THE SORROWFUL MYSTERIES

1. The Agony of Christ in the Garden
(Artist: M Grellet, Paris, 1899)

Whilst most scenes have several characters, this one only depicts Jesus [45] prostrated on the ground, and in the background, almost hidden, the three disciples [46] whom Jesus had asked to keep watch with him.
The gospel (Luke 22:42) speaks of a cup, a bitter cup: Jesus asks his father, if possible, to take it away. The cup is here shown surmounted by a cross. The cross is golden: the bitterness will change into joy. The inscriptions cite the prayer of Jesus to his Father: "let your will be done, not mine".
The artist, Grellet, followed the account of Saint Luke who alone mentions the sweat of blood, which flows from the face of Christ, and the apparition of an angel sent to comfort him. The angel holds a chalice in his right hand [47]: the blood shed by Christ will be the blood of the new covenant of which every Eucharist is the memorial.
Facing the angel is Judas [48]. It is strange that the artist has thus shown Judas in heaven. Nevertheless, he is well recognisable by the purse, which he holds tightly against his chest.
Between the angel and Judas, the heart of Christ [49] burns like the burning bush of the Visitation. It is surmounted by a cross and surrounded by the crown of thorns.
 

 2. The Scouring at the Pillar
(Artist: M. Louis-Edouard Fournier, Paris, 1904)

This is the most violent scene. However, the academic rendering of the picture tempers the emotions. The gesture of the two guards scourging Jesus is too theatrical: it is not credible. We are better off gazing upon the handsome face of Christ.
To the left, Judas [50] looks on as he hides himself awkwardly. The keys he carries remind us that he was one of the Twelve. To the right, a Roman soldier holds back the Jews [51].
In heaven, the angels pray before a triangle, geometrical sign of the Trinity, on which the name of God is written in Hebrew [52]. The most powerful figures are those of Isaiah [53] and Job [54]. Two citations accompany them. "We have been healed by his bruises" (Isaiah 53:5). As for Job, he is suffering from "malignant ulcers, from the sole of his foot to the top of his head" (Job 2:7).
In the Old Testament, Job is the perfect example of the Just stricken by misfortune, in no way deserved. He thus announces Christ. In the centre, the Lamb is sacrificed on the altar [55]. However, he is the Alpha and the Omega, the plenitude of all things, the Living, the Eternal (Apocalypse 22:13). His death is a crossing, a Passover.

3. The Crowing with Thorns
(Artist: M. Louis-Edouard Fournier, Paris, 1905)

As in the Joyful Mysteries, the heavenly scene mirrors the earthly scene. The link here is the crown of thorns. This crown of derision, which is driven into the head of Jesus, becomes a crown of glory, between two cherubim [56] who surmount the Ark of the Covenant [57] (recognisable by the carrying handles). This space between the two cherubim was considered the most sacred of all, the invisible sign of the presence of God. (Exodus 25:22)
The purple cloak and the bamboo, in imitation of a sceptre, are also symbols of derision. A soldier seems ready to strike [58], and another whispers derisive remarks in his ear [59]. To the right, a centurion is completely indifferent [60], and to the left Pilate [61] shows a Jew the inscription, which will be placed on the cross: INRI, Jesus of Nazareth, King of the Jews.
On the very top, Solomon [62] carries the symbols of royalty: the crown, the purple cloak and the sceptre. His royalty is real, but earthly, transitory and imperfect.
Facing him, Abraham [63] brandishes a knife and says to his son Isaac (who is not shown): "God will provide the victim" for the sacrifice. This victim will not be his son, but a ram [64] caught by its horns in a bush (Genesis 22). When looking at the cross, Christians are reminded of this biblical event. "God so loved the world that He gave his only Son" (John 3:16)

