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QMRStaurogram Christliche Symbolik (Menzel) I 193 2.jpg[edit] A staurogram used in the second century Papyrus Bodmer XIV-XV to represent the word cross in (Luke 14:27) The Staurogram (meaning monogram of the cross, from the Greek σταυρός, i.e. cross), or Monogrammatic Cross or Tau-Rho symbol, is composed by a tau (Τ) superimposed on a rho (Ρ). The Staurogram was first used to abbreviate the Greek word for cross in very early New Testament manuscripts such as P66, P45 and P75, almost like a nomen sacrum, and may visually have represented Jesus on the cross.[15] Ephrem the Syrian in the 4th-century explained these two united letters stating that the tau refers to the cross, and the rho refers to the Greek word "help" (Βoήθια [sic]; proper spelling: Βoήθεια) which has the numerological value in Greek of 100 as the letter rho has. In such a way the symbol expresses the idea that the Cross saves.[15] The two letters tau and rho can also be found separately as symbols on early Christian ossuaries.[16] The tau was considered a symbol of salvation due to the identification of the tau with the sign which in Ezekiel 9:4 was marked on the forehead of the saved ones, or due to the tau-shaped outstretched hands of Moses in Exodus 17:11.[15] The rho by itself can refer to Christ as Messiah because Abraham, taken as symbol of the Messiah, generated Isaac according to a promise made by God when he was one hundred years old, and 100 is the value of rho.[16]:158 The Monogrammatic Cross was later seen also as a variation of the Chi Rho symbol, and it spread over Western Europe in the 5th and 6th centuries.[17] Chi

One of the earliest crosses in history is the St Thomas cross, which is a Greek cross with clover leaf edges, especially popular in Kerala and India. Its variant, the open air Rock Cross in front of almost all old Kerala churches, with four members viz., the base which is generally in the form of a lotus flower with a socket for the cylidrical end of the main shaft, which carries the arm and the capital above the arm, all in granite and rarely in laterite stone. These rock crosses are perhaps unique to Kerala's Malabar Churches.[10] Although the cross was known to the early Christians, the crucifix did not appear in use until the 5th century.[11] French Medievalist scholar and historian of ideas M.-M. Davy has described in great detail Romanesque Symbolism as it developed in the Middle Ages in Western Europe.[12]

QMRCross and crucifix[edit] Main article: Christian cross The Crucifix, a cross with corpus, a symbol used by the Catholic Church, in Lutheranism, Eastern Orthodoxy, and Anglicanism, in contrast with some Protestant denominations, which use only a bare cross. The top of the Nestorian Stele, a Christian monument erected in A.D. 781 near Beijing, showing the cross above the inscription which reads: "Stele to the propagation in China of the luminous religion of Daqin" The cross, which is today one of the most widely recognised symbols in the world, was used as a symbol from the earliest times. This is indicated in the anti-Christian arguments cited in the Octavius of Minucius Felix, chapters IX and XXIX, written at the end of the 2nd century (cited as AD 197) or the beginning of the next.[3][4] By the early 3rd century, the cross had become so closely associated with Christ that Clement of Alexandria, who died between 211 and 216, could without fear of ambiguity use the phrase τὸ κυριακὸν σημεῖον (the Lord's sign) to mean the cross, when he repeated the idea, current as early as the Epistle of Barnabas, that the number 318 (in Greek numerals, ΤΙΗ) in Genesis 14:14 was a foreshadowing (a "type") of the cross (T, an upright with crossbar, standing for 300) and of Jesus (ΙΗ, the first two letters of his name ΙΗΣΟΥΣ, standing for 18).[5] His contemporary Tertullian could designate the body of Christian believers as crucis religiosi ("devotees of the Cross").[6] In his book De Corona, written in 204, Tertullian tells how it was already a tradition for Christians to trace repeatedly on their foreheads the sign of the cross.[7] The Jewish Encyclopaedia states: The cross as a Christian symbol or "seal" came into use at least as early as the second century (see "Apost. Const." iii. 17; Epistle of Barnabas, xi.-xii.; Justin, "Apologia," i. 55-60; "Dial. cum Tryph." 85-97); and the marking of a cross upon the forehead and the chest was regarded as a talisman against the powers of demons (Tertullian, "De Corona," iii.; Cyprian, "Testimonies," xi. 21-22; Lactantius, "Divinæ Institutiones," iv. 27, and elsewhere). Accordingly the Christian Fathers had to defend themselves, as early as the second century, against the charge of being worshipers of the cross, as may be learned from Tertullian, "Apologia," xii., xvii., and Minucius Felix, "Octavius," xxix. Christians used to swear by the power of the cross.[8][9]

