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In Christianity, the crown of thorns, one of the instruments of the Passion, was woven of thorn branches and placed on Jesus Christ before his crucifixion. It is mentioned in the Canonical gospels of Matthew (27:29), Mark (15:17), and John (19:2, 5) and is often alluded to by the early Church Fathers, such as Clement of Alexandria, Origen, and others.
John the Evangelist describes it thus (KJV, ch. 19):
Following Genesis 3:18— "thorns also and thistles shall it bring forth to thee..." (KJV) — thorns were seen by Christian writers as emblems of the Fall of Man.
In Old Testament times, 'horns' were considered as a sign of power or authority. The symbol of 'sheep', in general, was used for humanity. The sheep in question here is mentioned specifically as a "ram" (male) versus a "ewe" (female). The "ram" thus serves as a forshadowing of Jesus Christ. He (the Messianic God-Man) is the male leader over every nation, serving as the only suitable replacement sacrifice to God in the place of all humanity, which had been sentenced to eternal death for their disobedience in the Garden of Eden [Genesis 2:16–17 (NAB) & Genesis 3:2–3,19 (NAB)]. Of note here is that the "ram" is caught about the "horns" (head) "in a thicket" (bushes or branches) prior to its being sacrificed, thus forshadowing the crown of thorns.
Plutarch makes reference[citation needed] in his Advice to Married Couples, to a custom (of parts of ancient Greece) in which "they crown [the bride] with a wreath of thorny acanthus." Apparently the prickly plant is also fragrant, and the custom symbolizes the need for the groom to be patient with his bride.
The likeliest intent of the Roman soldiers was a cruel parody of the civic crown worn by the emperor. This crown was a military decoration presented by soldiers to those who had saved the lives of Roman citizens, and had become imperial regalia since Augustus, who in his time was hailed as "Savior of the World." The irony in this symbolism will not be lost to the Christian.
Crown of Thorns is often capitalized when referring to a specific relic.
A few writers of the first six centuries A.D. speak of a relic known to be still in existence and venerated by the faithful. St. Paulinus of Nola, writing after 409, refers to "the thorns with which Our Saviour was crowned" as relics held in honour along with the Cross to which he was nailed and the pillar at which he was scourged (Epistle Macarius in Migne, Patrologia Latina, LXI, 407). Cassiodorus (c. 570), when commenting on Psalm lxxxvi, speaks of the Crown of Thorns among the other relics which are the glory of the earthly Jerusalem. "There", he says, "we may behold the thorny crown, which was only set upon the head of Our Redeemer in order that all the thorns of the world might be gathered together and broken" (Migne, LXX, 621). When Gregory of Tours in De gloria martyri[1] avers that the thorns in the Crown still looked green, a freshness which was miraculously renewed each day, he does not much strengthen the historical authenticity of a relic he had not seen, but the Breviarius, and the itinerary of Antoninus of Piacenza (6th century) clearly state that the Crown of Thorns was currently shown in the church on Mount Zion.[2] From these fragments of evidence and others of later date (the "Pilgrimage" of the monk Bernard shows that the relic was still at Mount Zion in 870), it is likely that a purported Crown of Thorns was venerated at Jerusalem from the fifth century for several hundred years.
Francois de Mély supposed that the whole Crown was not transferred to Byzantium until about 1063. In any case Justinian (died in 565) is stated to have given a thorn to St. Germain, Bishop of Paris, which was long preserved at Saint-Germain-des-Prés, while the Empress Irene, in 798 or 802, sent Charlemagne several thorns which were deposited by him at Aachen. Eight of these are said to have been there at the consecration of the basilica of Aachen by Pope Leo III. The presence of the Pope at the consecration is a later legend, but the relics apparently were there, for the subsequent history of several of them can be traced without difficulty. Four were given to Saint-Corneille of Compiègne in 877 by Charles the Bald. Hugh the Great, Duke of the Franks, sent one to the Anglo-Saxon King Athelstan in 927, on the occasion of certain marriage negotiations, and it eventually found its way to Malmesbury Abbey. Another was presented to a Spanish princess about 1160, and again another was taken to Andechs Abbey in Germany in the year 1200.
