breaking, a piece of bread. The disciples are shown reacting in some manner. The Disciples Recognize Jesus from Miniatures of the Life of Christ France (Northeast), 1170-1180 New York, Pierpont Morgan Library MS M 44, fol. 13r Pacino di Bonaguida, The Disciples Recognize Jesus from Scenes from life of Christ and the Life of Blessed Gerard of Villamagna Italian (Florence), 1315-1325 New York, Pierpont Morgan Library MS M 643, fol.14v Ivory Panel From a Box The Disciples Recognize Jesus French, 15th Century Paris, Musée de Cluny, Musée national du Moyen Age Master of Catherine of Cleves, The Disciples Recognize Jesus from the Hours of Catherine of Cleves Dutch (Utrecht), c. 1435-1445 New York, Pierpont Morgan Library MS M 945, fol. 139r Jean Poyer, The Disciples Recognize Jesus from the Prayer Book of Anne de Bretagne French (Tours), 1492-1495 New York, Pierpont Morgan Library MS M 50, fol. 8r From about the year 1500 more figures began to appear. Serving men and women are added, as are cats and dogs and children. Also added are figures contemporary with the painting itself who become visionary witnesses to the scene and, therefore, invite us into the scene as witnesses as well. Marco Marziale, The Disciples Recognize Jesus Italian, 1506 Venice, Gallerie dell'Accademia Albrecht Durer, The Disciples Recognize Jesus Woodcut, from The Small Passion German, c. 1510 New York, Metropolitan Museum of Art The Disciples Recognize Jesus Dutch, c. 1520 Amsterdam, Rijksmuseum The painting by Jacopo Pontormo, dated 1525, and possibly based on Durer's composition, begins to take us in a new direction. The seated figures are shown sitting around the table, not all together on one side that faces us. Therefore, the two disciples are shown with their backs to us and are not yet reacting, because Jesus has not yet broken the bread. Jacopo Pontormo, The Supper at Emmaus Italian, 1525 Florence, Galleria degli Uffizi In addition to the two disciples and wait staff Pontormo has added two pious witnesses, who show their astonishment, even before the disciples. Since the painting was commissioned for the Carthusian monastery of Galluzo the witnesses are, no doubt, Carthusian monks. Typically for a Mannerist painter, the figures, especially the Biblical figures, are shown in slightly contorted poses. More importantly, Christ is shown not actually breaking the bread but apparently blessing it. This gesture would be the one that future works would use most often. Pontormo has also added a pair of cats and a small dog at the bottom of the picture. One cat peers out from under the chair of the disciple in green, while the puppy and the other cat appear at the extreme left of the bottom of the picture. All the animals look outwards from the picture, at us, and thus draw us into the picture as witnesses also. (The eye in a triangle, a symbol for the presence of God may not be original to the picture, but may have been added later.) During the sixteenth century and into the first half of the seventeenth century, the blessing gesture almost completely replaced the breaking of the bread as the action of the Risen Jesus. Very often the disciples are shown as still not recognizing Him, in keeping with the Gospel for "he was made known to them in the breaking of the bread" (Luke 24:35), and, therefore, by implication, not until then. Titian, Supper at Emmaus Italian, c. 1530s Paris, Musée du Louvre Jacopo Bassano, Supper at Emmaus Italian, c. 1538 Cittadella, Parish Church, Sacristy Tintoretto, Supper at Emmaus Italian, 1542-1543 Budapest, Szépmûvészeti Múzeum Paolo Veronese, Supper at Emmaus Italian, c. 1560 Paris, Musée du Louvre Presumably the large number of extra figures in this work are members of the family who commissioned this painting. They join the disciples and the serving man and woman as witnesses. And in their very familiar humanity invite us, their fellows to join them. Francesco Bassano, Supper at Emmaus Italian, c. 1560-1580 Paris, Musée du Louvre In this picture the subject of the work is positioned off center and in the background, while the largest part of the composition is occupied by the innkeeper and his staff and their animals as they go about their routine. This insistence on routine may well be the core of the painting, since it reminds us that miraculous things may be taking place while we obliviously go about our daily chores. Pedro Orrente. Supper at Emmaus Spanish, c. 1620s Budapest, Szépmûvészeti Múzeum This work shares the same kind of character as the work above. The important action is happening in the midst of daily life, but off to the side as it were. One hundred years later, at the beginning of the seventeenth century, Michelanglo Merisi da Caravaggio, known simply as Caravaggio, refocused attention on the central action of the Supper at Emmaus, the interaction between Jesus and the disciples. Caravaggio, Christ at Emmaus Italian, 1601 London, National Gallery Drawing on and transforming the existing tradition, Caravaggio produced what became the definitive image of the subject for the future. This is the “Supper at Emmaus” in the National Gallery, London. Dating from around 1601 Caravaggio’s picture takes up the composition from Durer and his successors and transforms it. There are the same elements: the Risen Jesus, the two disciples, the innkeeper, the table. But now everything is seen close up. We cannot see the legs of the table, only the top and sides. Instead of a showing the moment just before the instant of recognition, we are shown the reactions of surprise and astonishment of the disciples as they recognize who their companion really is. Moreover Caravaggio uses his striking trademark dramatic lighting to highlight the principal actors. And to underscore the reality of the scene, the table is set with foods other than the bread alone that we have seen in the previous works, even including some fowl and most beautifully delineated of all, as basket containing fruit. The basket of fruit is presented in dramatic perspective, as though it were partially over the edge of the table and, thus, protruding into our space, making us witnesses as well. Moreover, the gestures of Christ and the reaction of the disciples suggest that the reference to “the breaking of the bread” as more than a reference to a Biblical quotation or to a simple act. They suggest, in fact, a reference to the Eucharist. In pictorial terms they are saying that the Eucharist is the place where we recognize the Risen Lord. Indeed, Caravaggio made this quite explicit in his painting. By juxtaposing the bread of the disciples with the basket of fruit and its very prominent bunch of grapes, Caravaggio is highlighting two traditional symbols for the Eucharist -- bread and grapes. The dramatic blessing gesture of Christ also suggests the moment of Consecration in the Mass. The drama apparent in Caravaggio’s image had an immediate and enormous impact on representations in later work. Beginning almost immediately the influence of this painting spread through Europe, causing other artists to create imitations, according to their level of skill. Some adopted the same moment of recognition as Caravaggio, while others stuck to the older tradition of representing the blessing just before the recognition. Caravaggio, Supper at Emmaus Italian, 1605-1606 Milan, Pinacoteca di Brera In a sense, Caravaggio was one of the earliest painters to imitate his own painting. This picture, made about four years later than the first, reverts to the earlier formula of the blessing before breaking bread and is less specific