Crucifixion: an image of death or triumph over death. Crucifixion and Burial of Christ: icons and paintings

Radial edge of the sky. At the top is the Resurrection of Christ - the Rising from the Tomb. At the bottom is the Crucifixion with those to come.

In the center of the icon is a copper-cast gilded eight-pointed Cross-Crucifixion. On either side of him are two groups of people ahead. The icon has a silver frame. There are hallmarks: St. George the Victorious, hallmark of the assayer Mikhail Mikhailovich Karpinsky, hallmark of an unknown master, 84.

In the upper case in the stamps of the image: Crucifixion with those in attendance, Entombment. In lower case: Joy to all who mourn, Resurrection-Descent into Hell. On the left field of the icon, below is a figure of the standing figure of the Venerable Gennady of Kostroma. Miniature letter in folk traditions.

In the center is a Cross with the crucified Christ. In the upper left corner is the Mother of God with the Child, in the right is St. Nicholas the Wonderworker blessing with the Gospel in his hand; in the lower left corner - the Miracle of George about the serpent, in the right corner - Archangel Michael - the commander of the terrible forces.

In the center of the icon against the backdrop of an architectural landscape is a Cross with the crucified Jesus Christ. On either side of Him are figures of the Mother of God and the women of Jerusalem, as well as John the Theologian and the centurion Longinus. Under the middle crossbar of the cross there are depicted two flying angels with covered hands, mourning the death of Christ. The composition unfolds against the backdrop of the Jerusalem wall with two pointed “Gothic turrets.” The general structure of the composition and the composition of the upcoming ones is traditional for Russian icon painting of the XIV-XVI centuries. However, the poses and gestures of the figures have some rare features, in particular, the position of the dead Christ, sagging heavily on his arms nailed to the cross. His head with a loose strand of hair falls on his chest. Apparently, some Western European late Gothic samples were used, which were particularly expressive in the rendering of the Crucifixion. The image of the Mother of God, powerlessly falling into the arms of the myrrh-bearing women, as well as John the Theologian, represented with raised hands, also goes back to the late Gothic tradition.

The icon depicts the events of Good Good Friday. To the left of the crucified Christ is the Mother of God with their wives, to the right is John the Theologian with Longinus the centurion. Flying angels symbolize the Old and New Testaments. Golgotha - in the form of wide slides, in a large cave the skull and bones of Adam are depicted. Since ancient times, a connection has been established between the burial place of Adam and the crucifixion of Christ, the tree of knowledge and the tree of the Crucifixion.

Eight-pointed "Crucifixion" cross. The figure of the crucified Christ is elongated. Under the middle crossbar of the cross on the right and left are the upcoming ones: two on each side, a full-length image. Above the head of hosts on a cloud, two flying angels. Above the cross there are five marks with the twelve holidays.

In the center of the icon, against the backdrop of an architectural landscape, is the crucified Jesus Christ, before whom the saints stand: on the left - the Mother of God, Mary Magdalene, Martha, and on the right - John the Theologian and the centurion Longinus. Above the cross are depicted two archangels and the Lord of Hosts in the clouds. The celestial bodies are depicted in the corners of the centerpiece.

Fedor Iok offers his own version of the composition, more adapted to the trapezoidal shape of the “heavenly” face. He placed the life-size figures of the Mother of God and John the Evangelist under the large crossbar of the cross, successfully fitting them into the lower corners of the trapezoid. True, the figures turned out to be much smaller than the other characters.

In the center of the icon the Crucifixion is depicted, on the sides at the top and bottom there are four icons of the Mother of God: Tenderness of Evil Hearts, Recovering the Lost, From Troubles to the Suffering, Satisfying My Sorrows, next to which are depicted the following: Saints Mary, Martha, John the Theologian, and the holy martyr Login. In the margins are figures of an angel, John the Baptist, Nicholas the Wonderworker and the holy martyr Alexandra.

The icon was painted by Stefan Kazarinov by order of the clerk of the Pereslavl congress hut Nikita Maksimov Vedernitsyn. The crucifix with the seven sacraments is interesting for its symbolic-allegorical composition and “realistic” elements. It is possible that in the “Sacrament of Marriage” scene, located at the foot of the flourishing cross, and not in the flower medallions of its crown, like all the others, members of the Vedernitsyn family are depicted.

