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Relieve con la traición y el arresto de Jesús

1264–88
On view at The Met Fifth Avenue in Gallery 304
En las iglesias medievales, el trascoro separaba la nave del coro. En el siglo XIII, esas barreras se solían decorar con extensas narrativas, en particular sobre la Pasión de Jesús, es decir, los últimos sucesos de su vida terrenal. Esta escena conjuga con dramatismo cuatro episodios: Pedro enfunda su espada tras cortar la oreja de Malco, el siervo del alto sacerdote; Jesús milagrosamente cura la oreja; Judas traiciona a Jesús con un beso; y los soldados romanos arrestan a Jesús. Con el tiempo, muchas iglesias europeas eliminaron los trascoros porque dificultaban la participación de los fieles en las ceremonias religiosas; el de la catedral de Amiens fue destruido en 1755. Este relieve es una de las esculturas narrativas más grandes y mejor conservadas que han llegado a nuestros días.

Artwork Details

Object Information
  • Título: Relieve con la traición y el arresto de Jesús
  • Fecha: ca. 1264–1288
  • Geografía: Francia, Picardia, procedente de la catedral de Amiens
  • Material: Piedra caliza con trazas de pintura
  • Dimensiones: 99,7 x 109,2 x 22,9 cm
  • Crédito: Colección del Sr. Isaac D. Fletcher y Sra., legado de Isaac D. Fletcher, 1917
  • Número de inventario: 17.120.5
  • Curatorial Department: Medieval Art and The Cloisters

Audio

Solo disponible en: English
Cover Image for 3090. Limestone Relief of the Betrayal and Arrest of Jesus

3090. Limestone Relief of the Betrayal and Arrest of Jesus

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This dramatic relief is part of a great choir screen from the French Cathedral of Amiens. A choir screen is the structure that separates lay people in the nave from the clergy in the choir. In great Gothic cathedrals, choir screens were often decorated with elaborate sculptural reliefs.

This one represents the tumultuous moment before Christ’s death. In the center, we see Judas, his back turned from us as he leans in to kiss Christ in his infamous act of betrayal. On the far right, Roman soldiers prepare to arrest Christ. If you bend over and peek beneath the hem of the soldier on the far right, you can see passages of the bright colors that once covered the entire relief. On the far left is St. Peter, with his arm raised, withdrawing a sword that he just used to sever the ear of Malchus, the figure seated beneath him. Walk around to the left of the sculpture and find Christ’s hand as he reattaches Malchus’ ear. Amid the aggression and brutality of this charged scene, a powerful act of healing and compassion takes place.

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