Splendors of the Rosary
Publisher: Pierre-Marie Dumont Editor: Romain Lizé Assistants to the editor: Thérèse de Cathelineau, Pascale van de Walle, Emmanuelle Lebrun Meditations and art commentaries: Pierre-Marie Dumont Research for art commentaries: Christine Charier Commentaries on flowers: Thérèse de Cathelineau / Pierre-Marie Dumont Editor for hymns: Jeremy Schwager Translation: Janet Chevrier Copyediting: Andrew Matt and Susan Needham Art Direction: Elisabeth Hébert Layout: Élise Borel Iconography: Isabelle Mascaras Production: Sabine Marioni Photo engraving: Point4 ISBN: 978-1-936260-44-7 First edition: October 2012 © 2012 by Magnificat Inc. All rights reserved. No part of this book may be used in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. For information, contact Magnificat, PO Box 822, Yonkers, NY 10702, USA. The trademark Magnificat depicted in this publication is used under license from and is the exclusive property of Magnificat Central Service Team, Inc., A Ministry to Catholic Women, and may not be used without its written consent. www.magnificat.com
Pierre-Marie Dumont Magnificat Splendors of the Rosary Paris • New York • Oxford • Madrid
Table of Contents 6 Introduction: How Magnificent Is the History of the Rosary! 11 the Joyful Mysteries These mysteries are usually prayed on Mondays and Saturdays. 15 The Annunciation 19 The Visitation 23 The Nativity 27 The Presentation in the Temple 31 The Finding of the Child Jesus 35 the Luminous Mysteries These mysteries are usually prayed on Thursdays. 39 The Baptism of the Lord 43 The Wedding at Cana 47 The Proclamation of the Kingdom 51 The Transfiguration of the Lord 55 The Institution of the Eucharist 59 the Sorrowful Mysteries These mysteries are usually prayed on Tuesdays and Fridays. 63 The Agony in the Garden 67 The Scourging at the Pillar 71 The Crowning with Thorns 75 The Carrying of the Cross 79 The Crucifixion 83 the Glorious Mysteries These mysteries are usually prayed on Wednesdays and Sundays. 87 The Resurrection 91 The Ascension 95 The Descent of the Holy Spirit 99 The Assumption of Mary 103 The Coronation of Mary 108 Our Lady of the Rosary
6 It is beautiful to see how generations of Christians, from the Gospel on, have created their prayers. As early as the second or third century, a graffito in Nazareth contained an abbreviated form of the first two words of the angelic greeting, but with one difference. In the Gospel according to Saint Luke, the angel addresses Mary, but does not call her by her name. In a masterpiece of grace, he addresses her as “full of grace.” When praying to her, Christians used the name her parents gave her, the name Saint Joseph surely used when speaking to his wife: “Mary.” Christians adopted the words of the angel and made of them their prayer. To the angel’s greeting, Christians joined Elizabeth’s blessing. “Rejoice,” the angel had said. “Blessed art thou,” added Elizabeth. Joy and blessing— the two fundamental themes of the Gospel. All Prayer Rises to the Father Some time later, an intercession was added. Mary was proclaimed “Holy” and the “Mother of God,” according to the faith as defined at the Third Ecumenical Council held in Ephesus in 431. As she is at one and the same time Mother of God and our Mother, she is particularly well placed to present our petitions to him who alone can grant them, and at two decisive moments, the present and the final moment: now and at the hour of our death. She intercedes for us as she did at Cana: “They have no more wine.” But the rosary is not just a series of Hail Marys. Every set of ten beads, or decade, begins with the Our Father that Jesus taught us to pray, and ends with the acclamation of the Trinity: Glory to the Father, and to the Son, and to the Holy Spirit… We enter into the rosary with a sign of the cross and the Creed. It is because the prayer of the rosary is not directed toward herself that it is authentically Marian: “The Mighty One has done great things for me, and holy is his name.” “Hallowed be thy name,” we say in the Our Father. Even from the cross, Jesus “revealed” the name of the Father, as he says in his Priestly Prayer. The first Our Father reminds us that ultimately all prayer must rise to the Father, the source of all life and all holiness. The three Hail Marys preceding the first decade recall the Trinity and the three virtues of faith, hope, and charity. These are called the “theological” virtues because they come to us from God and are about God in whom we place all our faith, our hope, and our love. Thus the prayer of the rosary has gradually evolved. It does not consist in the mechanical repetition of multiple Hail Marys. Even the number of How Magnificent Is the History of the Rosary! Bishop Jacques Perrier Former Bishop of Lourdes