The icon belongs to the most perfect creations of Constantinople art and, based on stylistic analogies in miniatures of dated manuscripts, usually dates back to the second half of the 11th or the beginning of the 12th century. It represents a completely new iconographic type of the Crucifixion in relation to the pre-iconoclastic images also preserved in the Sinai collection. The composition becomes extremely strict and laconic, including only three main figures: Christ, the Mother of God and John the Evangelist.

The inscriptions are reduced to one main one on the sides of the cross - “Crucifixion”. The figures of crucified robbers, Roman wars at the foot and other minor details, which early Byzantine icon painters enthusiastically described, disappear. Attention is concentrated on the main event, on the psychological content of the image, which gives rise to liturgical associations and a more acute emotional experience of the Redemptive Sacrifice, the visible embodiment of which was the Crucifixion scene.

Crucifixion with saints in the fields. Fragment.

Christ on the cross is no longer shown in a strictly frontal, solemnly hieratic pose of the winner and “King of kings.” On the contrary, his body is depicted bent and hanging helplessly, reminiscent of his death throes. A drooping head with closed eyes also indicates the moment of death. Instead of the “royal” purple colobium, Christ’s naked body wears only a loincloth. The rarest feature of the Sinai icon is that this bandage is depicted as completely transparent. The motif finds explanation in Byzantine theological interpretations, in particular in the poetic inscription on another Sinai icon of the Crucifixion, which says that Christ, having taken on for a time the “robe of death,” was clothed in the “robe of incorruptibility.” Apparently, the transparent bandage was supposed to depict these heavenly invisible clothes of the Savior, proclaiming that through the sacrifice He granted salvation and incorruption to the world, “trampling down death by death.”

Despite the fact that Christ is shown dead, blood flows from His wounds, which the icon painter depicts with all the naturalism possible for such exquisite painting. The strange feature becomes more understandable when referring to contemporary Byzantine texts on the icon.

The outstanding philosopher and historian of the 11th century, Michael Psellus, left a detailed description of one image of the Crucifixion, similar in all respects to the Sinai icon. Psellus glorifies an unknown artist for his art, which amazingly represented Christ as both living and dead.

The Holy Spirit continued to dwell in His incorruptible body and the connection with the Holy Trinity did not cease. This idea acquired exceptional relevance in Byzantine theology after the Schism of 1054, when the Orthodox understanding of the Eucharistic sacrifice and the Holy Trinity was built around this thesis, rejected by Catholics. The icon of the Crucifixion, completely changing iconographically, continues to remain a living image of the true faith, which, according to Anastasius Sinaite, is better than any text capable of refuting all heretics.

Let us also note other important details of the Sinai Crucifixion. The blood from the feet of Christ flows in streams down to the foot, made in the form of a rock with a cave inside. The image goes back to the Byzantine apocryphal legend about the tree of the cross, according to which the cross of the Crucifixion was placed at the burial site of Adam. The atoning blood, spilled on Adam's skull, granted salvation to the world in the person of the first man. The cave of Adam's burial was one of the main places of worship in the Jerusalem complex of the Holy Sepulcher, which the Sinai icon painter discreetly recalled. Compared to early iconography, in the 11th century the image of the cross itself, in which there is always an additional upper crossbar, called the “titulus” or “heading,” acquires much greater importance. It was in this form that the visual crosses were made and installed on the altar thrones in every church. As a rule, they contained a particle of the tree of the cross in the center of the cross, which made them relics of the Crucifixion. The icon of the Crucifixion with a similar cross evoked in the Byzantine a clear association with the altar and the Eucharistic sacrifice offered on it.

Mourning gestures also play an important role in creating a liturgical image. The Mother of God presses her left hand to her chest and extends her right hand in a gesture of supplication, asking the Redeemer for mercy. John the Theologian touches his cheek with his right hand, as if in a gesture of despair, and tensely squeezes the edge of his cloak with his left. The angels flying from heaven above not only testify to the mystical nature of the sacrament, but also demonstrate sorrowful amazement with a gesture of arms spread to the sides. With the help of subtle accents, the author makes the viewer an emotional participant in the depicted scene, experiencing the gospel event as a momentary reality. It is precisely this interpretation of the Crucifixion that is characteristic of the ek-phrasis of Michael Psellos, who, like the Sinai icon painter, consistently creates the effect of participation, which is so important for understanding the special psychologism of Comnenian art and its liturgical fullness.