about the Eucharistic elements. Bartolomeo Cavarozzi, Supper at Emmaus Italian, c. 1615-1625 Los Angeles, J. Paul Getty Museum A blatant case of imitation, this picture appropriates many of Caravaggio's 1601 painting motifs, but the effect is somewhat diminished. Gerrit van Honthorst or Matthias Stomer, Supper at Emmaus Dutch, c. 1615-1620 Pommersfelden, Schloss Weissenstein Honthorst and Stomer (or Stom) were among the early followers of Caravaggio in northern Europe. They were also particularly interested in the effects of light from a candle shining in the darkness. The light effects helped them to increase the sense of drama in their work, as it does here for the dramatic moment of recognition. And gradually also, the dramatic lighting was first used, and then manipulated, to create a distinction around the figure of Jesus which is not found in the Caravaggio painting. Over time the figure of Jesus came to be "illumined" with supernatural light. As with the other variations on this subject, the artists who worked on these pictures ranged from the merely competent to the great masters. Antonio Giarola, Supper at Emmaus Italian, 1620-1630 Rennes, Musée des Beaux-Arts Diego Velazquez, The Supper at Emmaus Spanish, c. 1620 New York, Metropolitan Museum of Art Jacopo da Empoli, Supper at Emmaus Italian, c. 1620 St. Petersburg, State Hermitage Museum Hendrick Terbrugghen, Supper at Emmaus Dutch, c. 1621 Berlin, Schloss Sanssouci Abraham Bloemaert, Supper at Emmaus Dutch, 1622 Brussels, Koninklijke Museum voor Schone Kunsten Bloemaert's painting has some additional overtones in its Eucharistic references. Not only is there the bread and wine but what looks like a standing rack of lamb, a possible reference to Jesus as the Lamb of God. Above all, however, the two lit candles provide a reference to the rubrics for the celebration of Mass, which requires that two lit candles should be in place on the altar during Mass. Attributed to Trophime Bigot, Supper at Emmaus French, c. 1620-1630 Chantilly,Musée Condé Rembrandt van Rijn, Supper at Emmaus Dutch, c. 1629 Paris, Musée Jacquemart-Andre Dirck Santvoort, Supper at Emmaus Dutch, 1633 Paris, Musée du Louvre Rembrandt's painting of about 1629, with its night effects lighting that silhouetted the figure of Jesus against the light, creating an aura of light around Him, was picked up by later artists to silhouette Him as well. However, in the later paintings He is the source of the light as well as the figure revealed by it. Jean Restout. Supper at Emmaus French, 1735 Lille, Palais des Beaux-Arts Charles Antoine Coypel French, c. 1730-1740 Paris, Musée Carnavalet Joseph Winterhalder the Younger, Supper at Emmaus Czech, c. 1772-1773 Vienna, Belvedere Museum Philip James de Loutherbourg, Supper at Emmaus French, 1797 Birmingham (UK), Birmingham Museums Trust Not every artist joined in the explosion of light effects. Some remained solidly rooted in telling the story. Many, though not all, of these artists were French or Flemish. Anonymous. Supper at Emmaus French, First half of 17th Century Nantes, Musée des Beaux-Arts It is a pity that the identity of the artist who created this fine painting is not known to us. He has borrowed the drama of Caravaggesque lighting effects, but used the natural light of daylight for his effects. This is the moment of blessing before the actual breaking of the bread, since the disciples have not yet reacted to His gestures. One of them pours a glass of wine, adding some Eucharistic symbolism to the picture. Aartus Wolffort, Supper at Emmaus Flemish, c. 1630 Private Collection The imitation of Caravaggio is obvious. I must say that I am rather fond of this picture. The artist clearly identifies one of the men as Saint James the Greater, by the distinctive capelet adorned with cockle shells and a miniature staff. Other painters included smaller cockle shells in their works, sometimes on both disciples. However, the large size and the inclusion of the staff point decisively to Saint James as the identity of this disciple. In addition, the faces of the old serving man or tavern owner and of the younger man with the pie, which may be a self-portrait, are rather engaging. Philippe de Champaigne, Supper at Emmaus Franco-Flemish, c. 1650 Ghent, Museum voor Schone Kunsten, One of them is this work by Philippe de Champaigne. In Champaigne's painting, Christ is recognized in the act of offering a piece of broken bread to one of the disciples, thus actually performing the act for which the Gospel's say that He was recognized. We are witnessing the very moment of recognition. Champaigne also includes much local color, two attendants, a view of landscape and even a grey tabby cat who is shown trying to get his paws on some of the meat from the table. Other French artists (and Champaigne himself) continued to work with this vision of the subject. Peter Paul Rubens, Supper at Emmaus Flemish, 1638 Madrid, Museo Nacional del Prado The LeNain Brothers, Supper at Emmaus French, 1645 Paris, Musée du Louvre Jacob Jordaens, Supper at Emmaus Flemish, c. 1645-1665 Dublin, National Gallery of Ireland Laurent de La Hyre. Supper at Emmaus French, 1656 Grenoble, Musée de Grenoble Philippe de Champaigne, Supper at Emmaus French, 1656 Angers, Musée des Beaux-Arts Attributed to Jean Jouvenet, Supper at Emmaus French, c. 1690-1700 Nantes, Musée des Beaux-Arts Pierre Joseph Verhaghen, Supper at Emmaus Flemish, 1772 Vienna, Kunsthistorisches Museum Willem Herreyns, Supper at Emmaus Belgian, 1808 Antwerp, Cathedral of Our Lady Eugene Delacroix, Supper at Emmaus French, 1853 New York, Brooklyn Museum Carl Heinrich Bloch, Supper at Emmaus Danish, 1870s Provo (UT), Brigham Young University Museum of Art Henry Ossawa Tanner, Supper at Emmaus American, 1905 Paris, Musée d'Orsay Beginning in the 1890s the subject of the Supper at Emmaus and the recognition of the Risen Jesus by His two disciples underwent a series of deformations. First there were some attempts to set the scene in the current day and in current situations. So, instead of a scene set in an inn we find scenes of the Risen Jesus breaking bread in bourgeois dining rooms and in a working class cafe. Jacques Emile Blanche, Supper at Emmaus French, 1891-1892 Rouen, Musée des Beaux-Arts Leon-Augustin L'Hermitte, Friend of the Humble-Supper at Emmaus French, 1892 Boston, Museum of Fine Arts Pascal-Adolphe Jean Dagnan Bouveret, Supper at Emmaus French, 1896-1897 Pittsburgh, Carnegie Museum of Art After 1900 any resemblance to the work of the past was purely at the will of the artist. Most chose to do something else while keeping the title. Jean-Louis Forain, Supper at Emmaus French, c. 1912-1913 Washington, National Gallery of Art In Forain's work only one disciple looks to Jesus while the other seems intent on studying the surface of the table. Servers are only just bringing the food, so there is no bread to be broken as yet and the disciples are still unable to recognize Jesus. Alfred Manessier. Supper at Emmaus French, 1944 Paris, Centre national d'art et de culture Georges-Pompidou The Cubist filter through which the artist is working means that, while we can recognize the figures of Jesus and the two disciples, interaction among them is invisible. © M. Duffy 2011, amended 2017
Help children learn to pray the Rosary with this visual guide. It includes the prayers of the rosary and a diagram with what prayers should be said for each bead. Have students complete the illustrations for each mystery- after learning about and discussing each set of mysteries. The drawings they c...
