John 19:2
Parallel Verses
English Standard Version
And the soldiers twisted together a crown of thorns and put it on his head and arrayed him in a purple robe.

King James Bible
And the soldiers platted a crown of thorns, and put it on his head, and they put on him a purple robe,

American Standard Version
And the soldiers platted a crown of thorns, and put it on his head, and arrayed him in a purple garment;

Douay-Rheims Bible
And the soldiers platting a crown of thorns, put it upon his head; and they put on him a purple garment.

English Revised Version
And the soldiers plaited a crown of thorns, and put it on his head, and arrayed him in a purple garment;

Webster's Bible Translation
And the soldiers platted a crown of thorns, and put it on his head, and they put on him a purple robe,

Weymouth New Testament
And the soldiers, twisting twigs of thorn into a wreath, put it on His head, and threw round Him a crimson cloak.

John 19:2 Parallel
Commentary
Vincent's Word Studies

Crown (στέφανον)

So Matthew and Mark. Luke does not mention the crown of thorns. See on 1 Peter 5:4.

Of thorns (ἐξ ἀκανθῶν)

So Matthew. Mark has ἀκάνθινον, the adjective, made of thorns, which John also uses in John 19:5. All attempts to define the botanical character of the thorns used for Christ's crown are guesses. The word for thorns used here is the only one that occurs in the New Testament; the σκόλοψ (thorn in the flesh) of 2 Corinthians 12:7, being properly an impaling-stake.

Both the crowning with thorns and the flagellation are favorite subjects in Christian art. Some of the earliest representations of the latter depict the figure of the Lord as fully draped, and standing unbound at the column, thus illustrating the voluntariness of His sacrifice. In a MS. of the fourteenth century, in the British Museum, He stands, wholly clothed, holding a book in one hand, and blessing with the other. The more devout feeling which predominated in such representations was gradually overpowered by the sense of physical suffering. The earlier paintings represented the back turned toward the spectator, and the face, turned in a forced attitude, exhibited in profile. Later, the face and figure are turned full to the front, and the strokes fall upon the chest. Hence Jerome, in his commentary on Matthew, says that the capacious chest of God (!) was torn with strokes. The standing position is the accepted one, but instances occur in which the Savior is on the ground attached to the column by one hand. Such is the revolting picture by L. Caracci in the Bologna gallery, in which the soldier clutches Jesus by the hair as he plies the bundle of twigs. In a Psalter of the fifteenth century the Savior stands in front of the column, covering His face with His hands.

According to the later type, the moment chosen is when the execution of the sentence is just beginning. One man is binding the hands to the pillar, another is binding together a bundle of loose switches. The German representations are coarser than the Italian, but with more incident. They lack the spiritual feeling which appears in the best Italian specimens.

A field for a higher feeling and for more subtle treatment is opened in the moments succeeding the scourging. One of the very finest examples of this is the picture of Velasquez, "Christ at the Column," in the National Gallery of London. The real grandeur and pathos of the conception assert themselves above certain prosaic and realistic details. The Savior sits upon the ground, His arms extended, and leaning backward to the full stretch of the cord which binds His crossed hands. The face is turned over the left shoulder full upon the spectator. Rods, ropes, and broken twigs lie upon the ground, and slender streams of blood appear upon the body. A guardian angel behind the figure of the Lord, stands bending slightly over a child kneeling with clasped hands, and points to the sufferer, from whose head a ray of light passes to the child's heart. The angel is a Spanish nursery-maid with wings, and the face of the child is of the lower Spanish type, and is in striking contrast with the exquisite countenance of Murillo's Christ-child, which hangs next to this picture, and which is of the sweetest type of Andalusian beauty. The Savior's face is of a thoroughly manly, indeed, of a robust type, expressing intense suffering, but without contortion. The large, dark eyes are ineffably sad. The strong light on the right arm merges into the deep shadow of the bound hands, and the same shadow falls with startling effect across the full light on the left arm, marked at the wrist by a slight bloody line.

In the portrayal of the crowning with thorns, in a few instances, the moment is chosen after the crown has been placed, the action being in the mock-worship; but the prevailing conception is that of the act of crowning, which consists in pressing the crown upon the brow by means of two long staves. A magnificent specimen is Luini's fresco in the Ambrosian Library at Milan. Christ sits upon a tribune, clad in a scarlet robe, His face wearing an expression of infinite sweetness and dignity, while a soldier on either side crowds down the crown with a staff. The Italian artists represent the crown as consisting of pliable twigs with small thorns; but the northern artists "have conceived," to quote Mrs. Jameson, "an awful structure of the most unbending, knotted boughs, with tremendous spikes half a foot long, which no human hands could have forced into such a form." In a few later instances the staves are omitted, and the crown is placed on the head by the mailed hand of a soldier.

Put on (περιέβαλον)

Literally, threw about. Rev., arrayed.

Purple (πορφυροῦν)

An adjective. Found only here, John 19:5, and Revelation 18:16. Mark uses the noun πορφύρα, purple, which also occurs in Revelation 17:4; Revelation 18:12. See on Luke 16:19. Matthew has κοκκίνην, scarlet.

Robe (ἱμάτιον)

Better, as Rev., garment, since robe gives the impression of a trailing garment. See on Matthew 5:40. Matthew has χλαμύδα, a short military cloak (Matthew 27:28). Luke describes the garment as λαμπρὰν, gorgeous, bright or brilliant (Luke 23:11).

John 19:2 Parallel Commentaries

Treasury of Scripture Knowledge

the soldiers.

John 19:5 Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate said to them, Behold the man!

Psalm 22:6 But I am a worm, and no man; a reproach of men, and despised of the people.

Isaiah 49:7 Thus said the LORD, the Redeemer of Israel, and his Holy One, to him whom man despises, to him whom the nation abhors...

Isaiah 53:3 He is despised and rejected of men; a man of sorrows, and acquainted with grief: and we hid as it were our faces from him...

Matthew 27:27-31 Then the soldiers of the governor took Jesus into the common hall, and gathered to him the whole band of soldiers...

Mark 15:17-20 And they clothed him with purple, and platted a crown of thorns, and put it about his head...

Luke 23:11 And Herod with his men of war set him at nothing, and mocked him, and arrayed him in a gorgeous robe, and sent him again to Pilate.

Cross References
Matthew 27:28
And they stripped him and put a scarlet robe on him,

Matthew 27:29
and twisting together a crown of thorns, they put it on his head and put a reed in his right hand. And kneeling before him, they mocked him, saying, "Hail, King of the Jews!"

Mark 15:16
And the soldiers led him away inside the palace (that is, the governor's headquarters), and they called together the whole battalion.

John 19:5
So Jesus came out, wearing the crown of thorns and the purple robe. Pilate said to them, "Behold the man!"

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ESV Text Edition: 2016. The Holy Bible, English Standard Version® copyright © 2001 by Crossway Bibles, a publishing ministry of Good News Publishers.
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