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.
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👉 Arma Christi in the context of Holy Lance
The Holy Lance, also known as the Spear of Longinus (named after Saint Longinus), the Spear of Destiny, or the Holy Spear, is alleged to be the lance that pierced the side of Jesus as he hung on the cross during his crucifixion. As with other instruments of the Passion, the lance is only briefly mentioned in the Christian Bible, but later became the subject of extrabiblical traditions in the medieval church. Relics purported to be the lance began to appear as early as the 6th century, originally in Jerusalem. By the Late Middle Ages, relics identified as the spearhead of the Holy Lance (or fragments thereof) had been described throughout Europe. Several of these artifacts are still preserved to this day.
Holy Lance relics have typically been used for religious ceremonies, but at times some of them have been considered to be guarantees of victory in battle. For example, Henry the Fowler's lance was credited for winning the Battle of Riade, and the Crusaders believed their discovery of a Holy Lance brought them a favorable end to the Siege of Antioch.
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Arma Christi in the context of Crown of Thorns
According to the New Testament, a woven crown of thorns (Ancient Greek: στέφανος ἐξ ἀκανθῶν, romanized: stephanos ex akanthōn or ἀκάνθινος στέφανος, akanthinos stephanos) was placed on the head of Jesus during the events leading up to his crucifixion. It was one of the instruments of the Passion, employed by Jesus' captors both to cause him pain and to mock his claim of authority. It is mentioned in the gospels of Matthew (Matthew 27:29), Mark (Mark 15:17) and John (John 19:2, 19:5), and is often alluded to by the early Church Fathers, such as Clement of Alexandria, Origen and others, along with being referenced in the apocryphal Gospel of Peter.
Since around 400 AD, a relic has been venerated as the crown of thorns. Louis IX acquired it in 1239 from the emperor Baldwin Il, who was financially in debt due to heavy military expenses. Louis IX built the Sainte-Chapelle as a monumental reliquary to house the relic. Transferred to the French National Library during the Revolution of the 18th century, the crown of thorns has been displayed at Notre-Dame de Paris since 1804. The crown is made of reeds, formed into a circle and attached with reed fasteners. On 15 April 2019, it was rescued from a fire and moved to the Louvre Museum. In December of 2024, a ceremony marking the relic's return to Notre Dame Cathedral was led by a procession attended by members of the Equestrian Order of the Holy Sepulchre. Veneration of the crown of thorns takes place every first Friday of the month from 3 pm to 5 pm.
Arma Christi in the context of Flagellation of Christ
The Flagellation of Christ, in art sometimes known as Christ at the Column or the Scourging at the Pillar, is an episode from the Passion of Jesus as presented in the Gospels. As such, it is frequently shown in Christian art, in cycles of the Passion or the larger subject of the Life of Christ. Catholic tradition places the Flagellation on the site of the Church of the Flagellation (the second station of the Via Dolorosa in Jerusalem). It is the second Sorrowful Mystery of the Rosary and the sixth station of John Paul II's Scriptural Way of the Cross. The column to which Christ is normally shown to be tied, and the rope, scourge, whip or birch are elements in the Arma Christi. The Basilica di Santa Prassede in Rome is one of the churches claiming to possess the original column or parts of it.
In art, the subject was first depicted as one of a series of Passion scenes, but from the 15th century onwards it was also painted in individual works. The most-discussed single work is the enigmatic Flagellation of Christ on a small panel in Urbino by Piero della Francesca (1455–1460), the precise meaning of which has eluded generations of art historians. At the same time, Christ at the Column or Christ at the Stake developed as an image of Christ alone tied to a column or stake. This was most popular in Baroque sculpture, and also related to the subject, not found in the canonical Gospels, of Christ in the Dungeon. It is often difficult to distinguish between these two subjects, and between Christ at the Column and a Flagellation.