The History of the Rosary, 15 Promises of the Rosary, How to Pray the Rosary Step by Step and Catholic infographics, plus other great quotes
Christ at Emmaus From a Picture Bible French, 1190-1200 The Hague, Koninklijk Bibliotheek MS KB 76 F 5, fol. 22v “And it happened that, while he was with them at table, he took bread, said the blessing, broke it, and gave it to them. With that their eyes were opened and they recognized him, but he vanished from their sight. Then they said to each other, “Were not our hearts burning within us while he spoke to us on the way and opened the Scriptures to us?” So they set out at once and returned to Jerusalem where they found gathered together the Eleven and those with them who were saying, “The Lord has truly been raised and has appeared to Simon!” Then the two recounted what had taken place on the way and how he was made known to them in the breaking of the bread.” (Luke 24:30-35) Gospel for Third Sunday of Easter, May 8, 2011 As discussed in my previous post, images from the journey to Emmaus are somewhat scarce, but images of the moment of recognition at the dining table (what came to be called “The Supper at Emmaus”), are numerous and often the work of great painters. Prior to 1600 there were already images of this scene. Among them are an early 12th century French pictorial Bible from the Benedictine abbey of St. Bertin, now in the Koninklijk Bibliotheek at the Hague, seen above. Most of them are combined with images of the journey to Emmaus, either within the same image or as a part of a group of images related to the Resurrection, as, in fact, is this one. Scenes from the Resurrection narratives from a Picture Bible French, 1190-1200 The Hague, Koninklijk Bibliotheek MS KB 76 F 5, fol. 22v At its simplest, the scene of the recognition shows Jesus and the two disciples seated at a table. Jesus is always shown holding, or actually in the act of breaking, a piece of bread. The disciples are shown reacting in some manner. The Disciples Recognize Jesus from Miniatures of the Life of Christ France (Northeast), 1170-1180 New York, Pierpont Morgan Library MS M 44, fol. 13r Pacino di Bonaguida, The Disciples Recognize Jesus from Scenes from life of Christ and the Life of Blessed Gerard of Villamagna Italian (Florence), 1315-1325 New York, Pierpont Morgan Library MS M 643, fol.14v Ivory Panel From a Box The Disciples Recognize Jesus French, 15th Century Paris, Musée de Cluny, Musée national du Moyen Age Master of Catherine of Cleves, The Disciples Recognize Jesus from the Hours of Catherine of Cleves Dutch (Utrecht), c. 1435-1445 New York, Pierpont Morgan Library MS M 945, fol. 139r Jean Poyer, The Disciples Recognize Jesus from the Prayer Book of Anne de Bretagne French (Tours), 1492-1495 New York, Pierpont Morgan Library MS M 50, fol. 8r From about the year 1500 more figures began to appear. Serving men and women are added, as are cats and dogs and children. Also added are figures contemporary with the painting itself who become visionary witnesses to the scene and, therefore, invite us into the scene as witnesses as well. Marco Marziale, The Disciples Recognize Jesus Italian, 1506 Venice, Gallerie dell'Accademia Albrecht Durer, The Disciples Recognize Jesus Woodcut, from The Small Passion German, c. 1510 New York, Metropolitan Museum of Art The Disciples Recognize Jesus Dutch, c. 1520 Amsterdam, Rijksmuseum The painting by Jacopo Pontormo, dated 1525, and possibly based on Durer's composition, begins to take us in a new direction. The seated figures are shown sitting around the table, not all together on one side that faces us. Therefore, the two disciples are shown with their backs to us and are not yet reacting, because Jesus has not yet broken the bread. Jacopo Pontormo, The Supper at Emmaus Italian, 1525 Florence, Galleria degli Uffizi In addition to the two disciples and wait staff Pontormo has added two pious witnesses, who show their astonishment, even before the disciples. Since the painting was commissioned for the Carthusian monastery of Galluzo the witnesses are, no doubt, Carthusian monks. Typically for a Mannerist painter, the figures, especially the Biblical figures, are shown in slightly contorted poses. More importantly, Christ is shown not actually breaking the bread but apparently blessing it. This gesture would be the one that future works would use most often. Pontormo has also added a pair of cats and a small dog at the bottom of the picture. One cat peers out from under the chair of the disciple in green, while the puppy and the other cat appear at the extreme left of the bottom of the picture. All the animals look outwards from the picture, at us, and thus draw us into the picture as witnesses also. (The eye in a triangle, a symbol for the presence of God may not be original to the picture, but may have been added later.) During the sixteenth century and into the first half of the seventeenth century, the blessing gesture almost completely replaced the breaking of the bread as the action of the Risen Jesus. Very often the disciples are shown as still not recognizing Him, in keeping with the Gospel for "he was made known to them in the breaking of the bread" (Luke 24:35), and, therefore, by implication, not until then. Titian, Supper at Emmaus Italian, c. 1530s Paris, Musée du Louvre Jacopo Bassano, Supper at Emmaus Italian, c. 1538 Cittadella, Parish Church, Sacristy Tintoretto, Supper at Emmaus Italian, 1542-1543 Budapest, Szépmûvészeti Múzeum Paolo Veronese, Supper at Emmaus Italian, c. 1560 Paris, Musée du Louvre Presumably the large number of extra figures in this work are members of the family who commissioned this painting. They join the disciples and the serving man and woman as witnesses. And in their very familiar humanity invite us, their fellows to join them. Francesco Bassano, Supper at Emmaus Italian, c. 1560-1580 Paris, Musée du Louvre In this picture the subject of the work is positioned off center and in the background, while the largest part of the composition is occupied by the innkeeper and his staff and their animals as they go about their routine. This insistence on routine may well be the core of the painting, since it reminds us that miraculous things may be taking place while we obliviously go about our daily chores. Pedro Orrente. Supper at Emmaus Spanish, c. 1620s Budapest, Szépmûvészeti Múzeum This work shares the same kind of character as the work above. The important action is happening in the midst of daily life, but off to the side as it were. One hundred years later, at the beginning of the seventeenth century, Michelanglo Merisi da Caravaggio, known simply as Caravaggio, refocused attention on the central action of the Supper at Emmaus, the interaction between Jesus and the disciples. Caravaggio, Christ at Emmaus Italian, 1601 London, National Gallery Drawing on and transforming the existing tradition, Caravaggio produced what became the definitive image of the subject for the future. This is the “Supper at Emmaus” in the National Gallery, London. Dating from around 1601 Caravaggio’s picture takes up the composition from Durer and his successors and transforms it. There