The theme of the ideal Church is developed in the images of saints in the fields, representing a kind of heavenly hierarchy. In the center of the upper field is a medallion with John the Baptist, flanked by the Archangels Gabriel and Michael and the Supreme Apostles Peter and the Apostle Paul. In the side margins, from left to right, Saints Basil the Great and John Chrysostom are shown first, unusually depicted holding both a cross and a book, Nicholas the Wonderworker and Gregory the Theologian. Below them are four holy martyrs: George, Theodore, Demetrius and Procopius. In the lower corners are two of the most revered representatives of the rank of saints: Simeon the Stylite the Elder - on the right, in the inscription called “In the monastery” as a reminder of his famous monastery, and Simeon the Stylite the Younger, designated on the icon as the “Wonder Worker”. Both are shown in dolls as Great Schemamen and behind transparent bars marking the top of the undepicted pillar. In the center of the lower field is St. Catherine is a clear indication of the purpose of the icon for the Sinai Monastery. On either side of it are rare images of St. Valaam in monastic vestments and St. Christina, just like St. Catherine, shown in royal robes.

The most strange feature of this host of saints is the image of John the Baptist. In the center of the upper field between the archangels and the apostles, in the place usually belonging to Christ Pantocrator. St. John holds in his hand a staff with a cross - a sign of pastoral dignity, while his right hand is folded in a gesture of prophetic blessing (transfer of grace), which is addressed to Christ on the cross. In our opinion, this is not just a reminder of the prophetic words about the Lamb of God (John 1:29), but also an indication of the symbolic meaning of Baptism, which was interpreted by Byzantine theologians as ordination - the transfer by John the Baptist of the Old Testament priesthood to the high priest of the new Church. In this context, the attire of the archangels with their priestly surplices under their cloaks and the poses of those turning to St. can be explained. John and Christ, the founders of the earthly Church, the apostles Peter and Paul.

Thus, the top row of images restrainedly and thoughtfully accentuates the main liturgical meaning of the Sinai icon: Christ in the Crucifixion is both the High Priest and the Sacrifice, “bringing and being offered,” in the words of liturgical prayer.

About some differences between Catholic and Orthodox iconography of the Crucifixion.

Surprisingly, the first depiction of the crucifixion known to us is a caricature. This is a graffito from around the 3rd century on the wall of the Palatine Palace in Rome, it depicts a man in front of a crucifixion, and the crucified man himself is blasphemously depicted with a donkey's head. The inscription, written in Greek, explains: “Αλεξαμενος ςεβετε θεον” (Alexamen worships his God). Obviously, in this way the palace servants ridiculed the Christian who was on the staff of the palace servants. And this is not just a blasphemous picture, this is a very important testimony, it records the worship of the crucified God.

First crucifixions

For a long time, Christians did not depict the crucifixion itself, but simply different versions of the cross. The first images of the crucifixion itself date back to the 4th century. This is, for example, the relief carved on the doors of the Basilica of St. Sabina in Rome.

The image is quite schematic, it is rather not an image of an event, but a sign, a reminder. Similar images of the crucifixion are also present in surviving small sculptures, in particular on gems from the same period.

Gem. Mid-IV century. Great Britain. London. British museum

Symbolic crucifixes

The same period is characterized by "symbolic" crucifixes, representing an earlier tradition. For example, an image of a cross, in the center of which there is a medallion with the image of Christ, or a symbolic image of the Lamb.

Cross with the image of Christ in the center. Mosaic. VI century. Italy. Ravenna. Basilica of Sant'Apollinare in Classe

Christ triumphant

A little later, when the image of the Lord’s crucifixion firmly entered Christian usage, a special iconography appeared - the image of Christ triumphant. It is interesting that this image, having undergone some changes, but retaining its internal content, still exists in Orthodox iconography. Christ is not simply represented as a suffering man on the cross. He triumphs over death, triumphs over suffering. The Savior’s face is extremely calm; we do not see the grimace of death or signs of suffering. Christ's eyes are wide open, and he is often dressed in a purple chiton with gold clavices (stripes). Is it worth reminding once again that this is an imperial robe? The Lord Jesus Christ is portrayed not as a prisoner subjected to a shameful execution, but as the King of Glory who conquered death (Ps. 23: 9-10).

