The Flagellation of Christ, in art sometimes known as Christ at the Column or the Scourging at the Pillar, is an episode from the Passion of Jesus as presented in the Gospels. As such, it is frequently shown in Christian art, in cycles of the Passion or the larger subject of the Life of Christ . Catholic tradition places the Flagellation on the site of the Church of the Flagellation (the second station of the Via Dolorosa in Jerusalem. It is the second Sorrowful Mystery of the Rosary and the sixth station of the John Paul II’s Scriptural Way of the Cross. [1] [2] The column to which Christ is normally shown to be tied, and the rope, scourge, whip or birch are elements in the Arma Christi. [3] The Basilica di Santa Prassede in Rome is one of the churches claiming to possess the original column or parts of it.
In art, the subject was first depicted as one of a series of Passion scenes, but from the 15th century onwards it was also painted in individual works. The most-discussed single work is the enigmatic Flagellation of Christ on a small panel in Urbino by Piero della Francesca (1455–1460), the precise meaning of which has eluded generations of art historians. At the same time, Christ at the Column or Christ at the Stake developed as an image of Christ alone tied to a column or stake. This was most popular in Baroque sculpture, and also related to the subject, not found in the canonical Gospels, of Christ in the Dungeon. It is often difficult to distinguish between these two subjects, and between Christ at the Column and a Flagellation. [4]
Flagellation at the hands of the Romans is mentioned in three of the four canonical Gospels: John 19:1, Mark 15:15, and Matthew 27:26, and was the usual prelude to crucifixion under Roman law. [5] None of the three accounts is more detailed than John's "Then Pilate took Jesus and had him flogged" (NIV). Luke's comparable account, Luke 22:63–65 is of the High Priest's guards beating and mocking Jesus. In the Passion of Christ, the episode precedes the Mocking of Christ and the Crowning with Thorns, which according to the Gospels happened at the same time or immediately afterwards. Unlike the flogging, these were not part of the normal Roman judicial process. [6]
Alleged pieces of the Column or Pillar of the Flagellation, also called the Scourging Post, are kept at different locations.
The Flagellation first appears in Western art in the 9th century. It is almost never found in Byzantine art, and remains very rare in Eastern Orthodox art of any date. Initially found in illuminated manuscripts and small ivories, there are surviving monumental wall-paintings of the subject from around 1000 in Italy. From the start, there are most often three figures, Christ and two servants of Pontius Pilate who flog him. In early depictions, Christ may be naked, or wearing a long robe, facing out or seen from behind; from the 12th century it is standard for Christ to wear a loincloth (perizoma) and face out towards the viewer. [8] Christ's face is normally visible, giving artists the "technical problem of showing him receiving the strokes on his back – the usual place – while at the same time leaving his face visible". [9] Often, he appears to be receiving strokes on the front of his body.
Pontius Pilate is sometimes shown watching the scene, and his wife's servant may approach him with her message, and in the later Middle Ages, probably under the influence of Passion plays, the number of men beating Christ may be three or four, increasingly caricatured in the North as grotesque figures in the dress of contemporary mercenaries. [10] Sometimes another figure, who may be Herod, is present. The Flagellation was at the hands of those working for Pontius Pilate, but the floggers may sometimes wear Jewish hats. [11] Following the Maestà of Duccio, the scene may take place in public, before an audience of the Jewish people. [12]
The Franciscans, who promoted self-flagellation as a means of identification with the suffering of Christ, were probably responsible for a number of large Italian processional crosses in which the Flagellation occupies the back of the cross, with a Crucifixion on the front. These were presumably sometimes followed in processions by flagellants, who could see Christ suffering in front of them. [13]
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The flagellation of Jesus ("Trial Before Pilate (Including the 39 Lashes)") is a climactic event in the rock musical Jesus Christ Superstar. [14] [ circular reference ] Modern filmmakers have also depicted Christ being flogged. It is a significant scene in Mel Gibson's 2004 The Passion of the Christ . In Kubrick's A Clockwork Orange , Alex imagines himself as a Roman soldier flogging Jesus. [15]
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Pontius Pilate was the fifth governor of the Roman province of Judaea, serving under Emperor Tiberius from 26/27 to 36/37 AD. He is best known for being the official who presided over the trial of Jesus and ultimately ordered his crucifixion. Pilate's importance in Christianity is underscored by his prominent place in both the Apostles' and Nicene Creeds. Because the gospels portray Pilate as reluctant to execute Jesus, the Ethiopian Orthodox Tewahedo Church believes that Pilate became a Christian and venerates him as both a martyr and a saint, a belief which is historically shared by the Coptic Church, with a feast day on 19 or 25 June, respectively.
The Passion is the short final period before the death of Jesus, described in the four canonical gospels. It is commemorated in Christianity every year during Holy Week.
A scourge is a whip or lash, especially a multi-thong type, used to inflict severe corporal punishment or self-mortification. It is usually made of leather.
The Via Dolorosa is a processional route in the Old City of Jerusalem. It represents the path that Jesus took, forced by the Roman soldiers, on the way to his crucifixion. The winding route from the former Antonia Fortress to the Church of the Holy Sepulchre—a distance of about 600 metres (2,000 ft)—is a celebrated place of Christian pilgrimage. The current route has been established since the 18th century, replacing various earlier versions. It is today marked by 14 Stations of the Cross, nine of which are outside, in the streets, with the remaining five stations being currently inside the Church of the Holy Sepulchre.