are the same elements: the Risen Jesus, the two disciples, the innkeeper, the table. But now everything is seen close up. We cannot see the legs of the table, only the top and sides. Instead of a showing the moment just before the instant of recognition, we are shown the reactions of surprise and astonishment of the disciples as they recognize who their companion really is. Moreover Caravaggio uses his striking trademark dramatic lighting to highlight the principal actors. And to underscore the reality of the scene, the table is set with foods other than the bread alone that we have seen in the previous works, even including some fowl and most beautifully delineated of all, as basket containing fruit. The basket of fruit is presented in dramatic perspective, as though it were partially over the edge of the table and, thus, protruding into our space, making us witnesses as well. Moreover, the gestures of Christ and the reaction of the disciples suggest that the reference to “the breaking of the bread” as more than a reference to a Biblical quotation or to a simple act. They suggest, in fact, a reference to the Eucharist. In pictorial terms they are saying that the Eucharist is the place where we recognize the Risen Lord. Indeed, Caravaggio made this quite explicit in his painting. By juxtaposing the bread of the disciples with the basket of fruit and its very prominent bunch of grapes, Caravaggio is highlighting two traditional symbols for the Eucharist -- bread and grapes. The dramatic blessing gesture of Christ also suggests the moment of Consecration in the Mass. The drama apparent in Caravaggio’s image had an immediate and enormous impact on representations in later work. Beginning almost immediately the influence of this painting spread through Europe, causing other artists to create imitations, according to their level of skill. Some adopted the same moment of recognition as Caravaggio, while others stuck to the older tradition of representing the blessing just before the recognition. Caravaggio, Supper at Emmaus Italian, 1605-1606 Milan, Pinacoteca di Brera In a sense, Caravaggio was one of the earliest painters to imitate his own painting. This picture, made about four years later than the first, reverts to the earlier formula of the blessing before breaking bread and is less specific about the Eucharistic elements. Bartolomeo Cavarozzi, Supper at Emmaus Italian, c. 1615-1625 Los Angeles, J. Paul Getty Museum A blatant case of imitation, this picture appropriates many of Caravaggio's 1601 painting motifs, but the effect is somewhat diminished. Gerrit van Honthorst or Matthias Stomer, Supper at Emmaus Dutch, c. 1615-1620 Pommersfelden, Schloss Weissenstein Honthorst and Stomer (or Stom) were among the early followers of Caravaggio in northern Europe. They were also particularly interested in the effects of light from a candle shining in the darkness. The light effects helped them to increase the sense of drama in their work, as it does here for the dramatic moment of recognition. And gradually also, the dramatic lighting was first used, and then manipulated, to create a distinction around the figure of Jesus which is not found in the Caravaggio painting. Over time the figure of Jesus came to be "illumined" with supernatural light. As with the other variations on this subject, the artists who worked on these pictures ranged from the merely competent to the great masters. Antonio Giarola, Supper at Emmaus Italian, 1620-1630 Rennes, Musée des Beaux-Arts Diego Velazquez, The Supper at Emmaus Spanish, c. 1620 New York, Metropolitan Museum of Art Jacopo da Empoli, Supper at Emmaus Italian, c. 1620 St. Petersburg, State Hermitage Museum Hendrick Terbrugghen, Supper at Emmaus Dutch, c. 1621 Berlin, Schloss Sanssouci Abraham Bloemaert, Supper at Emmaus Dutch, 1622 Brussels, Koninklijke Museum voor Schone Kunsten Bloemaert's painting has some additional overtones in its Eucharistic references. Not only is there the bread and wine but what looks like a standing rack of lamb, a possible reference to Jesus as the Lamb of God. Above all, however, the two lit candles provide a reference to the rubrics for the celebration of Mass, which requires that two lit candles should be in place on the altar during Mass. Attributed to Trophime Bigot, Supper at Emmaus French, c. 1620-1630 Chantilly,Musée Condé Rembrandt van Rijn, Supper at Emmaus Dutch, c. 1629 Paris, Musée Jacquemart-Andre Dirck Santvoort, Supper at Emmaus Dutch, 1633 Paris, Musée du Louvre Rembrandt's painting of about 1629, with its night effects lighting that silhouetted the figure of Jesus against the light, creating an aura of light around Him, was picked up by later artists to silhouette Him as well. However, in the later paintings He is the source of the light as well as the figure revealed by it. Jean Restout. Supper at Emmaus French, 1735 Lille, Palais des Beaux-Arts Charles Antoine Coypel French, c. 1730-1740 Paris, Musée Carnavalet Joseph Winterhalder the Younger, Supper at Emmaus Czech, c. 1772-1773 Vienna, Belvedere Museum Philip James de Loutherbourg, Supper at Emmaus French, 1797 Birmingham (UK), Birmingham Museums Trust Not every artist joined in the explosion of light effects. Some remained solidly rooted in telling the story. Many, though not all, of these artists were French or Flemish. Anonymous. Supper at Emmaus French, First half of 17th Century Nantes, Musée des Beaux-Arts It is a pity that the identity of the artist who created this fine painting is not known to us. He has borrowed the drama of Caravaggesque lighting effects, but used the natural light of daylight for his effects. This is the moment of blessing before the actual breaking of the bread, since the disciples have not yet reacted to His gestures. One of them pours a glass of wine, adding some Eucharistic symbolism to the picture. Aartus Wolffort, Supper at Emmaus Flemish, c. 1630 Private Collection The imitation of Caravaggio is obvious. I must say that I am rather fond of this picture. The artist clearly identifies one of the men as Saint James the Greater, by the distinctive capelet adorned with cockle shells and a miniature staff. Other painters included smaller cockle shells in their works, sometimes on both disciples. However, the large size and the inclusion of the staff point decisively to Saint James as the identity of this disciple. In addition, the faces of the old serving man or tavern owner and of the younger man with the pie, which may be a self-portrait, are rather engaging. Philippe de Champaigne, Supper at Emmaus Franco-Flemish, c. 1650 Ghent, Museum voor Schone Kunsten, One of them is this work by Philippe de Champaigne. In Champaigne's painting, Christ is recognized in the act of offering a piece of broken bread to one of the disciples, thus actually performing the act for which the Gospel's say that He was recognized. We are witnessing the very moment of recognition. Champaigne also includes much local color, two attendants, a view of landscape and even a grey tabby cat who is shown trying to get his paws on some of the meat from the table. Other French artists (and Champaigne himself) continued to work with this