Pontius Pilate, anti-semitism, and the Passion in medieval art
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Bibliographic Information
Pontius Pilate, anti-semitism, and the Passion in medieval art
Princeton University Press, c2009
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Includes bibliographical references and index
Description and Table of Contents
Description
Pontius Pilate is one of the Bible's best-known villains--but up until the tenth century, artistic imagery appears to have consistently portrayed him as a benevolent Christian and holy symbol of baptism. For the first time, Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art provides a complete look at the shifting visual and textual representations of Pilate throughout early Christian and medieval art. Colum Hourihane examines neglected and sometimes sympathetic portrayals, and shows how negative characterizations of Pilate, which were developed for political and religious purposes, reveal the anti-Semitism of the medieval period. Hourihane indicates that in some artistic renderings, Pilate may have been a symbol of good, and in many, a figure of jurisprudence. Eastern traditions treated Pilate as a saint with his own feast day, but Western accounts from the tenth century changed him from a Roman to a Jew. Pilate became a vessel for anti-Semitism--his image acquired grotesque facial and physical characteristics, and his role in Christ's Passion grew to mythic proportions.
By the fifteenth century, however, representations of Pilate came full circle to depict an aged and empathetic administrator. Combining a wealth of previously unpublished sources with explorations of art historical developments, Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art puts forth for the first time an encyclopedic portrait of a complex legend.
Table of Contents
Acknowledgments xi Introduction 1 Chapter 1: T he Historical Background and the Role of the Prefect 6 Chapter 2: Primary Sources for the Study of Pilate 13 Philo of Alexandria 13 Josephus 16 The Bible 22 The Talmud and Midrash 23 Apocryphal Material 25 Chapter 3: E arly Christian Writings and Archaeological Evidence 38 Literary Evidence 38 Archaeological Evidence 40 Chapter 4: P ilate as a Sy mbol of the Law 44 Chapter 5: P ilate in Early Christian Art and Thought 52 The Washing of the Hands 68 Pilate and the Waters of Baptism 72 Pilate, the Christian 80 Conclusions 82 Chapter 6: P ilate and the Passion Sequence: The Sixth to the Eleventh Century 84 Ivories 86 Frescoes 93 Manuscripts 94 The Psalms and Pilate 104 Sculpture 111 Pilate's Wife 126 Chapter 7: T he Jewish Beginnings: Characterization in the Eleventh Century 143 Pilate as a Jew 146 The Praetorium 153 Chapter 8: T he Legal Perspective: The Tw elfth Century 171 Pilate: The Jew and Disputational Literature 181 Identifying Separation 190 Extending His Involvement 199 Pilate and the Titulus 201 Joseph of Arimathea before Pilate 204 Pilate Asked to Guard the Sepulcher 208 Barabbas Released 21 The Legends 214 Strong or Weak and Guilt 215 Ecce Homo 220 Chapter 9: P ilate in the Expansion of the Passion: The Thirteenth Century 227 Extending the Repertoire 238 Bible moralisee 245 The Trials 255 The Interrogation before Annas 259 The Trial before Caiaphas 263 The Trial before Herod Antipas 271 The Flagellation 272 Pilate and the Fate of the Jews 289 The Revisionist Image 293\ Chapter 10: T he Established Image in the Fourteenth and Fifteenth Centuries 296 Popularization 307 Manuscripts, Books, and Prints 308 Pilate and Judas 324 Panel Paintings 328 Pilate as an Instrument of the Passion 346 An Aged Man 349 Pilate and the Symbol of the Dog 357 Pilate's Textual and Visual Characterization 363 Conclusions 371 Appendix A: Images of Pilate in Early Christian and Late Antique Art 375 Appendix B: The Holy Resurrection 383 Notes 391 Index 451 Photography Credits 463 Contents YU ix
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