The unnamed wife of Pontius Pilate appears only once in the Gospel of Matthew (27:19), where she intercedes with Pilate on Jesus' behalf. It is uncertain whether Pilate was actually married, although it is likely. In later tradition, she becomes known as Procula, Procla or Procle and plays a role in various New Testament Apocrypha. At a later date, she acquires the name Claudia Procula in Western tradition, as well as other names and variants of these names. She is venerated as a saint by the Eastern Orthodox Church, the Eastern Catholic Church, the Coptic Church, and the Ethiopian Church. She has also frequently been featured in literature and film.
Ecce homo are the Latin words used by Pontius Pilate in the Vulgate translation of the Gospel of John, when he presents a scourged Jesus, bound and crowned with thorns, to a hostile crowd shortly before his crucifixion. The original New Testament Greek: "ἰδοὺ ὁ ἄνθρωπος", romanized: "idoù ho ánthropos", is rendered by most English Bible translations, e.g. the Douay-Rheims Bible and the King James Version, as "behold the man". The scene has been widely depicted in Christian art.
Arma Christi, or the Instruments of the Passion, are the objects associated with the Passion of Jesus Christ in Christian symbolism and art. They are seen as arms in the sense of heraldry, and also as the weapons Christ used to achieve his conquest over Satan. There is a group, at a maximum of about 20 items, which are frequently used in Christian art, especially in the Late Middle Ages. Typically they surround either a cross or a figure of Christ of the Man of Sorrows type, either placed around the composition, or held by angels.
Ecce Homo is a painting of the moment known as Ecce Homo from the Passion of Jesus by the Italian Baroque master Caravaggio. It is now in the Palazzo Bianco, Genoa, Italy. Contemporary accounts claim the piece was part of an unannounced competition between three artists, and that the Caravaggio version was eventually sent to Spain.
The arrest of Jesus was a pivotal event in Christianity recorded in the canonical gospels. It occurred shortly after the Last Supper, and immediately after the kiss of Judas, which is traditionally said to have been an act of betrayal since Judas made a deal with the chief priests to arrest Jesus. The event ultimately led, in the Gospel accounts, to Jesus's crucifixion.
Matthew 27:2 is the second verse of the twenty-seventh chapter of the Gospel of Matthew in the New Testament. Jesus has been condemned by the Jewish Sanhedrin, and in this verse is handed over to Pontius Pilate.
Christ Carrying the Cross on his way to his crucifixion is an episode included in the Gospel of John, and a very common subject in art, especially in the fourteen Stations of the Cross, sets of which are now found in almost all Roman Catholic churches, as well as in many Lutheran churches and Anglican churches. However, the subject occurs in many other contexts, including single works and cycles of the Life of Christ or the Passion of Christ. Alternative names include the Procession to Calvary, Road to Calvary and Way to Calvary, Calvary or Golgotha being the site of the crucifixion outside Jerusalem. The actual route taken is defined by tradition as the Via Dolorosa in Jerusalem, although the specific path of this route has varied over the centuries and continues to be the subject of debate.
The Nativity of Jesus has been a major subject of Christian art since the 4th century.
The Church of the Flagellation is a Roman Catholic church and Christian pilgrimage site located in the Muslim Quarter of the Old City of Jerusalem, near St. Stephen's Gate. It is part a Franciscan monastery which also includes the Church of the Condemnation and Imposition of the Cross. The monastery stands at the traditional Second Station of the Cross on the Via Dolorosa.
The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.
The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative element.
The Church of the Condemnation and Imposition of the Cross is a Roman Catholic church located within the Franciscan monastery that also contains the Church of the Flagellation in the old city of Jerusalem. The monastery stands at the traditional Second Station of the Cross on the Via Dolorosa.
The Flagellation of Christ is a painting by Piero della Francesca in the Galleria Nazionale delle Marche in Urbino, Italy. Called by one writer an "enigmatic little painting," the composition is complex and unusual, and its iconography has been the subject of widely differing theories. Kenneth Clark called The Flagellation "the greatest small painting in the world".
In the New Testament, Jesus is referred to as the King of the Jews, both at the beginning of his life and at the end. In the Koine Hellenic of the New Testament, e.g., in John 19:3, this is written as Basileus ton Ioudaion.
The Last Supper of Jesus and the Twelve Apostles has been a popular subject in Christian art, often as part of a cycle showing the Life of Christ. Depictions of the Last Supper in Christian art date back to early Christianity and can be seen in the Catacombs of Rome.
Passion Gospels are early Christian texts that either mostly or exclusively relate to the last events of Jesus' life: the Passion of Jesus. They are generally classed as New Testament apocrypha. The last chapters of the four canonical gospels include Passion narratives, but later Christians hungered for more details. Just as infancy gospels expanded the stories of young Jesus, Passion Gospels expanded the story of Jesus's arrest, trial, execution, resurrection, and the aftermath. These documents usually claimed to be written by a participant mentioned in the gospels, with Nicodemus, Pontius Pilate, and Joseph of Arimathea as popular choices for author. These documents are considered more legendary than historical, however, and were not included in the eventual Canon of the New Testament.
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