Aemilia Lanyer’s Salve Deus Rex Judaeorum famously reframes Eve’s original sin through the lens of the Crucifixion, paralleling Adam and Eve’s relations with those of Pontius Pilate and his wife. By representing these two moments simultaneously, the poem recasts one origin through another to rewrite the foundational status of Genesis for gender relations. Though the relation between Old and New Testament might prompt us to read these two marriages as type and anti-type, they are superseded by a third marriage (or marriages) – that of the many women in the poem and Christ. Analyzing the poem’s dense gendering of Christ, critics have often focused on the heterosexual erotics of Lanyer’s Passion, particularly its depiction of Christ as “Bridegroom” and its debt to the Song of Songs. This chapter joins those scholars who have expanded our sense of the poem to recognize its homoerotic and queer passions by reconsidering its deployment of typology.