QMRThe Pietà (Italian pronunciation: [pjeˈta]) is a subject in Christian art depicting the Virgin Mary cradling the dead body of Jesus, most often found in sculpture. As such, it is a particular form of the Lamentation of Christ, a scene from the Passion of Christ found in cycles of the Life of Christ. When Christ and the Virgin are surrounded by other figures from the New Testament, the subject is strictly called a Lamentation in English, although Pietà is often used for this as well, and is the normal term in Italian. Art and religion are always linked. Art is the third square and religion is the second sure field of inquiry. The pieta commemorates Jesus coming off of the cross and being mourned by his Mom.

At the Divine Liturgy, during the Ektenias (Litanies) that precede the Great Entrance, the eileton is opened fully and the antimins is opened three-quarters of the way, leaving the top portion folded. Then, during the Ektenia of the Catechumens, when the deacon says, "That He (God) may reveal unto them (the catechumens) the Gospel of righteousness," the priest unfolds the last portion of the antimins, revealing the mystery of Christ's death and resurrection. After the Entrance, the chalice and diskos are placed on the antimins and the Gifts (bread and wine) are consecrated. The antimins remains unfolded until after all have received Holy Communion and the chalice and diskos are taken back to the Prothesis (Table of Oblation). The deacon (or, if there is no deacon, the priest) must very carefully inspect the antimins to be sure there are no crumbs left on it, and then it is folded up, the eileton is folded, and the Gospel Book placed on top of it. Oriental Orthodox Practice[edit] A wooden tablet, the ţablîtho, is the liturgical equivalent of the antimins in the churches of Syriac tradition. However, it is no longer used by the Antiochian Orthodox Church (which follows the liturgical practice of Constantinople, and thus uses the antimins) or the Assyrian Church of the East and Chaldean Catholic Church. In the Ethiopian Tawahedo Church, the tâbot is functionally similar to the tablitho. However, this word is also used in the Ge'ez language to describe the Ark of the Covenant. The Ark is symbolically represented by the manbara tâbôt ('throne of the Ark'), a casket that sits on the altar. The tâbot itself, the wooden tablet, is taken out before the anaphora, and symbolizes the giving of the Ten Commandments. In the Coptic Orthodox tradition, a wooden tablet, the maqta‘ or al-lawh al-khashab, is the liturgical equivalent of the antimins in contemporary usage. Usually it is decorated with a cross and bears letters in Coptic which signify "Jesus Christ Son of God" in the four squares between the arms of the cross.

It is not permitted to celebrate the Eucharist without an antimins. The antimins is kept in the centre of the Holy Table (altar) and is unfolded only during the Divine Liturgy, before the Anaphora. At the end of the Liturgy, the antimins is folded in thirds, and then in thirds again, so that when it is unfolded the creases form a cross (see photo, right). When folded, the antimins sits in the centre of another, slightly larger cloth called the eileton (Greek: Εἰλητόν; Slavonic: Ilitón)—similar to the Western corporal, except it is usually red in colour—which is then folded around it in the same manner (3 x 3), encasing it completely. A flattened natural sponge is also kept inside the antimins, which is used to collect any crumbs which might fall onto the Holy Table. When the antimins and eileton are folded, the Gospel Book is laid on top of them. The antimins must be consecrated and signed by a bishop. The antimins, together with the chrism remain the property of the bishop, and are the means by which a bishop indicates his permission for the Holy Mysteries (Sacraments) to be celebrated in his absence. It is, in effect, a church's licence to hold divine services; were a bishop to withdraw his permission to serve the Mysteries, he would do so by taking the antimins and chrism back. Whenever a bishop visits a church or monastery under his jurisdiction, he will enter the altar (sanctuary) and inspect the antimins to be sure that it has been properly cared for, and that it is in fact the one that he issued. Besides the bishop, no one is allowed to touch an antimins except a priest or deacon, and because it is a consecrated object, they should be vested when they do so—the deacon should be fully vested, and the priest should vest in at least the epitrachil (stole) and epimanikia (cuffs). A 17th-century epitaphios from Fyodorovskaya Church in Yaroslavl. The antimins may also function as a substitute altar, in that a priest may celebrate the Eucharist on it in the absence of a properly consecrated altar. In emergencies, war and persecution, the antimins thus serves a very important pastoral need. Formerly if the priest celebrated at a consecrated altar, the sacred elements were placed only on the eileton, but in current practise the priest always uses the antimins even on a consecrated altar that has relics sealed in it.

