The Sunday Christ (formerly, St Sunday [1] ) is a gigantic figure in mediaeval church wall painting, intended to discourage sabbath-breaking and blasphemy. It is not known in stained glass or manuscripts. The Sunday Christ is also known as 'Feiertagschristus' in German, 'Christ du Dimanche' in French, and 'Cristo della domenica' in Italian. [2]
These painted images, dating from the mid-fourteenth to the mid-sixteenth century, occur in clusters in two geographically distinct areas, namely southern England and Wales, and the Alpine regions of France, Germany, Austria, Switzerland, Slovenia and northern Italy. Some isolated examples also appear in Bohemia and on the Baltic coast. The fresco in the church in San Pietro di Feletto in north east Italy is a particularly fine example. A very good surviving English example is in Breage, Cornwall, with another in St Just in Penwith nearby. Yet another fine English example is to be found in Hessett church in Suffolk. An example from Wales can be found at St Cybi's Church, Llangybi, Monmouthshire. [3]
All these figures show Christ as a central Man of Sorrows surrounded by objects, often the tools of various trades, such as axes, knives, scissors, mill-wheels, or a pair of scales, all of which are wounding Christ afresh. Objects with blades or sharp points have these pointing towards Christ, and blood can be seen dripping or even spurting in jets from fresh wounds caused by these. [2] This fresh suffering of Christ has strong echoes of the Song of the Suffering Servant in Isaiah 53. Over time, these images might have been venerated as "Saint Sunday". There are 38 wills, as well as the Morebath churchwarden accounts that set aside provisions for a light to be set before the image of St. Sunday. [4]
The appearance of these depictions is thought to have followed the Black Death, which peaked in Europe 1348-1350. In the aftermath of the plague, many more Days of Obligation were declared by the church. These were days when all people were supposed to go to Mass, and to abstain from those works and affairs which hinder the worship to be rendered to God. But for many tradespeople, the sheer number of such days meant that they had to work during them to be able to make a living. These depictions of Christ were intended to give a vivid warning to those who worked on days of obligation that they were re-crucifying Christ by their actions.
In medieval times, catechetical wall paintings were used to illustrate various teachings of the Catholic church. Many were simply artistic representations of stories, and others were simplifications of theological ideas – the Seven deadly sins and the Seven cardinal virtues, for example. Some warn against various occasions of sin, such as the Sabbath Breaking implicit in working on a Day of Obligation. Generally, wall paintings provided a local site for discussion and exemplification.
In Victorian times, these graphic images were reinterpreted, often referred to as Christ of the Trades, and were described as showing Christ blessing the tools of various trades. However, the way that Christ always has fresh wounds associated with some of the tools is at odds with such an interpretation.
A crucifix is a cross with an image of Jesus on it, as distinct from a bare cross. The representation of Jesus himself on the cross is referred to in English as the corpus. The crucifix emphasizes Jesus' sacrifice, including his death by crucifixion, which Christians believe brought about the redemption of mankind. Most crucifixes portray Jesus on a Latin cross, rather than a Tau cross or a Coptic cross.
Many Christians observe a weekly day set apart for rest and worship called a Sabbath in obedience to God's commandment to remember the Sabbath day, to keep it holy.
An altarpiece is an work of art in painting, sculpture or relief representing a religious subject made for placing at the back of or behind the altar of a Christian church. Though most commonly used for a single work of art such as a painting or sculpture, or a set of them, the word can also be used of the whole ensemble behind an altar, otherwise known as a reredos, including what is often an elaborate frame for the central image or images. Altarpieces were one of the most important products of Christian art especially from the late Middle Ages to the era of Baroque painting.
The Great Jubilee in 2000 was a major event in the Catholic Church, held from Christmas Eve 1999 to Epiphany 2001. Like other previous Jubilee years, it was a celebration of the mercy of God and forgiveness of sins. The major innovation in this Jubilee was the addition of many "particular Jubilees" for various groups of persons, and that it was simultaneously celebrated in Rome, Israel, and elsewhere in the world.
A "Doom painting" or "Doom" is a traditional English term for a wall-painting of the Last Judgement in a medieval church. This is the moment in Christian eschatology when Christ judges souls to send them to either Heaven or Hell.
The Holy Family consists of the Child Jesus, the Virgin Mary and Saint Joseph. The subject became popular in art from the 1490s on, but veneration of the Holy Family was formally begun in the 17th century by Saint François de Laval, the first bishop of New France, who founded a confraternity.
