Thursday, March 10, 2016

Stations of the Cross: The First Station, Jesus Is Condemned to Death

Master of the Lyversberg Passion, Christ Before Pilate
From the Passion Altar of Lyversvberg
German, c. 1464-1466
Cologne, Wallraf-Richartz Museum and Foundation Corboud

All of the Gospels make it clear that the actual sentence of death on Jesus was delivered by the Roman prefect (governor) of Judaea, Pontius Pilatus (Pontius Pilate).1  Each Gospel also gives some account of Pilate as he confronted Jesus and his accusers and each implies some reluctance on Pilate’s part to sentence what he seemed to perceive as an innocent man to death.  But, in the end, he does sentence Him.

Where the Gospels differ is in how the interaction between Jesus and Pilate played out.  In the Gospels of Matthew and Mark, there seems to be only one interview, after which Pilate tries to obtain His release, but eventually makes an unwilling judgment of death.   In the Gospel of Luke Pilate sends Jesus to Herod, who also questions Him, then sends Him back, at which time Pilate tries to obtain the release, but eventually makes the judgment.  In the Gospel of John, there are two dialogues between Jesus and Pilate, in between these Pilate has Jesus scourged and then presents him to the crowd in what has become known as the Ecce Homo.  Only after this and the second dialogue does Pilate give his solemn decision “on the judge’s bench in the place called Stone Pavement, in Hebrew, Gabbatha” (John 19: 13).




These slightly different motions during the dreadful morning of Good Friday have come to us through the narrative sense of artists as different images.   There are images of the scourging of Jesus, of His crowning with thorns, of the moment of the Ecce Homo and of the moment of the condemnation, with or without the detail of Pilate washing his hands. Some of these we have looked at already, Scourging and Crowning and Ecce Homo.  It is the last of them that we shall be looking at in this essay about the first of the fourteen Stations of the Cross.

Workshop of Boucicaut Master, Jesus is Condemned
From a Book of Hours
French (Paris), c. 1415-1425
New York, Pierpont Morgan Library
MS M 1000, fol. 20v


The earliest images of the judgment of Pilate come to us from a period in which the Roman Empire was still alive and functioning in most of the same territory as it had in the time of Jesus and its laws and law courts were still functioning as well.  The artists who created it were, therefore, drawing on the lived experience of their own day for inspiration.

Early Christian Sarcophagus with Scenes of the Passion
Roman, c.350
Vatican City, Pio-Christiano Museum



A sarcophagus, dated around 350 AD and now in the Vatican Museums, shows three scenes from the Passion spread over four panels, two on either side of a central Chi Rho medallion.  The two panels at the right side form the scene of the Condemnation.  


Detail:  Early Christian Sarcophagus
with Scenes of the Passion
Roman, c.350
Vatican City, Pio-Christiano Museum
Pilate sits on the far right side, within an arcade, which stands in front of a building.  He turns his head aside, perhaps to indicate his unwillingness to pronounce this judgment.  Beside him sits another official and to the left of the panel is a servant about to pour the water.  In the left hand panel, Jesus stands next to a soldier.  He makes a gesture indicating speech with His right hand and in His left holds a book scroll.1   


There is another sarcophagus from a few decades later that takes the entire length of the lid to present the scene of Pilate's condemnation, plus Pilate's gesture of washing his hands.

The Brescia Lipsanotheca Lid, Jesus is Condemned to Death
Roman, Late 4th Century
Brescia, Museo di Santa Giulia


There is also an ivory carving from a casket, dated about seventy years later, but still well within the time in which the Empire, though recently hit by the early barbarian raids, was still intact.  Currently in the British Museum, it shows a similar scene.  Here Pilate sits on an elevated chair as a servant pours water over his hands.  To his right Jesus, already carrying the cross, is led away by a soldier, while at the far right we can see the maid servant accusing Peter of being a disciple, as Peter, seated before a small brazier fire, gestures his denial and a cock above his head crows.  2


