Várhelyi Ilona: Bibliával Munkácsy Krisztus-trilógiája előtt (Debrecen, 2009)

Abstract

This scene compresses all the episodes of the passion up to this point as described by the four gospels: the arrest of Jesus, handing him over first to Annas, who advised that he should be "lost", and then to Caiaphas, his questioning by the Sanhédrin, his first meeting with Pilate and his repeated interrogation after the Herod-episode and even the passing of the sentence. It must have been more difficult for Munkácsy to combine the different locations into one. The architecture bears typical Roman traits, while there is a view of the oriental cityscape of Jerusalem from the building. The members of the Sanhédrin are standing and sitting on or, next to, the steps leading to Pilate's throne. Historically, this does not seem to be a faithful arrangement. The gospels do not give an exact picture of the building of the procurator's headquarters, but John found it worth mentioning that "to avoid ceremonial uncleanliness the Jews did not enter the palace; they wanted to be able to eat the Passover" (John 18:28). In contrast, the painting shows them in close proximity to the procurator, whom they looked upon as pagan. Thus the location in the painting is a symbolic one: condensed time structure should correspond to condensed space. Instead of a "photorealistic" option Munkácsy paints a complex location in order to emphasize how the various dramatic scenes of the story loom out. 7 Munkácsy painted EcceHomo as late as 1896, long after Golgotha. It came to Debrecen along with Frigyes Deri's bequest. The plans for the museum building were adjusted to the features of this painting. 8 Matthew 27:28 mentions a soldiers' robe. "Ecce Homo!" As far as the location is concerned, the second painting

7 — the third one in order of creation - is already closer to the descriptions of the gospels. Jesus is led out of an inside room in the dark background to a raised portico, with Pilate on his right. In the foreground there is a huge and excited crowd. Pilate is presenting Jesus to the crowd with broad gestures saying, "Here is the man!" (John 19:5). The representation of Jesus - with the red robe they put on him out of mockery and other "regalia" such as the crown of thorns and the reed staff — shows that a lot has happened since the first interrogation. The figure of Jesus, still with his hands bound, bears the marks of both the Jewish temple guards' rudeness and the insensitive Roman soldiers' mocking coronation ceremony. Jesus endures humiliation with dignity, with his eyes lifted up to his Father. Jesus' clothing has multiple meanings again. Contrary to intentions, the royal robe, or as the gospel puts it, the "scarlet robe"

8 - like the white garment - expresses the main message. The person wearing it is Christ, the anointed king. The ceremony of anointing was the privilege of Old Testament dignitaries such as the king, the high priest and later the coming messiah. The soldiers' mockery imitates the elements of the ceremony of anointing, which directs Munkácsy's thoughts to the man of sorrows and the suffering servant of Isaiah's prophecy.