vision of the subject. Peter Paul Rubens, Supper at Emmaus Flemish, 1638 Madrid, Museo Nacional del Prado The LeNain Brothers, Supper at Emmaus French, 1645 Paris, Musée du Louvre Jacob Jordaens, Supper at Emmaus Flemish, c. 1645-1665 Dublin, National Gallery of Ireland Laurent de La Hyre. Supper at Emmaus French, 1656 Grenoble, Musée de Grenoble Philippe de Champaigne, Supper at Emmaus French, 1656 Angers, Musée des Beaux-Arts Attributed to Jean Jouvenet, Supper at Emmaus French, c. 1690-1700 Nantes, Musée des Beaux-Arts Pierre Joseph Verhaghen, Supper at Emmaus Flemish, 1772 Vienna, Kunsthistorisches Museum Willem Herreyns, Supper at Emmaus Belgian, 1808 Antwerp, Cathedral of Our Lady Eugene Delacroix, Supper at Emmaus French, 1853 New York, Brooklyn Museum Carl Heinrich Bloch, Supper at Emmaus Danish, 1870s Provo (UT), Brigham Young University Museum of Art Henry Ossawa Tanner, Supper at Emmaus American, 1905 Paris, Musée d'Orsay Beginning in the 1890s the subject of the Supper at Emmaus and the recognition of the Risen Jesus by His two disciples underwent a series of deformations. First there were some attempts to set the scene in the current day and in current situations. So, instead of a scene set in an inn we find scenes of the Risen Jesus breaking bread in bourgeois dining rooms and in a working class cafe. Jacques Emile Blanche, Supper at Emmaus French, 1891-1892 Rouen, Musée des Beaux-Arts Leon-Augustin L'Hermitte, Friend of the Humble-Supper at Emmaus French, 1892 Boston, Museum of Fine Arts Pascal-Adolphe Jean Dagnan Bouveret, Supper at Emmaus French, 1896-1897 Pittsburgh, Carnegie Museum of Art After 1900 any resemblance to the work of the past was purely at the will of the artist. Most chose to do something else while keeping the title. Jean-Louis Forain, Supper at Emmaus French, c. 1912-1913 Washington, National Gallery of Art In Forain's work only one disciple looks to Jesus while the other seems intent on studying the surface of the table. Servers are only just bringing the food, so there is no bread to be broken as yet and the disciples are still unable to recognize Jesus. Alfred Manessier. Supper at Emmaus French, 1944 Paris, Centre national d'art et de culture Georges-Pompidou The Cubist filter through which the artist is working means that, while we can recognize the figures of Jesus and the two disciples, interaction among them is invisible. © M. Duffy 2011, amended 2017
Rogier van der Weyden, Christ Appearing to His Mother Flemish, ca. 1445 Berlin, Gemäldegalerie der Staatliche Museen zu Berlin All the Resurrection imagery we’ve looked at up to this point has its basis in the Biblical accounts of the Resurrection and the appearances of the Risen Jesus – to the women, to Mary Magdalene, at Emmaus and to the Apostles. However, there is one other subject, of which several interpretations exist, that has a non-Biblical derivation. This is the image of Christ Appearing to His Mother after the Resurrection. To say that the image has a non-Biblical derivation is not to say that it in any way contradicts the Bible. Indeed, it does not. The Bible tells us, specifically, that there were many people to whom the Risen Jesus appeared. That one of these should be His mother is a logical conclusion. She was the means through which He entered the physical world (Luke 1:38); He performed his first miracle in response to her plea at the wedding in Cana (John 2:1-11); she was present at the Crucifixion (John 19:25-27). She had been a witness to the most important events in His life and mission. It is quite logical that she should be a witness to His resurrection, principal among those unnamed persons to whom the Bible says Christ appeared after His resurrection. Therefore, the idea of the Virgin Mary as a witness to the resurrection has a long history in Christianity. It was already established by the time of St. Ambrose (340–397). In his treatise on virginity (Liber de Virginitate) he says “Vidit ergo Maria resurretionem Domini: et prima vidit, et credidit” (Therefore Mary saw the resurrection of the Lord: she saw it first and believed – translation mine). 1 Over time this idea developed from envisioning Mary as one of the women at the tomb to a separate, private apparition of the Risen Jesus to His mother. It was given its most definite form around 1300 by the writer known as the Pseudo-Bonaventure in the Mirror of the Blessed Life of Jesus Christ. The author said: “And then about the same time, that is to say, early in the morning, Mary Magdalene, Mary Jacobi and Salome, taking their leave first of Our Lady, took their way toward the grave with precious ointments. Dwelling still at home Our Lady made her prayer….” (Snipping quote of the prayer in which she recounts the Passion and pleads for her Son to be returned to life) “And with that, she so praying, sweet tears shedding, lo suddenly Our Lord Jesus came and appeared to her, and in all white clothes, with a glad and lovely cheer, greeting her in these words “Hail, Holy Mother.” And anon she turning said: “Art Thou Jesus, my blessed Son?” And therewith she kneeling down honored Him; and He also kneeling beside her said: “My dear Mother, I am. I have risen, and lo, I am with you.” And then both rising up kissed the other; and she with unspeakable joy clasped Him, sadly, resting all upon Him, and He gladly bare her up and sustained her.”2 Rabula Gospels, Syrian, 6th century Florence, Laurentian Library In art history, the subject has not been a common one. There are some manuscript illustrations and frescoes between the sixth and the fifteenth centuries. One of the first is the scene of the Resurrection from the Rabbula Gospels, produced in sixth-century Syria, where Mary is included among the women at the tomb. We see her, her presence denoted by the large golden halo, being spoken to by an angel and at the feet of the Risen Christ. The other woman with her may be Mary Magdalene. Mary Receives News of the Resurrection and Christ Appearing to His Mother from the Passionale of Abbess Künigunde Czech, 1313-1321 Prague, Nátional Library of the Čzech Republic MS X.A.17, fol. 14V A fourteenth-century work, the Passionale of Abbess Künigunde, presents a little drama, in two pictures. In the upper picture the women who went to the tomb return to tell the disciples, including Mary, about the Resurrection. In the lower picture Jesus is joyfully reunited with Mary, witnessed by the women and accompanied by angels. A series of manuscripts in the fifteenth century that imagine a private apparition are illustrations of copies of the writings of the Pseudo-Bonaventure (see above) and of others, who included a private apparition in their own writings, such as the Pelerinage de Jesus-Christ by Guillaume de Digulleville and the Vita Jesu Christi by Ludolph of Saxony. Master of the Harvard Hannibal, Christ Appearing to His Mother from the Meditationes vitae Christi by Pseudo-Bonaventure French (Paris), c. 1420-1422 London, British Library MS Royal 20 B IV, fol. 141 Christ Appearing to His Mother from Pelerinage de Jesus-Christ by Guillaume de Digulleville French (Rennes), c. 1425-1450 Paris, Bibliotheque nationale de France