QMRThe Antimins (from the Greek Ἀντιμήνσιον, Antimension: "instead of the table"), is one of the most important furnishings of the altar in many Eastern Christian liturgical traditions. It is a rectangular piece of cloth of either linen or silk, typically decorated with representations of the Descent of Christ from the Cross, the Four Evangelists, and inscriptions related to the Passion. A small relic of a martyr is sewn into it.

Gallery[edit] Benedetto Antelami. Deposition from the Cross (1178). Carved stone relief. Parma Cathedral Externsteine Relief (12th century). Natural sandstone. Teutoburger Wald, Germany Limbourg brothers. The Deposition, Les Très Riches Heures du duc de Berry, Folio 156v (c. 1410). Illuminated manuscript. Musée Condé, Chantilly Fra Angelico. Deposition of Christ, Fra Angelico (1437-1440). Tempera on wood, 176 x 185 cm. Museo di San Marco, Florence Anonymous. Deposition of the Cross Church of Our Lady, Bruges, Belgium The prayer Obsecro te (1470s), from the Book of Hours of Angers Bodleian Library, University of Oxford Descent from the Cross (1495), from Ss. Johns' church in Toruń. Diocesan Museum, Pelplin Pietro Perugino. Deposition (1495) Galleria dell'Accademia, Florence Anonymous. Vilar de Donas stone altarpice (16th century) San Salvador de Vilar de Donas, Palas de Rei. Galicia. Guglielmo della Porta. Deposition (16th century). Marble. Museo d'arte antica, Castello Sforzesco, Milan Rosso Fiorentino. Deposition (1521). Oil on wood, 375 × 196 cm. Pinacoteca Comunale di Volterra Jacopo Pontormo. The Deposition from the Cross (1528). Oil on wood, 313 × 192 cm. Santa Felicità, Florence Agnolo di Cosimo ("Bronzino") Deposition of Christ (1540-1545) Oil on wood, 268 × 173 cm Musée des Beaux-Arts, Besançon Caravaggio. The Entombment of Christ (1604). Pinacoteca Vaticana, Rome Simone Peterzano, Deposition of Christ, church of San Fedele, Milan Rembrandt van Rijn. Deposition (1633). Oil on wood. 89.4 × 65.2 cm. Alte Pinakothek, Munich Pedro Roldán "Deposition of Christ" (1666) ,Church of the Shrine, Seville Jean Jouvenet, The Descent from the Cross (1697). Musée du Louvre, Paris The Deposition from the Cross (18th century). Clay statues. Sacro Monte di Belmonte (near Turin) Jean-Baptiste Regnault. Deposition (c. 1789). Oil on panel Stanford Museum, Stanford University, California Deposition. Carved and painted stone. Church of Santa Teresinha, Porto Alegre, Brazil frères Avondo Deposition. Fresco. Pont de Beauvoisin, Savoie, France Cluny Abbey Deposition with Twelve Apostles (bishop's mitre). Ink on cloth Musée national du Moyen, Paris Antonio Ciseri. The Deposition of Christ (c. 1883) Antimension (1890). Printed on silk. Oradea-Mare, Transylvania, Romania Viktor Vasnetsov Entombment, (1896). Mural. St Volodymyr's Cathedral, Kiev Deposition: His body taken down from the cross (modern). Carved stone. Münster, Germany Ludvig Karsten. Nedtagelsen (Deposition) (1925). Oil on canvas. Jacek Andrzej Rossakiewicz. The Deposition (St John Passion - 7) (1990). Oil on canvas, 245 x 140 cm Titian, 1559

