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Thursday, March 28, 2024

Meditation on the Passion – The Instruments of the Passion

The Instruments of the Passion of Christ
From a Prayer Book
French (Paris), c. 1485-1495
New York, Pierpont Morgan Library
MS H 3, fol. 13r



In 2012 I examined the image of the Man of Sorrows, one of the greatest and most wide spread of the images related to the Passion of Jesus Christ in the medieval world.  This year I have edited that original article and added many new images of the simplest forms which this iconography took as it developed from its introduction, from the Byzantine Empire, in thirteenth-century Italy until it largely died out in the seventeenth century.  It is my plan to continue to introduce commentary on the development of this image in Western Europe, where the simple image was succeeded by a variety of what one might call visual tropes not seen in the Byzantine realm.  The first “trope”1 I will look at is that of the Man of Sorrows with Instruments of the Passion.  However, before I examine this theme I would like to make a digression of sorts and discuss the Instruments of the Passion.  This is not an idea that is very familiar in contemporary Christian spirituality and may need some explanation.








The Instruments of the Passion


The Instruments of the Passion, also known as the Arma Christi (the weapons of Christ or the arms, in the heraldic sense, of Christ), are the objects used in the torture and killing of Jesus from the time he was betrayed by Judas to His death on the Cross.  They include such objects as:  the whips, the ropes, the column against which He was scourged, the crown of thorns, the cross, the nails, the hammer, the inscription above His head, the ladder, the sponge on a reed, the lance that was used to pierce His side, the pliers used to extract the nails from His dead flesh.  Sometimes the crowing rooster, His robes, or even the dice with which the Roman soldiers cast lots for His clothing are included.  


The Instruments of the Passion
From the Sacramentary of Gellone
French, c. 775-800
Paris, Bibliotheque nationale de France
MS Latin 12048, fol. 76v
This is one of the earliest pictures I found which depicted instruments of the Passion.  Here, there is the Cross (and those of the thieves) plus the nails.



The Instruments of the Passion
From a Book of Hours (Fragment with a Life of St. Margaret)
French (Saint-Omer), c. 1320-1330
New York, Pierpont Morgan Library
MS M 754, fol. 105r



Sometimes the basin and pitcher used by Pilate to wash his hands of Jesus’ blood are also included.  In some cases, the heads or hands of the torturers or other actors in the Passion (Pilate, Herod, the High Priest, etc.) are depicted, rather surreally floating in the air.  Occasionally, the veil of Veronica, with its infused image of Jesus’ face also appears. And, sometimes, the thirty pieces of silver given to Judas for betraying Him also figure in the list.  Even the dice used to cast lots for Jesus' clothing may be included.


Master of the Bible of Jean de Sy, The Instruments of the Passion
From a Book of Hours
French (Verdun), c. 1370-1380
New York, Pierpont Morgan Library
MS M 90, fol. 224v




Master of the Bible of Jean de Sy, The Instruments of the Passion
From a Book of Hours
French (Verdun), c. 1370-1380
New York, Pierpont Morgan Library
MS M 90, fol. 225r




The Instruments of the Passion
From the Breviary of Martin of Aragon
Catalan, c. 1398-1430
Paris, Bibliotheque nationale de France
MS Rothschild 2529, fol. 215r




The Instruments of the Passion
From a Book of Hours
Dutch (Utrecht), c. 1455-1460
The Hague, Koninklijk Bibliotheek
MS KB 135 E 40, fol. 111r



The Arms of Christ Between the Blessed Virgin and St. John the Evangelist
From a Blason des armes de notre redemption
French, c. 1475-1500
Paris, Bibliotheque nationale de France
MS Francais 14357, fol. 2r




The Arms of Christ Between the Blessed Virgin and St. John the Evangelist
From a Blason of the Arms of Our Redemption
French, c. 1475-1500
Paris, Bibliotheque nationale de France
MS Francais 5939, fol. 1r




Tapestry with the Arma Christi
Flemish, c. 1475-1550
New  York, Metropolitan Museum of Art, Cloisters Collection




Glass Roundel with the Instruments of the Passion
English, c. 1490-1510
New York, Metropolitan Museum of Art, Cloisters Collection




Workshop of Hieronymous Bosch, The Instruments of the Passion
Dutch, c. 1496-1500
Boston, Museum of Fine Arts



Crucifixion with the Instruments of the Passion in the Margins
From a Book of Hours
Flemish (Antwerp), c. 1500-10
Hague, Koninklijk Bibliotheek
MS KB 128 G 34, fol. 13r



The Instruments of the Passion
From a Book of Hours
Flemish (Liege), c. 1500-1525
The Hague, Koninklijk Bibliotheek
MS KB 133 D 11, fol. 18r




Leonard Limosin, After Nicolo dell'Abate, The Crucifixion with Scenes from the Passion and Angels Holding the Instruments of the Passion with Portraits of Francois I and Eleanor of Austria
French, 1553
Paris, Musée du Louvre, Département des Objets d'art du Moyen Age, de la Renaissance et des temps modernes




