Page 58 - Studia Universitatis Hereditati, vol 12(2) (2024)

ists, through their composition of Judas’s Kiss, dramatization, given that the image of the sev-
capture an extraordinary intensity of emotion ered ear closes the entire cycle of Judas’s Betray-
and sensory experience, encapsulating these ele- al while also serving as an introduction to a se-
ments in almost a single instant. The scenes of ries of scenes filled with dramatic tension and
this cycle commence with an episode where Ju- violent narratives that culminate in the death
das leads a procession of Pharisees, servants, and of Christ’s human nature, emphasizing His de-
soldiers, who, armed with spears and torches, piction as a martyr, which fulfils the mission of
come to seize Christ (fig. 7a). Judas addresses the Jesus Christ on Earth. This mission is reflect-
group at that moment, indicating that he will ed in the resurrection and the Second Com-
identify Christ with a kiss. ing of Christ, thereby narratively unfolding the
This form of communication is among the most significant Christian story. The emphasis
first sensory perceptions observed in the cycle. In on Christ’s suffering, where the wounded body
58 the following scene, three soldiers are depicted is foregrounded, holds a special place in Roman
as having fallen before Christ, who extends His Catholicism, far more than in Orthodox iconog-
hand to them, affirming His identity (fig. 7b). raphy. Depictions of the Crucifixion in Roman
studia universitatis hereditati, letnik 12 (2024), številka 2 / volume 12 (2024), number 2
The crucial scene features Judas confirming Catholic sacred aesthetics often manifest in fre-
Jesus Christ with a kiss, occupying a central po- quent sculptural representations highlighting
sition in the composition. Surrounding them is suffering through pronounced, three-dimen-
a procession equipped with weapons directed at sional depictions of wounds. At the same time,
Christ (fig. 7c). the visual practice of the Orthodox Church re-
While Christ’s prayer in the Garden of lies on two-dimensional representations, behind
Gethsemane is solely focused on an inner com- which lies a mystical reflection of hope.
municative form between Christ and the Holy
Father, characterized by the absence of exter- Crucifixion
nal sensory inputs and impressions, reflecting When they came to the place called the
a profound, mystical act of the main protago-
nist in relation to the surrounding environment, Skull, they crucified him there, along with
the criminals—one on his right, the other
the narrative sharply introduces Judas and his on his left. Jesus said, ‘Father, forgive them,
entourage, thereby dramatically escalating the for they do not know what they are doing.’
scene’s intensity, shifting from spiritual tran-
quillity to an almost cinematic action scene. The And they divided up his clothes by casting
lots [Lk 23:33–34].
impression is that everything unfolds very rapid-
ly. The sound of footsteps, the clinking of spears, The Crucifixion, one of the most renowned
physical contact, and the crowd’s shouts under- and dramatic scenes in the cycle of Great Feasts,
score a multisensory experience that enhances is depicted in the semi-dome of the western apse.
the tragic nature of this event and the entire cy- This composition is dynamic and presented in
cle of the betrayal. The contrast is critical: tran- multiple segments, following the core narrative
quillity versus conflict; Christ’s arrest is loud, of the Gospels. At the centre of the composition
shocking, and definitive. Judas’s touch of Christ, is the figure of Christ, crucified and bowed, his
his communication with Him, and the palpa- head resting on his right shoulder. Two groups of
ble contact between the teacher and the disci- figures are densely packed on either side of him.
ple, which is threatening, provokes an unexpect- On the left side of the composition, the Virgin
ed reaction from the apostle Peter, who resorts Mary, the Apostle John, and a group of women
to violence. The subsequent scene portrays Peter are depicted in anguish and disbelief. Their sor-
cutting off the ear of a servant from the Jewish row is palpable, their faces etched with the pro-
entourage (fig. 7d). This depiction is filled with found grief of witnessing the suffering of their