Selected examples[edit] With articles: Deposition of Christ, (ca. 1433) by Fra Angelico, in the National Museum of San Marco, Florence. Descent from the Cross (ca. 1435) by Rogier van der Weyden, in Museo del Prado, Madrid). The Entombment (ca. 1501), Michelangelo, in the National Gallery, London. Deposition from the Cross (1528) by Pontormo at Capponi Chapel of church of Santa Felicita, Florence. Deposition from the Cross (1521) by Rosso Fiorentino in Pinacoteca of Volterra. The Entombment of Christ (1602–1603), by Caravaggio, at the Vatican Pinacoteca The Descent from the Cross (1612–14), by Rubens, at the Cathedral of Our Lady, Antwerp Descent From The Cross (1995–1996), by David Folley, now at the Jesus Chapel, St. Andrew's Church, Wickford, Essex. Others: Codex Grecus 510 (9th century Byzantine, Bibliothèque nationale, Paris) Codex Egberti (ca. 980, Trier city library). St Albans Psalter - English Romanesque miniature (ca. 1130-45) [1] Externsteine relief (12th century) Toros Roslin (13th century) [2] Byzantine Museum of Kastoria (ca. 1400) [3] Nicolas Mostaert (1579) [4] Rembrandt (1634, Hermitage Museum, Saint Petersburg) [5] [6] [7] Athens, Benaki Museum No. 3001 (ca. 1700) [8] Gustave Doré [9] Max Beckmann (1917) [10] Enrique Miguel de la Vega [11] Eastern Orthodox Icons of the Descent from the Cross.[12] The Antimension [13]

Development of the image[edit] Even in early depictions the details and posing of the composition, and especially the position of Christ's body, are varied. The scene was usually included in medieval cycles of the Life or the Passion of Christ, between the Crucifixion and the Entombment of Christ. The Lamentation of Christ, or Pietà, showing the body of Christ held by Mary, may intervene between these two, and is common as an individual image, especially in sculpture. The Bearing of the body, showing Christ's body being carried to his tomb, and the Anointing of Christ's body, showing the body laid flat on the top of the tomb or a similarly-shaped "anointing-stone" are other scenes that may be shown. This last is especially important in Orthodox art, where it is shown on the Epitaphios. With the Renaissance the subject became popular for altarpieces, partly because of the challenges of the composition, and the suitability of its vertical shape. The Mannerist version of Rosso Fiorentino is usually regarded as his most important work, and Pontormo's altarpiece is perhaps his most ambitious work. The subject was painted several times by both Rubens and Rembrandt, who repeated one of his paintings (now in Munich) in a large print, his only one to be mainly engraved, as well as making two other etchings of the subject.

QMRDescent from the Cross From Wikipedia, the free encyclopedia Rogier van der Weyden. The Descent from the Cross. (c.1435) Oil on oak panel, 220 x 262 cm Museo del Prado, Madrid Peter Paul Rubens. The Descent from the Cross (1617–18), (Palais des Beaux-Arts de Lille). Events in the Life of Jesus according to the Gospels Life of Jesus Early life[show] Ministry[show] Passion[show] Resurrection[show] In rest of the NT[show] Portals: P christianity.svg Christianity Bible.malmesbury.arp.jpg Bible Wikipedia book Book:Life of Jesus v t e The Descent from the Cross (Greek: Ἀποκαθήλωσις, Apokathelosis), or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion (John 19:38-42). In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. The Descent from the Cross is the 13th Station of the Cross. Other figures not mentioned in the Gospels who are often included in depictions of this subject include St. John the Evangelist, who is sometimes depicted supporting a fainting Mary (as in the work below by Rogier van der Weyden), and Mary Magdalene. The Gospels mention an undefined number of women as watching the crucifixion, including the Three Marys, (Mary Salome being mentioned in Mark 15:40), and also that the Virgin Mary and Mary Magdalene saw the burial (Mark 15:47). These and further women and unnamed male helpers are often shown.[1]

Music[edit] Franz Liszt wrote a Via Crucis for choir, soloists and piano or organ or harmonium in 1879. In 1931, French organist Marcel Dupré improvised and transcribed musical meditations based on fourteen poems by Paul Claudel, one for each station. Peter Maxwell Davies's Vesalii Icones (1969), for male dancer, solo cello and instrumental ensemble, brings together the Stations of the Cross and aseries of drawings from the anatomical treatise De humani corporis fabrica (1543) by the Belgian physician Andreas van Wesel (Vesalius). In Davies's sequence, the final 'station' represents the Resurrection, but of Antichrist, the composer's moral point being the need to distinguish what is false from what is real.[21] David Bowie regarded his 1976 song, "Station to Station" as "very much concerned with the stations of the cross".[22] Michael Valenti (known predominantly as a Broadway composer) wrote, with librettist Diane Seymour, an oratorio depicting the fourteen Stations of the Cross entitled "The Way". It was premiered in 1991. Stefano Vagnini's 2002 modular oratorio, Via Crucis,[23] composition for organ, computer, choir, string orchestra and brass quartet, depicts the fourteen Stations of the Cross. As the Stations of the Cross are prayed during the season of Lent in Catholic churches, each station is traditionally followed by a verse of the Stabat Mater, composed in the 13th century by Franciscan Jacopane da Todi.