7 one hundred and fifty is not without significance, since it corresponds to the number of psalms recited by monks and priests throughout the week. In this, the rosary is linked to the official prayer of the Church, to liturgical prayer. The rosary has matured in various times and places, but it is the Dominican Order that has been its most ardent promoter. It existed before Saint Dominic or Saint Catherine of Siena, but these two saints are indissociable from it. Contemplating Christ with His Mother Over the course of the centuries, the rosary was further enriched by the meditation upon the mysteries of Christ. Each set of ten beads corresponds to moments in the life of Christ, from his Incarnation to his glorification. A mystery is not an enigma but a reality charged with meaning and life. Because he is the eternal Word and because he is risen, each moment in the life of Christ, each “mystery,” is not simply something in the past. Jesus was born under Herod the Great; he died and rose again under Pontius Pilate: this happened once and for all in the past. But these events still remain sources of grace. This is why we celebrate them in the liturgy. At Christmas Mass, we say: “Today a great light has shone upon the earth.” In God, nothing is ever past or surpassed. All popes of recent centuries have written about the rosary. Leo XIII published numerous encyclicals on the subject. Blessed John Paul II was the most bold of all. At the end of the Great Jubilee of 2000, he asked the Church to “start again from Christ” and to become above all a “school of prayer.” Two years later in 2002, in an Apostolic Letter on the rosary, he wrote that reciting the rosary is a school of popular prayer where we learn to contemplate Christ in the company of Mary, his mother and our Mother. This letter gives very useful advice for the fruitful praying of the rosary, which John Paul II said was his favorite prayer. Before him, the rosary was composed of three cycles of mysteries: the joyous, the sorrowful, and the glorious. Pope John Paul II had no hesitation in adding the luminous mysteries, taken from the years of Jesus’ public ministry. He wished in this way to accentuate the Christological character of the rosary. He had learned from Saint Louis-Marie Grignion de Montfort that true devotion to Mary—Totus tuus—is devotion to Christ. The pope wished it to be clear that, in reciting the rosary, it is the person of Christ who has primacy of place. The pope’s boldness was twofold. First, he added a series of mysteries, feeling unconstrained by the number of one hundred and fifty, despite the long tradition. And then, he made a proposal to the Church in a domain that was not strictly within his authority, given that the rosary is not a liturgical prayer like those of the sacraments or of the divine office. The pope acted in the role of a spiritual father seeking to help those who trusted in him along the path of faith. Enter into the Splendors of the Rosary The Catholic world has embraced these luminous mysteries. On the other hand, many of the pope’s other recommendations were not put into practice. One of them concerns the meditation upon the Gospel which should accompany the praying of the rosary: the following pages are an example of this. The artwork illustrates these splendors of the rosary. But the history of the rosary itself is magnificent—it demonstrates how the Holy Spirit enriches the spiritual legacy of the Church. In Lourdes, the Virgin gave Bernadette a prayer that was for her alone. What a privilege! Bernadette never revealed its contents. She said it every day. And yet, each day, she also said the rosary. And when she prayed the rosary, she became almost as beautiful as she was during the apparitions of the Virgin. What an encouragement to us!
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11 Joyful Mysteries “To meditate upon the ‘joyful’ mysteries, then, is to enter into the ultimate causes and the deepest meaning of Christian joy. It is to focus on the realism of the mystery of the Incarnation and on the obscure foreshadowing of the mystery of the saving Passion.” Blessed John Paul II Rosarium Virginis Mariae 20
14 The Virgin Mother! Whose virgin bosom was uncrost With the least shade of thought to sin allied; Woman! Above all women glorified, Our tainted nature’s solitary boast; Purer than foam on central ocean tost; Brighter than eastern skies at daybreak strewn With fancied roses, than the unblemished moon Before her wane begins on heaven’s blue coast. The Marian symbolism of the lily is implicit in, among other places, a verse from the Song of Songs: “As a lily among thorns, so is my beloved among women” (Sgs 2:2). Considered by the Greeks “the flower of flowers,” it is only natural that the lily should accompany the Virgin, the most beautiful flower of paradise. For this reason, it has been named the “madonna lily.” Through its brilliant whiteness, the lily symbolizes purity, virginity, and chastity. Traditionally held by the angel Gabriel in depictions of the Annunciation, it is also the attribute of Saint Joseph. As early as the eleventh century, Mary was represented with a lily on coins minted by bishops. The perfume of the lily is also associated with the odor of sanctity.
