Spy Wednesday -- Thirty Pieces of Silver

Judas Receives the Silver
From the Huntingfield Psalter
English (Oxford), c. 1210-1220
New York, Pierpont Morgan Library
MS M 43, fol. 22r

One of the Twelve, who was called Judas Iscariot, went to the chief priests and said,

“What are you willing to give me if I hand him over to you?”

They paid him thirty pieces of silver,

and from that time on he looked for an opportunity to hand him over.

Matthew 26:14-16 

(Extract from the Gospel for Wednesday of Holy Week)

The first two weekdays of Holy Week, placed between the excitement of the palms and Passion on Palm Sunday and the solemn remembrances of the Triduum, often seem a bit flat by comparison.  Cathedral churches generally hold the Chrism Mass of their diocese on one of these two days.  In this Mass the Diocesan Bishop consecrates all three supplies of the holy oils that will be used throughout the coming year for the sacraments of Baptism, Confirmation, Ordination and of the Sick.  He does this in the presence of as many representatives of the clergy of that diocese as can attend and as many of the lay members of the diocesan Church as can attend and squeeze in.

 

But, for centuries the third day of Holy Week has been a day of sad remembrance.  Called "Spy Wednesday" it is the day on which the church remembers the treachery of Judas, who approached the Jewish authorities in Jerusalem for a bribe in exchange for guiding them to a time and place for the capture of Jesus.  The designation of this day as a bit special began to fade from popular notice when I was a teenager and for the last few decades seems to have gone totally off the radar.  But, two items viewed on the internet recently have brought it back to my mind.  One, which gives a nice explanation, is a popular blog by a local NYC (diocese of Brooklyn) deacon.  You can read it here.

Giotto, Judas Accepts the Bribe
Italian, c. 1300-1305
Padua, Scrovegni/Arena Chapel

This reminded me of the series of posts that I wrote several years ago, called generically, “Holy Week with  Giotto”.  There is a wonderful portrayal of the event in Giotto’s paintings of the Life of Christ from the Scrovegni (Arena) Chapel in Padua.  In it we see Judas being encouraged, even pushed, into his betrayal by a demon standing behind him.  Giotto calls this action to our attention by the fact that he presents the demon as a coal black creature, whose hand on the yellow cloak of Judas draws our eyes.  In subsequent images in the same series in the Arena Chapel we can see that the blackness of the demon has entered into Judas, shown by the fact that, alone of all the disciples, a circle of what looks like black smoke appears over his head, while the other disciples have golden halos.  This is a feature that is almost entirely unique to Giotto's work in Padua (I believe I have seen the smokey halo only one other time, in a manuscript that may have used Giotto's work as a model).

There are other examples of this scene as well, though, with one exception, all the illustrations I could find belong to the medieval and early Renaissance period.  

Duccio, Judas Accepts the Bribe

Italian, c. 1308-1311

Siena, Museo dell'Opera del Duomo

Master of the Roman de Fauvel, Judas Negotiates with the Priests
From Speculum historiale by Vincent of Beauvais
French (Paris), c. 1333-1334
Paris, Bibliotheque nationale de France
MS Francais 316, fol. 346r

Lippo Memmi, Judas Accepts the Bribe

Italian, c. 1340

San Gemignano, Collegiata Santa Maria Assunta

Jean le Noir, Jesus Betrayed
From the Petite heures de Jean de Berry
French (Paris), c. 1375
Paris, Bibliotheque nationale de France
MS Latin 18014, fol. 76r

This page from the Petite heures of the Duke of Berry tells the whole story of the Betrayal of Jesus by Judas.  It reads up from the bottom.  At the bottom Judas negotiates with the priests and receives his bribe.  In the small picture within the capital "D" we see the Agony in the Garden.  The principal picture on the page shows Judas in the act of kissing Jesus at his arrest.  

Master of the Parement de Narbonne, Judas Accepts the Bribe
From the Tres belles heures de Notre-Dame
French (Paris), c. 1380
Paris, Bibliotheque nationale de France
MS Nouvelle acquisition latine 3093, fol. 181r

Like the image above, this manuscript page told the complete story of the betrayal of Jesus.  However, I have only included the bottom of the page, with Judas receiving his bribe from the Temple authorities.

