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| 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.
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| 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.
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| 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.
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| 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.
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| 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
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| 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.
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| 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.
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| 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 |
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| 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 |
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| Mosaic Artist, Christ Before Pilate Byzantine, c. 1180s Monreale, Cathedral |
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| 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. |
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| 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 |
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| Jesus is Condemned to Death From a Psalter German (Augsburg), c. 1230-1255 New York, Pierpont Morgan Library M M 280, fol. 4r |
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| Jesus Condemned to Death as Pilate Washes His Hands German, c. 1250 Naumburg, Cathedral |
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| 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.
,%20c.%201300-1350_Paris,%20BNF_MS%20Francais%20183,%20fol.%208v.jpg) |
| 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 |
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| Duccio, Pilate's Second Interrogation of Christ Italian, c. 1308-1311 Siena, Museo dell'Opera del Duomo |
,%20c.%201315-25_NY,%20P_MS%20M%20643,%20fol.%2010r.jpg) |
| 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 |
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| Christ Before Pilate From a Psalter English (Salisbury), c. 1350-1375 Paris, Bibliotheque nationale de France MS Latin 765, fol. 11r |
,%20c.%201355-1365_New%20York,%20Pierpont%20Morgan)MS%20M%20769,%20fol.%20289r.jpg) |
| Jesus is Condemned to Death From Weltchronik German (Regensburg), c. 1355-1365 New York, Pierpont Morgan Library MS M 769, fol. 289r |
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| 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". |
,%20c.%201380_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203093,%20fol.%20194r.jpeg) |
| 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. |
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| 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 |
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| Stained Glass Artist, Jesus is Condemned to Death Austrian, c. 1390 New York, Metropolitan Museum of Art, Cloisters Collection |
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| 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. |
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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 |
,%20c.%201430_Paris,%20BNF_MS%20Latin%201156B,%20fol.%20135r.jpg) |
| 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. |
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| 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 |
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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 |
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| 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 |
,%20c.%201452_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203244,%20fol.%20244r.jpeg) |
| 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 |
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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. ,%20c.%201465-1475_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20454,%20fol.%2072v.jpg) 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.
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| 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 |
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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
From the Hours of Anne of France French (Bourges), 1473 New York, Pierpont Morgan Library MS M 677, fol. 188r ,%20c.%201475-1500_Paris,%20BNF_MS%20Espagnol%20544,%20fol.%2025v.jpeg) 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
,%20c.%201500_Paris,%20BNF_MS%20Francais%201869,%20fol.%20172r.jpeg) 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 ,%20c.%201501-04_BNF_Latin%2010532,%20fol.%20182r.jpg) 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 ,%20c.%201550-1600_Vatican%20City,%20Vatican%20Museums,%20Apostolic%20Palace.jpg) 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
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.
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.
English, 1913-1918 London, Westminster Cathedral |
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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.
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Hans Multscher, Pilate Condemns Jesus as He Washes His Hands From the Wurzacher Altarpiece German, 1437 Berlin, Gemëldegalerie der Staatlichen Museen zu Berlin |
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| 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 |
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| 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.
______________________________________________________________
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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