15 The First Joyful Mystery The Annunciation Most blessed are you among women, for the Father of the ages chose you, Virgin Mary, daughter of Zion, that the Word spoken to you might become flesh in your womb.
16 The Virgin of the Annunciation (after 1440) Stefan Lochner (c. 1410-1451), oil on wood, 102.8 x 55.9 in. Exterior panel of the Altarpiece of the Three Kings, Germany, Cologne Cathedral, Germany In an interior hung with brocades, a very young girl, a wonder of delicacy and reserve, is surprised in splendid humility as she kneels in prayer before a book of the psalms. The painter has captured this “most blessed among women” at that singular instant when, the angel having told her, “The Holy Spirit will come upon you, and the power of the Most High will overshadow you,” she responds, “May it be done to me according to your word.” At her feet, the book of the Old Testament lies henceforth closed, symbolizing the veiled presence of the Word of God already sown in the heart of this daughter of Zion. In this moment chosen by the artist, time seems suspended before the immensity of this event, before the book of the new covenant is opened, before the unimaginable takes place, before the Word begotten, not made, takes on a body and a face in the womb of this daughter of Eve. He will be the new Adam. In the new creation, he will transform sin into grace. In this apocalyptic instant when the Eternal comes to inhabit the temporal, Lochner invites us to pause and contemplate this woman as she was when she came forth from God in the morning of her original splendor. The “yes” of Mary, daughter of Zion, is pure and simple,1 unencumbered by any ifs, ands, or buts. Sarah laughs when the Lord promises her a son;2 Zechariah has serious doubts too.3 But Mary believes. And yet it is even more improbable that she should be chosen from among all women to become the mother of the Messiah than that they might bear children in old age! Like all of us sinners, Sarah and Zechariah first consider the difficulties from the human perspective, unable to see beyond the rational improbability of the fulfillment of the divine promise. But Mary places her faith in God, whom she knows to be merciful and abounding in love.4 She is unafraid before him for whom nothing is impossible.5 And yet, she is not above the need to satisfy her intellect. “How can this be?” she quite naturally asks the angel.6 His response demonstrates the extent to which God respects the queries of the rational mind he created. Faith itself generates the questions to which God’s answers, in turn, provoke a further deepening of faith. Through contemplation of the mystery of the Incarnation of Christ, let us ask Mary to teach us the simplicity of her beautiful faith—the pure faith of true sons and daughters of Abraham, a faith unobscured by incredulity, skepticism, or fear of the future—the luminous faith of the Theotokos, the chosen Mother of God. 1- Lk 1:38 2- Gn 18:12 3- Lk 1:20 4- Ps 145:8 5- Lk 1:37 6- Lk 1:34 Prayer God our Father, who willed that at the angel’s Annunciation your Word be made flesh in the womb of the Virgin Mary, we beseech you to answer our entreaties. As we truly believe her to be the Mother of God, may our Lady’s prayers to you bring us your aid. Through Christ our Lord.
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103 Blessed Virgin Mary, you gave birth to the King of the universe and reign with him in the glory of heaven! The Fifth Glorious Mystery The Coronation of Mary
104 The Assumption of the Virgin (detail, early 16th century) Ambrogio di Stefano da Fossano, called Bergognone (c. 1453-1523) Oil and gold on wood, 95.25 x 42.5 in. Numerous churches of Lombardy are adorned with altarpieces and frescoes painted by Bergognone. This Assumption of the Virgin dates from the beginning of the sixteenth century. It is the central panel in ogival form of a large polyptych. Mary is raised to heaven by eight cherubim clothed in yellow, the color of incorruptibility. Arranged like flowers on an espalier, angel musicians render homage to the new Eve as two herald angels robed in white sound the trumpets of the resurrection. Above, like a seraphic garland, a celestial choir sings praises to the Mother of God. Even as she rises upward in her glorious Assumption, Mary receives