Christ Crucified
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
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About this painting
Christ's feet lie side by side, each pierced by its own nail — four nails, following Francisco Pacheco's argument for the format since 1611. The museum reads the effect as sleep, not death. Behind him is no Golgotha: for Jonathan Brown, that dark ground makes the redemption not a past event but a present one. Above him, a plaque reads NAZARAENVS, John's wording for the charge against him.
The Prado's hypothesis is that Jerónimo de Villanueva ordered it for San Plácido in reparation for injuries done to a crucifix in a Portuguese Jewish house in 1630.
Sources: Museum's own reading: idealized anatomy, four-nail formula per Pacheco, titulus NAZARAENVS after John, 'sweet sleep rather than bitter death' · Museo Nacional del Prado, Enciclopedia, 'Cristo crucificado, Velázquez'. · Alfonso Rodríguez G. de Ceballos, "El Cristo Crucificado de Velázquez: trasfondo histórico-religioso," Archivo Español de Arte, LXXVII/305 (2004), pp. 5-19 · Corroborates four-nail debate and commission/provenance details · María de la Luz Ruiz Miranda, 'Una imagen religiosa como obra de arte', Revista de Teoría del Arte 35 (2021), quoting Jonathan Brown, 'Velázquez. La técnica del genio', p. 70. · Museo Nacional del Prado, 'The Crucified Christ' (Velázquez), P001167.
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 3,051 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.