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| 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.
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| 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. |
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| 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.
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| 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 |
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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 |
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| 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 |
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| 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 |
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| 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 |
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| Tapestry with the Arma Christi Flemish, c. 1475-1550 New York, Metropolitan Museum of Art, Cloisters Collection |
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| Glass Roundel with the Instruments of the Passion English, c. 1490-1510 New York, Metropolitan Museum of Art, Cloisters Collection |
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| Workshop of Hieronymous Bosch, The Instruments of the Passion Dutch, c. 1496-1500 Boston, Museum of Fine Arts |
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| 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 |
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| 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 |
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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 |
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| 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 |
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| 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. |
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| Jean Antoine Belleteste, The Crucifixion with the Instruments of the Passion French, c. 1760-1790 London, Victoria and Albert Museum |
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| Francesco Tanadei, The Instruments of the Passion Italian, c. Late 18th-Early 19th Century Private Collection |
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| 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 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.
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| Gianlorenzo Bernini, The Angel with the Crown of Thorns Italian, c. 1668-1671 Rome, Church of Sant'Andrea delle Fratte |
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| 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.
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| Workshop of Gianlorenzo Bernini, The Angel with the Column Italian, c. 1668-1671 Rome, Ponte Sant'Angelo |
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| Workshop of Gianlorenzo Bernini, The Angel with the Whip Italian, c. 1668-1671 Rome, Ponte Sant'Angelo |
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| Workshop of Gianlorenzo Bernini, The Angel with the Cross Italian, c. 1668-1671 Rome, Ponte Sant'Angelo |
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| Workshop of Gianlorenzo Bernini, The Angel with the Nails Italian, c. 1668-1671 Rome, Ponte Sant'Angelo |
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| Workshop of Gianlorenzo Bernini, The Angel with the Robe and the Dice Italian, c. 1668-1671 Rome, Ponte Sant'Angelo |
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| Workshop of Gianlorenzo Bernini, The Angel with the Veil of Veronica Italian, c. 1668-1671 Rome, Ponte Sant'Angelo |
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| Workshop of Gianlorenzo Bernini, The Angel with the Sponge Italian, c. 1668-1671 Rome, Ponte Sant'Angelo |
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| 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.
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| 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 |
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| 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 |
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| Angels with Instruments of the Passion Flemish, First Half 16th Century Boston, Museum of Fine Arts |
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| 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 |
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| 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 |
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| The Last Judgment From the Westminster Psalter English (London), c. 1275-1300 Paris, Bibliotheque nationale de France MS Latin 10433, fol. 9r |
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| Angels with Instruments of the Passion at the Last Judgment Italian, 13th Century Florence, Cathedral Baptistery |
,%20c.%201250-1300_Paris,%20BNF_MS%20Arsenal%203516,%20fol.%20154v_2.jpg) |
| 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 |
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| 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 |
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| Last Judgment From Breviari d'Armor Catalan, c. 1375 London, British Library MS Yates Thompson 31, fol. 174v
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| 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 |
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| 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.
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| 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. |
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| 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. |
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| Michelangelo Buonarotti, Angels with Instruments of the Passion Italian, c, 1536-1541 Vatican City, Sistine Chapel |
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| 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.
- 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.
- 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.
its cool
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