(Continued; last post of the series)
An apocryphal work dating from the 8th century known as the
Vindicta Salvatoris (The Avenging of the Savior) is one of the most famous expressions of the idea. There AD 30 and AD 70 are literally conflated into a single time period. Two ‘kings’ are crucial to the plot of
Vindicta, Tiberius
and Titus/Tirus/Tyrus, “a court official (
regulus) of Tiberius in the kingdom of Aquitania (southwest France), for a city of Libia which is called Burdigala (modern Bordeaux, obviously not in ancient or modern Libya!)” The
Vindicta’s Tiberius is based obviously on the emperor who reigned during the time of Jesus’ adulthood (ca. AD 14-37); Titus/Tyrus on the other hand is based on
the military commander who besieged and captured Jerusalem in AD 70 and who later became emperor (reigned 79-81).
In the work, both kings are sick with some sort of disease and are cured via miraculous means. But let’s focus on Titus/Tyrus. Titus/Tyrus, afflicted by a sort of malignant wound (‘the sore called “cancer”’) in his face, learns about a miracle worker named Jesus from an envoy called Nathan, who had visited Palestine and who was now on his way back to Rome. Deeply moved by what he had heard about Him and offended that the Jewish people had treated their Savior so cruelly, vows to avenge Jesus (hey, just like it says in the tin: ‘Avenging of the Savior’), threatening violent reprisals against the Jews. And this is the curious part: it is only after Titus/Tyrus vows to do horrible things to the Jews in retaliation for the death of Jesus that the cancer which afflicts his face is miraculously cured.
After being healed, Titus is then baptized by Nathan. In some versions, Titus takes on the name ‘Titus’ at this point apparently as a baptismal name; prior to this his name is given as ‘Tirus’/‘Tyrus’. We can see here the pattern of co-opting figures into the Christian cause: since Christians thought that the Romans were God’s instruments in dealing punishment to the Jewish people in AD 70, wouldn’t it be nice if the general who conquered Jerusalem be a Christian himself?
The newly converted Titus and his colleague Vespasian (now based on
the eponymous general who is the real-life Titus’
father and predecessor who reigned from 69 to 79) then
immediately begin to launch a violent assault on the Jews in Judaea. King Herod - another historical anachronism here; the figure is a conflation of King Herod the Great (37-4 BC) and the tetrarch Herod Antipas (reign 4 BC-AD 39) - becomes disturbed (“and all Jerusalem with him;” cf. Matthew 2:3), and after appointing his son
Archelaus (reigned 4 BC-AD 6!) to be his successor, commits suicide by falling on his spear/sword a la King Saul. (In some late versions of the
Vindicta, it is Archelaus who appoints an unnamed son to be his successor; Archelaus kills himself to avoid being captured by Titus and Vespasian.)
Archelaus (or the unnamed son) shuts himself in Jerusalem along with other kings (!) and nobles in fear, while Titus and Vespasian lay siege to the city for seven to eight years. By the seventh/eighth year of the siege, a severe famine hits the land to the point that people had to eat dirt for lack of bread. The
eleven thousand soldiers guarding Jerusalem (!) then agree to commit mass suicide rather than be captured by the Romans. (Obvious overtones of the AD 73
siege of Masada here.)
The kings holed up within the city were frightened further, not knowing what to do with the rotting bodies, which were left unburied and so stinks a lot. They finally decide to surrender (realizing that punishment has come upon them for putting Jesus to death

) and hand the keys to the city over to Titus and Vespasian. The survivors were then captured and put to death in various ways (being stoned, hanged, speared, etc.) or sold into slavery: because Jesus was sold for thirty pieces of silver, Titus decides to sell thirty people for one denarius!
So all in all, the author of the
Vindicta attempts to express the concept of the fall of Jerusalem being the result of Jesus’ death, even if it meant engaging in extreme artistic license/historical inaccuracies and telescoping two separate events.