♪ (bells ringing) (sirens wailing) (bell chiming and resonating) (indistinct chatter) (bells ringing) (bell chiming) (chiming, ringing continue) (singing in foreign language) (somber music) ♪ (speaking foreign language) (speaking foreign language) (serene music) ♪ (singing in foreign language) ♪ Anyone who has any interest in art, I would say anyone who has any interest in visual culture, full stop, has to be interested in the Christian story because it is there that the greatest, most vivid, most moving, and most beautiful images in our whole visual culture are on display.

It's certainly the most illustrated story in Western history.

The ambition, the pain, the suffering, the glory, there are all the elements of classical tragedy all rolled into this incredibly intensely focused drama.

I think people feel very uncomfortable around things they don't understand.

Often, people may not feel comfortable around those narratives.

They're not comfortable narratives to begin with.

And if the painting is not speaking to them, they feel like they'll just move on, whereas when you take some time to learn the biblical narratives and perhaps even interrogate the paintings, think about how certain artworks have interpreted the biblical narratives they give to you in all sorts of extraordinary ways.

Understanding the biblical narrative helps us understand all sorts of different things about ourselves, whether we're religious or not.

(Dr. David Gariff) The elements of the story have certainly a religious aspect to them and have certain meaning within certain faith traditions, but that doesn't mean that the stories don't have a kind of universal relevance.

It applies to concepts of love, and courage, and faith, and redemption, and all of the things that, in many ways, all religions share.

(melancholy music) ♪ (indistinct chatter) ♪ (man) "A great crowd heard that Jesus was coming to Jerusalem.

♪ So they took branches of palm trees and went out to meet Him, crying, 'Hosanna!

Blessed is he who comes in the name of the Lord, even the King of Israel.'

♪ And Jesus found a young ass and sat upon it.

As it is written, 'Fear not.

Behold, your King is coming, sitting on an ass's colt.'"

♪ (man) "And He entered the temple and began to drive out those who sold and those who bought in the temple.

And He overturned the tables of the money changers and the seats of those who sold pigeons.

And He would not allow anyone to carry anything through the temple.

♪ And He talked and said to them, 'Is it not written, "My house shall be called a house of prayer for all the nations"?

But you have made it a den of robbers.'

♪ And the chief priests and the scribes heard it and sought a way to destroy Him, for they feared Him because all the multitude was astonished at His teaching."

♪ (man) "The feast of unleavened bread drew near, which is called the Passover.

And the chief priests and the scribes were seeking how to put Him to death, for they feared the people.

♪ Then Satan entered into Judas, called Iscariot, who was of the number of the 12.

He went away and conferred with the chief priests and officers how he might betray Him to them.

And they were glad and engaged to give him money.

♪ So he agreed and sought an opportunity to betray Him to them in the absence of the multitude.

♪ He said, 'What will you give me if I deliver Him to you?'

And they paid him 30 pieces of silver.

And from that moment, he sought an opportunity to betray Him."

♪ (Dr. David Gariff) Artists are attempting through the stories that they tell, through the subjects that they choose, they're attempting to communicate to us and with us.

They want to tell us a story.

One of the most important aspects of understanding, even just of the Passion, is the relationship between the Word and the image.

The Word exists, and artists have, for centuries, been attempting to then give the Word some kind of visual manifestation.

So, throughout the story of the Passion, in the hands of Renaissance painters especially, who begin to create these vast cycles of frescoes as Giotto does at the Arena Chapel in Padua, he is challenging and he is asserting the importance of the image as a way of explaining the Word.

It is virtually what we would call today "cinematic," each frame the way an editor would cut a film and show you image to image to image, this is the ultimate form at that time of communication.

(Dr. Jennifer Sliwka) The visual has, for a very, very long time, been absolutely crucial, crucial in particular to communal celebrations, to provide a focus for one's devotions, helpful in learning the biblical narratives, particularly for those who couldn't read.

