Of course, the First Sorrowful Mystery is The Agony in the Garden. But there is a sub-scene taking place in that Gospel event which the Italian master, Caravaggio, has painted and which offers us opportunity for contemplation. The painting is titled: The Taking of Christ. It is the moment of Judas' betraying kiss and Jesus' arrest.
Our Father...
This scene is filled with movement, emotion-laden action, the tensions of light and dark, violence and surrender. Like much of human life. I might simply pause in silence and wait for some feeling response to rise up before praying the prayer.
Hail Mary...
There are seven figures in this painting. All are seen in profile except the face of Jesus. It makes for a crowded scene - like the political and Church scenes playing out today on newspaper pages, television and computer screens. Caravaggio has painted no background - only darkness. Does this suggest the drama is played out everywhere: betrayal, violence, power abuse?
Hail Mary...
There is a billowing blood-red cloth, umbrella like, over the head of Jesus. This portends the suffering which begins in the garden. Jesus is leaning away from Judas, almost as if he is going to fall down for the sadness of the betrayal. But his hands are prayerful, without a retaliatory weapon. His brow is furrowed, knowing the pain of being turned against and the sad horror of violence.
Hail Mary...
The eyes of Jesus are full of grief. All this clanking metal, gathered to take away the one who said, "Blessed are the peacemakers." Maybe Jesus' eyes are sorrowful too because he feels the strong grasp of Judas' left hand, which could be the grasp of friendship, but also the phony kiss. So many people in the world have sorrow-filled eyes.
Hail Mary...
Some say the fellow on the far left is the apostle John. The Gospel tells us the apostles were scattered in fear that night. He seems to be running right off the edge of the canvas. This disciple is wearing a tunic, but there was also that un-named man who dropped the sheet he was wrapped in and ran off naked into the night. Like someone who has forfeited his or her baptism relationship with Jesus - for fear.
Hail Mary...
At the same time there is a man on the far right moving into the scene. Caravaggio has painted himself into the painting as a young man. It's only moon light that illumines this night time event, but this fellow is holding up a lantern. He doesn't seem to be part of the meanness. We get the feeling he is perhaps straining to see - even standing on tip-toe. I want to see the face of Jesus. I want to hold up the light of my Baptism candle, however fragile the flame.
Hail Mary...
You'd think Caravaggio would have placed the face of Jesus right in the center. But no, the over-stated arm of the arresting soldier gets all that attention. We talk a good game, but the world is infatuated with all things military. Imagine what we could do for the world's children if we placed our energies and resources at their service. And as November approaches, all these rallies and pandering for the votes of veterans and military people. Jesus is pushed to the side. Caravaggio seems to understand.
Hail Mary...
On the other hand, the soldier's shiny, metal arm leads us to Jesus. Caravaggio isn't showing off his talent, but maybe the metal serves as a kind of mirror. Do I dare to look closely; I will see my self. The reflection invites an Examination of Conscience. The nation needs an examination of conscience; so does the church. Remember the 1960's bumper sticker, "My country, right or wrong." That's idolatry. Idolatry is a betrayal.
Hail Mary...
There is a lot of arguing going on these days in the art world over whether or not this painting was really created by Caravaggio. Of course, all the wrangling comes down to money: "Is the picture as valuable as we thought? Will people still pay to see it if its a copy?" Let the artists knock themselves out over it. The only question I need to ask is: "Am I the real deal, an authentic image? Or am I a Christian look-alike; a wanna-be?"
Hail Mary...
One scholar, musing on this painting, ends by calling it a "secular event." How sad is that - to miss the painting's spiritual content. I must be still now and consider the painted scene. Look at what the world has done: we have arrested the All Good One and given him a fake kiss.
Hail Mary...
Glory be to the Father...