Place of Christ's resurrection[edit]

Some modern liturgists[20] say the traditional Stations of the Cross are incomplete without a final scene depicting the empty tomb and/or the resurrection of Jesus, because Jesus' rising from the dead was an integral part of his salvific work on Earth. Advocates of the traditional form of the Stations ending with the body of Jesus being placed in the tomb say the Stations are intended as a meditation on the atoning death of Jesus, and not as a complete picture of his life, death, and resurrection.

The Stations of the Resurrection (also known by the Latin name of Via Crucis) are used in some churches at Eastertide to meditate on the Resurrection and Ascension of Jesus Christ.

Ukrainian Byzantine Catholic Church[edit]

As part of a process of de-Latinization, the Ukrainian Byzantine Catholic Church eliminated the devotion of the Stations of the Cross.[citation needed] In response to this, a schismatic group called the Society of Saint Josaphat (SSJK) has formed with a seminary of its own in Lviv with thirty students at present.[citation needed]

Modern usage[edit] Station 5: Simon of Cyrene helps Jesus carry the Cross, Good Friday procession 2011 at Ulm, Germany The devotion may be conducted personally by the faithful, making their way from one station to another and saying the prayers, or by having an officiating celebrant move from cross to cross while the faithful make the responses. The stations themselves must consist of, at the very least, fourteen wooden crosses, pictures alone do not suffice, and they must be blessed by someone with the authority to erect stations.[18][dubious – discuss] In the Roman Catholic Church, Pope John Paul II led an annual public prayer of the Stations of the Cross at the Roman Colosseum on Good Friday. Originally, the Pope himself carried the cross from station to station, but in his last years when age and infirmity limited his strength, John Paul presided over the celebration from a stage on the Palatine Hill, while others carried the cross. Just days prior to his death in 2005, Pope John Paul II observed the Stations of the Cross from his private chapel. Each year a different person is invited to write the meditation texts for the Stations. Past composers of the Papal Stations include several non-Catholics. The Pope himself wrote the texts for the Great Jubilee in 2000 and used the traditional Stations. The celebration of the Stations of the Cross is especially common on the Fridays of Lent, especially Good Friday. Community celebrations are usually accompanied by various songs and prayers. Particularly common as musical accompaniment is the Stabat Mater. At the end of each station the Adoramus Te is sometimes sung. The Alleluia is also sung, except during Lent. Structurally, Mel Gibson's 2004 film, The Passion of the Christ, follows the Stations of the Cross.[19] The fourteenth and last station, the Burial, is not prominently depicted (compared to the other thirteen) but it is implied since the last shot before credit titles is Jesus resurrected and about to leave the tomb.

New Way of the Cross[edit] In the Philippines, a third version of Stations of the Cross is used, also based on scripture. In this version, the Denial of Peter is omitted (given that Jesus is practically absent from that scene), the condemnation of Pilate is conflated with acceptance of the cross, the Last Supper is designated as the First Station, and the Resurrection as the fourteenth. [17] The Last Supper The Agony in Gethsemani Jesus before the Sanhedrin The Scourging and Crowning with thorns Jesus receives the Cross Jesus falls under the weight of the Cross Simon of Cyrene carries the Cross of Jesus Jesus meets the pious Women of Jerusalem Jesus is nailed to the cross The Repentant Thief Mary and John at the foot of the cross Jesus dies on the cross Jesus is laid in the tomb Jesus rises from death

Scriptural Way of the Cross[edit] Main article: Scriptural Way of the Cross Out of the fourteen traditional Stations of the Cross, only eight have clear scriptural foundation. Stations 3, 4, 6, 7, and 9 are not specifically attested to in the gospels (in particular, no evidence exists of station 6 ever being known before medieval times) and Station 13 (representing Jesus's body being taken down off the cross and laid in the arms of His mother Mary) seems to embellish the gospels' record, which states that Joseph of Arimathea took Jesus down from the cross and buried him. To provide a version of this devotion more closely aligned with the biblical accounts, Pope John Paul II introduced a new form of devotion, called the Scriptural Way of the Cross on Good Friday 1991. He celebrated that form many times but not exclusively at the Colosseum in Rome.[15][16] In 2007, Pope Benedict XVI approved this set of stations for meditation and public celebration: They follow this sequence: Jesus in the Garden of Gethsemane, Jesus is betrayed by Judas and arrested, Jesus is condemned by the Sanhedrin, Jesus is denied by Peter, Jesus is judged by Pilate, Jesus is scourged and crowned with thorns, Jesus takes up his cross, Jesus is helped by Simon to carry his cross, Jesus meets the women of Jerusalem, Jesus is crucified, Jesus promises his kingdom to the repentant thief, Jesus entrusts Mary and John to each other, Jesus dies on the cross, Jesus is laid in the tomb