Jacquemart de Hesdin, Judas Accepts the Bribe (and the aftermath)
From the Grandes heures de Jean de Berry
French (Paris), c. 1409
Paris, Bibliotheque nationale de France
MS Latin 919, fol. 67r

This page from another book of hours owned by Jean de Berry shows not only Judas' acceptance of the bribe, but his later, remorseful action for the suffering he had caused.  In the initial "D" below the main picture he is shown throwing the silver coins away.  After this action the Scripture tells us that he hanged himself out of remorse and grief.

Judas Accepts the Bribe
From the Pelerinage de Jesus-Christ by Guillaume de Digulleville
French (Rennes), c. 1425-1450
Paris, Bibliotheque nationale de France
MS Francais 376, fol. 210r

Master of Peter Danielsson, Judas Accepting the Bribe

From Spiegel van den leven ons Heren

Flemish, c. 1450-1460

New York, Pierpont Morgan Library

MS M 868, fol. 26r

Judas Receiving the Bribe
From a Speculum animae
Spanish (Catalan), End of the 15th Century
Paris, Bibliotheque nationale de France
MS Espagnol 544, fol. 17r

Simon Bening, Judas Accepting the Bribe
From the Hours of Cardinal Albrecht of Brandenberg
Flemish (Brussels), c. 1525-1530
Los Angeles, J. Paul Getty Museum
MS Ludwig IX, fol. 94r

Simon Bening, Judas Accepting the Bribe

From a Book of Hours

Flemish (Brussels), c. 1535-1545

New York, Pierpont Morgan Library

MS M 696, fol. 96v

James Tissot, Judas Negotiates with the Priests
French, c. 1888-1896
New York, Brooklyn Museum

© M. Duffy, 2015.  Additional images added 2023.

Holy Week with Giotto – Judas’ Betrayal II, the Kiss

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.

Holy Week with Giotto – Judas’ Betrayal I

Giotto, Judas Accepts Payment of a Bribe

Italian, c. 1304-1308

 Padua, Scrovegni/Arena Chapel

 

 

 

 

 

"One of the Twelve, who was called Judas Iscariot,
went to the chief priests and said,
“What are you willing to give me
if I hand him over to you?”
They paid him thirty pieces of silver,
and from that time on he looked for an opportunity to hand him over.”
(Matthew 26:14-17)
 

This is the Gospel for Wednesday of Holy Week, in tradition known as “Spy Wednesday”. It records the deal made by Judas with the Temple authorities. For what must have been, at the time, a considerable, though not outrageous, amount of money, Judas was prepared to hand over the Master, the Rabbi he had been following for months, possibly for fully three years. What could have induced him to act this way? Giotto had an answer. 

 

 

 

 

 

In his Arena/Scrovegni Chapel fresco of the scene, Judas has a non-human companion or coach. At his back is a demon urging him on, even gripping his arm in encouragement.  Indeed, it appears that he may even be pushing Judas slightly toward the Temple official.  The demon wants to make sure that Judas closes this deal. While Judas receives the bribe from the Chief Priest, two other Elders stand to on side, although their gestures and postures make it clear that they are aware of what is happening.

Detail showing the heads of the demon and of Judas.

Again, Judas’ head is wreathed by that odd dark translucent or “smokey” halo. And, here, we may be seeing its source, for it bears a resemblance to the top knot of the demon. Whatever his human motivation may have been, Judas is clearly shown here as an instrument of the demonic forces that are the ultimate cause of the Crucifixion -- going all the way back to the very beginning, in the Garden of Eden.

© 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.

Holy Week with Giotto – Jesus and Judas

Detail of the left side showing Jesus with 

Saints Andrew, Peter and John the 

Evangelist with a 3/4 view of Judas, 

who is dressed in yellow.

