I always thought Caravaggio’s The Taking of Christ had a film noir quality to it. Judas IDi-ng Jesus while the Roman guards stand ready to arrest him felt like a disciple turned state’s evidence as the son of God took his perp walk. The glint, the shimmer on the soldier’s armor read as divine light minus whatever benevolent association we make with anything adjective-d as “divine.” And the kiss from Judas is akin to a mob guy bestowing upon his former friend the marked man’s farewell.