Holy Rosary Images Download

March 2010 - Holy Rosary Mission - Red Cloud Indian School Digital Image Collection expanded to 1000 images. Begun in 2006, this collection documents the visual history of Red Cloud Indian School and the Oglala Lakota (Sioux) of the Pine Ridge Indian Reservation in western South Dakota and Nebraska.

At Chief Red Cloud's request, Jesuits in 1888 founded the school with support from the Sisters of St. Francis of Penance and Christian Charity. Formerly known as Holy Rosary Mission, Red Could School has since developed into a two-campus K-12 school system, which has also served as the headquarters for the Catholic Church on the 3,500 square-mile reservation. In 1977, Marquette began to receive the school's historical records as its official archival repository. However, the transfer of the bulk of the photographic images, now totaling approximately 80,000 items, did not begin until 2006.

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Work on the digital collection began two years later, and since then, it has grown continuously. The images provide a small but representative sampling of the entire photographic holdings. Because most of the images were acquired with limited identification, preparing them for public use has required painstaking research by Marquette Archives staff. In so doing, invaluable assistance has been received from Red Cloud alumni, general researchers, and the archives staff of the Deutsche Provinz der Jesuiten Archiv (Munich), the Holy Name Province Archives of the Sisters of St. Francis of Penance and Christian Charity (Denver), and the Midwest Jesuit Archives (St. Louis).

Queen of the Holy Rosary Shrine was dedicated on June 26, 1936. At that time, the Shrine consisted of a covered pavilion with a statue of Mary on a white pedestal. Around the sides of the pedestal the Joyful, Sorrowful and Glorious mysteries of the rosary were printed in clear, bold letters.

The statue of Mary, holding the Christ Child on her lap, is the work of a Bavarian craftsman who worked from an original design. Working on a solid piece of wood, the artist wanted to portray an image of Mary as Queen and Mother. A large rosary extends from the hand of Mary to the hand of Christ as a reminder that the way to Christ is through Mary.

O God, whose only begotten Son, by His life, death, and resurrection, has purchased for us the rewards of eternal life. Grant, we beseech Thee, that by meditating on these mysteries of the most holy Rosary of the Blessed Virgin Mary, we may imitate what they contain and obtain what they promise, through the same Christ our Lord. Amen.

The "Queen of the Rosary" image depicts a detail of Maria Madonna Bouza Urbina's painting "The 26 Champions of the Rosary." The painting was commissioned by Fr. Calloway in 2016 for his book "Champions of the Rosary: The History and Heroes of a Spiritual Weapon." Confident and strong, Our Lady offers the viewer the rosary - the spiritual sword of Heaven - as a weapon against the evil one.

This canvas image of Mary is printed and framed in Stockbridge, Massachusetts, at the home of the National Shrine of The Divine Mercy and is available gallery wrapped, or with a graceful gold or black frame.

Rosary devotion has long been considered a "female-centered" religious practice. Despite this correlation, no scholars have investigated the relationship between women and the rosary. In this thesis I attempt to fill that void by examining a range of meanings the rosary held for laywomen in late fifteenth- and early sixteenth-century Northern Europe, c. 1470 to c. 1530. Using a theoretical framework informed by materialism, gender theory, and Marian theory, my thesis argues that beyond its usual associations with indulgences, the rosary also signified prayers for conception and safe childbirth. In reciting prayers to the Madonna, laywomen spiritually and mystically projected themselves into the narrative of the Virgin's pregnancy, desiring to bear a child as Mary bore Christ.To explicate the relationship between women and the rosary, my thesis considers a variety of rosary images: female donors with their prayer beads, Andachtsbilder portraying the Christ Child holding and playing with a string of beads, images of the Holy Kinship, instructive prints from rosary manuals, and early family portrait scenes. As a whole, these images suggest that the rosary symbolized a budding womb, a wife's ideal piety, the desire for children, the maternal qualities of the Virgin, and an amulet to assuage the rigor of childbirth. Lastly, my thesis considers the rosary as religious jewelry. By looking to several examples of women depicted with ornate rosaries, my thesis argues that laywomen wore beads to elevate their status and to emulate the aristocracy. Moreover, wearing rosaries and/or being painted with one's rosary allowed for a public pronouncement of one's private piety. For women, then, wearing a rosary was another way in which they could enter into the public devotional realm. In arguing that the rosary was perceived by women as a blossoming vine, as a piece of religious jewelry, and as an aid in childbirth, I hope to have contributed new ways of understanding this multivalent devotional tool, and to have opened new avenues for others to consider the rosary beyond its usual associations with prayer counting and indulgences.