her royal crown from two angels acting on behalf of her divine Son. With open arms, he prepares to welcome her into the highest heaven. The Lord shines out in the center of a semicircle of the ranked celestial hierarchy. Angels, archangels, principalities, powers, virtues, dominions, thrones, cherubim, seraphim, all the wonderful panoply of celestial spirits is there to pay allegiance to their Queen. What joy to see our sister in humanity reigning above the angels! In contemplating her triumph, our Christian hope is rekindled, for we too, through baptism, have been promised a share in Christ’s kingship. Though perhaps on a different scale, we may see in this lovely painting by Bergognone an image of the manner in which we will be received in heaven after our death. Thus in the trials and anguish of this life, sursum corda! lift up your hearts! for so says the Alpha and the Omega, who once died and now lives: “Remain faithful until death, and I will give you the crown of life” (Rv 2:8, 11). Whoever humbles himself will be exalted!”1 By faithfully living out these words of Jesus, his mother Mary is crowned Queen in the glory of heaven! “No servant is greater than his master”2: this servant of the Lord followed the sole Master, her Son. Through obedience, he emptied himself, deigning to take our mortal condition. And God raised him to his right hand “and bestowed on him the name that is above every name.”3 The humble servant Mary also fulfilled the will of the Father, and he exalted her above all the angels, to the very heights of heaven. From now on, all ages call blessed4 the young girl whose response to God is pure “yes”: “Behold, I am the handmaid of the Lord. May it be done to me according to your word.”5 She sees her Son reign not only on the throne of David,6 but over the entire universe. Just as she consented to be a servant, she also consents to the honor of Queen, through fidelity to the love of God. The Mighty One has done great things for her!7 As we behold Mary crowned by her Son, it is the glory of the Church to come that we contemplate. This means that, like Mary, each one of us, as a member of the Body of Christ, is called to share in the glory of the kingdom of Christ Jesus for ever and ever! In contemplating God’s works that begin in the obscurity of Nazareth and come to fruition in the splendor of heaven, let us be guided by Mary, our Mother and our Queen. We wish to live and die in the hope of communion in her glory for all eternity. 1- Mt 23:12 2- Jn 15:20 3- Phil 2:9 4- Lk 1:48 5- Lk 1:38-43 6- Lk 1:33 7- Lk 1:49 Prayer God of all goodness, you willed that the mother of your Son should be our Mother and our Queen. With the help of her intercession, may we one day attain heaven and the glory promised to all your children. Through Christ our Lord. “
108 In the mid-sixteenth century, the Ottoman Empire and its allies had carried Islamic power to the doors of Rome, Venice, and Vienna. The latter, besieged by more than a hundred thousand troops, had only just been saved. But Bulgaria, Serbia, Bosnia, Croatia, a large part of Greece, Hungary, Moldavia, Romania, and Albania had already been conquered. Italy was like a ripe fruit ready for the picking by Selim II, the successor to Suleiman the Magnificent. He mustered a formidable fleet off Lepanto, in the Gulf of Patras (Corinth), to deliver the coup de grâce. In panic, the Dominican Pope Pius V founded the Holy League, a coalition of Christian fleets, principally from Venice and Spain, under the sole command of Don John of Austria, who at the time was just twenty-four years of age. This young man, the half-brother of the emperor, Philip II, was to prove himself an admiral of genius. The Greatest Naval Battle of All Time Conscious of the desperate nature of this undertaking, the pope beseeched all Christians to pray for this Armada by a daily recitation of the rosary. The decisive battle took place on October 7, 1571. More than one hundred and fifty thousand men and at least five hundred ships gathered for the fight. It was the greatest naval battle of all time. The outcome long hung in the balance, until the confrontation finally ended in the destruction of the Muslim fleet. Pope Pius V experienced a miraculous revelation of the victory at the same moment it was taking