In 1238 Baldwin II, the Latin Emperor of Constantinople, anxious to obtain support for his tottering empire, offered the Crown of Thorns to St. Louis, King of France. It was then in the hands of the Venetians as security for a heavy loan (13,134 gold pieces), but it was redeemed and conveyed to Paris where St. Louis built the Sainte-Chapelle (completed 1248) to receive it. The relic stayed there until the French Revolution, when, after finding a home for a while in the Bibliothèque Nationale, the Concordat of 1801 restored it to the Church, and it was deposited in the Cathedral of Notre-Dame. The relic that the Church received is a twisted circlet of juncus balticus rushes; the thorns preserved in various other reliquaries are of zizyphus spina christi and had apparently been removed from the crown and kept in separate reliquaries since soon after they arrived in France.[3] New reliquaries were provided for the relic, one commissioned by Napoleon, another, in jewelled rock crystal and more suitably Gothic, was made to the designs of Eugene Viollet-le-Duc. In 2001, when the surviving treasures from the Sainte-Chapelle were exhibited at the Louvre, the chaplet was solemnly presented every Friday at Notre Dame. Pope John Paul II translated it personally to the Sainte-Chapelle during the World Youth Days.
The Catholic Encyclopedia said: "Authorities are agreed that a sort of helmet of thorns must have been plaited by the Roman soldiers, this band of rushes being employed to hold the thorns together. It seems likely according to M. De Mély, that already at the time when the circlet was brought to Paris the sixty or seventy thorns, which seem to have been afterwards distributed by St. Louis and his successors, had been separated from the band of rushes and were kept in a different reliquary. None of these now remain at Paris. Some small fragments of rush are also preserved ... at Arras and at Lyons. With regard to the origin and character of the thorns, both tradition and existing remains suggest that they must have come from the bush botanically known as Ziziphus spina-christi, more popularly, the jujube tree. This reaches the height of fifteen or twenty feet and is found growing in abundance by the wayside around Jerusalem. The crooked branches of this shrub are armed with thorns growing in pairs, a straight spine and a curved one commonly occurring together at each point. The relic preserved in the Capella della Spina at Pisa, as well as that at Trier, which though their early history is doubtful and obscure, are among the largest in size, afford a good illustration of this peculiarity."
Not all of the reputed holy thorns are first-class relics, that is, relics of the original Crown. M. de Mély was able to enumerate more than 700. The statement in one medieval obituary that Peter de Averio gave to the cathedral of Angers "unam de spinis quae fuit apposita coronae spinae nostri Redemptoris" ("one of the spines which were touched to the thorny crown of our Redeemer") (de Mély, p. 362) indicates that many of the thorns were relics of the third class—objects touched to a relic of the first class, in this case some part of the crown itself. (In Roman Catholic tradition, a relic of the first class is a part of the body of a saint or, in this case, any of the objects used in the Crucifixion that carried the blood of Christ; a relic of the second class is anything known to have been touched or used by a saint; a relic of the third class is a devotional object touched to a first-class relic and, usually, formally blessed as a sacramental.) Again, even in comparatively modern times it is not always easy to trace the history of these objects of devotion, as first-class relics were often divided and any number of authentic third-class relics may exist.
The Holy Thorn Reliquary in the British Museum, containing one thorn, was made for the French prince Jean, duc de Berry in the 1390s, who is documented as receiving several thorns from Charles V and VI, his brother and nephews.[4]
The Catholic Encyclopedia (1908) reported two "holy thorns" were venerated, the one at St. Michael's church in Ghent, the other at Stonyhurst College, both professing to be the thorn given by Mary Queen of Scots to Thomas Percy, Earl of Northumberland (see "The Month", April, 1882, 540–556).
More recently, a website "Gazeteer of Relics and Miraculous Images" lists the following, following Cruz 1984:
The appearance of the crown of thorns in art, notably upon the head of Christ in representations of the Crucifixion or the subject Ecce Homo arises after the time of St. Louis and the building of the Sainte-Chapelle. The Catholic Encyclopedia reported that some archaeologists had professed to discover a figure of the crown of thorns in the circle which sometimes surrounds the chi-rho emblem on early Christian sarcophagi, but the compilers considered that it seemed to be quite as probable that this was only meant for a laurel wreath.
