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Stations of the Cross
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Stations of the Cross
The Stations of the Cross or the Way of the Cross, also known as the Way of Sorrows, the Via Crucis or the Via Dolorosa, are any series of fourteen images depicting Jesus Christ on the day of his crucifixion and accompanying prayers, These stations are derived from the imitations of the Via Dolorosa in Jerusalem which is a traditional processional route symbolizing the path Jesus walked from Lions' Gate to Mount Calvary. The objective of the stations is to help the Christian faithful to make a spiritual pilgrimage through contemplation of the Passion of Christ. It has become one of the most popular devotions and the stations can be found in many Western Christian churches, including those in the Catholic, Lutheran, Anglican, and Methodist traditions.
Commonly, a series of 14 images will be arranged in numbered order along a path, along which worshippers—individually or in a procession—move in order, stopping at each station to say prayers and engage in reflections associated with that station. These devotions are most common during Lent, especially on Good Friday, and reflect a spirit of reparation for the sufferings and insults that Jesus endured during his passion. As a physical devotion involving standing, kneeling and genuflections, the Stations of the Cross are tied with the Christian themes of repentance and mortification of the flesh.
The style, form, and placement of the stations vary widely. The typical stations are small plaques with reliefs or paintings placed around a church nave. Modern minimalist stations can be simple crosses with a numeral in the centre. Occasionally, the faithful might say the stations of the cross without there being any image, such as when the pope leads the stations of the cross around the Colosseum in Rome on Good Friday.
The Stations of the Cross originated from the pilgrimage to Jerusalem in Roman Judaea and a desire to reproduce the Via Dolorosa. Imitating holy places was not a new concept. For example, the religious complex of Santo Stefano in Bologna, Italy, replicated the Church of the Holy Sepulchre and other religious sites, including the Mount of Olives and the Valley of Josaphat.
Following the siege of 1187, Jerusalem fell to the forces of Saladin, the first sultan of Egypt and Syria. Forty years later, members of the Franciscan religious order were allowed back into the Holy Land. Their founder, Francis of Assisi, held the Passion of Christ in special veneration and is said to have been the first person to receive stigmata. In 1217, Francis also founded the Custody of the Holy Land to guard and promote the devotion to Christian holy places. The Franciscans' efforts were recognized when Pope Clement VI officially proclaimed them the custodians of holy places in 1342. Although several travelers who visited the Holy Land during the 12–14th centuries (e.g. Riccoldo da Monte di Croce, Burchard of Mount Sion, and James of Verona), mention a "Via Sacra", i.e. a settled route that pilgrims followed, there is nothing in their accounts to identify this with the Way of the Cross, as we understand it. The earliest use of the word "stations", as applied to the accustomed halting-places along the Via Sacra at Jerusalem, occurs in the narrative of an English pilgrim, William Wey, who visited the Holy Land in the mid-15th century and described pilgrims following the footsteps of Christ to Golgotha. In 1521, a book called Geystlich Strass (German: "spiritual road") was printed with illustrations of the stations in the Holy Land.
During the 15th and 16th centuries, the Franciscans began to build a series of outdoor shrines in Europe to duplicate their counterparts in the Holy Land. The number of stations at these shrines varied between seven and thirty; seven was common. These were usually placed, often in small buildings, along the approach to a church, as in a set of 1490 by Adam Kraft, leading to the Johanniskirche in Nuremberg. A number of rural examples were established as attractions in their own right, usually on attractive wooded hills. These include the Sacro Monte di Domodossola (1657) and Sacro Monte di Belmonte (1712), and form part of the Sacri Monti of Piedmont and Lombardy World Heritage Site, together with other examples on different devotional themes. The sculptures at these sites are very elaborate and often nearly life-size. Remnants of these sites are often referred to as calvary hills.
In 1686, in answer to their petition, Pope Innocent XI granted to the Franciscans the right to erect stations within their churches. In 1731, Pope Clement XII extended to all churches the right to have the stations, provided that a Franciscan father erected them, with the consent of the local bishop. At the same time the number of stations was fixed at fourteen. In 1857, the bishops of England were allowed to erect the stations by themselves, without the intervention of a Franciscan priest, and in 1862 this right was extended to bishops throughout the church.