Miniature from the “Gospel of Rabbi.” Syria. 586 Italy. Florence. Laurentian Library

We see examples of such images in book miniatures (for example, in illustrations of the gospels of Ravbula and Rossano of the 6th century), as well as in the painting of the altar of the Roman temple of Santa Maria Antiqua.

Fresco. Italy. Rome. Basilica of Santa Maria Antiqua, ca. 741-752

Canonical iconography

Over time, as usually happens, the iconography acquires certain details. They are mainly borrowed from the Gospel. The main trend can be described as a desire for greater historicism (in the evangelical sense). Christ is now naked (although the obligatory loincloth is present, for reasons of decency). The wounds bleed, and from the wound on the chest blood and water emphatically pour out (John 19:34), here the desire to accurately convey the gospel event may even seem overly deliberate. The blood of the Savior flows down to the foot of the cross, under which we see the skull of the forefather Adam. This is not only a tribute to the tradition according to which Adam was buried in the area of Golgotha, it is a symbol of the fact that the blood of Christ washed away the original sin of the first parents. There is a tablet above the cross, which in different icons, to one degree or another, conveys the essence of the inscription mentioned in the Gospel: “Pilate also wrote the inscription and placed it on the cross. It was written: Jesus of Nazareth, King of the Jews."(John 19:19), but sometimes, echoing the previous version of the iconography, it simply reads: “King of Glory.”

Mosaic. Byzantium. XII century. Greece. Monastery of Daphne

Unlike the original version of the iconography, here Christ is dead, His eyes are closed. This detail was also not accidentally introduced into the image - the viewer must realize that the Savior really died for our sins, and therefore really rose again. However, in this case we see the calmness of the face, the absence of the horror of death. The face is calm, the body is not cramped. The Lord is dead, but He still triumphs over death. This type was preserved in the art of Byzantium and the countries of the Byzantine cultural area. It has become entrenched in Orthodox iconography as a canon.

Fresco. Crucifixion. Fragment. Serbia. 1209 Studenetsky Monastery

At the same time, in the Western Church after the fall of Rome, the image of the Lord’s crucifixion began to change, and this applies to both external details and internal meaning.

Three nails

From about the 13th century in the West, the crucified Christ began to be depicted as nailed not with four nails, as was traditionally depicted in both the West and the East before that time, but with three - the Savior’s legs were crossed and nailed with one nail. It is believed that such images first appeared in France, and the Catholic world did not immediately accept such an image; even Pope Innocent III himself opposed it. But over time (perhaps under the influence of popes of French origin), this iconographic feature became entrenched in the Roman Church.

Crucifix with three nails. Mariotto di Nardo. Italy. XIV-XV century. Washington, National Gallery of Art

crown of thorns

Starting from the same 13th century, Christ on the cross is increasingly depicted wearing a crown of thorns, the Gospel is silent on this score, and for traditional iconography this is a rare detail. France again became the catalyst for such images: it was during this period that King Louis IX the Saint acquired the Savior’s crown of thorns (this sovereign spent his entire life collecting relics taken by the crusaders from Constantinople, which they destroyed). Apparently, the appearance of such a revered shrine at the French court had a wide resonance to such an extent that it migrated into iconography.

Mysticism and visionary

But these are all small, “cosmetic” details. The further the Catholic world diverged from the Orthodox, the more the symbolism of the image of the crucifixion of Christ changed. Not without enthusiastic mystical visionaryism, so uncritically accepted by the Catholic world (Orthodox asceticism is rather reserved and cautious about various “visions”). Here, for example, is a fragment of the vision of the famous Western visionary Brigid of Sweden: « ...when He gave up the ghost, the lips were opened so that the spectators could see the tongue, teeth and blood on the lips. The eyes rolled back. The knees bent to one side, the soles of the feet twisted around the nails as if they were dislocated... The convulsively twisted fingers and hands were extended... »

This is an almost exact description of one of the key subsequent Western iconographic traditions - the concentration on the suffering of Christ, the recording of the horror of death, the naturalistic gruesome details of the execution. An example is the work of the German master Matthias Grunewald (1470 or 1475-1528).

