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Relief : trahison et arrestation de Jésus

1264–88
On view at The Met Fifth Avenue in Gallery 304
La nef des églises médiévales était séparée du chœur par un jubé (ou clôture de chœur). Au XIIIe siècle, nombreux étaient les jubés décorés de récits en multiples épisodes, souvent tirés des derniers événements de la vie terrestre de Jésus, c’est-à-dire la Passion. Quatre de ces scènes essentielles sont ici condensées à l’extrême : Pierre remet son épée au fourreau après avoir coupé l’oreille de Malchus, serviteur du grand prêtre ; Jésus guérit miraculeusement la blessure de Malchus ; Judas trahit Jésus d’un baiser ; des soldats romains arrêtent Jésus. Les jubés furent éliminés de la plupart des églises européennes parce qu’ils entravaient la participation des fidèles au rituel de la messe. Celui de la cathédrale d’Amiens fut détruit en 1755. Ce relief est l’une des sculptures narratives les plus grandes et les mieux préservées qui nous soient parvenues.

Artwork Details

Object Information
  • Titre: Relief : trahison et arrestation de Jésus
  • Date: v. 1264–1288
  • Aire géographique: Picardie, cathédrale d'Amiens
  • Culture: Français
  • Technique: Pierre calcaire et traces de peinture
  • Dimensions: 99,7 x 109,2 x 22,9 cm
  • Crédits: Collection de M. et MmeIsaac D. Fletcher, legs de Isaac D. Fletcher, 1917
  • Accession Number: 17.120.5
  • Curatorial Department: Medieval Art and The Cloisters

Audio

Uniquement 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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