Leonard Limosin, After Nicolo dell'Abate, The Resurrection with the Entombment of Jesus, the Meeting with Mary Magdalene and Angels Holding the Instruments of the Passion, with Portraits of Henri II and Catherine de Medici
French, 1553
Paris, Musée du Louvre, Département des Objets d'art du Moyen Age, de la Renaissance et des temps modernes




The Instruments of the Passion in Pictographs
From the Codex Mexicanus
Mexican (Aztec), c. 1560-1600
Paris, Bibliotheque nationale de France
MS Mexicain 23-24, fol. 52-53
This remarkable image shows that, scarcely 50 years from the arrival of the Conquisitadores in Mexico, the traditional images of the Instruments of the Passion were current in Mexican native culture.





Jean Antoine Belleteste, The Crucifixion with the Instruments of the Passion
French, c. 1760-1790
London, Victoria and Albert Museum




Francesco Tanadei, The Instruments of the Passion
Italian, c. Late 18th-Early 19th Century
Private Collection




Campbell Brick and Tile Company, The Instruments of the Passion
English, c. 1875-1882
London,© Trustees of the British Museum




Angels with the Instruments of the Passion


The “a
rms” are often shown held by angels.  What is probably the most famous of such depictions is the grouping of ten statues that stand on the famous Ponte Sant’Angelo2 which spans the Tiber between the Castel Sant’Angelo and the Centro Storico of Rome.  Executed between 1678 and 1682, by Bernini and his assistants, they are probably entirely puzzling to the majority of visitors.  Each of the ten holds one “instrument”.  

The two statures personally carved by Bernini himself were moved indoors long ago and replaced by faithful copies.  The two originals stand today in the church of Sant’Andrea delle Fratte, located between the Piazza di Spagna and the Via del Tritone, and just across the street from Bernini’s final residence on Via di Capo le Case.



Gianlorenzo Bernini, The Angel with the Crown of Thorns
Italian, c. 1668-1671
Rome, Church of Sant'Andrea delle Fratte




Gianlorenzo Bernini, The Angel with the Superscription
Italian, c. 1668-1671
Rome, Church of Sant'Andrea delle Fratte


The other ten angels, plus two copies of the autograph Bernini works, still stand on the Ponte Sant'Angelo, the pedestrian bridge that crosses the Tiber in front of Hadrian's Tomb, better known as the Castel Sant'Angelo.



Workshop of Gianlorenzo Bernini, The Angel with the Column
Italian, c. 1668-1671
Rome, Ponte Sant'Angelo




Workshop of Gianlorenzo Bernini, The Angel with the Whip
Italian, c. 1668-1671
Rome, Ponte Sant'Angelo





Workshop of Gianlorenzo Bernini, The Angel with the Cross
Italian, c. 1668-1671
Rome, Ponte Sant'Angelo




Workshop of Gianlorenzo Bernini, The Angel with the Nails
Italian, c. 1668-1671
Rome, Ponte Sant'Angelo




Workshop of Gianlorenzo Bernini, The Angel with the Robe and the Dice
Italian, c. 1668-1671
Rome, Ponte Sant'Angelo




Workshop of Gianlorenzo Bernini, The Angel with the Veil of Veronica
Italian, c. 1668-1671
Rome, Ponte Sant'Angelo





Workshop of Gianlorenzo Bernini, The Angel with the Sponge
Italian, c. 1668-1671
Rome, Ponte Sant'Angelo





Workshop of Gianlorenzo Bernini, The Angel with the Lance
Italian, c. 1668-1671
Rome, Ponte Sant'Angelo



The angels on Ponte Sant’ Angelo are a self-contained ensemble, chosen to remind pilgrims of the sacred nature of their visit and to advertise some of the treasures of the Vatican, for several of the objects are believed to be located in the Basilica of Saint Peter.  Among these are the lance and the veil of Veronica. 


Other images of angels with the Arma Christ also offer them to the viewer as objects for contemplation.




Master of Guillebert de Mets, Angel with the Arma Christi
From a Book of Hours
Flemish (Ghent), c. 1415-1425
New York, Pierpont Morgan Library
MS M 46, fol. 103v





Two Angels with Instruments of the Passion
From a Book of Hours
French (Paris), c. 1490-1500
The Hague, Koninklijk Bibliotheek
MS KB 76 F 14, fol 109r




Angels with Instruments of the Passion
Flemish, First Half 16th Century
Boston, Museum of Fine Arts




Simon Bening, Christ Child with Angels Holding Instruments of the Passion
From the Prayer Book of Cardinal Albrecht of Brandenburg
Flemish,  c. 1525-1530
Los Angeles, J. Paul Getty Museum
MS Ludwig IX 19, fol. 31v




Pietro da Cortona, Angels with Instruments of the Passion
Italian, c. 1633-1634
Rome,  Church of Santa Maria in Vallicella




The Instruments of the Passion at the Last Judgment

However, most of the times when angels with the Arma Christi appear occur in representations of the Last Judgment.  In these images the Instruments act as the record of the sufferings endured by Jesus in His Passion. They also demonstrate the validity of His judgment on humanity because, through them, He won salvation for the human race.  Those souls which rejected the salvation offered to them have refused to accept His sacrifice and have, therefore, condemned themselves. 