Matthias Grunewald. Germany. Beginning of the 16th century. USA. Washington. National Gallery of Art

Unlike the Orthodox icon of the crucifixion of the Lord, here we do not see the image of Christ, who “in the carnal tomb, in hell with the soul like God, in paradise with the thief, and on the throne you were, Christ, with the Father and the Spirit, all fulfill, indescribable” (troparion of the feast of Easter). Here is the image of a dead body. This is not a humble prayer in anticipation of the Resurrection, but an unhealthy meditation on blood and wounds. And it is this moment, and not the number of nails, the presence or absence of a crown of thorns, the language of the inscription of the tablet, etc., that distinguishes the Catholic vision of the passion of Christ from the Orthodox one.

Dmitry Marchenko

The image of the crucifixion of Jesus Christ is central to Christianity, because it symbolizes the Savior’s atonement for the sins of mankind. The image of the Life-Giving Cross, on which the Lord was crucified, has been known since the times of early Christianity. It was repeated in wall paintings, bas-reliefs, sculptures and icons. Moreover, the death of Jesus is one of the central subjects of Western European classical painting.

History of the image

Execution by crucifixion was considered one of the most terrible punishments for criminals in the Roman Empire - the condemned person not only died, but also experienced severe torment before his death. It was practiced everywhere, and before Christianity the cross had no symbolic meaning, but was only an instrument of execution. Such a sentence could only be received by a criminal who was not a Roman citizen, and Jesus was officially executed for a serious crime - an attempt on the political system of the Empire.

The crucifixion is described in detail in the Gospels - Jesus Christ was executed on Mount Calvary along with two criminals. The Virgin Mary, the Apostle John, and Mary Magdalene remained near the Son of God. There were also Roman soldiers, high priests and ordinary onlookers. Almost all of these characters are displayed on the icon of the crucifixion of Jesus Christ, each playing their own symbolic role.

Symbols depicted

The central image of the icon is the Life-Giving Cross with Jesus Christ on it. Above the head is a sign with the inscription “I.N.C.I” - “Jesus of Nazareth, King of the Jews.” According to legend, the inscription was made by Pontius Pilate himself. Those close to him pointed out the inaccuracy, because it was necessary to write that Jesus said that he was a king, but was not a king. To this the Roman prefect replied: “I wrote what I wrote.”

During the period of Early Christianity, in the 1st century AD. e., the Savior was depicted with open eyes, which symbolized immortality. In the Orthodox tradition, the Son of God is painted with his eyes closed, and the main meaning of the icon is the salvation of the human race. The eternal life and divinity of Jesus are symbolized by the angels soaring in the sky mourning him.

On the sides of the cross on the icon, the Virgin Mary and the Apostle John are necessarily written, who after the execution, at the command of God, took care of her until her death as her own mother. In later iconography, other characters are also found in the images - Mary Magdalene, high priests and soldiers. The centurion Longinus is often depicted, a Roman soldier who pierced the side of the crucified Jesus. The Church honors him as a martyr, and in the icon he appears with a halo.

Another important symbol is Mount Golgotha, under which Adam was buried. Icon painters depict in it the skull of the first person. According to legend, the blood from the body of Christ seeped through the earth and washed the bones of Adam - this is how original sin was washed away from all mankind.

Crucified Thieves

The icon of the Crucifixion of the Lord is one of the most popular, so it is not surprising that it has many variations. In some versions, crucified thieves are located on two sides of Christ. According to the Gospels, one of them, a prudent one, repented and asked for forgiveness for his sins. The other, the crazy one, mocked and told Jesus that since he was the Son of God, then why didn’t the Father help and save him from suffering.

In the images, the repentant thief is always located at the right hand of Christ, his gaze turned to God. The head of our Savior is also bowed in his direction, since the repentant has received forgiveness, and after death the Kingdom of Heaven awaits him. The mad robber on the crucifix is often depicted with his back turned completely - for the actions he committed, the road to hell was prepared for the criminal.

What to pray for

Even on the cross, Jesus continued to pray for all people: “Forgive them, Father. For they do not know what they are doing.” Therefore, people pray to the icon of the crucifixion for forgiveness of sins. It is believed that in front of this icon it is easier to sincerely repent of unrighteous deeds and receive spiritual cleansing.

