Passus

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The narratives of the Passion are found in the four canonical gospels, Matthew, Mark, Luke and John. Three of these, Matthew, Mark, and Luke are known as the Synoptic Gospels, give very similar accounts. The Gospel of John includes additional details. According to the Gospel of John, Pilate had Jesus brought out a second time, wearing the purple robe and the crown of thorns, in order to appeal His innocence before the crowd, saying "Ecce homo" ("Here is the man"). The priests urged the crowd to demand Jesus' death. Pilate resigned himself to the decision, washing his hands (according to Matthew) before the people as a sign that Jesus' blood would not be upon him. Mark and Matthew record that Jesus was returned His own clothes, prior to being led out for execution. The Synoptic Gospels state that on arrival at Golgotha, Jesus was offered wine laced with myrrh to lessen the pain, but He refused it. Jesus was then crucified, according to Mark, at the third hour (9.00am) the morning after the Passover meal, but according to John He was handed over to be crucified at the sixth hour (noon) the day before the Passover meal, though this is resolved because the Synoptics use Jewish time, and John uses Roman time. The Gospels state that they divided Jesus' clothes between the soldiers except for one garment for which they cast lots. The Gospel of John states that this fulfills a prophecy from Psalms 22: 18. Some of the crowd who had been following taunted Jesus, saying "He trusts in God; let God deliver Him now!" and suggested that Jesus might perform a miracle to release Himself from the cross. According to the synoptics, the sky became dark at midday and the darkness lasted for three hours, until the ninth hour when Jesus cried out "Eloi, Eloi, lama sabachthani?" ("My God, why have you forsaken me?") The centurion standing guard, who had seen how Jesus died, declared Jesus innocent (Luke) and Son of God (Matthew, Mark).

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The Man of Sorrows by Pietro Lorenzetti, circa 1330 (Lindenau Museum, Altenburg) was not necessarily the inspiration for this portrait of the Passion, but its juxtaposition across seven centuries is nevertheless apposite and hopefully complimentary.

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