place. This saintly pope always maintained that the victory of Lepanto was due to the special intercession of the Virgin Mary, obtained by the praying of the rosary. In commemoration of the victory, he had the invocation Auxilium Christianorum, “Help of Christians,” added to the Litanies of Loreto, and he established October 7 as the Feast of Our Lady of Victory. His successor, Gregory XIII, moved the feast to the first Sunday in October, celebrated henceforth as the Solemnity of the Most Holy Rosary of Our Blessed Lady. Ever since then, this feast has been especially honored whenever Christianity has come under threat. Thus it was extended to the entire Latin rite Church in 1716 by Clement XII to commemorate and encourage the liberation of Eastern Europe from the Islamic yoke. In a desire to re-establish the dominical liturgy solely as the day of the Resurrection, in 1913 Saint Pius X moved the feast Our Lady of the Rosary
109 day back to October 7. Twenty-four years later, in 1937, Pope Pius XI published, one after another, three resounding encyclicals. Having firmly condemned Nazism in Mit brennender Sorge (March 14) and Communism in Divini Redemptoris (March 19), he then published his testament: Ingravescentibus malis (September 29). To convey the grave danger which totalitarian and atheistic regimes posed to peace, the pope here reflected in detail upon the victory of Lepanto, encouraging the celebration of the feast of October 7, and he called upon the universal Church to pray the rosary. The Victory of the Prince of Peace In these early years of the twentyfirst century, when it is the Christian individual himself who is threatened with annihilation through the combined effects of relativism and worldly pleasures, the Church continues to guide us to devotion of Our Lady of the Rosary as the help of Christians who wish to live and die as disciples of Jesus Christ. But, in the end, if the Church, Mater et Magistra, “Mother and Teacher,” invites us in the liturgy to celebrate a victory of yesteryear, it is above all to guide us toward the eternal victory—the only victory that counts—that of the Resurrection of Christ. In the Collect of the Mass of Our Lady of the Rosary, as Pope Paul VI renamed this feast, we still pray to this day: Pour forth, we beseech you, O Lord, your grace into our hearts, that we, to whom the Incarnation of Christ your Son was made known by the message of an Angel, may, through the intercession of the Blessed Virgin Mary, by his Passion and Cross be brought to the glory of his Resurrection. By encouraging us through praying the rosary to meditate upon the mysteries of Christ with his mother Mary, the Church calls upon us to fight the good fight—that of an active faith of love—that we may be given eternal communion in the victory of the Prince of Peace. ￭ Pierre-Marie Dumont
Front Cover: The Annunciation (1828), Johann von Schraudolph (1808-1879), oil on wood, Kunstmuseum, Basel, Switzerland. © Artothek / La Collection. Page 8-9: John Paul II’s monument in Września, Poland, marble sculpture by Iwona Jesiotr-Krupińska. © Bogdan Konopka. Page 10: Virgin with Child, called Notre-Dame-de-la-Bonne (detail, 14th century), polychrome stone, Basilica of Saint-Quentin, France. © Jean-Paul Dumontier / La Collection. Page 11: Lily (1683), from the History of Louis le Grand, folio 54, Jean Donneau de Visé (1638-1710), National Library of France, Paris. © BnF. Page 12-13: Pilgrims Entering Bethlehem on Christmas Day (c. 1875), Félix Bonfils (1831-1885). © adoc-photos. Page 14: White Lily, anonymous, National Museum of Natural History, Paris, France. © Muséum national d’Histoire naturelle, dist. RMN-GP / image du MNHN, bibliothèque centrale. Page 15: The Annunciation, illumination from the Great Hours of Anne of Brittany, folio 26v, Jean Bourdichon (c. 1457-1521), National Library of France, Paris. © BnF. Page 17: The Virgin of the Annunciation (after 1440), Altarpiece of the Magi, reverse side, left wing panel, Stephan Lochner (c. 1410-1451), oil on wood, Cologne Cathedral, Germany. © Artothek / La Collection. Page 18: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 19: The Visitation, illumination from the Great Hours of Anne of Brittany, folio 36v, Jean Bourdichon (c. 14571521), National Library of France, Paris. © BnF. Page 