MS Francais 376, fol. 224v Christ Appearing to His Mother from a Book of Hours French (Poitiers), c.1450-1475 Baltimore (MD), Walters Art Gallery MS W 289, fol. 34r Jean Colombe, Christ Appearing to His Mother from the Vita Jesu Christi by Ludolphe de Saxe French (Bourges), c. 1475-1500 Paris, Bibliotheque nationale de France MS Francais 179, fol. 158v The best known example has been the subject of much art historical argument. This is an altarpiece in the form of a triptych (three separate painted panels that together form one whole), painted by Rogier van der Weyden, that exists in two identical versions. Rogier van der Weyden, Miraflores Altarpiece Flemish, ca. 1445 Berlin, Gemäldegalerie der Staatliche Museen zu Berlin The left panel depicts the Adoration of the Infant Jesus, the middle panel is the Pietà and the right panel is "Christ Appearing to His Mother". One version is a complete three-panel painting that is now in the Gemäldegalerie in Berlin. It was commissioned by King Juan II of Castile and left by him to the Carthusian monastery of Miraflores. The other, commissioned by King Juan’s daughter, Isabella (who married Ferdinand of Aragon to form the famous pair of Ferdinand and Isabella) was originally placed in the Capilla Real in Grenada. It was broken up prior to 1632. Two of the panels stayed in situ in Grenada. The third, which happened to be the “Christ Appearing to His Mother” panel, was held in the collection of the Dukes of Osuña for many years, until the early 20th century. Between about 1900 and 1921 this panel was in several private collections until its last owner bequeathed it to the Metropolitan Museum. Attributed to Juan de Flandes, Christ Appearing to His Mother Flemish, c. 1496 New York, Metropolitan Museum of Art One set was presumed to be a copy of the other, but for decades art historical opinion has been unable to agree on which is which. A detailed description of this panel, including a list of references can be found on the Met’s website (here).3 Currently, based on the study of the tree rings in the wooden panels on which the two are painted, it seems generally agreed that the Berlin triptych, known as the Miraflores Altarpiece after the monastery to which it was originally given, is the original, presumably coming from the hand of Rogier himself. The other triptych, known as the Granada-New York triptych, is now generally thought to be a later copy, executed by Juan de Flandes, who was a court painter to Ferdinand and Isabella. The history of the arguments is well summarized on the Metropolitan Museum’s website (here). As his name suggests, Juan de Flandes (John of Flanders) was himself from the Low Countries. In the picture we see that, as described in the Mirror of the Blessed Life of Jesus Christ, Mary had been at prayer when Jesus appears. Her prayer book lies on the bench beside her. She has fallen to her knees and raised her hands in surprise or in prayer. Jesus stands beside her, wrapped in a red cloak, the wounds in His hands, feet and side clearly visible. The two figures are positioned within a Gothic frame like a doorway. The figures are arranged in accord with the already well-established iconography for the Annunciation, with the kneeling Mary interrupted by the standing unexpected visitor. Rogier van der Weyden Panel of Christ Appearing to His Mother Flemish, ca. 1445 Berlin, Gemäldegalerie der Staatliche Museen zu Berlin Behind them we can see into a larger open space, a vaulted room with columns and tiled floor. There are windows and an open door that looks out onto a tranquil garden landscape where Jesus can be seen climbing from the tomb in the presence of an angel and the sleeping guards. In the far distance, the three women can be seen approaching. This suggests that the appearance to the Virgin is happening simultaneously with the Resurrection event, thus making it the very first appearance of the Risen Jesus. The foreground framework within which the two principal figures appear has the appearance of wood. Positioned on either side what appear to be small stone statues and carved scenes. The statues have canopies which also appear to be of stone. The two saints depicted are St. Paul, identified by the sword by which he was killed, and St. Mark the Evangelist, identified by the lion that has been his traditional symbol and by the book in which he is writing. Around the upper parts of the frame are the carved scenes, which come from both the New Testament and the traditions associated with Mary. They move chronologically from top left to top right as follows: Left side • Top left is the seated Mary with three standing people. This may be the scene described by the Pseudo-Bonaventure which takes place just before the apparition of the Risen Christ to Mary in which the three women take leave of Mary as they prepare to go to the tomb. • Middle left is the scene of the Ascension. Mary is among the group of disciples who watch as Jesus ascends into the cloud. The lower part of His body can still be seen, while the upper part has disappeared into the cloud. • Bottom left is the scene of Pentecost. Mary is among the group of disciples on whom the dove of the Holy Spirit is seen to be descending. Right side • Bottom right is the scene in which the impending death of Mary is announced by an angel. Although it looks very like a scene of the Annunciation, it is distinguished from it by the fact that the angel presents Mary with a palm branch, a symbol of her approaching death. • Middle right is the death of the Virgin. Mary, holding the palm branch and surrounded by the disciples, prepares to die. • Top right is the coronation of Mary as Queen of Heaven. Mary has been raised to heaven by angels and God the Father (on the right), joined by Jesus (God the Son), jointly place the crown of heaven on her head, while the Dove of the Holy Spirit hovers above her. Each of the scenes has its own canopy, which also form a base for the scene above it. And, at the top of the framework, an angel hovers, holding a crown, symbol of Mary’s queenship. The historiated capitals of the columns in the adjoining room illustrate Old Testament Biblical scenes that are prefigurations of the Resurrection, but the resolution on the internet is not good enough for them to be seen clearly here. The two versions are remarkably similar and it is small wonder that it has been so difficult to determine their precedence. How remarkable this was for the copy can be seen by comparing the presumed copy, in New York, to a painting of the same subject by Juan de Flandes, dating to around 1496-1500 and now in Berlin. This is painted in his own style and is in a more contemporary setting, more open and classical. It seems to be set on the portico of a classical building. But many of the same elements are found in it. Again, Mary has been reading in a prayer book and Jesus again shows His wounds. Above the portico angels hover, while in the heavens we can see aureoles surrounding God the Father and the Holy Spirit. Attributed to Juan de Flandes Christ Appearing to His Mother Flemish (active Spain), ca. 1496 New York, Metropolitan Museum of Art Juan de Flandes