Traditional form[edit] Set of the traditional 14 scenes in Limoges enamel Portuguese Church, Kolkata The early set of seven scenes was usually numbers 2, 3, 4, 6, 7, 11, and 14 from the list below.[12] The standard set from the 17th to 20th centuries has consisted of 14 pictures or sculptures depicting the following scenes: Jesus is condemned to death Jesus carries his cross Jesus falls the first time Jesus meets his mother Simon of Cyrene helps Jesus carry the cross Veronica wipes the face of Jesus Jesus falls the second time Jesus meets the women of Jerusalem Jesus falls the third time Jesus is stripped of his garments Crucifixion: Jesus is nailed to the cross Jesus dies on the cross Jesus is taken down from the cross (Deposition or Lamentation) Jesus is laid in the tomb. Although not traditionally part of the Stations, the Resurrection of Jesus is sometimes included as a fifteenth station.[13][14]

Spiritual significance[edit] The object of the Stations is to help the faithful to make a spiritual pilgrimage of prayer, through meditating upon the chief scenes of Christ's sufferings and death. It has become one of the most popular devotions for many Christians, especially among Catholics, Anglicans, and Lutherans,[3][4] and "is often performed in a spirit of reparation for the sufferings and insults that Jesus endured during His Passion."[4][9] In his encyclical letter, Miserentissimus Redemptor, on reparations, Pope Pius XI called Acts of Reparation to Jesus Christ a duty for Catholics and referred to them as "some sort of compensation to be rendered for the injury" with respect to the sufferings of Jesus.[10] Pope John Paul II referred to Acts of Reparation as the "unceasing effort to stand beside the endless crosses on which the Son of God continues to be crucified".[11]

The Stations of the Cross originated in pilgrimages to Jerusalem. A desire to reproduce the holy places in other lands seems to have manifested itself at quite an early date. At the monastery of Santo Stefano at Bologna a group of connected chapels was constructed as early as the 5th century, by St. Petronius, Bishop of Bologna, which was intended to represent the more important shrines of Jerusalem, and in consequence, this monastery became familiarly known as "Santa Gerusalemme".[5] These may perhaps be regarded as the germ from which the Stations afterwards developed, though it is tolerably certain that nothing that we have before about the 15th century can strictly be called a Way of the Cross in the modern sense. Although several travelers who visited the Holy Land during the twelfth, thirteenth, and 14th centuries (e.g. Riccoldo da Monte di Croce, Burchard of Mount Sion, James of Verona),[6] mention a "Via Sacra", i.e., a settled route along which pilgrims were conducted, there is nothing in their accounts to identify this with the Way of the Cross, as we understand it.[citation needed] The devotion of the Via Dolorosa, for which there have been a number of variant routes in Jerusalem, was probably developed by the Franciscans after they were granted administration of the Christian holy places in Jerusalem in 1342. Today, nine of the Stations of the Cross that were established by the Franciscans are located along the Via Dolorosa as it wends its way from the northwest corner of the Temple Mount to the Church of the Holy Sepulchre, within which the remaining five stations are located. The earliest use of the word "stations", as applied to the accustomed halting-places in 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 the cross. In 1521 a book called Geystlich Strass (German: "spiritual road") was printed with illustrations of the stations in the Holy Land.[6] 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 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 Johanneskirche in Nuremberg.[7] 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. In these the sculptures are often approaching life-size and very elaborate. 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 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.[8]

