† 19th TRUE CROSS DNJC COLUMN of FLAGELLATION RELIQUARY WOOD BASE WAX SEALED †

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† 19th TRUE CROSS DNJC COLUMN of FLAGELLATION RELIQUARY WOOD BASE WAX SEALED †:
$1000.00

† D.N.J.C. RELIQUARYCOLUMN of FlagELLATION D.N.J.C.OUR LORD JESUS CHRIST1 RELICVATICAN WAX SEALED - ITALY †
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Ex columna Flag D.N.J.C/COLUMN of FlagELLATION.Our Lord Of Jesus Christ.
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145 mmX 55 mmX55mmGALLERY PICTURESOTHERS D.N.J.C.FREE SHIPPING WORLD WIDEOTHERS RELIQUARIESFlagellation of ChristFrom Wikipedia, the free encyclopediaFor other uses, seeFlagellation of Christ (disambiguation)andChrist at the Column (disambiguation).Flagellation of Christ byRubensGermanstained glass, ca 1240.

TheFlagellationof Christ, sometimes known asChrist at the Columnor theScourging at the Pillar, is a scene from thePassion of Christvery frequently shown inChristian art, in cycles of the Passion or the larger subject of theLife of Christ. It is the fourth station of the modern alternateStations of the Cross, and a Sorrowful Mystery of theRosary.[1][2]The column to which Christ is normally tied, and the rope,scourge, whip or birch are elements in theArma Christi.[3]TheBasilica di Santa Prassedein Rome, claimed to possess the original column.[4]

Gospels[edit]

It first appears in art in the West in the 9th century. It is almost never found inByzantine art, and remains very rare inEastern Orthodoxart at any date. Initially found inilluminated manuscriptsand small ivories, there are surviving monumental wall-paintings from around 1000 in Italy. From the start there are most often three figures, Christ and two servants ofPontius Pilatewho whip him. In early depictions Christ may be naked, or wearing a long robe, facing out or seen from behind; from the 12th century it is standard that Christ wears a loincloth (perizoma) and faces out towards the viewer.[7]Christ\'s face is normally visible, giving artists the \"technical problem of showing him receiving the strokes on his back - the usual place - while at the same time leaving his face visible.[8]Often he appears to be receiving the strokes on the front of his body.

Pontius Pilateis sometimes shown watching the scene, and his wife\'s servant may approach him withher message, and in the later Middle Ages, probably under the influence ofPassion plays, the number of men beating Christ may be three or four, increasingly caricatured in the North as grotesque figures in the dress of contemporary mercenaries.[9]Sometimes another figure, who may beHerod, is present. The Flagellation was at the hands of those working for Pontius Pilate, but the floggers may sometimes wearJewish hats,[10]Following theMaestàofDuccio, the scene may take place in public, before an audience of the Jewish people.[11]

TheFranciscans, who promoted self-Flagellation as a means of identification with the suffering of Christ, were probably responsible for a number of large Italian processional crosses in which the Flagellation occupies the back of the cross, with a Crucifixion on the front. These were presumably sometimes followed in processions by Flagellants, who could see Christ suffering in front of them.[12]

From the 15th century the subject is also painted in individual works, rather than as one of a series of Passion scenes. The most-discussed single work is theenigmatic treatmenton a small panel inUrbinobyPiero della Francesca(1455–60), whose precise meaning has eluded generations of art historians. At the same timeChrist at the ColumnorChrist at the Stakedeveloped as an image of Christ alone tied to a column or stake. This was most popular inBaroquesculpture, and also related to the subject, not found in the canonical Gospels, ofChrist in the Dungeon. It is often difficult to distinguish between these two, and betweenChrist at the Columnand film[edit]

Single works:

Flag

Christ at the Column (Antonello da Messina)ca. 1475
The Flagellation of Christ (Caravaggio)1607
Christ at the Column (Caravaggio)1607

In cycles:

Scrovegni ChapelbyGiotto

Gallery of art[