Jesus Is Condemned to Death
Ivory Panels from a Casket
Late Roman, c. 420-430
London, British Museum


These early images set the iconography for the images that came after.  There is almost always a special chair, sometimes amounting to a throne, on which Pilate sits and a soldier or soldiers standing next to Jesus.  Some of the images focus on the interview between Pilate and Jesus, when Pilate is trying to determine just why Jesus has been brought before him.  In others we see that the judgment has already taken place and that Pilate is washing his hands to demonstrate that he has been forced to condemn Jesus by popular demand.  Images where Pilate washes his hands may require the presence of a servant who pours the water.  Soldiers or jailers may appear in either version of this iconography.

Mosaic Artist, Pilate Washing His Hands
Byzantine, 6th Century
Ravenna, Church of Sant'Apollinare Nuovo

In some images, Christ's accusers, members of the Jerusalem elite, may also appear.


Jesus is Condemned to Death
From the Gospel Book of Otto III
German (Reichenau). c. 1000
Munich, Bayerisches Staatsbibliothek
MS BSB Clm. 4453, fol. 247



Jesus is Condemned to Death
From the Book of Pericopes of Emperor Henry II
German (Reichenau), c. 1007-1012
Munich, Bayerisches Staatsbibliothek
MS BSB Clm 4452, fol. 107v



Mosaic Artist, Christ Before Pilate
Byzantine, c. 1180s
Monreale, Cathedral



Christ Before Pilate
From a Picture Bible
French (Saint-Omer), c. 1190-1200
The Hague, Koninklijk Bibliotheek
MS KB 76 F 5, fol. 20v (Detail)
In this interview, Jesus wears a crown, an obvious reference to the Pilate's question "Are you the king of the Jews?" (Matthew 27:11, Mark 15:2, Luke 23:3, John 18:33).  This is the only image I have seen where this detail occurs.


Jesus Condemned to Death as Pilate Washes His Hands
Leaf from a Psalter
German (Augsburg), c. 1225-1250
New York, Pierpont Morgan Library
MS M 275, fol. 4r



Jesus is Condemned to Death
From a Psalter
German (Augsburg), c. 1230-1255
New York, Pierpont Morgan Library
M M 280, fol. 4r


Jesus Condemned to Death as Pilate Washes His Hands
German, c. 1250
Naumburg, Cathedral



Jesus Condemned to Death
From Images de vie du Christ et des saints
Flemish (Hainaut), c. 1285-1293
Paris, Bibliotheque nationale de France
MS Nouvelle acquisition francaise 16251, fol. 34r



In the early Middle Ages the number of figures is restricted to a minimum, increasing over time until it became a crowd during the Renaissance.  While the figure of Jesus was always treated in a way which preserved an “antique” look, i.e., in a simple full length tunic, the figures of Pilate and the soldiers and servant often appeared in clothing that was contemporary with the date of the image.



Master of the Roman de Fauvel
From a copy of Vie des saints
French (Paris), c. 1300-1350
Paris, Bibliotheque nationale de France
MS Francais 183, fol. 8v



Duccio, Pilate's Second Interrogation of Christ
Italian, c. 1308-1311
Siena, Museo dell'Opera del Duomo



Workshop of Pacino di Bonaguida, Christ Before Pilate
From Scenes from the Life of Christ and the Life of the Blessed Gerard of Villamagna
Italian (Florence), c. 1315-25
New York, Pierpont Morgan Library
MS M 643, fol. 10r



Christ Before Pilate
From a Psalter
English (Salisbury), c. 1350-1375
Paris, Bibliotheque nationale de France
MS Latin 765, fol. 11r



Jesus is Condemned to Death
From Weltchronik
German (Regensburg), c. 1355-1365
New York, Pierpont Morgan Library
MS M 769, fol. 289r