QMRStations of the Cross refers to a series of images depicting Jesus Christ on the day of his crucifixion and also to the prayers Christians say when contemplating those images. Often a series of 14 images will be arranged in numbered order around a church nave or along a path, and the faithful travel from image to image, in order, stopping at each "station" (Latin: statio) to say the selected prayers and reflections. This will be done individually or in groups. 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.[1] This practice is common in Roman Catholic, as well as in a number of Anglican, Lutheran and Methodist churches.[2] The style and form of the stations can vary widely and often reflect the artistic sensibility and spirituality of the time, place and culture of their creation. The stations can consist of small plaques with reliefs or paintings, or of simple crosses with a numeral in the centre.[3][4] The Stations of the Cross are also called the Via Dolorosa or Way of Sorrows, or simply, The Way. In Jerusalem, the Via Dolorosa is believed to be the actual path that Jesus walked, and the stations there, the actual places the events occurred. The tradition of moving around the Stations to commemorate the Passion of Christ began with St. Francis of Assisi and extended throughout the Roman Catholic Church in the medieval period.[citation needed] It is most commonly done during Lent, especially on Good Friday, but it also done on other days as well, especially Wednesdays and Fridays.[citation needed]

QMR stations of the cross

Crucifixion in the arts wiki

Music Chapter

QMRFour & More From Wikipedia, the free encyclopedia 'Four' & More MilesDavis FourAndMore.jpg Live album by Miles Davis Released January 17, 1966[1] Recorded February 12, 1964 Philharmonic Hall of Lincoln Center, New York City Genre Jazz[2] Length 53:53 Label Columbia CL 2453 (mono) CS 9253 (stereo) Producer Teo Macero Miles Davis chronology My Funny Valentine (1964) Four & More (1964) Miles in Tokyo (1964) Professional ratings Review scores Source Rating Allmusic 4.5/5 stars[3] The Rolling Stone Jazz Record Guide 4/5 stars[4] 'Four' & More: Recorded Live in Concert is a live album by Miles Davis, recorded at the Philharmonic Hall of Lincoln Center, New York City, NY on February 12, 1964, but not released until 1966. Two albums were assembled from the concert recording: the up-tempo pieces were issued on this album, while My Funny Valentine consists of the slow and medium-tempo numbers.

QMRboying or breaking, also called breakdancing, is a style of street dance that originated primarily among African American and Puerto Rican youth, many former members of the Black Spades, the Young Spades, and the Baby Spades, during the mid 1970s.[1] The dance spread worldwide due to popularity in the media, especially in regions such as the United Kingdom, Canada, Japan, Germany, France, Russia, and South Korea. While diverse in the amount of variation available in the dance, b-boying consists of four kinds of movement: toprock, downrock, power moves, and freezes. B-boying is typically danced to hip-hop, funk music, and especially breakbeats, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns.

Four parts[edit]

Red Hot Chili Peppers is a four-part band with a lead vocalist, guitarist, bassist, and drummer lineup.

The four-piece band is the most common configuration in rock and pop music. Before the development of the electronic keyboard, the configuration was typically two guitarists (a lead guitarist and a rhythm guitarist, with one of them singing lead vocals), a bassist, and a drummer (e.g. The Beatles, KISS, Jackyl, Metallica, The Clash, Creedence Clearwater Revival, The Kinks, The Fray, Sonic Youth, The Smashing Pumpkins, Arctic Monkeys, Franz Ferdinand). This is popular with bands for its versatility.[citation needed]

Another common formation was a vocalist, electric guitarist, bass guitarist, and a drummer (e.g. The Who, The Monkees, Led Zeppelin, Queen (until 1991) Ramones, Sex Pistols, Red Hot Chili Peppers, R.E.M., Blur, The Smiths, Echo and the Bunnymen, The Stone Roses, Creed, Black Sabbath, Van Halen, Rage Against the Machine, Gym Class Heroes, The Stooges, Joy Division, and U2). Instrumentally, these bands can be considered as trios. This format is popular with new bands, as there are only two instruments that need tuning, the melody and chords formula prevalent with their material is easy to learn, four members are commonplace to work with, the roles are clearly defined and generally are: instrumental melody line, rhythm section which plays the chords and/or countermelody, and vocals on top.

In some early rock bands, keyboardists were used, performing on piano (e.g. The Seeds and The Doors) with a guitarist, singer, drummer and keyboardist. Some bands will have a guitarist, bassist, drummer, and keyboard player (for example, Talking Heads, Gerry and the Pacemakers, Small Faces, King Crimson, The Guess Who, Pink Floyd, Queen, Coldplay, The Killers and Blind Faith).

Some bands will have the bassist on lead vocals, such as Thin Lizzy, The Chameleons, Skillet, Pink Floyd, Motörhead, NOFX, +44, Slayer, The All-American Rejects or even the lead guitarist, such as Death, Dire Straits, Megadeth and Creedence Clearwater Revival. Some bands, such as The Beatles, have a lead guitarist, a rhythm guitarist and a bassist that all sing lead and backing vocals, that also play keyboards regularly, as well as a drummer. Others, such as The Four Seasons, have a lead vocalist, a lead guitarist, a keyboard player, and a bassist, with the drummer not being a member of the band.