It might suggest ways that we can communicate with each other how we might consider about how we treat each other, how we live our lives, what support we can give each other.

But, also, you have horrific narratives.

You have wars, you have rapes, you have the whole gamut.

It's not showing any one part of human life.

(soft music) ♪ (man) "Then came the day of unleavened bread on which the Passover Lamb had to be sacrificed.

So Jesus sent Peter and John, saying, 'Go and prepare the Passover for us, that we may eat it.'"

♪ (man) "And on the first day of unleavened bread, His disciples said to Him, 'Where will You have us go and prepare for You to eat the Passover?'

And He sent two of His disciples and said to them, 'Go into the city, and a man carrying a jar of water will meet you.

Follow him, and wherever he enters, say to the householder, "The teacher says, 'Where is my guest room where I am to eat the Passover with My disciples?'"

And he will show you a large upper room furnished and ready.

There, prepare for us.'

♪ And the disciples set out and went to the city and found it as He had told them, and they prepared the Passover."

♪ (man) "And when the hour came, He sat at table and the apostles with Him, and He said to them, 'I have earnestly desired to eat this Passover with you before I suffer.'

♪ Jesus knew that His hour had come to depart out of this world to the Father.

Jesus rose from supper, laid aside His garments, and girded Himself with a towel.

♪ Then He poured water into a basin and began to wash the disciples' feet and to wipe them with a towel.

He came to Simon Peter, and Peter said to Him, 'Lord, do You wash my feet?'

Jesus answered him, 'What I'm doing you do not know now, but afterward, you will understand.'

♪ Peter said to Him, 'You shall never wash my feet.'

♪ Jesus answered him, 'If I do not wash you, you have no part in Me.'"

♪ (man) "And as they were at table eating, Jesus said, 'Truly, I say to you, one of you will betray Me, one who is eating with Me.'

They began to be sorrowful and to say to Him one after another, 'Is it I?'"

♪ (man) "The disciples looked at one another, uncertain of whom He spoke.

♪ Jesus answered, 'It is he to whom I shall give this morsel when I have dipped it.'

So when He had dipped the morsel, He gave it to Judas, the son of Simon Iscariot.

♪ Jesus said to Him, 'What you are going to do, do quickly.'

So after receiving the morsel, he immediately went out."

♪ (man) "Jesus took bread and blessed and broke it, and gave it to the disciples and said, 'Take, eat.

This is My body.'

And He took a cup, and when He had given thanks, He gave it to them, saying, 'Drink of it, all of you, for this is My blood of the covenant which is poured out for many for the forgiveness of sins.

♪ I tell you I shall not drink again of this fruit of the vine until that day when I drink it new with you in my Father's kingdom.'"

♪ (Dr. Jennifer Sliwka) It's important to think about artworks in context and where we find subjects such as The Last Supper.

Most often during the medieval and Renaissance periods we find it in altarpieces, um, on tabernacle doors because, of course, that was a reference to the consecrated host that was kept behind that tabernacle door, and we also find it in refectories, the most famous example being Leonardo's mural in the refectory of Santa Maria delle Grazie in Milan.

The--the nuns or the monks that would be entering these refectories would be sharing a communal meal, and they were meant to look to Jesus and His disciples at the Last Supper as kind of models for emulation, to think about that scene in its narrative context.

So much of the Christian iconography that we have, the images and the artworks that survive to this day, were created to adorn or surround the high altar.

And so much of it was actually made to dramatize the event that takes place at the altar, the celebration of the Eucharistic Mass.

So very often we have an image of the body of Christ at the center of an altarpiece intended to recall both His death, His crucifixion on the cross, His burial, and His subsequent resurrection.

And the altarpiece is always meant to be visible to the congregation, and that's important because both the altarpiece, the fresco cycle, sometimes the stained glass were the ways in which the laity, the congregation could engage with the biblical stories.