Those who cannot find a way out of a difficult situation, who find it difficult to change circumstances and correct their actions, pray to Christ. The icon of the crucifixion gives strength and can help lead a righteous life, regardless of the past.

The image of two thieves, one of whom received forgiveness, reminds those praying that they can always repent. There is no case when God will not help a sincerely repentant person. Until the last minute of life, everyone has a chance to receive the Kingdom of Heaven.

How to interpret a dream about crucifixion icons

A dream about an icon is a good sign, a symbol of consolation in God, and sometimes a warning against possible sinful deeds. Such dreams are especially favorable for true believers. However, for correct interpretation, some details are taken into account. For example, if you dreamed that the face was located in a church, in difficult times the only salvation and support would be faith. But icons in a house in a dream speak of discord and long quarrels.

Why do you dream about the icon of the crucifixion? Dream books interpret this as an alarming sign, since such dreams promise losses in different areas of life. If you pray in front of an image, you need to pay more attention to spiritual life and worry less about material wealth. But if you dream of other icons of the Savior, the face of Jesus Christ, you can expect help in difficult circumstances.

The execution of crucifixion was the most shameful, the most painful and the most cruel. In those days, only the most notorious villains were executed with such a death: robbers, murderers, rebels and criminal slaves. The torment of a crucified man cannot be described. In addition to unbearable pain in all parts of the body and suffering, the crucified man experienced terrible thirst and mortal spiritual anguish.

When they brought Jesus Christ to Golgotha, the soldiers gave Him sour wine mixed with bitter substances to drink to ease his suffering. But the Lord, having tasted it, did not want to drink it. He did not want to use any remedy to relieve suffering. He took upon Himself this suffering voluntarily for the sins of people; That’s why I wanted to carry them through to the end.

Crucifixion of Christ – Upper Rhine Master

Even the perpetrators of the execution - usually cruel people - could not look at the suffering of the crucified with composure. They prepared a drink with which they tried either to quench their unbearable thirst, or with the admixture of various substances to temporarily dull consciousness and alleviate torment. According to Jewish law, anyone hanged from a tree was considered cursed. The Jewish leaders wanted to disgrace Jesus Christ forever by condemning Him to such death.

When everything was prepared, the soldiers crucified Jesus Christ. It was around noon, in Hebrew at 6 o'clock in the afternoon. When they crucified Him, He prayed for His tormentors, saying: “Father! forgive them because they don’t know what they are doing.”

Next to Jesus Christ, two villains (thieves) were crucified, one on His right and the other on His left. Thus the prediction of the prophet Isaiah was fulfilled, who said: “And he was numbered among the evildoers” (Is. 53 , 12).

By order of Pilate, an inscription was nailed to the cross above the head of Jesus Christ, signifying His guilt. On it was written in Hebrew, Greek and Roman: “ Jesus of Nazareth, King of the Jews“, and many people read it. The enemies of Christ did not like such an inscription. Therefore, the high priests came to Pilate and said: “Do not write: King of the Jews, but write what He said: I am the King of the Jews.”

But Pilate replied: “What I wrote, I wrote.”

Meanwhile, the soldiers who crucified Jesus Christ took His clothes and began to divide them among themselves. They tore the outer clothing into four pieces, one piece for each warrior. The chiton (underwear) was not sewn, but entirely woven from top to bottom. Then they said to each other: “We will not tear it apart, but we will cast lots for it, who will get it.” And having cast lots, the soldiers sat and guarded the place of execution. So, here too the ancient prophecy of King David was fulfilled: “They divided My garments among themselves, and cast lots for My clothing” (Psalm. 21 , 19).

The enemies did not stop insulting Jesus Christ on the cross. As they passed, they cursed and, nodding their heads, said: “Eh! Destroying the temple and creating in three days! Save Yourself. If you are the Son of God, come down from the cross.”

Also the high priests, scribes, elders and Pharisees mocked and said: “He saved others, but he cannot save himself. If He is the Christ, the King of Israel, let him now come down from the cross so that we can see, and then we will believe in Him. Trusted in God; let God deliver Him now, if He pleases Him; for He said: I am the Son of God.”

