The Passion Cycle starts with the Betrayal of Judas at matins. Often, he will be shown kissing Christ, identifying him to those who would seize Christ. Judas is usually depicted as very ugly (to contrast with the beauty of Christ) and clutching a bag of money, because he was the treasurer of the disciples and because of the 30 pieces of silver he was paid to betray Christ.

For lauds, the illustration is Christ before Pilate. Christ stands before Pontius Pilate, Roman governor of Judaea, being judged first on blasphemy, then secondly on treason against Rome for setting himself up as a king. Fearing a Jewish riot and what Rome might think of leniency toward a rebel, Pilate condemned Christ to be crucified.

The Scourging opens the hour of prime. In the centre, Christ is tied to a column and whipped by two executioners on either side of their victim, prior to being crowned with thorns. Occasionally and more correctly, as witness, Pilate sits to the side and observes the scourging, according to Roman law.

For terce, we see Christ carrying the Cross amidst a crowd. Christ is led through the city streets, carrying the cross upon which he will be crucified.

The Crucifixion illustrates sext. Christ is crucified between two thieves. Mary and St. John, as well as the centurion Longinus, are usually present. There are two variants of the Crucifixion: Christ Triumphant and Suffering Christ. If Christ is alive, as in Christ Triumphant, his eyes will be open, his composed face will be looking down to those praying beneath him, arms horizontal and body relatively straight and self-possessed. Otherwise, in Suffering Christ, the spear wound will be in his side, his eyes will be closed, his head will droop to one side, brows furrowed, lips contorted and his body will sag noticeably upon the cross, forcing his arms into a ‘Y’ posture, as his body twists into an ‘S’ shape. Christ Triumphant, emphasizing Christ’s defeat of death, was common in the twelfth and early thirteenth century; whereas, Suffering Christ, focussing on Christ’s mortality, was prevalent in the thirteenth and fourteenth centuries.

The Deposition from the Cross is the depiction for none. At the request of Joseph of Arithemea, Christ's dead body is removed from the cross and wrapped in fine linen. Originally, the scene incorporated only Joseph, Mary Magdalene and the Virgin Mary; but, later images expanded to include Nicodemus, John and some servants of Joseph. Scenes range from Joseph extracting the nails holding Christ to the Cross, to Christ being laid on the ground before the Virgin Mary. The emotional aspects of the crucifixion became more predominant after the 12th century.

Vespers is illustrated with the Entombment. The body of Christ is placed within a tomb for burial. The tomb is either hewn from rock, and a circular stone door is rolled in place to seal it shut, or it is similar to a coffin.

Lastly, the Resurrection takes place at compline. Christ is emerging from the tomb or has just done so, or Christ may also be seen hovering above the tomb with terror-struck guards below.

As the focal point and namesake for books of hours, this office requires special attention by the reader. We must understand that the reader hopes to build a relationship with Mary, so she may intercede for personal salvation. By meditating upon her life’s images, or those of Christ’s Passion, and by reciting her office, a bridge is built to another realm. This motive is the pious reason for the existence of books of hours, a motive that cannot be dismissed.
 
 

The Betrayal of Judas	Christ Before Pilate	The Scourging
Christ Carrying the Cross	The Crucifixion	The Deposition
The Entombment	The Resurrection