If you think about when the priest has consecrated the Eucharistic host, he holds up that little wafer, and there's wonderful moments where that little wafer, which is intended to recall the body of Christ, comes into alignment with the image behind it, which usually is either the body of Christ in the form of the young Christ child or the broken body of Christ in an image of the crucifixion.

♪ (man) "And when they had sung a hymn, they went out to the Mount of Olives.

And Jesus said to them, 'You will all fall away, for it is written: "I will strike the shepherd, and the sheep will be scattered."

But after I am raised up, I will go before you to Galilee.'

Peter said to Him, 'Even though they all fall away, I will not.'

And Jesus said to him, 'Truly, I say to you, this very night, before the cock crows twice, you will deny Me three times.'

♪ Then Jesus went with them to a place called Gethsemane, and He said to His disciples, 'Sit here while I go yonder and pray.'

♪ And He took with Him Peter and James and John and began to be greatly distressed and troubled.

And He said to them, 'My soul is very sorrowful, even to death; remain here and watch.'

♪ And going a little farther, He fell on the ground and prayed that, if it were possible, the hour might pass from Him."

♪ (man) "And when He rose from prayer, He came to the disciples and found them sleeping for sorrow.

And He said to them, 'Why do you sleep?

Rise and pray that you may not enter into temptation.'

♪ Now Judas, who betrayed Him, also knew the place, for Jesus often met there with His disciples."

♪ (man) "And immediately, while He was still speaking, Judas came, one of the 12, and with him, a crowd with swords and clubs from the chief priests, and the scribes, and the elders.

♪ Now the betrayer had given them a sign, saying, 'The one I shall kiss is the man.

Seize Him and lead Him away under guard.'"

♪ (man) "He drew near to Jesus to kiss Him, but Jesus said to him, 'Judas, would you betray the Son of man with a kiss?'

And when those who were about Him saw what would follow, they said, 'Lord, shall we strike with a sword?'

And one of them struck the slave of the high priest and cut off his right ear.

But Jesus said, 'No more of this,' and He touched his ear and healed him."

♪ (Dr. David Gariff) At that moment when Jesus is betrayed by Judas, Jesus asks a question that He already knows the answer to.

Jesus needs to be betrayed in order to fulfill His destiny.

Judas is the vehicle for that fulfillment.

The most profound treatment of that story in my estimation is found embedded in the cycle of frescoes by Giotto.

Giotto actually has Judas bring up his yellow cloak, the color of betrayal, and encase Jesus in it.

What you end up looking at is what appears to be one body that has two heads.

This sense of how inextricably linked now the destiny of these two people really is is beautifully conveyed from a formal point of view.

Also, they are not actually kissing.

There is a little space between their lips.

Judas has not yet kissed Jesus, and that is pivotal because with that kiss will be set in motion cataclysmic events.

(moody music) ♪ (man) "Jesus said, 'Put your sword back into its place, for all who take the sword will perish by the sword.

Do you think that I cannot appeal to My Father, and He will at once send Me more than 12 legions of angels?

But how then should the Scriptures be fulfilled, that it must be so?'

♪ Then Jesus said to the chief priests and officers of the temple, and elders who had come out against Him, 'Have you come out as against a robber with swords and clubs?

When I was with you day after day in the temple, you did not lay hands on Me.

But this is your hour and the power of darkness.'

♪ So the band of soldiers and their captain, and the officers of the Jews seized Jesus and bound Him.

First, they led Him to Annas, for he was father-in-law of Caiaphas, who was high priest that year.

♪ Annas questioned Jesus about His disciples and His teaching.

Jesus answered him, 'I have always taught in synagogues and in the temple where all Jews come together.

I have said nothing secretly.'

♪ One of the officers standing by struck Jesus with his hand.

Annas then sent Him bound to Caiaphas.

♪ Then, all His disciples forsook Him and fled.

Those who had seized Jesus led Him to Caiaphas, the high priest, where the scribes and the elders had gathered.

♪ Now the men who were holding Jesus mocked Him and beat Him.

They also blindfolded Him and asked Him, 'Prophesy, who is it that struck You?'

