Во время распятия Христа, когда он преставился, тогда разодралась церковная занавесь, и камень потрескался, дал трещину, над головою Адама.
И этой трещиной кровь и вода из ребер Христа омочила голову Адама и омыла все грехи рода человеческого.
И есть расщелина на этом камне до сегодняшнего дня, на левой стороне от распятья, как знамение честное.
Орудия страстей Господних,обозначаемые буквами "К" (копьё) и "Т" (трость), часто дополняют изображения креста и являются обязательными элементами некоторых сюжетов.
Когда пришла Богородица и увидела с горы Сына своего, распинаемого на кресте, то ужаснулась, согнулась, села, была печалью и рыданием одержима. Так сбылось пророчество Симеона Богоприимца, который говорил Богородице: "И этот лежит на восстание и падение многих в Израиле, к тебе же самой оружие в душу пройдет, когда увидишь Сына своего закалываемого".
Тут стояли и многие другие и издали смотрели: Мария Магдалина, Мария Якова и Саломия, здесь же стояли все, которые пришли из Галилеи с Иоанном и с матерью Иисуса, стояли все известные друзья Иисуса, смотрели издали, как пророк предсказывал: "Друзья же мои и ближние мои вдали от меня встанут".
И это место находится далее от распятия Христа, примерно на полтораста сажен к западу от распятия, название места тому Спудий, которое переводится "Тщание Богородично".
На этом месте ныне монастырь стоит и церковь во имя Богородицы, со стрельчатым верхом.
"Се Мати твоя." Иоанн 19: 27.
When Jesus saw His Mother, and the deciple whom He loved standing near, He said to His Mother, "Woman, behold, your son!"
Then He said to the deciple, "Behold, your mother!" And from that hour the deciple took Her to his own home. [John 19: 26-27]
The representation of Christ upon the Cross was not tolerated by the sentiment of the earliest centuries [526 p. 658 - 662].
The oldest examples known to us, of which the door of Sta Sabina at Rome {2971} and the ivory panel in the British Museum are the most prominent, show Our Lord as still living.
This is a theme known in Christian art from the V century.
Up to the VII century, the cross was usually depicted without Christ.
Beginning from the XI century, several iconographic versions were introduced: a simple variant without robbers and an enlarged one with robbers.
The Virgin and St John are already present, (as indicated by the version in the Gospel of St John, which artists evidently followed) though not in the symmetrical positions occupied by them at a later time.
It is with the 6th century that the subject begins to appear with greater frequency, though in some examples we still meet with a reluctance to represent Christ actually upon the Cross.
On the ampullae from the Holy Land at Monza, the thieves are represented upon their crosses.
But the central cross is merely surmounted by a medallion containing the head of Christ, or a standing figure in long raiment with the arms extended.
Of other actors in the drama, the Virgin and St John stand to right and left, though two kneeling figures sometimes appear at the foot of the Cross, possibly representing Adam and Eve.
The sun and moon, henceforth regularly present, are personified as busts, as usually down to the 13th century.
The most elaborate of the early Crucifixions is the miniature in the Gospel {2337}, which, however, is not certainly of the same date as the book.
Here not only are the Virgin and St John, the mourning women, the thieves, and Longinus present, but the sponge-bearer (Stephaton) is for the first time introduced, as well as the soldiers casting lots (by the game of morra) for the seamless garment.
The sun and moon are a disk and crescent, features being drawn upon the sun.
(Features are not so commom upon the representation of the two luminaries in Byzantine art as in the West.
They occur in the Russo-Byzantine Crusifixion miniature of the 11th century interpolated in the Plaster of Archbishop Egbert of Trier now in Cividale.)
Although the historical, as opposed to the 'liturgical' treatment, is not that generally adopted in later centuries, it yet occurs long after the early period.
(e.g. MS. gr. 1156 in the Vatican Library, where the holy women, John, the captain, and the skull of Adam are all seen.)
