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Zusatztext "[T]his book is a multifaceted treatment of the iconography of Pontius Pilate and provides a useful compilation of textual and visual representations of his role in the Passion." ---Vivian B. Mann! Speculuma Journal of Medieval Studies Informationen zum Autor Colum Hourihane is director of the Index of Christian Art in the Department of Art and Archaeology at Princeton University. His books include Gothic Art in Ireland! 1169-1550 and The Processional Cross in Late Medieval England . Klappentext "This textual and visual barometer of Pontius Pilate reveals a highly complex picture of a mysterious figure. The chronological span of the book is breathtaking."--Dorothy Verkerk! University of North Carolina! Chapel Hill "The figure of Pilate has long fascinated the public. The book discusses the historical and traditional textual presentations of Pilate! and includes art from Christian antiquity through to the end of the Middle Ages. The scholarship is sound and extensive."--Robin M. Jensen! Vanderbilt University "This is a major contribution to the growing examinations of anti-Jewish representations in medieval and early modern art and literature. The author's lively and engaging consideration of the sources! both pictorial and literary! is careful and thorough."--Debra Higgs Strickland! University of Glasgow Zusammenfassung Pontius Pilate is one of the Bible's best-known villains--but up until the tenth century, artistic imagery appears to have consistently portrayed him as a benevolent Christian and holy symbol of baptism. For the first time, Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art provides a complete look at the shifting visual and textual representations of Pilate throughout early Christian and medieval art. Colum Hourihane examines neglected and sometimes sympathetic portrayals, and shows how negative characterizations of Pilate, which were developed for political and religious purposes, reveal the anti-Semitism of the medieval period. Hourihane indicates that in some artistic renderings, Pilate may have been a symbol of good, and in many, a figure of jurisprudence. Eastern traditions treated Pilate as a saint with his own feast day, but Western accounts from the tenth century changed him from a Roman to a Jew. Pilate became a vessel for anti-Semitism--his image acquired grotesque facial and physical characteristics, and his role in Christ's Passion grew to mythic proportions. By the fifteenth century, however, representations of Pilate came full circle to depict an aged and empathetic administrator. Combining a wealth of previously unpublished sources with explorations of art historical developments, Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art puts forth for the first time an encyclopedic portrait of a complex legend. Inhaltsverzeichnis Acknowledgments xi Introduction 1 Chapter 1: T he Historical Background and the Role of the Prefect 6 Chapter 2: Primary Sources for the Study of Pilate 13 Philo of Alexandria 13 Josephus 16 The Bible 22 The Talmud and Midrash 23 Apocryphal Material 25 Chapter 3: E arly Christian Writings and Archaeological Evidence 38 Literary Evidence 38 Archaeological Evidence 40 Chapter 4: P ilate as a Sy mbol of the Law 44 Chapter 5: P ilate in Early Christian Art and Thought 52 The Washing of the Hands 68 Pilate and the Waters of Baptism 72 Pilate! the Christian 80 Conclusions 82 Chapter 6: P ilate and the Passion Sequence: The Sixth to the Eleventh Century 84 Ivories 86 Frescoes 93 Manuscripts 94 The Psalms and Pilate 104 Sculpture 111 Pilate's Wife 126 Chapter 7: T he Jewish Beginnings: Characterization in the Eleventh Century 143 Pilate as a Jew 146 The Praetorium 153 Chapter 8: T he Legal Perspective: The Tw elfth Century 1...