Christ Appearing to His Mother Flemish (active Spain), 1496-1500 Berlin, Gemäldegalerie der Staatliche Museen zu Berlin Rogier van der Weyden’s image became normative for pictures of this subject in the years after its creation, especially for Flemish and German artists, as can be seen from the numerous paintings derived from it. Jean Fouquet, Christ Appearing to His Mother from the Hours of Simon de Varie French (Tours), c. 1455 The Hague, Koninklijk Bibliotheek MS KB 74 G 37a, fol. 84r Follower of Rogier van der Weyden, Christ Appering to His Mother Flemish, c. 1475 Washington, National Gallery of Art Attributed to the Master of the St. Ursula Legend, Christ Appearing to His Mother Flemish, late 1480s New York, Metropolitan Museum of Art Follower of Rogier van der Weyden, Christ Appearing to His Mother Flemish, Late 15th Century London, National Gallery Christ Appearing to His Mother Single Leaf from a Gradual Spanish (Castile), c. 1495-1515 New York, Pierpont Morgan Library MS M 887, fol. 2r Veit Stoss, Christ Appearing to His Mother Wing of Marian Altarpiece German, 1498 Salzburg, Nonnberg Abbey Albrecht Durer, Christ Appearing to His Mother German, c. 1500 Paris, Musée du Louvre Gerhard Remisch, Christ Appearing to His Mother Stained Glass Window German, c. 1500 London, Victoria and Albert Museum Albrecht Durer, Christ Appearing to His Mother from the Small Passion German, 1510 Amsterdam, Rijksmuseum Alabaster Carving, Christ Appearing to His Mother French, c. 1525-1550 Paris, Musée du Louvre Christ Appearing to His Mother from Triptych of the Coronation of the Virgin Flemish, c. 550-1600 La Fere, Musée Jeanne d'Aboville One oddity among the late fifteenth-century images comes from an altarpiece with a series of paintings of the life of the Virgin from Aachen Cathedral. In this image Mary is confronted by the Risen Jesus, but in this painting He is portrayed as the Man of Sorrows as well as the Risen One. He stands in the pose of the Risen, but still wears the crown of thorns, while behind him stand the instruments of the Passion: the Cross, the lance, the sponge on a pole, the nails protrude from the wood of the Cross and on them hang the whips used in the scourging. The figure of Mary also has a symbolic reference to the Passion. The sword, which at the Presentation in the Temple Simeon predicted would pierce her heart, is shown, poised to strike. The meeting takes place not in her room but outside in the countryside beyond the city walls, presumably just outside the tomb, which appears at the bottom right. In the background, people and animals go about their daily business. It is a striking meditation on the connection between the Passion and the Resurrection. Master of the Stories of Mary in Aachen, Christ Appearing to His Mother German, c. 1485 Aachen, Domschatzkammer During the late fifteenth and into the sixteenth century a different and more complex approach to the subject became common, which is the subject of another essay (here). In the seventeenth century the subject once again seems to have had a revival in Italy and Spain. There is no attempt to describe the settings of the room in the kind of detail seen in the Rogierian paintings. And, in these paintings, Jesus often appears surrounded by celestial glory and sometimes accompanied by an angel or angels, instead of the simple, intimate presence seen in the earlier paintings. Juan or Francisco de Solis, Christ Appearing to His Mother Spanish, 17th Century Segovia, Cathedral, Capilla de la Piedad Guido Reni, Christ Appearing to His Mother Italian, c. 1608 Cambridge (UK), The Fitzwilliam Museum Giovanni Pietro Lasagna, Christ Appearing to His Mother Italian, pre-1622 Location Unknown Among them is a painting by Guercino. This version presents a slightly later moment in the description of Pseudo-Bonaventure, the moment when Mary embraces her Son. Here also, Jesus wears the white robes specified in the description, instead of the red robes of the northern paintings. He also carries the banner of victory, associated with the triumph of His resurrection. And, instead of the brightly lit northern versions, this painting exhibits the chiaroscuro that distinguishes the 17th century. Guercino, The Risen Christ Appears to His Mother Italian, c. 1628 Cento, Pinacoteca Civica After the 17th century this touching subject seems to have no longer been requested from artists and died out. Several reasons have been suggested for this: the effect of the general tightening up of Catholic practice and imagery that was part of the Counter-Reformation, a shift to more secular subject matter on the part of artists, changing tastes on the part of patrons. Francesco Solimena, Christ Appearing to His Mother Italian, c, 1708 Cleveland, Museum of Art There are a few final images that were produced during the eighteenth century and then the subject ceases to be used. ____________________________ 1. Quoted in Breckenridge, James D., "Et Prima Vidit: The Iconography of the Appearance of Christ to His Mother". Art Bulletin, Vol. 39, Number 1, March 1957, p. 15. Breckenridge is quoting from St. Ambrose, Liber de Virginitate, Vol I, Part iii, 14 found in Migne, Patrologia Latina, 16, col. 283. 2. Breckenridge, p.17. Breckenridge is quoting from Pseudo-Bonaventure, Mirror of the Blessed Life of Jesus Christ, Oxford, 1908, pp. 261-263. 3. Additional analysis can be found in Erwin Panofsky, Early Netherlandish Painting, Harvard University Press, Cambridge, MA, 1966. © M. Duffy, 2011, revised 2017
The definitive explanation on how to Pray the RosaryWe have been told that this is by far the best graphic representation of how to pray the rosary there is. We welcome and encourage you, especially if you are a church or school, to link to this page and share it with all.
![The {Sorrowful} Mysteries of the Rosary Beads [color]](https://i.pinimg.com/originals/44/68/9a/44689af76eed4921ca11f7b1b4c1ee45.jpg)
This resource would be great to use when learning about the rosary! Color and cut out rosary beads. You can use this resource in October for the month of the Holy Rosary or anytime throughout the year. *After kids color beads hang up for children at home, in the classroom or bulletin board to provide a wonderful visual to help them learn the Sorrowful mysteries. *If you say a decade together or as a group, the child can pull out the corresponding mystery bead so that the child can look at their rosary bead while praying. *You can have them retell each mystery. For example: The crucifixion of our Lord bead. Jesus died on the cross out of love for me. I hope these resources are helpful at home or in your classroom! Please let me know if you have any suggestions, questions, or comments. If you've used these resources, I would love to hear about it! Please look for the green star at the top of the page and "follow me" if you would like to get email notifications about new resources and sales. Also, you can gain credits to use for further purchases by leaving feedback. Simply click the 'Provide Feedback' button on your purchases page and leave a rating and a comment. Thank You and God Bless! © Creating Catholic Resources. All rights reserved.
