March 7: Crucify Him!
♫ Music:
Day 3 - Friday, March 7
Title: Crucify Him!
Scripture: Mark 15:6-15 (NJKV)
Now at the feast he was accustomed to releasing one prisoner to them, whomever they requested. And there was one named Barabbas, who was chained with his fellow rebels; they had committed murder in the rebellion. Then the multitude, crying aloud, began to ask him to do just as he had always done for them. But Pilate answered them, saying, “Do you want me to release to you the King of the Jews?” For he knew that the chief priests had handed Him over because of envy. But the chief priests stirred up the crowd, so that he should rather release Barabbas to them. Pilate answered and said to them again, “What then do you want me to do with Him whom you call the King of the Jews?” So they cried out again, “Crucify Him!” Then Pilate said to them, “Why, what evil has He done?” But they cried out all the more, “Crucify Him!” So Pilate, wanting to gratify the crowd, released Barabbas to them; and he delivered Jesus, after he had scourged Him, to be crucified.
Poetry & Poet:
“Speculations on the Subject of Barabbas”
by Zbigniew Herbert translated by John Carpenter and Bogdana Carpenter
What happened to Barabbas. I ask no one knows
Released from the chain he walked out into a white street
he could turn right go straight ahead turn left
spin on his heels crow happily as a rooster
He Emperor of his own hands and head
He Governor of his own breath
I ask because in a sense I took part in the affair
Attracted by the crowd in front of Pilate’s palace I shouted
like the others Barabbas let Barabbas free
Everyone shouted if I alone had been silent
it still would have happened as it was supposed to happen
Perhaps Barabbas returned to his band
In the mountains he kills quickly robs with precision
Or he opened a pottery shop
And cleans hands soiled by crimes
in the clay of creation
He is a water carrier mule driver money lender
a ship owner—Paul sailed to the Corinthians on one of them
or—this can’t be ruled out—
became a prized spy paid by the Romans
Look and admire the stunning game of fate
for chances of power smiles of fortune.
While the Nazarene
remained alone
without an alternative
with a steep
path
of blood.
CRUCIFY HIM!
Mouth agape, Pontius Pilate gestures to Christ as they stand before a cold stone ledge. An attending Roman soldier, caught in mid-sentence, robes the Savior in bright crimson. Christ’s hands are folded and bound as he grips the reed used to force the crown of thorns onto his brow just moments before. This instrument of torture doubles as a scepter, mocking Christ as King of the Jews. Who is the intended audience of this painting? While the subject, Ecce Homo (“Behold the Man”), implies the crowd gathered in Mark 15: 6-15 to adjudicate Christ’s fate, this reading of the picture is incomplete. Caravaggio, unsatisfied with merely depicting the past, forcefully insists that a decision be made, not then, but now. All who stand before the picture are implicated.
The subject of Ecce Homo in European painting springs from older iconographies in the Byzantine tradition that seek a broader theological horizon beyond the depictions of a single moment in time. The icon of the Extreme Humility, also called the King of Glory, is a prime example. This icon type compresses multiple moments from Christ’s Passion into a single image. Visual references to the Crucifixion, the Descent from the Cross, the Lamentations, and the Entombment are present simultaneously, providing a rich visual context for the liturgical rite celebrated on Great and Holy Friday. The icon of Extreme Humility allows the eye to ponder the fulfillment of Isaiah’s prophecy of the “Suffering Servant.”
Most closely related to the Ecce Homo in the Byzantine tradition, however, is the icon of Christ the Bridegroom. The title signals a profound theological insight that binds the visual subject with its true meaning for the faithful, all within the liturgical context of Great and Holy Lent. The Christ the Bridegroom icon is an essentialized version of the Ecce Homo. Only Christ is featured with the Instruments of the Passion. The term “Bridegroom” in the title suggests the anticipation of a relationship soon to be consummated. Biblical exegesis, liturgy, and iconography coalesce into a single vision of the Savior’s sacrifice for his people.
The Church Fathers perceived Christ in his suffering as the necessary sacrifice, according to the Father’s will, for the salvation of the cosmos whose final victory is accomplished in the Resurrection. The connection between the Christ the Bridegroom icon and its scriptural source of the “Parable of the Ten Virgins” (Matthew 25: 1-13) thus comes into view within a liturgical context. As the faithful prepare themselves by prayer, fasting, and alms-giving during Great and Holy Lent, repentance itself serves as a preparation to receive the Bridegroom in his Resurrection, lest we, like the foolish virgins, be caught unprepared.
Lent is a call to repentance that we might fully partake in Christ’s Resurrection. The trial of Lent is not an end in itself. It is a preparation to receive the Bridegroom with a humble and clean heart. “Lift up your heads, O ye gates: and be ye lifted up, ye everlasting doors; and the King of Glory shall come in” (Psalm 24:7). The mysterium tremendum of the Christian faith is how Jesus Christ, broken and humiliated when presented to the people by Pontius Pilate, is also the Bridegroom and King of Glory. “For he hath made him to be sin for us, who knew no sin; that we might be made the righteousness of God in him” (2 Corinthians 5:21).
