Crucifixion

Three crosses have been erected in an austere geometrical arrangement on sandy ground strewn with pebbles. Christ on the cross is shown frontally in the centre of the shallow pictorial space and occupies almost the entire height of the picture. The diagonally positioned thieves' crosses stand somewhat further back; at the same time the horizontal beams of their crosses reach up to the corners of the image and the extreme foreground. This is particularly apparent because the transverse sections of the round beams are shown as a quadrant with the corners of the painting as their central point. Together the austere symmetry, the incorporation of the picture plane, as well as the perspectival depth created by the horizontal beams of the cross define a constricting stage, a box room of little depth. There is no middle-ground; the horizon can only be surmised: about two thirds of the way up the painting the light sand colour merges with the blue-white of a sky with ragged clouds, which towards the top of the image darkens to a black night sky. The elegant figure of the crucified one with his head inclined to the left, a crown of thorns and the tips of his loin cloth wafting on either side follows the common type of extenuated Christ figure. The thieves are shown as bearded farmer types, the good thief on the left is considerably younger and more athletically built than his pendant on the right. The compact figurative composition is dictated by the limited space. The Mother of God and St John the Evangelist with the two Marys crowd around the shaft of the good thief's cross. Her eyes closed and her arms hanging down limply beside her, the Mother of God is about to collapse. St John supports her under her arms from behind. From the right a holy woman in an attitude of prayer comforts her. In front of her to the right Mary Magdalene kneels in front of the shaft, which she embraces tightly. Stephaton appears behind her, holding hyssop up with his right hand and a jug of vinegar in his left hand. His shirt has slipped off his right shoulder; at the same time he sticks his tongue out at the crucified ones. A man in armour with a pike stands to the right under the cross. With his left hand he grabs a bare-footed boy by the arm who looks up at the cross. The soldier's gaze falls to his right on an old bearded man dressed in green, whose almost closed eyes suggest blindness. As the boy also wears a green smock it is evident that they belong together: the old man is the blind Longinus who will be assisted by the boy to stick the lance into Christ's side. The centurion stands beside them in front of the thief's cross, wearing golden armour and with his right hand raised in an oratical gesture, while he gazes out of the picture. His discussion partner is a plump man in academic attire, that is a red sleeveless gown and a high cap of the same colour. This is a high priest, who argues with his right hand outstretched. Shown in strict profile he closes the composition a the edge of the painting. Lances and heads rising above this group indicate further soldiers.

[Cat. Frankfurt 2005, 181-187]