The image of the crown of thorns is often used symbolically to contrast with earthly monarchical crowns. In the symbolism of King Charles the Martyr, the executed English King Charles I is depicted putting aside his earthy crown to take up the crown of thorns, as in William Marshall's print Eikon Basilike. This contrast appears elsewhere in art, for example in Frank Dicksee's painting The Two Crowns.
The carnations symbolize the Jesus passion as they represent the crown of thorns.
The crown of thorns is also an allegory of the episcopal governance of the church. Contrasted to a kingly crown, the crown of thorns signifies the difference between episcopal governance, and kingly governance of state. It serves as a reminder of the humility required of all bishops. The interwoven nature of the crown of thorns further represents the complexity of all the relationships among bishops, and their necessary interdependence in governing the church.[citation needed]
Detail of the 19th century reliquary preserved today at Notre-Dame Cathedral, Paris.
A second, late 19th century reliquary preserved today at Notre-Dame Cathedral, Paris.
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This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). Catholic Encyclopedia. Robert Appleton Company.
Billy Martin (born Melissa Ann Brite; May 25, 1967), known professionally as Poppy Z. Brite, is an American author. He is a trans man and prefers that male pronouns and terms be used when referring to him. Martin initially achieved notoriety in the gothic horror genre of literature in the early 1990s by publishing a string of successful novels and short story collections. His later work moved into the related genre of dark comedy, with many stories set in the New Orleans restaurant world. Martin's novels are typically standalone books but may feature recurring characters from previous novels and short stories. Much of his work features openly bisexual and gay characters.
Martin is best known for writing gothic and horror novels and short stories. His trademarks include featuring gay men as main characters, graphic sexual descriptions, and an often wry treatment of gruesome events. Some of Martin's better known novels include Lost Souls (1992), Drawing Blood (1993), and the controversial serial killer novel Exquisite Corpse (1996); he has also released the short fiction collections Wormwood (originally published as Swamp Foetus; 1993), Are You Loathsome Tonight? (also published as Self-Made Man; 1998), Wrong Things (with Caitlin R. Kiernan; 2001), and The Devil You Know (2003). His "Calcutta: Lord of Nerves" was selected to represent the year 1992 in the story anthology The Century's Best Horror Fiction.
Crown of Thorns is the solo debut album from American rapper Rakaa of the Dilated Peoples crew. It was released on Decon in 2010.
[Speaking:]
It's 2005
I'm 'bout to blow some heads off, man
I got so much shit 'bout to hit these dudes, man
Feast (?) classic, Juju Mob classic, y'know I mean?
My team is comin', Good Hands
[Verse 1:]
Yo, I give it to you straight, never speak fakely
Shareef T lace it, they say he's crazy
I'm only Lost Cauze when I got the .380
This is my costume, no moniker to make you eat daisies
None needed, son weeded
For some reason, on the mic I become some demon
Other emcees eat they lungs even
You think not? Come see 'em
From the stage you will run fleein'
I need more cowbell, throw in your towels
You make the crowd swell with bottles
Thrown at you, I'm the grave robber, throne snatcher
Don't matter, I attack like throat cancer
You can't rap, but you's a dope dancer
A hype man, go adjust my mic stand
I roll with ???, who love to make your life stop
You've been dismissed, go home and get your shine box
[Chorus:]
[Echo:] It's the Cauze, it's the Cauze...
[Scratch: KRS-One] Emcees act like they don't know
[Scratch: 50 Cent] I'm the underground king, and I ain't been crowned
[Scratch: Styles P] Motherfuckers hit your knees and just pray to the Lord
[Verse 2:]
No pimp cup, no gators (?)