The Second Coming of Christ
From the Benedictional of Aethelwold
English, c. 963-984
London, British Library
MS Additional 49598, fol. 9v




The Last Judgment
From the Westminster Psalter
English (London), c. 1275-1300
Paris, Bibliotheque nationale de France
MS Latin 10433, fol. 9r





Angels with Instruments of the Passion at the Last Judgment
Italian, 13th Century
Florence, Cathedral Baptistery





The Last Judgment
From a Jugement et des XV signes
French (Northern), c. 1250-1300
Paris, Bibliotheque nationale de France
MS Arsenal 3516, fol. 154v





The Resurrection of the Dead
From Livre d'images de Madame Marie
Flemish (Hainaut), c. 1285-1290
Paris, Bibliotheque nationale de France
MS Nouvelle acquisition francaise 16251, fol. 52r





Last Judgment
From Breviari d'Armor
Catalan, c. 1375
London, British Library
MS Yates Thompson 31, fol. 174v




The Boucicaut Master, The Last Judgment
From Heures de Jeanne Bessonnelle
French (Paris), c. 1400-25
Paris, Bibliotheque nationale de France
MS Latin 1161, fol. 137r





The Last Judgment
From a De Civitate Dei by St. Augustine of Hippo
French (Paris), c. 1400-1425
Paris, Bibliotheque nationale de France
MS Francais 173, fol. 2r




Master of the Echevinage and His Workshop, Last Judgment
From a De Civitate Dei by St. Augustine of Hippo
French (Rouen), c. 1475-1500
Paris, Bibliotheque nationale de France
MS Francais 28,fol. 2r



Michelangelo's Last Judgment


I would venture to guess that most people don't realize that one of the greatest of these Last Judgment appearances of the Instuments of the Passion occur in the famous painting in the Sistine Chapel at the Vatican.  

Michelangelo followed a traditional approach to the iconography of the Last Judgment scene, traditional enough to include angels holding the instruments of the Passion.  This detail of his great work harks back all the way to that procession of angels with the instruments of the Passion that were part of the Last Judgment mosaic from the dome of the Baptistery in Florence.  Those were images he probably saw very often as he grew up.  The underlying iconography is identical, although Michelangelo's muscular, struggling angels have little visual relationship to the quietly reverent forms of the thirteenth century angelic procession.



Michelangelo Buonarotti, Last Judgment
Italian, c. 1536-1541
Vatican City, Sistine Chapel


Most people are likely so fixated on the central drama of Christ's appearance amid the saints and the individual dramas of salvation and damnation being worked out in the lower portion of the picture that they probably fail to notice the angels struggling with the Instruments of the Passion in the skies above.


Michelangelo Buonarotti, Last Judgment (upper portion)
Italian, c. 1536-1541
Vatican City, Sistine Chapel




On the top left the angels bring the Cross and the Crown of Thorns, while at the right they struggle with an immense Column.



Michelangelo Buonarotti, Angels with Instruments of the Passion
Italian, c, 1536-1541
Vatican City, Sistine Chapel





Michelangelo Buonarotti, Angels with Instruments of the Passion
Italian, c, 1536-1541
Vatican City, Sistine Chapel



To the materialist mind it may seem strange to exalt and venerate such cruel objects as nails, thorns, whips and to even some Christians it may seem distasteful.  However, it is through these terrible items and through the injury and pain that they caused to one Person that Evil was overcome and a pathway opened to the Divine.  Through them mankind was saved from its own inclination to sin.  Viewed in this way one can say that they are indeed objects worthy of respect, veneration and even love.

© M. Duffy, 2018.  Pictures refreshed 2024.

  1. Here “trope” is used in the original sense of “a phrase or verse added as an embellishment or interpolation to the sung parts of the Mass in the Middle Ages”.  Merriam-Webster.com, Merriam-Webster, www.merriam-webster.com/dictionary/trope. Accessed 23 Mar. 2018.
  2. For information on the Ponte Sant’Angelo see:  https://en.wikipedia.org/wiki/Ponte_Sant%27Angelo

Excerpts from the Lectionary for Mass for Use in the Dioceses of the United States of America, second typical edition © 2001, 1998, 1997, 1986, 1970 Confraternity of Christian Doctrine, Inc., Washington, DC. Used with permission. All rights reserved. No portion of this text may be reproduced by any means without permission in writing from the copyright owner.



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