Four parts[edit] Jazz quartets typically add a horn (the generic jazz name for saxophones, trombones, trumpets, or any other wind or brass instrument commonly associated with jazz) to one of the jazz trios described above. Slightly larger jazz ensembles, such as quintets (five instruments) or sextets (six instruments) typically add other soloing instruments to the basic quartet formation, such as different types of saxophones (e.g., alto saxophone, tenor saxophone, etc.) or an additional chordal instrument. Larger ensembles[edit] The lineup of larger jazz ensembles can vary considerably, depending on the style of jazz being performed. In a 1920s-style dixieland jazz band, a larger ensemble would be formed by adding a banjo player, woodwind instruments, as with the clarinet, or additional horns (saxophones, trumpets, trombones) to one of the smaller groups. In a 1940s-style Swing big band, a larger ensemble is formed by adding "sections" of like instruments, such as a saxophone section and a trumpet section, which perform arranged "horn lines" to accompany the ensemble. In a 1970s-style jazz fusion ensemble, a larger ensemble is often formed by adding additional percussionists or sometimes a saxophone player would "double" or "triple" meaning that they would also be proficient at the clarinet, flute or both. Also by the addition of soloing instruments.

QMRFour parts[edit] Main article: Quartet Strings[edit] A string quartet usually consists of two violins, a viola and a cello. An upper string quartet features two violins and two violas. A lower string quartet features one viola, two cellos and a double bass. Wind[edit] A woodwind quartet usually features a flute, an oboe, a clarinet and a bassoon. A brass quartet features two trumpets, a trombone and a tuba. A wind quartet features a horn, a flute, an oboe and a bassoon. A lower wind quartet features a tuba, a bassoon, a bass clarinet and a trombone. A saxophone quartet consists of a soprano saxophone, an alto saxophone, a tenor saxophone, and a baritone saxophone.

four horsemen rap group

The album cover for liquid swords was a chess board. I described chess is made up of a 64 quadrant grid, which is four quadrant models. GZA and RZA are both fans of chess.

Dance Chapter

The dance teacher describes that in the electric slide you do four steps to the left then four steps tot he right then four steps back

The dance teacher said that four is the magic number in the cupid shuffle because you do four steps to the left then four steps to the right then four kicks then you walk it out four times and then you repeat it in all four directions

QMRWorld Champion Fantastic Four Double Dutch Girls

QMRLocking is by nature an improvisational dance but also consists of a set of signature moves of locking pioneers, However, many lockers alter or blend these with other moves or create their own variations. In general, Lockers will often put a small pause and move up on the second and fourth beats to emphasize the locking.

QMRChain Reaction was a four-man dance crew from Reseda, California whose members included Thomas "T-Bopper" Guzman-Sanchez, Paul "Cool Pockets" Guzman-Sanchez, Robert "Bosco" Winters, and Mike "Deuce" Donley.[85] Just like The Electric Boogaloos had their own signature dance style called electric boogaloo, Chain Reaction also had their own signature dance style called crossover locking.[86] They performed on the talk show Thicke of the Night and in the movie Xanadu.[87] Xanadu premiered in 1980, four years earlier than the hip-hop dance classics Beat Street and Breakin'. Xanadu was the first time boogaloo, popping, and crossover locking were performed on film.[88] In 1984, T-Bopper created a new dance crew called United Street Force. By invitation, this crew performed at the White House for President Ronald Reagan.[89]

This dance teacher teaches that the simplest bone break move has four steps and four counts

Cali swag district is a group that made popular the dougie dance has four members

the dance teacher on YouTube describes the Cat Daddy dance as having four steps

According to this girl there are four methods to do the scorpion

method 1 is the Herkie method

method 2 is the hurdler

method 3

Literature Chapter

Cinema Chapter

QMRFour Weddings and a Funeral is a 1994 British romantic comedy film directed by Mike Newell. It was the first of several films by screenwriter Richard Curtis to feature Hugh Grant. It was made in six weeks and cost under £3 million,[1] becoming an unexpected success and the highest-grossing British film in cinema history at the time, with worldwide box office in excess of $245.7 million, and receiving an Academy Award nomination for Best Picture.[2][3]