Fig. 103.—Pilate on the Judgment Seat Washing his Hands.
The only scenes connected with the passion, besides that of the denial, already given, are those which occurred in the judgment-hall of Pilate, and a unique example of Simon bearing the cross. One scene in particular seems to have been selected rather as a testimony of Christ’s innocence than of his sufferings. It is that in which Pilate declares, “I have found no fault in this man;” and calling for water washes his hands, as if to blot out the damning guilt of that judicial murder. In the accompanying engraving, from a mutilated bas-relief in the Lateran Museum, this scene is exhibited. In the original the face of the irresolute
governor seems to express compunction at this perversion of justice to which he is yielding. In the background is seen the profile of his wife, as though uttering her solemn admonition against the impending crime. The servant with the ewer and empty basin appears in conformity with the oriental ablutionary custom of pouring water upon the hands.
In the last compartment to the right of the remarkable sarcophagus in the Lateran, represented in [Fig. 104], this scene is repeated. Associated therewith in the next adjoining compartment are two figures interpreted as Christ, guarded by a Roman soldier, witnessing a good confession before Pontius Pilate. The crown above the head of the latter, if not a mere architectural decoration, may indicate the reward of those who confess Christ before men.
Fig. 104.—Sarcophagus in the Lateran Museum.
This sarcophagus exhibits, as Dr. Northcote admits, “the nearest resemblance to the later representations of Our Saviour’s Passion to be found in early Christian art.”[552] The Constantinian monogram in the central compartment has been already described.[553] To the left is seen the figure of Christ crowned, not with thorns, but, as if symbolizing his crown of rejoicing on high, with a garland of flowers. The last compartment
exhibits Our Lord, or, more probably, Simon the Cyrenian, bearing the cross under the guard of a Roman soldier. “But there are none of the traces of suffering,” says Dr. Northcote, “with which later artists have familiarized our imagination, and the crown above points to the reward for bearing the cross after our suffering Master.”[554] In one instance the Roman soldiers are shown smiting Our Lord on the head with a reed;[555] but no nearer approach to the consummation of the supreme sacrifice of Calvary is ever attempted.
Neither are the august themes of Christ’s resurrection and ascension historically treated in this biblical cycle, but only under the Old Testament types of Jonah and Elijah. One group, hypothetically interpreted as the Noli me tangere, or Our Lord saying to Mary on the morning of the resurrection, “Touch me not, for I am not yet ascended to my Father,” more probably represents the gratitude of Mary for the resurrection of her brother Lazarus. Numerous frescoes of seven men eating a repast of bread and fish may refer to Our Lord’s appearing to his disciples on the sea-shore, or to the celebration of the Agape.