Jesus Condemned to Death as Pilate Washes His Hands
From a Book of Hours
From (Metz), c. 1380
Paris, Bibliotheque nationale de France
MS Latin 1403, fol. 40r
I'm including this illumination, not because of its intrinsic artistic value as it is not exceptional, but because of the surrounding frame.  Two beings are doing battle just above the illustration.  At first glance it appears to be a man and a dragon in combat.  But look closer.   The "man" has cloven hoofs instead of feet and is doing battle, not with a sword, but with a peapod.  Between the two is a phrase from the medieval liturgy: "et damo Benedicani domino. Deo gratias" ("and I will give blessings to the Lord, Thanks be to God").  This is similar to a phrase and response ("Benedicamus Domino. Deo gratias" or "Let us bless the Lord. Thanks be to God") that was used at the end of Masses and other liturgies during Lent instead of the usual "Ite missa est" and which is still in use for the Liturgy of the Hours today. Note that the dashes above the words indicate that letters have been left out, hence "gratias" is shown as "gras" with a dash above the location of the missing letters "tia".



Master of the Parement of Narbonne, Jesus is Condemned by Pilate
French (Paris), c. 1380
Paris, Bibliotheque nationale de France
MS Nouvelle acquisition latine 3093, fol. 194r
This image drives home the identification of the person in dialog with Jesus.  On the wall above his head is a shield with a black double-headed eagle on yellow ground.  This is a direct reference to the Holy Roman Empire, which had recently adopted the double-headed eagle on yellow ground as its symbol.  However, more generally the double-headed eagle is associated with the idea of empire and has been used by Byzantine emperors as well as Russian ones (and can still be seen today as part of the insignia of both Austria and Russia).  Consequently, Pilate's position as a representative of the Roman Emperor is being underlined.
 


Giovanni di Benedetto and Workshop, Christ Before Pilate
From a Book of Hours
Italian (Milan), c. 1385-1390
Paris, Bibliotheque nationale de France
MS Latin 757, fol. 72v



Stained Glass Artist, Jesus is Condemned to Death
Austrian, c. 1390
New  York, Metropolitan Museum of Art, Cloisters Collection




Lorenzo Ghiberti, Pilate Washes His Hands
Italian, c. 1403-1424
Florence, Baptistry
Interestingly, the figure of Jesus is absent from this famous work.  Instead, all but one of the figures is a Roman soldier or servant.  The exception is the figure of Saint Peter, typically bearded and with curly hair who is turned to face out of the picture.  He seems to be addressing the man next to him somewhat vigorously.  This is, presumably, the last of his denials of knowing Jesus.


Jesus Is Condemned to Death
From the Pelerinage de Jesus-Christ by Guillaume de Digulleville
French (Rennes), 1425-1450
Paris, Bibliotheque nationale de France
MS Francais 376, fol. 223r




Master of Marguerite d'Orleans, Jesus is Condemned to Death as Pilate Washes His Hands
From a Book of Hours
French (Rennes), c. 1430
Paris, Bibliotheque nationale de France
MS Latin 1156B, fol. 135r
A little detail here says a lot.  Above the canopy over Pilate's throne is an image of God the Father, surrounded by the wings of the seraphim.  He is watching the fulfillment of His plan to save humans from themselves.



M of Cath of Cleves, Christ is Condemned to Death as Pilate Washes His Hands
From the Hours of Catherine of Cleves
Dutch (Utrecht), c. 1435-1445
New York, Pierpont Morgan library
MS M 917-945, p 38
This illumination includes an inscription (on the "back wall" of the space) that reads "Versinnet dat ende" which translates to "Think of the end".  This appears to be a hint as to the activity of the scene (condemnation to death) and a reminder to think of our own end.






