Couronne et statue à Marie-Reine-du-Monde 1954
La Couronne mariale est un monument commémoratif érigé en 1954. L'ensemble est disposé sur une plate-forme en béton de forme circulaire. Huit colonnes peintes en bleu pâle s'élèvent pour recevoir la base de la couronne formée par un épais cerceau en acier. En haut de chaque colonne se trouve une armoirie différente. Vis-à-vis ces colonnes partent des bandeaux bleu ciel de forme fluide qui se rejoignent au centre. Ils sont ornés d'étoiles argentées. Le sommet de la couronne est marqué par un motif sphérique dominé par une fleur de lys. Il y a une feuille d'érable argentée entre chaque bandeau, au-dessus du cerceau. Au centre de la couronne, sur la plate-forme, se trouve une statue de Marie gris pâle disposée sur un socle en béton. Devant celle-ci, sur le pourtour de la plate-forme principale, se trouve une plaque commémorative. Ce monument est situé dans le parc de la Couronne au centre du carrefour giratoire reliant la route 138, le boulevard de la Commune ainsi que les rues Royale et Saint-Olivier, à côté du parc Pie-XII, au centre-ville de Trois-Rivières.
The Marian Crown is a commemorative monument erected in 1954. The whole is arranged on a circular concrete platform. Eight columns painted in pale blue rise to receive the base of the crown formed by a thick steel hoop. At the top of each column is a different coat of arms. Vis-à-vis these columns start from the sky blue bands of fluid form which meet in the center. They are decorated with silver stars. The top of the crown is marked by a spherical motif dominated by a fleur-de-lis. There is a silver maple leaf between each headband, above the hoop. In the center of the crown, on the platform, is a pale gray statue of Mary set on a concrete plinth. In front of it, around the perimeter of the main platform, is a commemorative plaque. This monument is located in Parc de la Couronne in the center of the roundabout linking Route 138, Boulevard de la Commune and Rue Royale and Rue Saint-Olivier, next to Parc Pie-XII, in downtown Trois-Rivières. Rivers.
Text © Ministère de la Culture et des Communicationshttps://www.patrimoine-culturel.gouv.qc.ca/rpcq/detail.do?methode=consulter&id=174337&type=bien
Passion-instruments Author: Poussin Jean
Arma Christi ("weapons of Christ"), or the Instruments of the Passion, are the objects associated with the Passion of Jesus Christ in Christian symbolism and art. They are seen as arms in the sense of heraldry, and also as the weapons Christ used to achieve his conquest over Satan. There is a group, at a maximum of about 20 items, which are frequently used in Christian art, especially in the Late Middle Ages. Typically they surround either a cross or a figure of Christ of the Man of Sorrows type, either placed around the composition or held by angels.
Resurrected Christ attended by angels carrying his symbolical weapons, the Arma Christi
Man of Sorrows between Four Angels
Web Gallery of Art ( public domain )
The prime member, the Cross, had been introduced to Christian art in the 4th century as the crux invicta, a symbol of victory. As a group they have a long tradition in iconography, dating back to the 9th century; the Utrecht Psalter of 830 is an example, though the only one from the Early Middle Ages known to Gertrud Schiller. This reflected an increase in theological interest in the sufferings of Christ at the time.The Middle English poem Arma Christi, which appeared before the end of the 14th century, exists in fifteen manuscripts, attesting to its popularity, of which seven are engrossed in highly unusual scroll form, designed to be displayed in church as a pictorial aid to public devotion; manuscripts of Arma Christi are generally accompanied by illustrations of the instruments, viewing of which, according to the texts, granted indulgence of a certain number of days in Purgatory to come.
Relics of the most important items had a long history, dating back to Empress Helena's discovery of the True Cross in the early 4th century. Relics claiming to be the Holy Lance, Holy Sponge, Holy Chalice and nails from the cross were all venerated well before 1000, and were to proliferate in later centuries. There was a wave of new relics in the West at the time of the Crusades, and a further wave as the Instruments became featured more prominently in devotional literature and practices in the 14th century.
