2. The fascinating composition betrays the creativity of a master-sculptor who, working within the strict canon of late Gothic sculpture, managed nonetheless to accentuate certain aspects in a highly personal manner.

The tableau, which has been cut from a larger altarpiece, has an extraordinarily cinematic character: in the absence of a perspective with a vanishing point the artist worked with an upper, middle and lower plane. At the bottom lies the lantern (signifying the arrival of dusk), which Malchus dropped in agony when his ear was severed. As in an early expressionist black-and-white film, the sculptor suggests that the lantern is shining upwards upon the three figures, evoking in the spectator’s mind an impression of long, looming shadows. Also at the bottom we see Malchus’ writhing, tormented body and his twisted face. His gaping mouth indicates that he is screaming, and so the sculptor manages not only to suggest light and shadows, but also sound.

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All of this is contrasted strongly with the composed manner of the two figures at the top. In the central plane we see a number of key elements of the tableau. The first, as discussed, is Malchus’ dramatic, agonized expression. Above him are three hands, which hold the symbols of Good and Evil in this episode. Judas is holding the purse containing the 30 pieces of silver – his price for betrayal – and Jesus is holding Malchus’ ear in both hands, poised to attach it to his head again and heal his tormentor – His last miracle before His crucifixion. Destruction and healing are juxtaposed in the central plane.

Lastly, in the upper region we can observe how Jesus towers dignified and calm over all the dramatic clamour, and how Judas must lift his head in order to deliver his treacherous kiss. Jesus is smiling benevolently, for He knows all too well that Judas’ betrayal is a necessary step in His own duty to redeem mankind. Without Judas there would have been no arrest, without an arrest there would have been no crucifixion, and without the crucifixion, no salvation. And so the kiss becomes at once an act of betrayal and of redemption.

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In that sense, the kiss represents – literally – Jesus’ embrace of His suffering.

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