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".

"I have to admit to being delighted by this latest offering from the director of the Index of Christian Art at Princeton. The path along which Colum Hourihane leads us is copiously illustrated ... and accompanied by scrupulously detailed notes."--Christopher Colven, Art Newspaper "The book ... is splendidly produced and illustrated."--Choice "Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art is likely to stimulate discussion ... for some time to come, so broad is its reach and bounteous its sources. It is a significant accomplishment to begin to bring order to this enormous mass of material; that Hourihane has also produced such a wide-ranging and beautifully illustrated volume is cause for considerable gratitude."--Sarah Lipton, Medieval Review "There is much here to interest the art historian, the medievalist, the church historian, the researcher in the history of anti-Semitism, and the student of the development and transmission of myths and legends."--Sarah Lawson, Art Book "Hourihane has given an admirable, thorough and balanced account of the representation of this enigmatic man, and his book is beautifully produced."--Paul Binski, Journal of Ecclesiastical History "[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

• 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 171 Pilate: The Jew and Disputational Literature 181 Identifying Separation 190 Extending His Involvement 199 Pilate and the Titulus 201 Joseph of Arimathea before Pilate 204 Pilate Asked to Guard the Sepulcher 208 Barabbas Released 21 The Legends 214 Strong or Weak and Guilt 215 Ecce Homo 220 Chapter 9: P ilate in the Expansion of the Passion: The Thirteenth Century 227 Extending the Repertoire 238 Bible moralisee 245 The Trials 255 The Interrogation before Annas 259 The Trial before Caiaphas 263 The Trial before Herod Antipas 271 The Flagellation 272 Pilate and the Fate of the Jews 289 The Revisionist Image 293\ Chapter 10: T he Established Image in the Fourteenth and Fifteenth Centuries 296 Popularization 307 Manuscripts, Books, and Prints 308 Pilate and Judas 324 Panel Paintings 328 Pilate as an Instrument of the Passion 346 An Aged Man 349 Pilate and the Symbol of the Dog 357 Pilate's Textual and Visual Characterization 363 Conclusions 371 Appendix A: Images of Pilate in Early Christian and Late Antique Art 375 Appendix B: The Holy Resurrection 383 Notes 391 Index 451 Photography Credits 463 Contents YU ix

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".

"I have to admit to being delighted by this latest offering from the director of the Index of Christian Art at Princeton. The path along which Colum Hourihane leads us is copiously illustrated ... and accompanied by scrupulously detailed notes."--Christopher Colven, Art Newspaper "The book ... is splendidly produced and illustrated."--Choice "Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art is likely to stimulate discussion ... for some time to come, so broad is its reach and bounteous its sources. It is a significant accomplishment to begin to bring order to this enormous mass of material; that Hourihane has also produced such a wide-ranging and beautifully illustrated volume is cause for considerable gratitude."--Sarah Lipton, Medieval Review "There is much here to interest the art historian, the medievalist, the church historian, the researcher in the history of anti-Semitism, and the student of the development and transmission of myths and legends."--Sarah Lawson, Art Book "Hourihane has given an admirable, thorough and balanced account of the representation of this enigmatic man, and his book is beautifully produced."--Paul Binski, Journal of Ecclesiastical History "[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

• 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 171 Pilate: The Jew and Disputational Literature 181 Identifying Separation 190 Extending His Involvement 199 Pilate and the Titulus 201 Joseph of Arimathea before Pilate 204 Pilate Asked to Guard the Sepulcher 208 Barabbas Released 21 The Legends 214 Strong or Weak and Guilt 215 Ecce Homo 220 Chapter 9: P ilate in the Expansion of the Passion: The Thirteenth Century 227 Extending the Repertoire 238 Bible moralisee 245 The Trials 255 The Interrogation before Annas 259 The Trial before Caiaphas 263 The Trial before Herod Antipas 271 The Flagellation 272 Pilate and the Fate of the Jews 289 The Revisionist Image 293\ Chapter 10: T he Established Image in the Fourteenth and Fifteenth Centuries 296 Popularization 307 Manuscripts, Books, and Prints 308 Pilate and Judas 324 Panel Paintings 328 Pilate as an Instrument of the Passion 346 An Aged Man 349 Pilate and the Symbol of the Dog 357 Pilate's Textual and Visual Characterization 363 Conclusions 371 Appendix A: Images of Pilate in Early Christian and Late Antique Art 375 Appendix B: The Holy Resurrection 383 Notes 391 Index 451 Photography Credits 463 Contents YU ix

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".

"I have to admit to being delighted by this latest offering from the director of the Index of Christian Art at Princeton. The path along which Colum Hourihane leads us is copiously illustrated ... and accompanied by scrupulously detailed notes."--Christopher Colven, Art Newspaper "The book ... is splendidly produced and illustrated."--Choice "Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art is likely to stimulate discussion ... for some time to come, so broad is its reach and bounteous its sources. It is a significant accomplishment to begin to bring order to this enormous mass of material; that Hourihane has also produced such a wide-ranging and beautifully illustrated volume is cause for considerable gratitude."--Sarah Lipton, Medieval Review "There is much here to interest the art historian, the medievalist, the church historian, the researcher in the history of anti-Semitism, and the student of the development and transmission of myths and legends."--Sarah Lawson, Art Book "Hourihane has given an admirable, thorough and balanced account of the representation of this enigmatic man, and his book is beautifully produced."--Paul Binski, Journal of Ecclesiastical History "[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

• 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 171 Pilate: The Jew and Disputational Literature 181 Identifying Separation 190 Extending His Involvement 199 Pilate and the Titulus 201 Joseph of Arimathea before Pilate 204 Pilate Asked to Guard the Sepulcher 208 Barabbas Released 21 The Legends 214 Strong or Weak and Guilt 215 Ecce Homo 220 Chapter 9: P ilate in the Expansion of the Passion: The Thirteenth Century 227 Extending the Repertoire 238 Bible moralisee 245 The Trials 255 The Interrogation before Annas 259 The Trial before Caiaphas 263 The Trial before Herod Antipas 271 The Flagellation 272 Pilate and the Fate of the Jews 289 The Revisionist Image 293\ Chapter 10: T he Established Image in the Fourteenth and Fifteenth Centuries 296 Popularization 307 Manuscripts, Books, and Prints 308 Pilate and Judas 324 Panel Paintings 328 Pilate as an Instrument of the Passion 346 An Aged Man 349 Pilate and the Symbol of the Dog 357 Pilate's Textual and Visual Characterization 363 Conclusions 371 Appendix A: Images of Pilate in Early Christian and Late Antique Art 375 Appendix B: The Holy Resurrection 383 Notes 391 Index 451 Photography Credits 463 Contents YU ix