the True Cross

Relic of Jesus Christ

3rd Class Relic Postcard: Touched with the Crown of Thorns of Christ Jesus 'Passion' Holy Relic in

Paris France: Offer the prayer (below) on the 1st Friday of every month; at 3 PM Paris time: and every Friday during Lent at Three PM. May the Passion of Christ Strengthen us.

CROWN OF THORNS

You, Jesus, the Lord of Creation,
stood alone, mocked and suffering
in the courts of King Herod
and Pontius Pilate.

None spoke in Your defense.
None came to Your aid.
You, Master of all the world
were scorned, insulted, bloody
and abused.

Let my life and love
in some infinitesimal way atone
for the atrocities and wounds
You suffered for all our sins:
for the agonizing pain,
the gross indignities,
the outrageous mockery,
the heartless cruelty.

Tortured Jesus,
please forgive all mortals
for the crimes still committed daily
against You, and against
the least of Your children,
by the high and mighty,
and the arrogant and powerful,
the cowardly and viscous,
and the weak of will who know virtue
but give in to temptation.

I pray in Your Holy Name,
for all those who sin this day:
please pardon them.

Please forgive me, too, Lord,
for my own sins, and especially
for every injury I have ever inflicted
now regretted or long forgotten
on any person, intentionally,
or unintentionally,
purposefully or carelessly,
by my deed, my failure, my word,
my neglect or my unkind thought.

Please in Your Divine mercy
now give those I have injured
some radiant special blessing
of grace and happiness today,
be they now in this world or the next.

Let my days and disappointments atone
for these many grievous faults of mine
and also in some small way
for the insults, injustices,
crimes and sins committed by others
against the weakest
and most vulnerable
of your children and servants
here on earth.

Let me and all who read these words
know and remember always
that a Day of Reckoning
will surely come
when all our hidden sins
will be revealed and judged.

Punishments will certainly follow.

Forgive me Lord,
as You forgive all those who have committed
and will commit crimes against You, but who are sincerely penitent, for we truly
do not realize fully what we do.

Strengthen my resolution
to be a better person.

I place my faith, my trust, my love
in You, Who suffered for our sins, Crucified Jesus, Risen Lord,
Triumphant God Eternal.

Amen

From Jerusalem: Relics of the Stations of the Passion: Cross of Jesus Christ
Image Relic: prepared in the 1800's, the Cloth touched with a piece of the True Cross, the Tip of the Spear that pierced Jesus Christ's side and with the Veil of Veronica: the image of the Passion of Christ Jesus
the inscription placed behind the image of the Passion of Jesus Christ; from above: 1889
STOCK PHOTO: B.M.M. Margaret Mary Alacoque relic (below) similar with the addition of the Relic of the True Cross
Also, similar to the Relic of the True Crossl below...

Similar Relics: 
to the Miraculous True Cross Relic
Relic of the True Cross of Christ 
from Pontificate of Clement XI 
(A.D.1703)
Photo(s) used with permission: Fr.K.
© 2017 Papal Artifacts

Relics and Reliquaries in Medieval Christianity:   Christian belief in the power of relics, 

the physical remains of a holy site or holy person, or objects with which they had contact, 

is as old as the faith itself and developed alongside it. Relics were more than mementos. The New Testament refers to the healing power of objects that were touched by Christ or his apostles. 

The body of the saint provided a spiritual link between life and death, between man and God: 

“Because of the grace remaining in the martyr, they were an inestimable treasure for the holy congregation of the faithful.” 

Fueled by the Christian belief in the afterlife and resurrection, in the power of the soul, 

and in the role of saints as advocates for humankind in heaven, the veneration of relics in 

the Middle Ages came to rival the sacraments in the daily life of the medieval church. Indeed, 

from the time of Charlemagne, it was obligatory that every altar contain a relic.    

The holiest of relics were those associated with Christ and his mother. Because of the belief in the resurrection of Christ and the bodily assumption of the Virgin into heaven, physical relics of Christ 

and the Virgin were—with a few rare exceptions, like the baby teeth of Jesus or the Virgin’s milk—

usually objects that they touched in their lifetime, such as the wood from the True Cross (17.190.715ab; 2002.18) or pieces of the Virgin’s veil. The most common relics are associated with the apostles and those local saints renowned for the working of miracles across Europe. All relics bestowed honor and privileges upon the possessor; monasteries and cathedrals sought to obtain the prestigious relics, 

and when they succeeded, their proud accomplishment is sometimes celebrated in the decoration 

of their sanctuaries (24.167a–k). Some relics were even stolen from one church, only to find a new 

home in another, those of Saint Mark in Venice, Saint Nicholas in Bari on the Adriatic coast, 

or Saint Foy at Conques being among the most famous examples.    

Reliquaries are the containers that store and display relics. Since the relics themselves ere considered 

“more valuable than precious stones and more to be esteemed than gold,” 

it was considered only appropriate that they be enshrined in vessels, or reliquaries, 

crafted of or covered by gold, silver, ivory, gems, and enamel. These precious objects constituted 

a major form of artistic production across Europe and Byzantium throughout the Middle Ages.    

Medieval reliquaries frequently assume the form of caskets (chasses) (2002.483.3a,b; 17.190.685–87, .695, .710–.711), but complex containers in the form of parts of the body, usually mimicking the relics they enshrined (47.101.33), are one of the most remarkable art forms created in the Middle Ages for the precious remains of saints. Reliquaries were often covered with narrative scenes from the life of saints, whose remains may have been contained within (17.190.520; 1987.89). Sometimes the decoration of chasses was not specific to any given saint or community but rather reflected common Christian themes, making them appropriate to the use of any community (17.190.514). Reliquaries were also fashioned into full-body statues, or more abbreviated, but still imposing, bust-length images of saints, often those with local reputations of great authority (17.190.352a,b), including revered women saints (61.266). 

Set on an altar and carried in procession, their arrival sometimes heralded by the sounding of ivory horns (17.190.218), these highly decorated works of art made an indelible impression on the faithful. 

The distinction between the meaning of an image such as the famous Reliquary Statue of Sainte-Foy, 

still preserved at the monastery of Conques in France, and pagan idols was clearly articulated in an important chronicle written by Bernard of Angers in the eleventh century: “It is not an impure idol that receives the worship of an oracle or of sacrifice, it is a pious memorial, before which the faithful heart feels more easily and more strongly touched by solemnity, and implores more fervently the powerful intercession of the saint for its sins.” By the end of the Middle Ages, image reliquaries, which traditionally were meant to suggest a saint’s heavenly form and visage, came to mirror contemporary ideas of beauty (67.155.23). Meanwhile, the relics themselves, once hidden within the container, 

could be glimpsed through apertures or vials of rock crystal (17.190.498; 17.190.353; 17.190.504).      

Reliquaries were sometimes created expressly for privileged individuals (63.160) or purchased by 

them (62.96). The faithful of humble means might still acquire a souvenir badge at the shrines 

of  saints that called to mind the precious works of art associated with them (2001.310). 

Whether created for a church or for a private individual, medieval reliquaries have been subject to widespread destruction during times of religious and political strife. 

Those that survive bear precious witness to exceptional artistic creativity inspired by contemporary faith.      +

Citation: Boehm, Barbara Drake. “Relics and Reliquaries in Medieval Christianity.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/relc/hd_relc.htm (originally published October 2001, last revised April 2011) 

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