CHRIST CROWNED WITH THORNS
The “Passion” series of designs for painted glass
Basel Gallery

THE “PASSION OF CHRIST” SERIES

The remaining sheets of the series have each an independent architectural framework, which forms no part of the actual setting of the scene itself, but through which it is seen like a picture. In the “Crowning with Thorns” and “Pilate washing his Hands” it consists of two pillars with large diamond-shaped panels containing antique heads in medallions, and, above the elaborately-carved capitals, charmingly-drawn winged putti supporting the ends of a wreath which hangs from the centre of the frame. In the “Crowning” (Pl. [47] (2)),[[339]] Christ is seen from the side, an almost nude figure, seated on a high stone step in front of a building upon which Holbein has given free play to his delight in the richest Renaissance forms. In the Saviour’s downcast face is a look of intense suffering, nobly borne. Two of the soldiers press the crown of thorns upon his head by means of a long curved stick held across it, which a third man is striking violently with a stout staff, in order to force it securely down. A fourth kneels in front and thrusts the reed into the victim’s hands with a jeer. Behind them, on the left, Pilate stands, his wand of office held aloft. In the next scene (Pl. [48] (1))[[340]] Pilate is seated on a high throne with a canopy supported by chains fastened to the necks of two sculptured figures, and long curtains, both canopy and curtains being decorated with the lilies of France. This throne, or judgment-seat, is placed in an open court, and in the background rises a Gothic building of the type to be seen in the streets of Basel in Holbein’s day. Pilate performs the symbolic action of washing his hands with the greatest vigour and determination, one attendant holding a large flat basin in front of him while a second pours in the water. On the right Christ is being led away by a crowd of soldiers with uplifted pikes and spears. Pilate, with head turned towards the departing Saviour, is calling after him, strong excitement shown on his face.

THE “PASSION OF CHRIST” SERIES

The next scene, the “Ecce Homo” (Pl. [48] (2)),[[341]] also takes place outside the hall of judgment, with a large Gothic building with pinnacled gables filling in the background. This building is neither German nor Italian in style, but of late Gothic French architecture, of the type of the hospital founded by the Chancellor Nicolas Rollin in Beaune, a town through which Holbein would be likely to pass on his way to Montpellier, and for this reason Dr. Ganz regards it as one of the latest of the series, done after the artist’s return to Basel in 1524. Holbein has made use of the same building in the cut of the Empress in the “Dance of Death.”[[342]] Pilate stands in the open doorway on the right, with Christ by his side. One hand grasps his wand of office, and the other is held up as though demanding silence from the crowd of spectators and soldiery filling the space below him, who are shouting and gesticulating, and pointing their fingers in scorn at the drooping figure by Pilate’s side. Here again the expression of suppressed anguish and pain on Christ’s face has been admirably suggested by the artist, who has also produced the effect of a large and vehemently-agitated crowd of people by means of a few figures cleverly grouped and contrasted. Behind the Saviour is seen the head of the man in the hood-like cap, possibly intended for some official of the Court, who is shown in two of the earlier designs of the set. He appears again in the “Cross-bearing” (Pl. 49(1)),[[343]] the last figure issuing from the gate, and here, too, Holbein, with admirable skill in composition, has produced the effect of a large body of excited people. The procession on its way to Calvary has just issued through the gateway of the town, a view of the street with its high-roofed houses being seen in the background through the archway, and on the right the outer wall with a circular tower at the angle. The general composition follows with some closeness Holbein’s earlier versions of the subject, though marked by less passionate action and less insistence on ugly facial types. Christ, a most nobly-conceived figure, in the centre of the procession, is stumbling under the weight of the great cross, though he has not actually fallen to the ground. He is urged forward by the soldiers who surround Him, some of whom raise their clenched fists, while one, clad in Roman helmet and armour, thrusts a great cudgel into his side with a brutal energy which is mirrored in his face. In front walk the two thieves, almost nude, their hands tied behind them, the one who is turning towards the spectator with a finely-drawn head full of character. Above the crowd rise the shafts and points of weapons of many shapes, together with the uplifted ladder and the reed. The framework surrounding this drawing and its fellow is exceptionally rich in its decorative treatment. The columns with their basket-work and flat stucco-like ornament are connected across the top of the sheet by an acanthusleaf scroll design of great beauty, recalling similar work on the organ shutters in Basel Minster, which surrounds and supports a wreath containing an antique head in the centre. The scroll-work in the next design, the “Stripping of Christ’s Garments” (Pl. [49] (2)),[[344]] is entwined round the bodies of two naked boys. The Saviour kneels upon the Cross, in the utmost misery and dejection, while two soldiers tear his garments from him with great violence. In striking contrast to these two men is the figure of the kneeling man in the front who is boring holes in the wood to take the nails. He bends over his work, indifferent or oblivious to the turmoil around him, or to the tragedy in which he is playing his humble part. Behind the central group there is a great concourse of people, among whom can be distinguished one of the thieves, and a man with uplifted mattock preparing a hole for the Cross, and, on the right, the head and shoulders of Pilate. In this scene most of the figures are clad in contemporary dress.

Vol. I., Plate 48.

PILATE WASHING HIS HANDS
The “Passion” series of designs for painted glass
Basel Gallery

ECCE HOMO
The “Passion” series of designs for painted glass
Basel Gallery