 |
Giotto, The Betrayal of Jesus Italian, c. 1304-1308 Padua, Scrovegni/Arena Chapel |
“ While he was still speaking,
Judas, one of the Twelve, arrived,
accompanied by a large crowd, with swords and clubs,
who had come from the chief priests and the elders
of the people.
His betrayer had arranged a sign with them, saying,
“The man I shall kiss is the one; arrest him.”
Immediately he went over to Jesus and said,
“Hail, Rabbi!” and he kissed him.
Jesus answered him,
“Friend, do what you have come for.”
Then stepping forward they laid hands on Jesus and arrested him.
And behold, one of those who accompanied Jesus
put his hand to his sword, drew it,
and struck the high priest’s servant, cutting off his ear.
Then Jesus said to him,
“Put your sword back into its sheath,
for all who take the sword will perish by the sword.
Do you think that I cannot call upon my Father
and he will not provide me at this moment
with more than twelve legions of angels?
But then how would the Scriptures be fulfilled
which say that it must come to pass in this way?”
(Matthew 26:47-54) Gospel for Palm Sunday 2011
Probably the best known, and most dramatic, of the scenes from the Passion of Christ in the Arena/Scrovegni Chapel, is that of the Kiss of Judas. It is frequently reproduced in general art history surveys, as well as in more specialized works. It is truly one of Giotto’s most masterful paintings, both as a work of art and as a work of drama.
 |
Giotto, The Betrayal of Jesus Italian, c. 1304-1308 Padua, Scrovegni/Arena Chapel |
 |
| Giotto, Peter Cuts Off the Servant's Ear Detail from the left side of the Betrayal |
In spite of its inclusion of many of the details from the Gospel story, such as the cutting off of the ear of the servant (on the left side of the picture), our attention is drawn irresistibly to the central figures – Jesus and Judas. Our attention is drawn to them by Judas’ great yellow cloak, which isolates the two figures from the rest of the scene. And this is reinforced by the sight lines of most of the spectators, as well as the lines of the clubs and torches that form a sort of spikey arc around them.
 |
| The Confrontation Between Jesus and Judas |
Isolated within this field of yellow, and silhouetted against a dark background, the two protagonists of the story confront each other, eye to eye. The intensity of the gaze draws and holds us, Jesus grave and sorrowful, Judas seemingly angry, as evidenced by the line of his jaw. Although surrounded by other faces, it is the drama of this confrontation that captures us, as well as its psychological truth. For Judas, it may be his confrontation with a man by whom he may have felt betrayed and angry, for Jesus may not have been the Messiah Judas was looking for. This was not a warrior king, like David, who would lead the Jews to overthrow their oppressors. For Jesus, it is the calm acceptance of the will of His Father, following His impassioned prayer in the same garden. Whatever the reasons, the two men gaze into each others eyes, oblivious to the tumult around them and we are caught up in that electric gaze one of the most dramatic encounters ever painted.
It can be seen that in this picture, Judas no longer appears to have any kind of halo, even a smoky one. However, is it possible that the dark background of the picture is, not the rocky ground and trees of Gethsemene, but an expansion of that darkness. For, as Jesus says in the Gospel of Luke “this is your hour, the time for the power of darkness” (Luke 22:53).
© M. Duffy, 2011. Pictures refreshed 2024.
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.