The early set of seven scenes was usually numbers 2, 3, 4, 6, 7, 11 and 14 from the list below. From the late 16th century to the present, the standard complement has consisted of 14 pictures or sculptures depicting the following scenes:
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Stations of the Cross
The Stations of the Cross or the Way of the Cross, also known as the Way of Sorrows, the Via Crucis or the Via Dolorosa, are any series of fourteen images depicting Jesus Christ on the day of his crucifixion and accompanying prayers, These stations are derived from the imitations of the Via Dolorosa in Jerusalem which is a traditional processional route symbolizing the path Jesus walked from Lions' Gate to Mount Calvary. The objective of the stations is to help the Christian faithful to make a spiritual pilgrimage through contemplation of the Passion of Christ. It has become one of the most popular devotions and the stations can be found in many Western Christian churches, including those in the Catholic, Lutheran, Anglican, and Methodist traditions.
Commonly, a series of 14 images will be arranged in numbered order along a path, along which worshippers—individually or in a procession—move in order, stopping at each station to say prayers and engage in reflections associated with that station. These devotions are most common during Lent, especially on Good Friday, and reflect a spirit of reparation for the sufferings and insults that Jesus endured during his passion. As a physical devotion involving standing, kneeling and genuflections, the Stations of the Cross are tied with the Christian themes of repentance and mortification of the flesh.
The style, form, and placement of the stations vary widely. The typical stations are small plaques with reliefs or paintings placed around a church nave. Modern minimalist stations can be simple crosses with a numeral in the centre. Occasionally, the faithful might say the stations of the cross without there being any image, such as when the pope leads the stations of the cross around the Colosseum in Rome on Good Friday.
The Stations of the Cross originated from the pilgrimage to Jerusalem in Roman Judaea and a desire to reproduce the Via Dolorosa. Imitating holy places was not a new concept. For example, the religious complex of Santo Stefano in Bologna, Italy, replicated the Church of the Holy Sepulchre and other religious sites, including the Mount of Olives and the Valley of Josaphat.
Following the siege of 1187, Jerusalem fell to the forces of Saladin, the first sultan of Egypt and Syria. Forty years later, members of the Franciscan religious order were allowed back into the Holy Land. Their founder, Francis of Assisi, held the Passion of Christ in special veneration and is said to have been the first person to receive stigmata. In 1217, Francis also founded the Custody of the Holy Land to guard and promote the devotion to Christian holy places. The Franciscans' efforts were recognized when Pope Clement VI officially proclaimed them the custodians of holy places in 1342. Although several travelers who visited the Holy Land during the 12–14th centuries (e.g. Riccoldo da Monte di Croce, Burchard of Mount Sion, and James of Verona), mention a "Via Sacra", i.e. a settled route that pilgrims followed, there is nothing in their accounts to identify this with the Way of the Cross, as we understand it. The earliest use of the word "stations", as applied to the accustomed halting-places along the Via Sacra at Jerusalem, occurs in the narrative of an English pilgrim, William Wey, who visited the Holy Land in the mid-15th century and described pilgrims following the footsteps of Christ to Golgotha. In 1521, a book called Geystlich Strass (German: "spiritual road") was printed with illustrations of the stations in the Holy Land.
During the 15th and 16th centuries, the Franciscans began to build a series of outdoor shrines in Europe to duplicate their counterparts in the Holy Land. The number of stations at these shrines varied between seven and thirty; seven was common. These were usually placed, often in small buildings, along the approach to a church, as in a set of 1490 by Adam Kraft, leading to the Johanniskirche in Nuremberg. A number of rural examples were established as attractions in their own right, usually on attractive wooded hills. These include the Sacro Monte di Domodossola (1657) and Sacro Monte di Belmonte (1712), and form part of the Sacri Monti of Piedmont and Lombardy World Heritage Site, together with other examples on different devotional themes. The sculptures at these sites are very elaborate and often nearly life-size. Remnants of these sites are often referred to as calvary hills.
In 1686, in answer to their petition, Pope Innocent XI granted to the Franciscans the right to erect stations within their churches. In 1731, Pope Clement XII extended to all churches the right to have the stations, provided that a Franciscan father erected them, with the consent of the local bishop. At the same time the number of stations was fixed at fourteen. In 1857, the bishops of England were allowed to erect the stations by themselves, without the intervention of a Franciscan priest, and in 1862 this right was extended to bishops throughout the church.
The early set of seven scenes was usually numbers 2, 3, 4, 6, 7, 11 and 14 from the list below. From the late 16th century to the present, the standard complement has consisted of 14 pictures or sculptures depicting the following scenes:
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