Jesus prefers to be condemned, rather than condemn others. On the cross, Jesus reveals to us that God is unwilling to destroy the unjust and the wicked, and neither does he wish to take vengeance on sinners.
“In the cross of Jesus, God reveals himself to us in the purest, most unfathomable part of his mystery: infinite love and forgiveness.” -Bishop @silviojbaezTweet
He is not a powerful, vigilant God who wants to subdue us for his glory, but a humble and patient God, who respects our freedom, although we abuse his love again and again. Through the cross, God is showing us his infinite compassion that always forgives us and is greater than any sin we may commit.
The cross of Jesus is the cathedra of infinite love, limitless forgiveness, and mercy that can change the world. From the cross God invites us to face life with compassion, being merciful and ever forgiving those who harm us and hate us.
Bishop Silvio José Báez, o.c.d.
Auxiliary Bishop of Managua
Homily for Palm Sunday of the Lord’s Passion (excerpt)
10 April 2022
Translation from the Spanish text is the blogger’s own work product and may not be reproduced without permission.
Featured image: This icon of the crucifixion comes to us from The State Hermitage Museum in St. Petersburg, Russia. The icon was written in the late 16th century in a workshop in Siberia (the Museum refers to it as the “Russian North”), perhaps in Usolye (also known as Usole). This is where St. Raphael Kalinowski labored in the salt mines in the 19th century and where we have a monastery of Discalced Carmelite nuns and a convent of friars today.
The gallery label adds these details:
According to tradition, at the centre of the composition, set against a background of the wall of Jerusalem, is the naked figure of Christ with a white robe around His thighs, crucified on a seven-point cross, standing on Golgotha, or the Hill of Calvary. In the depths of a black cave, we can see the skull of Adam. To each side of the cross are two figures: to the left, the Virgin and Mary Magdalene; to the right, John the Evangelist and the centurion Longinus. Above are two weeping angels. The creation of the icon of the Crucifixion in a workshop in the Russian North, sometime in the second half of the 16th century, is confirmed by its composition, the balanced allocation of areas of colour and the style of execution.