21: The Visitation (c. 1610/1614), Domenikos Theotokopoulos, called El Greco (1541-1614), oil on canvas, Dumbarton Oaks Museum, Washington DC, USA. © DeAgostini / Leemage Page 22: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 23: The Nativity, illumination from the Great Hours of Anne of Brittany, folio 51v, Jean Bourdichon (c. 14571521), National Library of France, Paris. © BnF. Page 25: The Nativity, panel from the Sant’Agostino polyptych, Pietro di Cristoforo Vannucci, called Perugino (c. 1448-1523), oil on wood, National Gallery, Perugia, Italy. © 2012, Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali. Page 26: Bouquet (1852), Pierre Anglade (19th century), National Library of France, Paris. © BnF. Page 27: The Presentation of Jesus in the Temple, illumination from the Great Hours of Anne of Brittany, folio 70v, Jean Bourdichon (c. 1457-1521), National Library of France, Paris. © BnF. Page 29: The Presentation of Jesus in the Temple (1510), Vittore Carpaccio (c. 1460-c. 1525), oil on wood, Galleria dell’Accademia, Venice, Italy. © 2012, Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali. Page 30: Bouquet (1805), Jean-Louis Prévost (c. 17601810), National Library of France, Paris. © BnF. Page 31: The Finding of Jesus in the Temple, illumination from the Speculum historiale by Vincent of Beauvais, folio 206v, Master François (15th century), National Library of France, Paris. © BnF. Page 33: Christ among the Doctors, Spanish School, Catalonia (15th century), tempera and gold leaf on wood, The Metropolitan Museum of Art, NYC, NY, USA. © The Metropolitan Museum of Art, Dist. RMN-GP / image of the MMA. Page 34: Virgin (c. 1410), polychrome stone, National Gallery, Ljubljana, Slovenia. © Collection Dagli Orti / Galerie nationale, Ljubljana, Slovenia / Gianni Dagli Orti. Page 35: Sunflower (1683), from the History of Louis le Grand, folio 30, Jean Donneau de Visé (1638-1710), National Library of France, Paris. © BnF. Page 36-37: The Jordan Issuing from Lake Tiberias (c. 1880), Félix Bonfils (1831-1885). © adoc-photos. Page 38: Bouquet, Nicolas Robert (1614-1685), National Museum of Natural History, Paris, France. © Muséum national d’Histoire naturelle, dist. RMN-GP / image du MNHN, bibliothèque centrale. Page 39: The Baptism of the Lord, illumination from the Very Rich Hours of the Duke of Berry, Ms. 65, folio 109v, Jean Colombe (c. 1430-c. 1498), Conde Museum, Chantilly, France. © RMN-GP (Domaine de Chantilly) / RenéGabriel Ojéda. Page 41: The Baptism of the Lord (1561), Paolo Caliari, called Veronese (1528-1588), Church of the Redeemer, Venice, Italy. © Luisa Ricciarini / Leemage. Page 42: Bouquet, Pierre-Joseph Redouté (1759-1840), Louvre Museum, Paris, France. © RMN-GP (musée du Louvre) / Michèle Bellot. Page 43: The Wedding at Cana (1460), illumination from the Book of Hours of Amédée de Saluces (15th century), British Library, London, United Kingdom. © akgimages / British Library. Page 45: The Wedding at Cana, (13th century), stained glass, Cathedral of Notre-Dame, Chartres, France. © Jean-Paul Dumontier / La Collection. Page 46: Bouquet (1805), Jean-Louis Prévost (c. 17601810), National Library of France, Paris. © BnF. Page 47: Christ Preaching, illumination from the Book of Hours of Louis de Laval, folio 265, Jean Colombe (c. 1430c. 1498), National Library of France, Paris. © BnF. Page 49: Christ Calling Andrew and Simon Peter (detail, 14th century), fresco, Church of Saint John the Baptist, Origne, France. © Jean-Paul Dumontier / La Collection. Page 50: Bouquet, Louis Barthélemy Fréret (1755-1831), National Library of France, Paris. © BnF. Page 51: The Transfiguration of the Lord, illumination from the Breviary of King René II of Lorraine, Jean Bourdichon (workshop of) (c. 1457-1521), Petit-Palais Museum, Paris, France. © RMN-GP / Agence Bulloz. Page 53: The Transfiguration of the Lord (c. 1594/1595), Ludovico Carracci (1555-1619), oil on wood, Pinacoteca Nazionale, Bologna, Italy. © Alinari / The Bridgeman Art Library. Page 54: Bouquet (1805), Jean-Louis Prévost (c. 17601810), National Library of France, Paris. © BnF. Page 55: The Washing of the Feet, illumination from the Book of Hours of the use of Troyes, ms. 3901, folio 194v, Jean Colombe (c. 1430-c. 1498), Médiathèque du Grand Troyes, France. © Photo