And they spoke many other words against Him, reviling Him.

♪ When day came, the assembly of the elders of the people gathered together, both chief priests and scribes, and they led Him away to their council."

♪ (man) "Now the chief priests and the whole council sought testimony against Jesus to put Him to death, but they found none, for many bore false witness against Him and their witness did not agree.

And the high priest stood up in the midst and asked Jesus, 'Have You no answer to make?

What is it that these men testify against You?'

But He was silent and made no answer.

Again, the high priest asked Him, 'Are You the Christ, the Son of the blessed?'

And Jesus said, 'I am, and you will see the Son of man seated at the right hand of power and coming with the clouds of Heaven.'

And the high priest tore His garments and said, 'Why do we still need witnesses?

You have heard His blasphemy.

What is your decision?'

And they all condemned Him as deserving death.

♪ Peter had followed Him at a distance right into the courtyard of the high priest, and he was sitting with the guards and warming himself at the fire.

♪ And a maid came up to him and said, 'You also were with Jesus the Galilean.'

But he denied it before them all, saying, 'I do not know what you mean.'

♪ And when he went out to the porch, another maid saw him and she said to the bystanders, 'This man was with Jesus of Nazareth.'

And again, he denied it with an oath: 'I do not know the man!'

♪ After a little while, the bystanders came up and said to Peter, 'Certainly, you are also one of them, for your accent betrays you.'

Then, he began to invoke a curse on himself and to swear, 'I do not know the man.'

And immediately, the cock crowed, and Peter remembered the saying of Jesus: 'Before the cock crows, you will deny Me three times.'

And he went out and wept bitterly."

♪ (man) "When Judas, His betrayer, saw that He was condemned, he repented and brought back the 30 pieces of silver to the chief priests and the elders, saying, 'I have sinned in betraying innocent blood.'

They said, 'What is that to us?

See to it yourself.'

And throwing down the pieces of silver in the temple, he departed, and he went and hanged himself."

♪ (Dr. David Gariff) What is particularly important is this idea that it was imperative that Jesus lived as a man, died as a man, and as a result, when you have images that show His suffering, His betrayal, His isolation, His loneliness, we can identify with Jesus' human pain.

We respond to the events of the Passion as human beings and we insert ourselves into the story.

For example, Peter's denial of Christ.

That moment is among the most important in the Passion because it's the one that seems to speak most directly to our human condition, our human frailty.

The most powerful images that we have of the Easter story, of the Passion are those ones that have a quintessentially human resonance, something that could almost be divorced from the religious story.

One of the great examples is Zurbarán's Agnus Dei.

You don't have to know about the Lamb of God, but when you see it, you know that it's telling a profoundly human story of suffering and pain and inevitability and, therefore, it has a resonance that goes all through Western art and all through our lives.

I don't think there's any other culture that has suffering so greatly at its heart as we do in the West because of the story of the Passion.

♪ (man) "When morning came, all the chief priests and the elders of the people took counsel against Jesus to put Him to death.

And they bound Him and led Him away and delivered Him to Pilate the governor.

♪ So Pilate went out to them and said, 'What accusation do you bring against this man?'

They answered him, 'If this man were not an evildoer, we would not have handed Him over.'

♪ Pilate said to them, 'Take Him yourselves and judge Him by your own law.'

♪ The Jews said to him, 'It is not lawful for us to put any man to death.'

♪ And they began to accuse Him, saying, 'We found this man perverting our nation and forbidding us to give tribute to Caesar, and saying that He Himself is Christ, a king.'

And Pilate asked Him, 'Are you the King of the Jews?'

And He answered Him, 'You have said so.'

And Pilate said to the chief priests and the multitudes, 'I find no crime in this man.'

♪ But they were urgent, saying, 'He stirs up the people, teaching throughout all Judea from Galilee even to this place.'

♪ When Pilate heard this, he asked whether the man was a Galilean.