Prayer:
“I see thy bridal chamber adorned, O my Savior, and I have no wedding garment that I may enter there. Make the robe of my soul to shine, O Giver of Light, and save me.”
Exapostilarion, Third Tone, Bridegroom Matins
Dr. James Anno
Associate Curator of European Art
The Museum of Fine Arts, Houston
Houston, Texas
For more information about the artwork, music, and poetry selected for this day, we have provided resources under the “About” tab located next to the “Devotional” tab.
About the Art #1:
Ecce Homo
Michelangelo Merisi da Caravaggio
1606–1609
Oil on canvas
Private Collection
On loan to the Museo Nacional del Prado
Madrid, Spain
Ecce Homo by Renaissance artist Caravaggio depicts the Roman governor Pontius Pilate presenting Jesus to a crowd of hostile onlookers before His crucifixion. It is one of about sixty known works by Caravaggio still in existence according to the Prado Museum, and is believed to have been a part of the Spanish king Phillip IV’s private collection.The painting was wrongly attributed to a pupil of the Spanish artist, José de Ribera, until it was correctly credited to Caravaggio in 2021 at a Madrid auction house.
https://www.museodelprado.es/en/whats-on/exhibition/the-lost-caravaggio-the-ecce-homo-unveiled/c5334d61-a3b0-d839-75aa-c33cae1e835b
https://www.npr.org/2024/05/28/nx-s1-4983674/caravaggio-painting-prado-ecce-homo
About the Artist:
Michelangelo Merisi da Caravaggio (1571–1610), known simply as Caravaggio, was an Italian baroque painter whose influence and fame spanned far beyond his short career. He was trained in Milan, Italy, and joined the art scene in Rome with his first two commissions in 1600, after which he never lacked patronage. Despite his reported wild personal life and death at age thirty-eight, the influence of his work can be seen in the works of other important artists such as Peter Paul Rubens, Bernini, and Rembrandt. His distinctive style is characterized by thoughtful observation of the human condition, realistic depictions of emotions, and the use of tenebrism or intensely dramatic lighting.
https://en.wikipedia.org/wiki/Caravaggio
https://www.metmuseum.org/toah/hd/crvg/hd_crvg.htm
About the Art #2:
Extreme Humility Icons (left)
Early 15th century
Tempera on wood
Byzantine Museum
Kastoria, Greece
Extreme Humility Icons (right)
Anonymous
Date unknown
Greek
Caravaggio’s Ecce Homo paintings seem to find their roots in the passion icons of Byzantium. Of all the European nations, Italy was the one most influenced by Byzantine art. Byzantine prototypes, mystery, color and linework all contributed to the power of Italian Baroque painting. The Extreme Humility icon depicts the Suffering Christ standing at the entrance of his tomb. In Western tradition separate devotional paintings show the various aspects of Christ’s ordeal: the mocking/scourging, the trial before Pilate, the crucifixion, the descent from the cross, mourning the dead Christ, and the entombment—all have developed into their own genres. In the Eastern tradition a single image conveys the entirety of Christ’s passion. The Extreme Humility icon clearly references Philippians 2:7-8, “[He] made Himself of no reputation, taking the form of a bondservant, and coming in the likeness of men. And being found in appearance as a man, He humbled Himself and became obedient to the point of death, even the death of the cross.” Christ’s extreme humility signifies the unique and ultimate sacrifice he endured to gain our salvation. Likewise, Christ calls his followers to embrace humility as the path to Christian maturity.
About the Art #3:
Christ the Bridegroom Icon (left)
17th century
Andreadis Collection
Athens, Greece.
Christ the Bridegroom Icon (right)
21st century
Anonymous
In the Eastern Orthodox tradition, the parable of the Wise and Foolish Virgins waiting and watching for Christ the Bridegroom (Matthew 25:1-13) plays a prominent role during the first three days of Holy Week each year. Whereas in the Western Church this parable is most often associated with the season of Advent, in the East, the reminder to be prepared for Christ’s Second Coming takes place at the end of Lent. It is interesting to note that in the various Bridegroom icons, Christ does not appear in typical wedding attire as a royal king, but instead he is depicted in the bright scarlet robe placed upon him after his torturous beating by the roman soldiers. Much like the Extreme Humility Icon, Christ assumes a meek stance, bowing in humble submission to those around him as he patiently waits for Pontius Pilate to act. Indeed, in these icons the suffering Bridegroom stands before all as the question is asked, “What will you do with Jesus and are you prepared for his return?”
About the Music: “Crucify Him” from the St. Luke Passion
Lyrics:
[Chorus and Tenor]
Crucify him, Crucify him,
They all cried away with him. (x4)
Why?
What evil hath he done?
I have found no cause of death in him.
I have found no fault in this man touching
Those things where of ye accuse him!
Therefore I will chastise him, and let him go.
Crucify him, Crucify him,
They all cried away with him. (x4)
And Pilate gave sentence that it should be,
As they required that he might be crucified.
And unto them he released Barabbas.
But he delivered Jesus to their will.
Crucify him, Crucify him,
Crucify him, Crucify him.
Oh, wooden cross, Oh, wooden cross.