In Catholicism, the Lord's Day refers to Sunday, the principal day of communal worship. It is the first day of the week in the Hebrew calendar and traditional Christian calendars, with the exception of European (workweek) calendars. It is observed by most Christians as the weekly memorial of the resurrection of Jesus Christ, who is said to have been raised from the dead early on the first day of the week. The phrase appears only once in Rev. 1:10 of the New Testament.
Adam of Usk was a Welsh priest, canonist, and late medieval historian and chronicler. His writings were hostile to King Richard II of England.
Andachtsbilder is a German term often used in English in art history for Christian devotional images designed as aids for prayer or contemplation. The images "generally show holy figures extracted from a narrative context to form a highly focused, and often very emotionally powerful, vignette".
The term Poor Man's Bible has come into use in the modern era to describe works of art within churches and cathedrals which either individually or collectively have been created to illustrate the teachings of the Bible for a largely illiterate population. These artworks may take the form of carvings, paintings, mosaics or stained-glass windows. In some churches a single artwork, such as a stained-glass window, has the role of Poor Man's Bible, while in others, the entire church is decorated with a complex biblical narrative that unites in a single scheme.
Saint Cybi (Welsh), or Cuby (Cornish), was a 6th-century Cornish bishop, saint, and, briefly, king, who worked largely in Cornwall and North Wales: his biography is recorded in two slightly variant medieval 'lives'.
Llangybi is a village and community in Monmouthshire, in southeast Wales, in the United Kingdom. It is located 3 miles (4.8 km) south of the town of Usk and 5 miles (8 km) north of Caerleon, in the valley of the River Usk.
Mary has been one of the major subjects of Western art for centuries. There is an enormous quantity of Marian art in the Catholic Church, covering both devotional subjects such as the Virgin and Child and a range of narrative subjects from the Life of the Virgin, often arranged in cycles. Most medieval painters, and from the Reformation to about 1800 most from Catholic countries, have produced works, including old masters such as Michelangelo and Botticelli.
The Roman Catholic tradition includes a number of devotions to Jesus Christ. Like all Catholic devotions, these prayer forms are not part of the official public liturgy of the church but are based on the popular spiritual practices of Roman Catholics. Many are officially approved by the Holy See as suitable for spiritual growth but not necessary for salvation.
Llangybi(English: Cybi's Church) is a village and former civil parish in the Eifionydd area of the Welsh county of Gwynedd, near Llanarmon. The parish was abolished in 1934 and divided between Llanystumdwy and Llannor.
Sabbatarianism advocates the observation of the Sabbath in Christianity, in keeping with the Ten Commandments.
St John's Church, dedicated to St John the Baptist, is a redundant Anglican church in the village of Duxford, Cambridgeshire, England. In 1967 it was recorded in the National Heritage List for England as a designated Grade I listed building, and is now vested in The Churches Conservation Trust. The church stands on the junction of St John's Street and Green Street and is open daily, all year round to visitors.
St Mary's Church is the Grade I listed Anglican parish church of West Chiltington, a village in the Horsham district of West Sussex, England. The 12th-century building, described as a "showpiece" and "the most attractive part" of the Wealden village, retains many features of historical and architectural interest. These include an exceptionally long hagioscope or squint from the south aisle into the chancel, a porch which may be Sussex's oldest, and a well preserved and extensive scheme of wall paintings. In the Sussex volume of The Buildings of England, Ian Nairn says that the appearance of the church gives "a very happy, unexpected effect, like a French village church".
The Church of St Cybi, Llangybi, Monmouthshire is a parish church with its origins in the 13th or 14th century. Refurbished in the 15th century, the church was restored in 1909–10. The interior has a notable collection of medieval wall paintings, in particular a Christ of the Trades, dating from c.1460. The church is an active parish church and part of the recently-formed Heart of Monmouthshire Ministry Area. It is a Grade II* listed building and the architectural writer John Newman, recording the church in the Buildings of Wales series, described it as "one of the most interesting in the Usk Valley."
Lutheran art consists of all religious art produced for Lutherans and the Lutheran churches. This includes sculpture, painting, and architecture. Artwork in the Lutheran churches arose as a distinct marker of the faith during the Reformation era and attempted to illustrate, supplement and portray in tangible form the teachings of Lutheran theology.
Modern Gothic by Alexander Murray: Times Literary Supplement 24 October 2008 page 7.