The Crucifixion
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
At right, Roman soldiers dice for Christ's seamless robe — Augustine read their game as grace itself, decided by no merit but God's secret judgment. At left, Mary and John hold their grief.
A skull is cracked into the rock beneath the cross: legend placed Adam's grave at Golgotha, so the new Adam's blood falls on the first skull.
Gregorio Correr commissioned this panel as his altarpiece's predella center. Paris took it in 1798; two more panels went to Tours; the triptych returned to Verona, 1815. The soldiers would not cut the seamless coat. The altarpiece is in three cities.
Sources: Arsartisticadventureofmankind (paraphrasing Lightbown/period reading) · Visual Commentary on Scripture, 'The Casting of Lots' · Cavallini to Veronese, entry on Andrea Mantegna · Musée du Louvre, Mantegna, 'La Crucifixion', INV 368 / MR 338. · John 19:23-24, Douay-Rheims (Challoner). · Finestre sull'Arte, 'Will France return to us three Mantegna panels stolen by Napoleon?'
Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.
John 19:25 · Douay-Rheims (Challoner), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 7,222 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.