In art the Instruments either surrounded an image of Christ in andachtsbilder subjects such as the Man of Sorrows or might appear by themselves - often the image of Christ's face on the Veil of Veronica was the focal point of the image. In both cases the purpose of the representations was to symbolize the sufferings of Christ during his Passion. They had the practical advantage for less accomplished artists of being much easier to represent than human figures and were no doubt often treated as a subject an apprentice could be left to do. Possibly the earliest representation of the isolated instruments laid out across space is in a drawing in a German manuscript of about 1175, where they are to one side of a Christ in Majesty. In devotional books they were sometimes, by the Late Middle Ages, shown one at a time, accompanying one of the many texts that devoted meditations in turn to the episodes in which each had been used, before culminating in a figure subject with Jesus. Miniature versions of the objects were attached to rosaries and crucifixes and used as aids to the contemplation of the suffering of Christ.
Flavia Julia Helena Augusta, also known as Saint Helena and Helena of Constantinople, c. AD 246/248– c. 330 was an Augusta of the Roman Empire and mother of Emperor Constantine the Great. She was born in the lower classes traditionally in the Greek city of Drepanon, Bithynia, in Asia Minor, which was renamed Helenopolis in her honour, However, several locations have been proposed for her birthplace and origin.
Helena ranks as an important figure in the history of Christianity. In her final years, she made a religious tour of Syria Palaestina and Jerusalem, during which ancient tradition claims that she discovered the True Cross. The Eastern Orthodox Church, Catholic Church, Oriental Orthodox Churches, and Anglican Communion revere her as a saint, and the Lutheran Church commemorates her.
Photos: REM from the Manse's Shrine
Lucas Cranach the Elder
Saint Helena with the Cross
Google Art Project
Depictions of the Instruments of the Passion may include many combinations of those following (though the cross of Jesus is almost always represented). A primary group of the most frequently used instruments can be distinguished:
The Cross on which Jesus was crucified (True Cross), either depicted alone or with the crosses of the two thieves
The Crown of Thorns
The pillar or column where Jesus was whipped in the Flagellation of Christ
The whip(s), in Germany often birches, used for the 39 lashes
The Holy Sponge was set on a reed, with which gall and vinegar were offered to Jesus
The Holy Lance with which a Roman soldier inflicted the final of the Five Wounds in his side
The Nails, inflicting four wounds on the hands and feet
The Veil of Veronica
Other common ones are:
The reed which was placed in Jesus' hand as a sceptre in mockery
The purple robe of mockery
The Titulus Crucis, attached to the Cross. It may be inscribed in Latin (INRI, Iesus Nazarenus Rex Iudaeorum), Greek, Hebrew, or some other language.
The Holy Grail, the chalice used by Jesus at The Last Supper, and which some traditions say Joseph of Arimathea used to catch his blood at the crucifixion
The Seamless robe of Jesus
The dice with which the soldiers cast lots for Christ's seamless robe
The rooster (cock) that crowed after Peter's third denial of Jesus
The vessel used to hold the gall and vinegar
The ladder used for the Deposition, i.e. the removal of Christ's body from the cross for burial
The ropes used for the Raising of the Cross
The hammer used to drive the nails into Jesus' hands and feet
The pincers used to remove the nails
The vessel of myrrh, used to anoint the body of Jesus, either by Joseph of Arimathea or by the Myrrhbearers
The shroud used to wrap the body of Jesus before burial
The sun and moon, representing the eclipse which occurred during the Passion
Thirty pieces of silver (or a money bag), the price of Judas' betrayal
A spitting face, indicating the mockery of Jesus
The hand which slapped Jesus' face
The chains or cords which bound Jesus overnight in prison
The lantern or torches used by the arresting soldiers at the time of the betrayal, as well as their swords and staves
The sword used by Peter to cut off the ear of the High Priest's servant. Sometimes a human ear is also represented.
Sometimes the heads or hands of figures from the Passion are shown, including Judas, Caiaphas, or the man who mocked Christ by spitting in Christ's face. The washing hands of Pontius Pilate may be shown. The Lorenzo Monaco painting below has several such images.
The trumpet played for mocking Christ on the Way to Calvary