Jesus Is Condemned to Death
From Meditations on the Passion of Christ by Christine de Pisan
French, c. 1450-1470
The Hague, Koninklijk Bibliotheek
MS KB 73 J 55, fol. 71r



Jean le Tavernier and Workshop, Jesus is Condemned to Death as Pilate Washes His Hands
From a Book of Hours
French (Oudenaarde), c. 1450-1460
The Hague, Koninklijk Bibliotheek
MS KB 76 F 2, fol. 25r



Master of Jouvenel des Ursins and Workshop, Pilate Condemns Jesus
From a Book of Hours
French (Angers), c. 1452
Paris, Bibliotheque nationale de France
MS Nouvelle acquisition latine 3244, fol. 244r



Donatello, Jesus Is Condemned to Death
From the Passion Pulpit
Italian, c. 1460-1465
Florence, Church of San Lorenzo



Reflecting the Renaissance interest in the art of ancient Rome, Donatello's relief presents the condemnation of Jesus in a rationally constructed space filled with Roman style architectural elements meant to suggest the courtyard of the Roman garrison at Jerusalem. He also depicts Pilate and the other soldiers in Roman style armor, making the figure of Jesus more prominent by contrast. The impact of this classicizing style took some considerable time to percolate through European art, but it definitely points the way for other artists to follow. Italian artists were the first to adopt it, while the outlying parts of Europe, especially in the north where the older "Gothic" style continued to flourish, were the last. We can see this development from the following examples.





Pilate Condemns Jesus While Washing His Hands
From the Hours of Cecilia Gonzaga
Italian (Milan), c. 1465-1475
New York, Pierpont Morgan Library
MS M 454, fol. 72v





As the Renaissance took hold the number of figures, previously restricted to Pilate, his soldiers and, occasionally, some of the Jewish elite, began to increase until it became a crowd.  While the figure of Jesus was always treated in a way which preserved an “antique” look, i.e., in a simple full length tunic, the figures of Pilate and the soldiers, servant and onlookers often appeared in clothing that was contemporary with the date of the image.


Master of Jouvenel des Ursins, Jesus is Led to Death as Pilate Washes His Hands
From a Book of Hours, The Long Hours of the Cross
French (Angers), c. 1465-1475
New York, Pierpont Morgan Library
MS M 263, fol. 21r




Rambures Master, Jesus Is Condemned to Death (central image)
From a Biblia pauperum
French (Hesdin or Amiens), c.1470
The Hague, Meermano Museum
MS MMW 10 A 15, fol. 30v




Jean Colombe and Workshop, Jesus is Condemned to Death
From the Hours of Anne of France
French (Bourges), 1473
New York, Pierpont Morgan Library
MS M 677, fol. 188r






Jesus is Condemned to Death
From a Speculum animae
Spanish (Catalan), c. 1475-1500
Paris, Bibliotheque nationale de France
MS Espagnol 544, fol. 25v





Israhel van Mechkenem, Pilate Condemns Jesus and Washes His Hands
from the Groenendaal Passion
German, Late 15th Century
New York, Metropolitan Museum of Art







Jean Colombe and Workshop, Jesus is Condemned to Death
From a Book of Hours
French (Bourges), c. 1475-1485
New York, Pierpont Morgan Library
MS M 330, fol. 35r
The inscription at the bottom "Deus in audiutorium meum intende" ("God, listen to (i.e., hear) my prayers") is of the opening words of each of the hours of the Liturgy of the Hours, which is what constituted much of the substance of a Book of Hours. It is not specific to the picture, which is of the condemnation of Jesus.





French Master Woodcarver, Pilate Washes His Hands As He Condemns Jesus
French (Normandy), Early 16th Century
New York, Metropolitan Museum of Art, Cloisters Collection








Master of Spencer 6, Jesus is Condemned to Death
From a Book of Hours
French (Bourges), c. 1500
Paris, Bibliotheque nationale de France
MS Francais 1869, fol. 172r








Jean Bourdichon, Jesus is Condemned to Death
From a Book of Hours
French (Tours), c. 1501-1504
Paris, Bibliotheque nationale de France
MS Latin 10532, fol. 182r










Albrecht Durer, Jesus is Condemned to Dath
From the Engraved Passion
German, c. 1507-13
Handcolored c. 1580-1600 by Hieronymous Oertel
New York, Pierpont Morgan Library
MS M 1218, p. 8






