All four Gospels refer to Pilate’s threefold decision: “So Pilate, wishing to satisfy the crowd, released for them Barab’bas, and having scourged Jesus, he delivered him to be crucified” (Mk 15:15; John 19:1). “Then he released for them Barab’bas, and having scourged Jesus, delivered him to be crucified” (Mt 27:26). “but Jesus he delivered up to their will ” (Lk. 23:25).

---

If you are not yet convinced that the baroque painters want to touch your emotions through motion, you will no longer be in doubt now. This scene makes you a privileged witness to the Passion of Christ.

The Gospels describe Pilate’s original decision to release Jesus; but first he should be scourged. However, the procurator later yields to the crowd and condemns Jesus to death on the cross. But he does not undo the scourging!

According to Luke, 23:25: “but Jesus he delivered up to their will”.

Did Rubens need imagination for that? Or had he himself ever witnessed such a public punishment?

From a 19^th-century manuscript we get this anecdote:

“… it is said that Rubens has painted this scene after having witnessed a fellow who was flogged on a scaffold; whether this is true or not, it is painted as naturally as can be seen with eyes.”

How does the artist tell his story? As you could expect, this torturing takes place in a dark basement, and the executioners also wear dark clothing. In full light on the foreground, the size of an adult human, Jesus is bending forward, his wrists are cuffed to the scourging post. To get him even more out of balance and to make the tense skin extra sensitive to the blows, a black executioner on the right kicks into the back of his knee. The loincloth is pulled away at the same time; in the painting, it offers a white accent.

On the left of this dramatic composition, the executioner having the whip in both hands, is ready for the next blow. His right foot seems to be resting on the frame and his right elbow even comes out of the frame, a detail that evokes depth.

Do you see the buttons in the leather? The Roman version of the cat-o’-nine-tails had sharp pebbles in it.

Count the executioners: on the left there is the one with the whip, on the right you see one with his hand on his forehead (sweaty? looking away?); then there’s a helmeted one with a rod or bunch of branches and at the edge of the painting the black one has his arm raised. There is no character too much in this work: extreme concentration is also required from the viewer.

The dark tones determine the atmosphere. The core of the story is shown to us in subtle in-between tones of colours, muscles in tension and the skin colour evoking painful injury.

Do you realize what this man has suffered to live up to and pass on his message of unconditional love?

After such a brutal image, we want to ask you an equally brutal question: could you see this painting as a suitable campaign image for an association that today defends human rights?

Follow the series Mysteries of the Rosary