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Foreign Mark Mary with Franciscan Friars with Renewal and this is the Rosary in Year podcast, where through prayer and meditation, the Rosary brings us deeper into relationship with Jesus and Mary and becomes a source of grace for the whole world. The Rosary in a Year is brought to you by Ascension. This is day 160. To download the prayer plan for Rosary in a year, visit ascensionpress.com rosary in a year or text R I Y to 33777. You'll get an outline of how we're going to pray each month, and it's a great way to track your progress. The best place to listen to the Podcast in the Ascension app. There are special features built just for this podcast and also recordings of the full Rosary with myself and other friars. No matter what app you're listening in, remember to tap, follow or subscribe for your daily notifications. Today we will be meditating upon and praying with the second sorrowful Mystery, the.
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Scourging of our Lord at the pillar.
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With help from a painting entitled the Flagellation of Christ by the artist Caravaggio and now introduction to our artist and artwork. Caravaggio was born in the year 1571, he died in the year 1610, and he was an Italian painter active in Rome for most of his artistic life. During the final four years of his life, he moved between Naples, Malta and Sicily until his death, and his paintings have been characterized by art critics as combining a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, which had a formative influence on Baroque painting. This painting was done in the year 1607, and just a quick note on its style, it is the style is Baroque, and Caravaggio employed close physical observation with dramatic use of chiaroscuro that came to be known as tenebrism, and he made the technique a dominant stylistic element, transfixing subjects in bright shafts of light and darkening shadows. Now a description of the painting the muscular form of Christ's body leans and twists as he pushes to remain upright. Light reflects starkly off his bare skin as three tormentors flank him. A simple white cloth is wrapped around his loin behind him. His arms are bound with ropes to a sturdy marble column that rises up and out of the frame. The painting has a striking contrast between light and dark areas, emphasizing the conflict between goodness and evil. One man holds Jesus hair in his hand, a swatch of branches in the other. His face contorts and his layers of clothing fall from his shoulder due to.
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His vigor as he prepares to flog Christ.
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Another man stripped down to his waist, presses his foot against Christ's legs as he reaches for Christ's bound hands. The third prepares his weapon as he binds another switch for the flogging. I am yet to see a Caravaggio painting that I didn't love. You know, I certainly haven't seen them all, but he is definitely one of my favorites and probably my favorite artist. In the next couple of episodes, we're going to come across his work a couple more times. We see here in his work entitled the Flagellation of Christ, his expert use, right, of chiaroscuro, light and darkness and contrasting of it. And I do think it's perfect for communicating visibly what is in fact happening here. There is a battle taking place between good and evil, light and darkness, God and Satan and his host of fallen angels. And I must say that what stands out to me immediately, even more so than the beautiful Lamb of God being led to the slaughter, is the darkness, the evil depicted in the anger, hatred, violence and tragic intentionality of the Roman.