In our shabby Providence house, the Blessed Mother was similarly mysterious, a presence both lovely and remote. Dusty images of her glowed in corners, most particularly the Madonna and Child portraits by Da Vinci and Titian that my uncle had brought back from the Roman seminary he attended in the 1920s and 1930s. Their ornate gold frames and saturated colors illuminated the faded floral wallpaper in the parlor and front entry. In the Da Vinci, Mary laughed. She was garbed in silk and velvet, her chubby son nestled in her arms. In the Titian, she stared downward and slightly to her right, self-contained.

I do not remember learning the rosary at Blessed Sacrament, but if I did, it would have been in the lower church, where children were exiled for separate services. There we sat, obedient, starched and smoothed, taught by nuns, this time the Faithful Companions of Jesus, who also wore serge, along with the wimpled bonnets of Victorian governesses. I recall them as less tough than the Sisters of Mercy, their visages seemingly innocent and transparent, akin to the blue and white statues of Mary in the basement, which were garlanded with plaster roses.

Through those years in the Aztec-yellow house, my mother, in her affliction, told her crystal rosary beads. She could still imagine beauty: she had saved the Madonna portraits and listened over and over to a record of Gregorian chants. For the most part, however, I think of her as a beaten, silent creature, crushed by the weight Providence had placed upon her, able only to dully mouth the old petitions. If Mary was in the room with my mother, her eyes were stone.

Perhaps this is why I did not learn the rosary; I was alone, without Gabe, who to my horror had stayed behind in the Providence house. My mother had no room for me; I think she hardly saw me. Neglected by my parents, my brothers, Terry and Brian, were in and out of mental hospitals by the time I was ten.

Is there any wonder I did not learn the rosary? It brought up only dread, loneliness; it seemed an animal repetition without meaning, like the nattering of the mad, among whom my tender brothers soon lived. It expressed for me pure sorrow. There was no sweetness in it.

In this church, my grandparents worshipped a century ago. Blessed Sacrament is still open, which is a comfort, but I feel an ache as I view the Marian statue with the freighted cognizance of memory. The statue mirrors the awful silence of the past, echoed in my ignorance of the rosary that I now attempt, over and over, to correct.

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The following list enumerates a selection of Marian, Josephian, and Christological images venerated in the Roman Catholic Church, authorised by a Pope who has officially granted a papal bull of Pontifical coronation to be carried out either by the Pontiff, his papal legate or a papal nuncio.The prescription of the solemn rite to crown venerated images is embedded in the Ordo Coronandi Imaginem Beat Mari Virginis published by the Holy Office on 25 May 1981.

Prior to 1989, pontifical decrees concerning the authorization of canonical coronations were handwritten on parchment. After 1989, the Congregation for Divine Worship and the Discipline of the Sacraments began issuing the specific recognition to crown a religious image, spelling out its approved devotional title and authorizing papal legate. Several venerated images of Jesus Christ and Saint Joseph have also been granted a pontifical coronation.[a]

In the later Middle Ages, Christian worshippers began to use strings of beads, known as rosaries, to help them count off prayers in a set number and sequence. While praying, they meditated upon a series of events in the lives of Christ and the Virgin Mary known as the "fifteen mysteries." This altarpiece depicts the mysteries as separate scenes, arrayed like rosary beads across the top three registers of the altarpiece. The larger image at the bottom shows the Virgin and Christ Child adorned with a garland of red and white roses in the form of an enormous rosary. The background landscape portrays the Coudenberg Palace in Brussels, suggesting that the picture was commissioned by a member of the Habsburg court. 2351a5e196