Médiathèque du Grand Troyes. Page 57: The Institution of the Eucharist (detail, 1451/1453), cell 35 in the Convent of San Marco, Fra Angelico (c. 1387-1455), fresco, San Marco Museum, Florence, Italy. © 2012, Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali. Page 58: Pietà (detail, c. 1400), anonymous German master, Bayerisches Nationalmuseum, Munich, Germany. © Bayerisches Nationalmuseum. Page 59: Carnation (1683), from the History of Louis le Grand, folio 68, Jean Donneau de Visé (1638-1710), National Library of France, Paris. © BnF. Page 60-61: View of the Garden of Gethsemane near Jerusalem (c. 1853), Robertson & Beato (19th century). © Musée Nicéphore Niépce, Chalon-sur-Saône, France / adoc-photos. Art Credits
Page 62: Bouquet (1805), Jean-Louis Prévost (c. 17601810), National Library of France, Paris. © BnF. Page 63: The Agony in the Garden, illumination from the Book of Hours of Louis de Laval, folio 94, Jean Colombe (c. 1430-c. 1498), National Library of France, Paris. © BnF. Page 65: Christ on the Mount of Olives (1819), Francisco José de Goya y Lucientes (1746-1828), oil on wood, Colegio Escolapios de San Antón, Madrid, Spain. © akg-images / Erich Lessing. Page 66: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 67: The Scourging at the Pillar (c. 1515), illumination from the Da Costa Hours, ms. M.399, folio 44v, Pierpont Morgan Library, NYC, NY, USA. © 2012, Photo Pierpont Morgan Library / art Resource / Scala, Florence. Page 69: Christ Bound to the Column, Alonso Cano (16011667), oil on canvas, Museum of Fine Arts, Pau, France. © Musée des Beaux-Arts de Pau / Jean-Christophe Poumeyrol. Page 70: Bouquet (1852), Pierre Anglade (19th century), National Library of France, Paris. © BnF. Page 71: The Crowning with Thorns (c. 1515), illumination from the Da Costa Hours, ms. M.399, folio 58v, Pierpont Morgan Library, NYC, NY, USA. © 2012, Photo Pierpont Morgan Library / art Resource / Scala, Florence. Page 73: The Crowning with Thorns (c. 1510), detail of the Passion Altarpiece, Champagne or Picardy workshop, polychrome limestone, Chapel of Notre-Dame de la Houssaye, Pontivy, France. © Clément Guillaume. Page 74: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 75: Christ Carrying the Cross, illumination from the Book of Hours of the use of Tours, Harley 2877, folio 44v, Jean Bourdichon (c. 1457-1521), The British Library, London, England. © Heritage Images / Leemage. Page 77: Christ and the Cyrenian (detail, 1547), Tiziano Vecellio di Gregorio, called Titian (c. 1488-1576), oil on canvas, Prado Museum, Madrid, Spain. © 2012, Photo Scala, Florence. Page 78: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 79: The Crucifixion, illumination from the Great Hours of Anne of Brittany, folio 47v, Jean Bourdichon (c. 1457-1521), National Library of France, Paris. © BnF. Page 81: The Crucifixion (1392-1393), Piero di Giovanni, called Lorenzo Monaco (c. 1370-c. 1424), tempera and gilding on wood, Accademia Gallery, Florence, Italy. © 2012, Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali. Page 82: The Virgin Mary at Prayer (detail, before 1412), polychrome wood, Church of Santa Maria della Libera, Cercemaggiore, Italy. © akg-images / Electa. Page 83: The Rose (1683), from the History of Louis le Grand, folio 58, Jean Donneau de Visé (1638-1710), National Library of France, Paris. © BnF. Page 84-85: Tomb of Saint James in Jerusalem (beginning of 19th century), Jacques Boyer. © Jacques Boyer / Roger-Viollet. Page 86: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 87: The Resurrection, illumination from the Very Rich Hours of the Duke of Berry, ms. 65, folio 182r, Jean Colombe (c. 1430-c. 1498), Conde Museum, Chantilly, France. © RMN-GP (Domaine de Chantilly) / RenéGabriel Ojéda. Page 89: The Resurrection (detail, c. 1570), Paolo Caliari, called Veronese (1528-1588), oil on canvas, Gemäldegalerie Alte Meister, Dresden, Germany. © BPK, Berlin, dist. RMN / Elke Estel / Hans-Peter Kluth. Page 90: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 91: The Ascension, illumination from the Book of Hours of Etienne Chevalier, ms. 71, folio 3r, Jean Fouquet (1420-c. 1477), Conde Museum, Chantilly, France. © RMN-GP (Domaine de Chantilly) / René-Gabriel Ojéda. Page 93: The Ascension (c. 1460/1464), Andrea Mantegna (1431-1506), tempera on wood, Uffizi Gallery, Florence, Italy. © 2012, Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali. Page 94: Bouquet, P. Lambotte (19th century), National Library of France, Paris. © BnF. Page 95: The Descent of the Holy Spirit, illumination from the Great Hours of Anne of Brittany, folio 49v, Jean Bourdichon (c. 1457-1521), National Library of France, Paris. © BnF. Page 97: The Descent of the Holy Spirit (1612/1613), Fray Juan Bautista Maíno (1581-1649), from the altarpiece in the Monastery of Saint Peter Martyr, Toledo, oil on canvas, Prado Museum, Madrid, Spain. © Album / Oronoz / akg. Page 98: Bouquet, anonymous (19th century), National Library of France, Paris. © BnF. Page 99: The Assumption of the Virgin, illumination from the Book of Hours of Etienne Chevalier, ms. 71, folio 12, Jean Fouquet (1420-c. 1477), Conde Museum, Chantilly, France. © RMN-GP (Domaine de Chantilly) / RenéGabriel Ojéda. Page 101: The Death and the Assumption of the Virgin (c. 1432), Guido di Pietro, called Fra Angelico (c. 1387-1455), tempera and gold on wood, Isabella Stewart Gardner Museum, Boston, MA, USA. © Isabella Stewart Gardner Museum, Boston, MA, USA / The Bridgeman Art Library. Page 102: Bouquet, Pierre-Joseph Redouté (1759-1840), National Museum of Natural History, Paris, France. © Muséum national d’Histoire naturelle, dist. RMN-GP / image du MNHN, bibliothèque centrale. Page 103: The Assumption of the Virgin, illumination from Frederick III of Aragon’s Book of Hours, page 308, Jean Bourdichon (c. 1457-1521), National Library of France, Paris. © BnF. Page 105: The Assumption of the Virgin (detail), Ambrogio di Stefano da Fossano, called Bergognone (c. 14531523), oil and gold on wood, Metropolitan Museum of Art, NYC, USA. © The Metropolitan Museum of Art, Dist. RMN-GP / image of the MMA. Page 106: The Battle of Lepanto (1572), Paolo Caliari, called Veronese (1528-1588), oil on canvas, Gallerie dell’Accademia, Venice, Italy. © 2012, Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali. Back cover: Virgin with the Host (1854), Jean-AugusteDominique Ingres (1780-1867), oil on canvas (tondo), 44.5 in. diameter, Musée d’Orsay, Paris, France. © 2012, photo Scala, Florence.
Printed in October 2012 by Transcontinental, Canada Edition number: MGN12012 www.magnificat.com Hymn Credits Page 14 The Virgin by William Wordsworth (1770-1850). Public domain. Page 18 Ave Maria Latin hymn. Public domain. Page 22 A Christmas Carol by Christina Rossetti (1827-1894). Page 26 Hail to the Lord Who Comes verses 1 and 2, by John Ellerton (1826-1893). Page 30 O My Jesus by Jeremy Schwager © Jeremy Schwager, 2012. Page 38 Jesus, We Follow Thee verses 1 and 4, by Samuel Howard (1710-1782). Page 42 All Praise to You, O Lord verses 1, 2, and 3, by Hyde W. Beadon (1812-1891), alt. Page 46 Go, Tell it on the Mountain verses 1, 2, and 5, without refrain (North-American spiritual, text by Geoffrey Marshall-Taylor, alt.). Page 50 Quicumque Christum Quaeritis Latin hymn for the Feast of the Transfiguration of the Lord, verses 1 and 2. Translated by Blessed John Henry Newman (1801-1890). Page 54 Tantum Ergo Latin hymn by St. Thomas Aquinas (1225-1274). Page 62 The Voice of My Beloved by Christina Rossetti (1827-1894). Page 66 By My Own Sins I Scourge You by Jeremy Schwager © Jeremy Schwager, 2012. Page 70 O Sacred Head Surrounded by St. Bernard of Clairvaux (1091-1153). Translated by Henry Williams Baker (1821-1877). Page 74 Stabat Mater Traditional Latin hymn, verses 1, 4, and 5. Translated by Edward Caswall (1814-1878). Page 78 When I Survey the Wondrous Cross by Isaac Watts (1674-1748). Page 80 Adoro te devote by St. Thomas Aquinas (1225-1274), verses 1, 3, 5, and 6. Translation by Gerard Manley Hopkins, s.j. (1844-1889). Page 86 Regina Caeli, Latin hymn. Public domain. Page 90 Alleluia, Sing to Jesus verses 1 and 2, by William Chatterton Dix (1837-1898). Page 94 Holy Spirit, Lord of Life (Veni, Sancte Spiritus) Attributed to Innocent III (1160-1216). Translated by Edward Caswall (1814-1878). Page 98 Memento, Rerum Conditor Traditional Latin hymn from The Little Office of the Blessed Virgin Mary Page 102 O Gloriosa Domina by Venantius Fortunatus (530-609). Translated by Richard Crashaw (1612-1649)
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