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The Seven Joys of the Virgin (or of Mary, the Mother of Jesus) is a popular devotion to events of the life of the Virgin Mary, [ 1 ] arising from a trope of medieval devotional literature and art. The Seven Joys were frequently depicted in medieval devotional literature and art. The seven joys are usually listed as: The Annunciation.
The Franciscan Crown has variously been called the Franciscan Rosary, the Seraphic Rosary or the Rosary of the Seven Joys of Our Lady. The "Seven Joys" is a devotion that recalls seven joyful episodes in the life of the Blessed Virgin Mary. The practice originated among the Franciscans in early 15th-century Italy.
The feast of the Our Lady of Sorrows was originated by a provincial synod of Cologne in 1423. It was designated for the Friday after the third Sunday after Easter and had the title: Commemoratio angustiae et doloris B. Mariae V. Its object was the sorrow of Mary during the Crucifixion and Death of Christ.
The Seven Joys of Our Lady, Tournai, cathédrale Notre-Dame (perhaps in collaboration with Pieter Pourbus) [5] Martyrdom of a Saint, New York City, private collection (1548 or 1558) Calvary, Nantes, Musée des Beaux-Arts; Virgin and Child with Saint Luke and Saint Eligius, Bruges, Sint-Salvatorskathedraal (1545)
Mary, the mother of Jesus in Christianity, is known by many different titles (Blessed Mother, Virgin Mary, Mother of God, Our Lady, Holy Virgin, Madonna), epithets (Star of the Sea, Queen of Heaven, Cause of Our Joy), invocations (Panagia, Mother of Mercy, God-bearer Theotokos), and several names associated with places (Our Lady of Loreto, Our Lady of Fátima).
Towards the end of the 13th century, the Franciscan Giacopone dei Todi, the author of Stabat Mater dolorosa, composed Stabat Mater Speciosa about the joy of the Virgin Mary. Based on the Gospel accounts of the Nativity of Jesus, this was one of the tenderest hymns and is often considered one of the seven greatest Latin hymns. [18] [19]
The scenes of the Passion start in the distance at the top left with Jesus's entry into Jerusalem on Palm Sunday, passes through the town and out again to the bottom left to the Garden of Gethsemane, through the Passion scenes in the centre of the city (judgment of Pilate, the Flagellation of Jesus, Crowning with Thorns, Ecce Homo), then follows the procession of the cross back out of the city ...
It conflates the cruel yet libidinous pagan goddess figure of Dolores, the Lady of Pain with Mary, Mother of Jesus and associates the poem itself, through its parenthetical titular text (Notre-Dame des Sept Douleurs, i.e., "Our Lady of Seven Sorrows") with the Seven Dolours of the Virgin. It laments the passing of the worship of classical ...