And when he thus learned that He belonged to Herod's jurisdiction, he sent Him over to Herod, the ruler of Galilee, who was himself in Jerusalem at that time.

♪ Herod questioned Him at some length, but He made no answer.

Herod treated Him with contempt and mocked Him, then sent Him back to Pilate.

♪ Pilate then called together the chief priests, and the rulers, and the people.

♪ Now, at the Passover feast, the governor was accustomed to release for the crowd any one prisoner whom they wanted.

And they had then a notorious prisoner, called Barabbas.

So when they had gathered, Pilate said to them, 'Whom do you want me to release for you?

Barabbas or Jesus who is called Christ?'"

♪ (man) "But the chief priests stirred up the crowd to have him release for them Barabbas instead.

And Pilate again said to them, 'Then what shall I do with the man whom you call the King of the Jews?'

And they cried out again, 'Crucify Him!'

And Pilate said to them, 'Why?

What evil has He done?'

But they shouted all the more, 'Crucify Him!'"

♪ (man) "So when Pilate saw that he was gaining nothing, but rather that a riot was beginning, he took water and washed his hands before the crowd, saying, 'I am innocent of this man's blood.

See to it yourselves.'

Then he released for them Barabbas.

♪ Then Pilate took Jesus and scourged Him."

♪ (soft music) ♪ (man) "The soldiers led Him away inside the palace, that is, the praetorium, and they called together the whole battalion and they clothed Him in a purple cloak."

♪ (man) "Platting a crown of thorns, they put it on His head and put a reed in His right hand.

And kneeling before Him, they mocked Him, saying, 'Hail, King of the Jews," and they spat upon Him and took the reed and struck Him on the head.

♪ Where maybe art in an earlier era, Byzantine art, for example, didn't yet have the stylistic capacity to make us part of the story.

And in the medieval era, painting was still more wooden.

They hadn't mastered modeling.

But increasingly, as painters became more theatrical, more able to present the story as something very realistic, they invite us to take part.

When Bosch paints Christ Mocked, he actually invites us to become one of the circle of mockers.

The foreground is left empty.

We step in.

And the people who are mocking Christ, they're us.

They're our brutish, ugly selves jeering and laughing.

And we're invited to contemplate our sins.

That's what Bosch wanted us to do.

(Dr. Jennifer Sliwka) What's quite characteristic of 16th-century Italian painters is they liked to push their figures right up to the front of the picture plane and crop them so that they're particularly engaging to the viewer and, in fact, they implicate the viewer in a very particular way.

The figures are almost always life-size or near life-size and they often engage the beholder by looking out at him or her.

And I'm thinking, for example, of a painting by Titian which represents the Ecce Homo, where Christ is being presented to the crowd by Pontius Pilate.

And in representing that subject in that way, it makes the viewer very uncomfortable, very aware of their position in front of the painting and implicates him or her in the judgment of the figure.

It makes us think about what our verdict may have been.

Where does our allegiance lie?

♪ (man) "Pilate went out again and said to them, 'See, I am bringing Him out to you, that you may know that I find no crime in Him!'

♪ So Jesus came out, wearing the crown of thorns and the purple robe.

Pilate said to them, 'Behold the man!'

When the chief priests and the officers saw Him, they cried out, 'Crucify Him!

Crucify Him!'"

♪ (man) "And when they had mocked Him, they stripped Him of the purple cloak and put His own clothes on Him, and they led Him out to crucify Him."

♪ (man) "As they led Him away, they seized one Simon of Cyrene, who was coming in from the country, and laid on Him the cross, to carry it behind Jesus.

♪ And there followed Him a great multitude of the people, and of women who bewailed and lamented Him.

Two others also, who were criminals, were led away to be put to death with Him."

♪ (dark music) ♪ "And when they came to the place which is called the Skull, there, they crucified Him and the criminals, one on the right and one on the left.

And Jesus said, 'Father, forgive them, for they know not what they do.'"

♪ (mellow music) ♪ (bright music)