4. The Carrying of the Cross
(Artist: Felipe Maso, Spanish, 1907)

This mosaic is distinctive by the number of characters, the movement, and the colour, it is the only one among the fifteen by the Spanish painter Felipe Maso.
To the left, one of the condemned [65] drags his cross like Jesus. Jesus turns towards his mother [66] who stretches her arms to him in vain, and towards Mary Magdalene [67], recognisable by her loosened hair (John 11:2). His gaze is empty.
In the foreground, a man brandishes the sign [68] on which is written in Hebrew, Greek and Latin, the reason for his condemnation. In the background, a crowd of people follow closely, with varying expressions. We are free to identify ourselves in one or the other.
This mosaic appears more realist than religious. It is neither. The inscription, which surrounds the mosaic [69], proclaims "the empire of the cross" which rests "on the shoulder" of Christ: this is an allusion to Isaiah 9:5.
The Father was absent from the previous scenes, but he reappears [70] here between Abraham [71], who is represented with Isaac (refer to the previous mosaic) and Moses [72]. Moses' forehead radiates light (Exodus 32:39) because he has contemplated God. In order to heal the people, God commanded Moses to erect a bronze serpent: it would be sufficient to gaze upon it to save one's life (Numbers 21). Jesus referred to it as foretelling his crucifixion (John 3:14-15).

5. The Crucifixion
(Artist: M. Grellet, Paris, 1901)

Everything seems peaceful. Neither the body nor the face of Christ is deformed by pain. Mary Magdalene [73] who had lavished a highly expensive perfume on Jesus' feet, kisses these feet, like the woman who was a sinner (Luke 7:38).
Mary [74] extends a hand towards her Son and the other towards the disciple [75] whom Jesus loved, he whom Jesus had just given her as a son. It may be that the artist wished to underline the spiritual role of Mary, our Mother.
A soldier is ready [76] to pierce the side of the Crucified with a spear. As for the others, they throw dice for Jesus' clothes [77].
In heaven, the posture of the Father [78] is similar to that of his Son on the cross. If the Father "has not spared his own Son" (Romans 8:32), as it is written on the semi-circle above, it is not for lack of love for his Son, but because of the love they share for us all.
Two angels [79 and 80] meditate the hymn to the Philippians, which the church sings on Good Friday: "He was humbler yet, even to accepting death, death on a cross" (Philippians 2:8).
In the centre: the pelican [81], that rips out his entrails to feed his young, is a traditional symbol of Christ who gives his body in order that we may have Life: it is the Cross; it is the Eucharist.

THE GLORIOUS MYSTERIES

1. The Resurrection
(Artist: M. Grellet, Paris, 1902.

This chapel is distinctive in that the tabernacle of the altar [82] corresponds to the scene above. The tabernacle is, in fact, a reproduction of the small monument constructed on the site of the tomb of Christ, in Jerusalem.
The risen Christ [83] appears, showing the wounds of his hands, his feet and his side. The halo, which surrounds his head, recalls his own words: "I am the resurrection and the life" (John 11:25). But the sign of the cross is inscribed in the circle: the Church will commemorate the death of the Lord, "until He comes again" (1 Corinthians 11:26).
Around Christ are: the women [84] who carry the perfumes to embalm his body; the guards, frightened to death in face of the triumph of life (Matthew 28:4); an angel holding in his hand the palm of victory [85]; two angels [86] who unfold a banner on which is inscribed: "He is risen, as He said". A ray of light descends from Heaven, as at the Annunciation: The Father, through the power of the Holy Spirit, gives us his Son, forever living.
Above the scene, Jonah [87], who emerged alive after spending three days in the belly of the sea-monster (Matthew 12:40), and Lazarus [88], who was also brought back to life after three days (John 11), surrounded a phoenix [89] radiating light. In mythology, the phoenix was a bird that rose from his own ashes. The oldest Christian tradition applied this symbol to the risen Christ.

 2. The Ascension
(Artist: M. Edgard Maxence, 1899)

This mosaic is the only one sketched by the painter Maxence. Similarly for the ninth, the Carrying of the Cross (Maso) and the thirteenth, the Descent of the Holy Spirit (Cisterna): these artists left only one work in the Bascilica.
The robe of Christ is pure white, in contrast with the previous mosaic: the Ascension is a manifestation of the glory of Christ, whereas, on Easter morning, this glory was still hidden.
Mary, the apostles and several women [90] watch the departing Christ as he blesses them. This is the meaning of the surrounding inscription. His blessing could also be interpreted as a sending off: his two outstretched hands, as on the cross, send the disciples to the far corners of the world.
One of the disciples, John [91], the beloved, kisses the hem of Jesus' robe. He does not retain him, because Jesus had said, "now I am going to the one who sent me" (John 16:5). The disciple's robe is of the same whiteness as that of Christ himself: Easter whiteness, baptismal whiteness.
Echoing the account of the Ascension (Acts1:11), two angels [92 and 93], in heaven, announce that one day Christ will come again in glory.