Crafted by the skilled hands of our devoted Sanctus Servo artisans, this stunning rosary features an intricate design made from black and light pink paracord. The high-quality knotwork not only makes this rosary both visually striking and comfortable to hold, but it also symbolizes the strong bond between you and our heavenly protector, Our Lady Untier of Knots.Each decade is marked by durable silver-colored beads, reminiscent of the eternal light that faith provides in times of darkness. At the heart of this spiritual weapon is a 2" St. Benedict crucifix - a powerful symbol of protection and an enduring reminder of our commitment to live a life dedicated to God.But what truly sets this rosary apart is the inclusion of Our Lady Untier of Knots as the devotional medal. This loving and powerful Virgin Mary, recognized for her intercession in untying the knots that bind our souls, serves as both a guide and a source of strength in times of despair. By praying this rosary, you invite the divine intervention of Mary, who has the power to untie even the most tangled knots in our lives – be they physical, emotional, or spiritual.Don't let your spiritual weapon be just any ordinary rosary - choose the Our Lady Untier of Knots rosary, the perfect combination of beauty, strength, and faith-filled devotion. Join the ranks of Catholics who have discovered the power of prayer through this remarkable tool designed with today's warriors in mind. Embrace your spiritual journey with unwavering determination and trust in the protection offered by Our Lady Untier of Knots and St. Benedict.
![The {Glorious} Mysteries of the Rosary Beads [color]](https://i.pinimg.com/originals/fd/97/01/fd9701a8d19bc04a25fbd1fd8fecd059.jpg)
This resource would be great to use when learning about the rosary! Color and cut out rosary beads. You can use this resource in October for the month of the Holy Rosary or anytime throughout the year. *Hang up beads for children at home, in the classroom or bulletin board to provide a wonderful visual to help them learn the Glorious mysteries. *If you say a decade together or as a group, the child can pull out the corresponding mystery bead so that the child can look at their rosary bead while praying. *You can have them retell each mystery. For example: the resurrection bead. Jesus rises from the dead. I hope these resources are helpful at home or in your classroom! Please let me know if you have any suggestions, questions, or comments. If you've used these resources, I would love to hear about it! Please look for the green star at the top of the page and "follow me" if you would like to get email notifications about new resources and sales. Also, you can gain credits to use for further purchases by leaving feedback. Simply click the 'Provide Feedback' button on your purchases page and leave a rating and a comment. Thank You and God Bless! © Creating Catholic Resources. All rights reserved.
The History of the Rosary, 15 Promises of the Rosary, How to Pray the Rosary Step by Step and Catholic infographics, plus other great quotes
A very beautiful and dark 5 Decade Catholic Rosary shaped around our Holy Christ and Our Lady of Guadalupe. The rosary is made of pure high quality Black Onyx (all stones have been purified and cleansed), a Stainless Silver Cross with our Holy Christ and a Stainless Silver medal of Our Lady of Guadalupe. Moreover, the rosary has been officially blessed by the church. If you are looking for a rosary that differentiates itself from the rest than the Dark Rosary is the one that you are looking for. Blessed: Yes Rosary Necklace Yes Base Materials: Triple-A high quality Black Onyx, Stainless Steel Silver Cross and the Stainless Silver Our Lady of Guadalupe medal. Dimensions: ca 53 cm (completely open 106 cm) --- Cross: ca 5 cm - Our Lady of Guadalupe medal: 3 cm Black Onyx beads: 4 mm, 8 mm and 10 mm Color: Black and Silver By, DeMar This design is Copyright by DeMar © 2019 For the full item description, please visit the following URL – leading to our official online store: https://ancientgreecereloaded.com/online/
One day, through the Rosary and the Scapular, Our Lady will save the world. St. Dominic On a pleasant afternoon in the spring of 2008, I was praying in my room in New York. It had been less than a full year since I was baptized as a Christian. It would be another four years […]
Learn how to pray the Rosary with Hallow's step-by-step guide. Read more about walking with Mary through Christ's life to strengthen your prayer.
By Kimberly Winston The word rosary means a garden of roses. The Anglican rosary was created in the 1980s by a group of American Episcopalians seeking a contemplative practice of their own. The Anglican rosary begins with a cross, which leads to an invitatory bead , with which we invite the presence of God. It continues into a circlet of four cruciform beads – one for each branch of the cross – that divide 28 weeks beads into four groups of seven – one for each day of the week. Jesus is memorialized in the sum of the beads and the cross -- 33 – one for each year of his earthly life. Each of these is assigned its own prayer, and all are connected by uncounted spacer beads that carry our fingers from one counted bead and its prayer to the next. Check out this gallery to learn how to make an Anglican rosary.
The History of the Rosary, 15 Promises of the Rosary, How to Pray the Rosary Step by Step and Catholic infographics, plus other great quotes
The History of the Rosary, 15 Promises of the Rosary, How to Pray the Rosary Step by Step and Catholic infographics, plus other great quotes
An Anglican Encounters the Catholic Rosary As a young Anglican curate from an Evangelical background I wasn’t too sure what to do when a friend gave me a rosary. Not wanting to dismiss a form of prayer which was important to millions of Christians around the world, I got a book which explained the rosary and […]
Sanctified Black Cloisonné Rosary - Blessed by Pope Francis This beautiful black cloisonné rosary has been blessed by Pope Francis himself, during a public ceremony in St. Peter's Square. Each rosary comes with a parchment certificate of blessing, serving as a testament to its spiritual value. Crafted with care, the beads are made from black cloisonné enamel, offering a tactile pleasure and visual beauty. The heart-accented cross is a symbol of devotion and love towards Jesus. The beads are generously sized at 7 mm, providing a significant feel in hand. A special addition is the St. Padre Pio medal attached to the rosary, which contains a relic ex-indumentis, enriching the rosary's spiritual importance. This is your unique opportunity to own a piece of spiritual artistry. The rosary is not just visually stunning; it's a meaningful item of faith. Exploring Cloisonné: Cloisonné is an ancient technique for decorating metalwork, traditionally with vitreous enamel. Historically, it also involved inlays of gemstones, glass, and other materials. The method includes affixing wires or thin strips to the metal surface to create compartments (cloisons), which are then filled with enamel or inlays in various colors. After applying the enamel as a powder paste, it is fired in a kiln, resulting in the vibrant and distinct finish characteristic of cloisonné.