Following their example, the pagan soldiers who sat at the crosses and guarded the crucified, mockingly said: “If You are the King of the Jews, save Yourself.”

Even one of the crucified thieves, who was to the left of the Savior, slandered Him and said: “If You are the Christ, save Yourself and us.”

The other robber, on the contrary, calmed him down and said: “Or are you not afraid of God, when you yourself are condemned to the same thing (i.e., to the same torment and death)? But we were condemned justly, because we accepted what was worthy of our deeds, and He did nothing bad.” Having said this, he turned to Jesus Christ with the prayer: “P wash me(remember me) Lord, when will You come in Your Kingdom!”

The merciful Savior accepted the heartfelt repentance of this sinner, who showed such marvelous faith in Him, and answered the prudent thief: “ Truly I tell you, today you will be with Me in Paradise“.

At the cross of the Savior stood His Mother, the Apostle John, Mary Magdalene and several other women who revered Him. It is impossible to describe the sorrow of the Mother of God, who saw the unbearable torment of Her Son!

Jesus Christ, seeing His Mother and John standing here, whom he especially loved, says to His Mother: “ Wife! behold, your son“. Then he says to John: “ behold, your mother“. From that time on, John took the Mother of God into his home and cared for Her until the end of Her life.

Meanwhile, during the suffering of the Savior on Calvary, a great sign occurred. From the hour the Savior was crucified, that is, from the sixth hour (and according to our account, from the twelfth hour of the day), the sun darkened and darkness fell throughout the entire earth, and lasted until the ninth hour (according to our account, until the third hour of the day) , i.e. until the death of the Savior.

This extraordinary, worldwide darkness was noted by pagan historical writers: the Roman astronomer Phlegon, Phallus and Junius Africanus. The famous philosopher from Athens, Dionysius the Areopagite, was at that time in Egypt, in the city of Heliopolis; observing the sudden darkness, he said: “either the Creator suffers, or the world is destroyed.” Subsequently, Dionysius the Areopagite converted to Christianity and was the first bishop of Athens.

Around the ninth hour, Jesus Christ loudly exclaimed: “ Or or! Lima Savahfani!” that is, “My God, My God! Why have you forsaken me?” These were the opening words from the 21st Psalm of King David, in which David clearly predicted the suffering of the Savior on the cross. With these words, the Lord reminded people for the last time that He is the true Christ, the Savior of the world.

Some of those standing on Calvary, hearing these words spoken by the Lord, said: “Behold, He is calling Elijah.” And others said, “Let us see if Elijah will come to save Him.”

The Lord Jesus Christ, knowing that everything had already been accomplished, said: “I thirst.” Then one of the soldiers ran, took a sponge, wet it with vinegar, put it on a cane and brought it to the Savior’s withered lips.

Having tasted the vinegar, the Savior said: “It is finished,” that is, the promise of God has been fulfilled, the salvation of the human race has been completed. After this, He said in a loud voice: “Father! into Your hands I commend My spirit.” And, bowing his head, he gave up his spirit, that is, he died. And behold, the veil of the temple, which covered the holy of holies, was torn in two, from the top to the bottom, and the earth shook, and the stones were disintegrated; and the tombs were opened; and many bodies of the saints who had fallen asleep were resurrected, and coming out of their tombs after His resurrection, they entered Jerusalem and appeared to many.

The centurion (leader of the soldiers) and the soldiers with him, who were guarding the crucified Savior, seeing the earthquake and everything that was happening before them, were afraid and said: “Truly, this man was the Son of God.” And the people, who were at the crucifixion and saw everything, began to disperse in fear, striking themselves in the chest. Friday evening arrived. This evening it was necessary to eat Easter. The Jews did not want to leave the bodies of those crucified on the crosses until Saturday, because Easter Saturday was considered a great day. Therefore, they asked Pilate for permission to break the legs of the crucified people, so that they would die sooner and they could be removed from the crosses. Pilate allowed. The soldiers came and broke the legs of the robbers. When they approached Jesus Christ, they saw that He had already died, and therefore they did not break His legs. But one of the soldiers, so that there would be no doubt about His death, pierced His ribs with a spear, and blood and water flowed from the wound.

Text: Archpriest Seraphim Slobodskoy. "The Law of God."