3. The Descent of the Holy Spirit
(Artist: M. Eugenio Cisterna, Italian painter, 1903)

This mosaic was the first to be restored. It was chosen for its artistic quality. Its theological value is no less important.
For once, let us start with the upper area. It sends us back to the beginnings. The Father, in a broad gesture of blessing [94], creates the world in all its diversity and dynamism. At the two extremities, the man and woman on one side [95], and on the other, the serpent [96], in the middle of the flames spitting his venom, face each other: this first time, the Tempter will win.
Pentecost is the return bout of a badly started combat. Tongues of fire descend on the Virgin Mary and on each of the apostles. However, like the burning bush (mosaic of the Visitation), these are not consuming flames but a sign of the intense love of God.
Above the group of the apostles and the Virgin Mary, angels in a posture of adoration encircle the dove [97], symbol of the Holy spirit. The creed of the church says, "With the Father and the Son, He (the Holy Spirit) is worshipped and glorified".
Between the Father and the Holy Spirit, Christ [98] is encircled by seven cherubim (Apocalypse 1:4), each carrying the name of one of the seven gifts of the Holy Spirit. This list comes from the prophet Isaiah. There is a reference to the Messiah "let us reject that which comes from the root of Jesse" (see the mosaic of the Nativity): "on him will rest the spirit of Yahweh" (Isaiah 11:1-2). Isaiah enumerates these gifts. According to the Latin translation of the Liturgy, they are wisdom, understanding, right judgement, courage, knowledge, reverence and the spirit of wonder and awe in the presence of God (adoration).
Stars [99] mark the division between the heavenly and terrestrial world: the oval inside which is a dove, links the two worlds.

4. The Assumption of Mary
(Artist M.J. Wencker, 1907)

This mosaic and the next one are the most recent (1907). They are both by the same artist, an Alsatian by the name of Wencker. This particular one was a gift from the Catholics of Bohemia, Silesia and Moravia. This goes to explain the décor.
As in Loudres, Mary is dressed in a white robe, with a blue sash. As in the apparition to Catherine Labouré, rue du Bac in Paris, in 1830, Mary is surrounded by twelve stars [100], like the woman in the Apocalypse (12:1). These are the twelve stars, which we find again on the European flag. This is no coincidence.
The church has never made a pronouncement concerning the end of Mary's life. The artist represents here the Assumption like a Resurrection: Mary leaves the tomb around which the apostles are assembled [101]; she is greeted in heaven by the Father [102], the Son [103], her Son, and the Holy Spirit [104], through whom the incarnation took place ( see the mosaic of the Annunciation).
Two women wait for Mary in heaven: Judith [105] who saved her people by killing Holofernes, an Assyrian General, and Ruth [106], the converted pagan. Two small books in the Bible relate their story.

 5. The Crowing of Mary
(Artist: M.J. Wencker, 1907)

For well over a thousand years, Christians sing the Salve Regina and the Regina Coeli.  The "Crowned" Virgin is the meeting place of Lourdes Pilgrims on the esplanade. Mary is Queen because her Son is King, like Bathsheba [107], the mother of King Solomon (on top to the left: 1 Kings 1:30). Facing Bathsheba is the Queen Esther [108] who, like Judith, saved the Jewish people.
At the feet of the Virgin, a garland of white, red and pink roses [109] recall the three series of mysteries: joyful, sorrowful and glorious. From left to right: three male saints (John [110], Dominic [111], he who received the rosary from the hands of Mary, and Bernard [112] and three female saints (Teresa of Avila [113], Clare of Assisi [114] and Mary Magdalene [115]), surround the Virgin.

On earth is a gallery of portraits. From left to right, you can recognise Bernadette, with a candle [116], Cardinal Langénieux [117] who launched the building project of the Basilica, Mgr Schoepfer [118], Bishop of the area (1899-1927), pilgrims and, among them a blind man and a child [119], who were the first to be healed, an Alsatian woman [120] (in memory of the war of 1870 and of Mgr Schoepfer, an Alsatian), Father Sempé [121], Rector of the Sanctuary (1866-1889), Mgr Laurence [122], Bishop of Tarbes at the time of the apparitions, the Popes Pius IX [123], he who proclaimed the dogma of the Immaculate Conception in 1854 (1846-1878), Leo XIII [124] (1878-1903) and Pius X [125] (1903-1914).
At the apex, the Arms of the United States of America who gifted the mosaic [126].