Oh, wooden cross, Oh, wooden cross.
About the Composer:
Eriks Esenvalds (b. 1977) is a Latvian composer, mainly of choral music. Esenvalds is one of the most sought-after composers working today. After studying at the Latvian Baptist Theological Seminary and the Latvian Academy of Music, he became a member of the State Choir Latvija. In 2011 he was awarded the two-year position of fellow commoner in creative arts at Trinity College, University of Cambridge. Since then Esenvalds has won multiple awards for his work and undertakes many international residencies, working on his music and lecturing. Recent large-scale premieres include Lakes Awake at Dawn for the Boston Symphony Orchestra, The Pleiades for the Grant Park Music Festival Chicago, A Shadow for the BBC Proms, Dreams Under Your Feet for the Gewandhaus Leipzig, and the St. Luke Passion for the Latvian Radio Choir and Sinfonietta Riga.
https://en.wikipedia.org/wiki/%C4%92riks_E%C5%A1envalds
https://www.eriksesenvalds.com/about/short-biography
About the Performers: The Latvian Radio Choir, Sigvards Kjava (conductor) and the Sinfonietta Riga Orchestra with Janis Kursevs (tenor)
The Latvian Radio Choir is the professional chamber choir of Latvian Radio, which was founded in 1940 by the Latvian conductor Teodors Kalnins. The choir has had two conductors since 1992—a musical director and principal conductor. The choir currently consists of twenty-four singers under the leadership of Sigvards Klava and Kaspars Putnins.
https://en.wikipedia.org/wiki/Latvian_Radio_Choir
https://www.radiokoris.lv/en/choir/
Sigvards Klava (b. 1962) is one of the most outstanding Latvian conductors; he is also a professor of conducting and a producer, and a music director of the Latvian Radio Choir since 1992. As a result of Klava’s steady efforts, the Latvian Radio Choir has become an internationally recognized, vocally distinctive collective, where each singer possesses a creative individuality. The choir has recorded a number of choral works by little-known or completely forgotten composers of the past, as well as formed a collaboration with a number of notable Latvian composers. Klava is also the associate professor at the Jazeps Vitols Latvian Academy of Music. He has performed at the Concertgebouw and Muziekgebouw of Amsterdam, Berliner Konzerthaus and Philharmonie, the Berlioz Opera House Montpellier, Théatre des Champs- Élysées and Cité de la Musique in Paris, Dresdner Frauenkirche, as well as in the New York Lincoln Centre.
https://www.neurecords.com/sigvardsklava/
https://www.radiokoris.lv/lv/koris/sigvards-klava/
Sinfonietta Riga Orchestra is a state chamber orchestra in Latvia founded in 2006. Consisting of young students, the orchestra is influenced both by Western and Eastern culture. Estonian composer Arvo Pärt's works have been presented by the ensemble at the Elbphilharmonie, Hamburg. Since 2006, Normunds Sne has been artistic director and Paavo Järvi has been guest conductor. Beside Western repertoire, Sinfonietta Rīga often plays Latvian and Baltic music, and commissions works by contemporary Latvian composers.
https://en.wikipedia.org/wiki/Sinfonietta_R%C4%ABga
https://www.sinfoniettariga.lv/en
Janis Kursevs (b. 1977) is a Latvian tenor. In St. Luke Passion: Part I: Crucify Him, the music includes several solo sections, and this performance features the powerful voice of tenor Janis Kursevs. He is a narrator, describing the actions of Pontius Pilate, and at the same time trying to be a voice of reason against the howling mob, imploring “Why? What evil hath he done?” Kursevs studied choir conducting at Jelgava Music College and singing at Jazeps Vitols Latvian Academy of Music.
https://latviansonline.com/tag/en/page/25/
About the Poetry and Poet: Zbigniew Herbert, translated by John Carpenter and Bogdana Carpenter
Zbigniew Herbert (1924–1998) was a Polish poet, essayist, dramatist, and moralist, and was a distant relative of the seventeenth-century Anglo-Welsh poet George Herbert. A member of the Polish resistance movement during World War II, he is one of the best-known and the most translated post-war Polish writers. While he was first published in the 1950s, soon after he voluntarily ceased submitting most of his works to official Polish government publications, and only resumed publication in the 1980s, initially in the underground press. Opposed to Communism, he lived in Paris until he returned to Poland in 1992. In 2013, the Zbigniew Herbert International Literary Award was established in honor of the poet and his literary legacy. His poetry, marked by direct language and strong moral themes, was shaped by his experiences under both Nazi and Soviet dictatorships.
https://en.wikipedia.org/wiki/Zbigniew_Herbert
https://www.poetryfoundation.org/poets/zbigniew-herbert
About the Devotion Writer:
Dr. James Anno
Associate Curator of European Art
The Museum of Fine Arts, Houston
Houston, Texas
James Anno is a parishioner at St. Joseph Orthodox Church in Houston, Texas. He is a husband and a father of three. Prior to living in Houston, James and his family lived in Naples, Italy, where he worked as a curator at the Capodimonte Museum, one of the largest museums in Italy. He is currently an associate curator of European art for the Museum of Fine Arts in Houston, Texas.