Symbolic figures recalling those so commonly fond in Carolingian Crusifixions are also found.
A figure kneeling at the foot of the Cross, and representing either Faith or (less probably) the Church, is seen receiving the blood in a chalice in several illuminated manuscripts.
The church and synagogue, in like manner very popular in Carolingian times, also occur in Byzantine Crucifixions, though very rarely.
One example is on an enamel in the Botkin Collection, reproduced by Kondakoff in his work on the Swenigorodskoi Collection (Pl. XIII); Kondakoff sees in these figures Mary Magdalen and Mary, wife of Cleophas.
Another is in a Syrian MS of the 13th century in the British Museum. Others are found in the 11th-century Gospel in the Bibliotheque Nationale at Paris, and in a Bulgarian MS in Lord Zouche's Collection.
In Byzantine art these figures are introduced by angels, a feature which in Western art is chiefly found in Italy, where it may be due to Byzantine influence; it is so characteristic of the Eastern versions that these can hardly be derived from early Western art.
Further, the distribution of the MS showing these figures is very wide among Eastern nations.
The historical treatment, which from its wealth of detail reminds us of the Carolingian Crusifixions, is not that which became typical in the art of later centuries.
As a rule only the Virgin and St John stand on either side of the Cross, below which the skull of Adam is commonly seen. The skull of Adam means that the original sin of the first man has been redeemed by the Crucifixion of Christ.
(The tradition that Adam was buried on Golgotha is recorded by the Fathers.) Above the arms are two half-figures of angels, with the sun and moon represented as a radiate disk and a crescent, both on a small and inconspicuous scale.
The feet of Our Lord always rest upon a suppedaneum; his Head, which is surrounded by a cruciferous nimbus, is inclined over his right side, and the arms are only slightly bent.
Though the eyes are closed, and the figure is represented as dying or dead, there is no suggestion of agony, but rather of final repose.
The long hairs falls over the shoulders; the face is always bearded; a loincloth reaches from the waist to the knee and the body is rather emaciated.
The colobium, or long sleeveless tunic, is seen in the Rabula miniature, and frequently occurs in examples of the eight to tenth centuries.
But the colobium is not a proof of early date: it occurs for example in the British Museum Psalter of 1066, where there are also other Crucifixions in which the short loincloth is used. It is only by exception that any of the other figures are represented.
Longinus is sometimes seen, not piercing Our Lord's side, but standing with his right arm raised in admiration.
Sometimes a kneeling figure (an adoring emperor or empress) is introduced. More rarely still the soldiers appier, casting lots.
In Western Crucifixions after the 8th century we still meet with complicated histirical versions with numerous accessory figures and personifications.
Towards the latter part of the tenth century there is a tendency to adopt the simple group with the Virgin and St. John, or at the most, Longinus and Stephaton.
At this period a long tunic is worn by Our Lord, but it differs from the colobium in having long sleeves.
In the 11th century Christ is often beardless and youthful, though not invariably so: his eyes are almost always closed, though there are examples of opened eyes as late as the begining of the 13th century.
About 1200 the West introduced the custom of representing the two feet as fastened by a single nail; this remains almoust universal through the Gothic period.
In the 14th century began the realistic treatment of the dead Christ, whose body is emaciated and contracted withagony.
The actions of the Virgin and St John now become dramatic: the Virgin yields altogether to Her grief, and is supported by the attendant women (the spasimo or svenimento of Italian art).
This icon represents the Crucifixion of Jesus, witnessed both by the host of heaven and the people of the earth:
"Now when the centurion saw what was done, he glorified God, saying, Certainly this was a righteous man. And all the people that came together to that sight, beholding the things which were done, smote their breasts, and returned.
And all his acquaintance, and the women that followed him from Galilee, stood afar off, beholding these things." (KJV, Luke 23: 47-49).
The Crucifixion is one of the traditional festival icons.