Ludovico Mazzolino, Pilate Condemns Jesus as He Washes His Hands
Italian, c. 1525
Budapest, Szépmûvészeti Múzeum








Master of Girard Acarie, Jesus Is Condemned to Death
From Poeme sur la Passion
French (Rouen), c. 1525-1535
New York, Pierpont Morgan Library
MS M 147, fol. 15r





Attributed to Nicolas Nouailher, Pilate Washing Hands His Hands as Jesus is Lead Away
to Execution
French (Limoges), c. 1550-1600
Vatican City, Vatican Museums, Apostolic Palace




Tintoretto, Jesus Is Condemned to Death as Pilate Washes His Hands
Italian, c. 1566-1567
Venice, Scuola Grande di San Rocco






Nicolaes Maes, Pilate Washes His Hands After Condemning Jesus
Dutch, c. 1649-1650
Budapest, Szépmûvészeti Múzeum




The nineteenth century saw a more realistic and archaeologically accurate attitude appear, so that the world of first century Roman Judaea was fully imagined and all the figures appeared in first century garb.


Mihály Munkacsy, Pilate Passes Judgment on Jesus
Hungarian, 1881
Debrecen, Deri Museum


James Tissot, The Judgment on the Gabbatha
From the Life of Jesus Christ
French, c. 1886-1894
New York, Brooklyn Museum



With the start of the twentieth century, and the growing importance of abstraction, the image was again stripped to the essentials it had at the beginning.

Eric Gill, Jesus Is Condemned to Death
English, 1913-1918
London, Westminster Cathedral




A Missing Person

One person is missing from nearly all the depictions of this scene throughout history.  This is Pilate's wife.  She features in the Gospel of Matthew (Matthew 27:19), where she is described as sending a message to her husband which said " Have nothing to do with that righteous man. I suffered much in a dream today because of him.” As she is not stated to be present in the court at the time, it is not surprising that most artists do not place her at the scene.  However, some artists either decided or were instructed by the person commissioning the work of art that, for the same of completeness, she should be shown.  All the examples that I have found so far are panel paintings, either on wood or on canvas, not manuscript illuminations or prints.  

Hans Multscher, Pilate Condemns Jesus as He Washes His Hands
From the Wurzacher Altarpiece
German, 1437
Berlin, Gemëldegalerie der Staatlichen Museen zu Berlin




Master of the Lyversberg Passion, Pilate Condemns Jesus While Washing His Hands
From the Passion Altar of Lyversvberg
German, c. 1464-1466
Cologne, Wallraf-Richartz Museum and Foundation Corboud


Ludwig Schongauer, Pilate Washes His Hands As He Condemns Jesus
German, c. 1477-1486
New York, Metropolitan Museum of Art, Jack and Belle Linsky Collection



Benedetto Caliari, Pilate's Wife Urging Him to Grant Mercy
Italian, c. 1578-1580
Venice, Gallerie dell'Accademia


© M. Duffy, 2016, expanded and with additional commentary, 2023.
______________________________________________________________
 1.   For information about Pilate, who was governor of Judaea from 26-36 during the reign of Tiberius, see:    http://www.britannica.com/biography/Pontius-Pilate

2.   Spier, Jeffrey, et al.  Picturing the Bible, The Earliest Christian Art, Yale University Press, New Haven and London, in Association with the Kimball Art Museum, Fort Worth.  Catalog of the exhibition of November 18, 2007 – March 30, 2008, #46, pp. 219-220.        

3.   Ibid, #91, pp. 229-232.


Scripture texts in this work are taken from the New American Bible, revised edition© 2010, 1991, 1986, 1970 Confraternity of Christian Doctrine, Washington, D.C. and are used by permission of the copyright owner. All Rights Reserved. No part of the New American Bible may be reproduced in any form without permission in writing from the copyright owner.











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