No trucker hat, no blazer
I'm from the city that spawned Joe Frasier
Bernard Hopkins, stay the fuck out of my zone, haters
Now I'm no Messiah, I'm no savior
But when the mic's in my clutch there's no greater
It's like a vato loco with no razor
A black man's Kool Aid with no flavor
ESPN with no Raiders
Or the Lost Cauze out for sale with no takers
That movie +Tron+ with no lasers
An episode of +Oz+ with no rapers
The X Games with no skaters
You get the gist; my only exercise is sit and twist
I'm just as quick as Michael Vick
Cuz I'm getting' blitzed like a three-four defense
Won't be tackled in the Three Four Precinct
[Chorus]
[Verse 3:]
I'm the omen in rhyme form
You soft as nylon
I spit hot fire like Dilawn, Dilawn, Dilawn
Mind gone from buds 's big as pine cones
The Lost Cauze is a motherfucking cyclone
Get caught in my path, and I divide homes
You don't want to die, homes
I talk with my nine chrome
He's highly upset
Rush the stage with pure rage if you deny me a set
I ain't playin', dog
This is beast music, this is Reef music
Treat your face like bongos, this the beat movement
Daddy-yo the beat bruiser, leave your teeth looser
You'll be foolish to not cop that +Feast+, stupid
Cuz this a banger-banger, cock the thing and bang ya
Danger, danger, one remains in the chamber
Hot wire hanger, bash your face in
Now go fuck yourself like masturbation
The father of this bastard nation
I'm hard like chemistry and math equations
Leave your face full of holes like the mask of Jason
I'm past the waitin', getting at these bastards hatin'
I'm sicker than a faggot Hatian filling his veins with H hits
My gun plastic like some fake tits (Nigga!)
I don't make hits, I just crap classics that make you want to break shit
you fake bitch!
Bleh! Bleh! Bleh! Bleh! Bleh!
[Talking]
White Boy 1: Everybody's always talking about the legends, they talking
about Biggie and Pac (White Boy 2: Yeah, fuck those two) and Pun and Big L
No one's talking about the real legends (WB2: Hell yeah)
The guys on top right now (WB2: Hell yeah)
I'm talking about the Sages (WB2: Sage? Sage is down with the Klan!)
The Aesops, ??? Combustion right here, are you kidding me?
[WB3:] (Old school rap is doo doo, dude, it's garbage)
He's the next big thing, listen to him
[WB3:] I need, like, beats that don't even sound like beats
[WB1:] Yeah, exactly, they should be like “ERr Err err err”
[WB3:] Who wants to dance anymore anyways?
[WB2:] It's the blacks
[WB3:] Yo, yo, rip that shit Combustion
[Combustion: Rapping]
Yo, yo, yo, yo
My rhyme style you can't even measure
Cuz I flow like Helium (WB2: Mmm) at 40 times atmospheric pressure (WB2:
Here he goes)
I'm super fluid nice, can't rap but I can almost write (WB2: Uh ha)
Can't fight but I can almost bite
Hate Bush cuz he's stealing my rights
Actually I just like to gripe (WB2: West Hartford, what!) because my skin is
white
I hate my dad, see, cuz he don't like
Paying for me to sit on my ass and smoke this pipe (WB2: Go John)
That's what I do because I'm so bored
Got this super silver haze weed that you can't afford (WB2: Connecticut!)
And I'm crazy fly like the Wright Brothers
Nerd rapper of the yo, yo, yo man like Tom and Dick's mothers
Might be ??? ugly, but I'm “Mister Lover Lover”
[Black A&R:]
Man, that shit is corny, man. Ok?
Let me tell you somethin'
My artist Corleone Capone from Big Dog Entertainment (Barks)
He gon' eat yo' shit...
Ay, Corleone, tells these niggaz how the street, hood, y'know'm sayin'
Rich, big time, killa crack niggaz do it
[Corleone:]
Yo, yo this young Corleone Capone a force of AKA Real Clinton
y'feel what I'm sayin'?
[Rapping:] Yo, I cop the coke, pop the toast
Keep a bottle of Cris to pop and toast
Cook the crack, cut the crack, I sell the crack
I love the crack! Then I mix and I got crack, nigga
Keep a gat that'll put it in your back, nigga
Four shots you'll be layin' out flat, nigga, OH!
Pop the top, drop the top
Cop a grip, chop the block
About to cop the block, the block is hot
The block is a block that block the blocks, OH! Feel me?!
I rock the rocks, that rock the rocks
Then drop the drop, cop the shot, the pop...
I got shots for tops, niggaz!
[Talking: with A&R talking shit in the background]
Young Corleone Capone a force of AKA Real Clinton, y'know'm sayin'?
JFK Jr. of this rap shit, y'know'm sayin'?
I got bricks comin' out my ass, nigga, y'know'm sayin'?
I sleep bricks, nigga, y'know'm sayin'?