Holy Week Procession 2013

La Pieta

The Pietà (Italian pronunciation: [pjeˈta]) is a subject in Christian art depicting the Virgin Mary cradling the dead body of Jesus, most often found in sculpture. As such, it is a particular form of the Lamentation of Christ, a scene from the Passion of Christ found in cycles of the Life of Christ. When Christ and the Virgin are surrounded by other figures from the New Testament, the subject is strictly called a Lamentation in English, although Pietà is often used for this as well, and is the normal term in Italian. Pietà is one of the three common artistic representations of a sorrowful Virgin Mary, the other two being Mater Dolorosa (Mother of Sorrows) and Stabat Mater (here stands the mother). The other two representations are most commonly found in paintings, rather than sculpture, although combined forms exist. The Pietà developed in Germany (where it is called the "Vesperbild") about 1300, reached Italy about 1400, and was especially popular in Central European Andachtsbilder. Many German and Polish 15th-century examples in wood greatly emphasise Christ's wounds. The Deposition of Christ and the Lamentation or Pietà form the 13th of the Stations of the Cross, as well as one of the Seven Sorrows of the Virgin. Although the Pietà most often shows the Virgin Mary holding Jesus, there are other compositions, including those where God the Father participates in holding Jesus (see gallery below). In Spain the Virgin often holds up one or both hands, sometimes with Christ's body slumped to the floor.

Saint Martha

Martha of Bethany (Aramaic מַרְתָּא Martâ) is a biblical figure described in the Gospels of Luke and John. Together with her siblings Lazarus and Mary, she is described as living in the village of Bethany near Jerusalem. She is the middle child of her family with Lazarus being the eldest and her sister Mary the youngest. She was witness to Jesus' resurrection of her brother, Lazarus. In Roman Catholic tradition, Martha's sister Mary was often equated with Mary Magdalene. Therefore, additional information is supposed for Martha as well: Mary, Martha, and Lazarus are represented by St. John as living at Bethania, but St. Luke would seem to imply that they were, at least at one time, living in Galilee; he does not mention the name of the town, but it may have been Magdala, and we should thus, supposing Mary of Bethania and Mary Magdalene to be the same person, understand the appellative "Magdalene". The words of St. John (11:1) seem to imply a change of residence for the family. It is possible, too, that St. Luke has displaced the incident referred to in Chapter 10. The likeness between the pictures of Martha presented by Luke and John is very remarkable. The familiar intercourse between the Saviour of the world and the humble family which St. Luke depicts is dwelt on by St. John when he tells us that "Jesus loved Martha, and her sister Mary, and Lazarus" (11:5). Again the picture of Martha's anxiety (John 11:20-21, 39) accords with the picture of her who was "busy about much serving" (Luke 10:40); so also in John 12:2: "They made him a supper there: and Martha served." But St. John has given us a glimpse of the other and deeper side of her character when he depicts her growing faith in Christ's Divinity (11:20-27), a faith which was the occasion of the words: "I am the resurrection and the life." The Evangelist has beautifully indicated the change that came over Martha after that interview: "When she had said these things, she went and called her sister Mary secretly, saying: The Master is come, and calleth for thee."

Agony in the Garden

The Agony in the Garden refers to the events in the life of Jesus as recorded in the New Testament, between the Farewell Discourse at the conclusion of the Last Supper and Jesus' arrest. According to all four Gospels, immediately after the Last Supper, Jesus took a walk to pray (John 18:1). Matthew and Mark identify this place of prayer as Gethsemane. Jesus was accompanied by the Apostles Peter, John and James, whom he asked to stay awake and pray. He moved "a stone's throw away" from them, where He felt overwhelming sadness and anguish, and said "My Father, if it is possible, let this cup pass me by. Nevertheless, let it be as you, not I, would have it." Then, a little while later, He said, "If this cup cannot pass by, but I must drink it, your will be done!" (Matthew 26:42). He said this prayer three times, checking on the three apostles between each prayer and finding them asleep. He commented: "The spirit is willing, but the flesh is weak". An angel came from heaven to strengthen him. During his agony as he prayed, "his sweat was as it were great drops of blood falling down upon the ground".(Luke 22:44). In Roman Catholic tradition the Agony in the Garden is the first Sorrowful Mystery of the Rosary and the Second Station of the Scriptural Way of The Cross. Catholic tradition includes specific prayers and devotions as acts of reparation for the sufferings of Jesus during His Agony and Passion. These Acts of Reparation to Jesus Christ do not involve a petition for a living or dead beneficiary, but aim to repair the sins against Jesus. Some such prayers are provided in the Raccolta Catholic prayer book (approved by a Decree of 1854, and published by the Holy See in 1898) which also includes prayers as Acts of Reparation to the Virgin Mary. In his encyclical Miserentissimus Redemptor on reparations, Pope Pius XI called Acts of Reparation to Jesus Christ a duty for Catholics and referred to them as "some sort of compensation to be rendered for the injury" with respect to the sufferings of Jesus. Catholic tradition holds it that the sweating of blood was literal and not figurative.

Entry to Jerusalem

According to the Gospels, before entering Jerusalem, Jesus was staying at Bethany and Bethphage, and John 12:1 states that he was in Bethany six days before passover. While there, Jesus sent two disciples to the village over against them, in order to retrieve a donkey that had been tied up but never been ridden, and to say, if questioned, that the donkey was needed by the Lord (or Master) but would be returned. Jesus then rode the donkey into Jerusalem, with the three Synoptic gospels stating that the disciples had first put their cloaks on it, so as to make it more comfortable. In Mark and John the entry takes place on a Sunday, with Matthew and Luke not specifying the day. In Luke 19:41 as Jesus approaches Jerusalem, he looks at the city and weeps over it (an event known as Flevit super illam in Latin language), foretelling the suffering that awaits the city. The Gospels go on to recount how Jesus rode into Jerusalem, and how the people there lay down their cloaks in front of him, and also lay down small branches of trees. The people sang part of Psalm 118: 25-26: Blessed is He who comes in the name of the Lord. We bless you from the house of the Lord .... In the Synoptic Gospels, this episode is followed by the Cleansing of the Temple episode, and in all four Gospels Jesus performs various healings and teaches by way of parables while in Jerusalem, until the Last Supper. Traditionally, entering the city on a donkey symbolizes arrival in peace, rather than as a war waging king arriving on a horse.