01 Work, Interpretation of the bible, The Art of War, Juan Correa de Vivar’s The Taking of Christ, with Footnotes #196

A detachment of Roman soldiers and its commander, were accompanied by “officials from the chief priests and Pharisees” who had been sent to arrest Jesus.

Due to the throngs of people in Jerusalem during Passover, the Romans transferred auxiliary troops to the Fortress of Antonia. They were there to prevent mob riots and incipient rebellion at the volatile festival. Apparently, the Romans had been asked to send some soldiers to assist in this arrest to insure overwhelming odds. Starting a riot or a fight with Jesus’ disciples wouldn’t have served the chief priests’ purposes. But, even though Roman soldiers were present, the arrest was clearly made by the chief priests’ officers, since Jesus was taken to the high priest’s residence (19:12), not a Roman facility. More on The Arrest Of Christ

Juan Correa de Vivar (c.1510 – 16 April 1566) was a Spanish painter born in Mascaraque. When Juan was 17 or 18 years old he joined an artist workshop in Burgundy.

Juan was heavily influenced by Raphael. One of his most important works was the altarpiece of the church of Almonacid de Zorita. It was destroyed in World War II. From Raphael he took his colorful tone and delicate and smooth figures. Over the years his style evolved into more dynamic forms of Mannerism.

In the province of Toledo have been found some of Juan’s better known works. The Museo del Prado of Madrid also includes many excellent examples of his work.

Some of the work came to him through familiar contacts. Included works in these early years are also the table of the Birth of the Santa María de Guadalupe monastery and the altarpiece of identical subject that Juan did for Stewing.

Some of his masterpieces from the 1540s can be found at the monastery of San Martin de Valdeiglesias today. There were also highly admired altarpieces that were taken after the ecclesiastical confiscation of 1836 and given to the Prado, other pinacotecas like those of Saragossa or Vigo, and churches like San Jerónimo el Real of Madrid.

Between 1550 and 1566, the year of his death, Juan’s style became more personal, taking on a mannerism style that makes his figures more forceful and energetic, but without losing his traditional elegance. More on Juan Correa de Vivar

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