"Reclining at table with his disciples, Jesus was deeply troubled and testified,
“Amen, amen, I say to you, one of you will betray me.”
The disciples looked at one another, at a loss as to whom he meant.
One of his disciples, the one whom Jesus loved,
was reclining at Jesus’ side.
So Simon Peter nodded to him to find out whom he meant.
He leaned back against Jesus’ chest and said to him,
“Master, who is it?”
Jesus answered,
“It is the one to whom I hand the morsel after I have dipped it.”
So he dipped the morsel and took it and handed it to Judas,
son of Simon the Iscariot.
After Judas took the morsel, Satan entered him.
So Jesus said to him, “What you are going to do, do quickly.”
Now none of those reclining at table realized why he said this to him.
Some thought that since Judas kept the money bag, Jesus had told him,
“Buy what we need for the feast,”
or to give something to the poor.
So Judas took the morsel and left at once. And it was night."

(John 12: 21-30)

The reading from John’s Gospel for Mass on this Tuesday of Holy Week presents a somewhat different and very dramatic picture of the beginning of the “Last Supper”, focusing on the moment in which Jesus (1) announces that one of the Twelve will betray him, (2) reveals by His actions that He already knows which of them it will be and (3) rather surprisingly, tells Judas to go and do it.

Giotto,  The Last Supper

Italian, c. 1304-1306

Padua, Scrovegni/Arena Chapel



This is the moment chosen by Giotto for his own painting of the “Last Supper”, although in it Giotto is following, not the account of John from today’s reading, but the account of this moment as given in the Synoptic Gospels, such as the Gospel of Matthew that was read on Sunday. In the Synoptic accounts Jesus indicates that it will be the person who dips his morsel of bread into the dish at the same time as Jesus. And Giotto shows very clearly that Judas is indeed dipping into the dish with Jesus.


Further, Giotto makes a marvelous comment on Judas’ treachery. You will observe that Judas appears to have a halo, just like all the other disciples. But, on closer inspection, Judas’ “halo” is actually a wreath of dark smoke, unlike the solid haloes of the other Apostles. In fact, if you look closely at it, you will be able to see Saint Peter's beard through it.  All the other disciples have solid haloes.  

It is almost as if the smoke of his presumed eventual perdition already surrounds him. It may also represent a visual metaphor for the confusion and misunderstanding that is evident in the Gospel accounts of Judas and his intentions with regard to Jesus. Judas cannot see clearly, even as clearly as the other, frequently puzzled, Apostles, because (to quote a modern expression) “smoke got in his eyes”.

Detail - Head of Judas

It is also instructive to compare Giotto’s image to the same scene painted almost at the same time by Giotto’s slightly older contemporary, Duccio. Duccio’s panel from the great Maestà altarpiece in Siena Cathedral (painted between 1308 and 1311) seems to come from a different world. Duccio’s scene is actually the one described in John’s Gospel. Jesus hands the morsel of bread to Judas. However, his treatment of the difficulty of representing Judas among the Apostles is far less subtle. Judas is placed, with four other Apostles, on the opposite side of the table to Jesus. None of the five are shown with haloes, as opposed to those sitting with Jesus.

Duccio, The Last Supper  (from the Maesta)

Italian, c. 1308-1311

Siena, Museo dell'Opera del Duomo

Further, Duccio’s painting represents an earlier stage in the early exploration of indoor perspective space. While Duccio has created a spatial box according to the developing understanding of perspective, his figures and the table are handled in the same manner as in medieval painting. The table is shown from above, so that it appears tilted and the figures appear to have been “pasted” onto the space, rather than actually inhabiting it.

In contrast, Giotto’s figures inhabit the much simpler space. Indeed they dominate it. Further, the composition is more complex, with the center of attention, the group of Jesus, John, Peter and Judas, shifted off center to the left. The table surface is shown, as a table actually looks, so that it reinforces the sense of space. We see far fewer details of the place settings and food than in Duccio’s composition, but we have a greater impression that this is a real event. The only place where we can see that Giotto is still having some difficulty with creating space is in the figure of the last Apostles sitting to the right on the front bench. The support for the “roof” appears to pass through his head, instead of behind it. Still, considering the early date for this work, it is a remarkable example of Giotto’s genius, being subtle in composition, in perspective drawing and in psychology.

© 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.