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27:
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632:
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142:
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50:
379:(1564, now Vienna). Although in early and Eastern depictions the cross is not always represented as a heavy burden, and may be held free of the ground by either Simon or Jesus, by the later Middle Ages the cross is always clearly difficult to carry, and the base is dragged along the ground, in line with the increased emphasis in the period of emphasizing the sufferings of the Passion. From this period Jesus usually wears his
243:
began his first Rule of 1221: "Then Jesus said to his disciples, “Whoever wants to be my disciple must deny themselves and take up their cross and follow me". St
Francis also used to be led with a cord around his neck as a penitential exercise, the cord being a detail added to many depictions of the
364:
Until around 1100, Simon of Cyrene was more often shown actually carrying the cross than Jesus, and from this time the number of other figures typically included in the scene increases. In
Byzantine depictions, Jesus typically walks with his hands bound, and a soldier leading him holding the rope,
217:
were also in the group walking out to
Golgotha, but does not say that they had to carry their crosses, and though they may be identifiable among the walking figures, their crosses are very rarely anywhere to be seen in depictions of the group. Some works, like Raphael's
559:
670:
2004 Page 598 "... the patibulum (see commentary at 19:17) and compelled to carry his cross to the place of execution.13 Hence, ... Dionysius of
Halicarnassus, Antiquitates romanae 7.69; Tertullian, De pudicitia 22 (cited in Köstenberger 2002c:
209:. This meeting was usually located at the city gates, as in the painting illustrated, which is also typical in following Luke and showing Jesus turning his head to speak to them. The other episodes were later elaborations, with the
264:
carrying wood up the mountain for his sacrifice is the most common parallel for the episode, and often shown as a complementary scene; this scene is "Isaac
Bearing the Faggots" (or "wood") in traditional art history terminology.
75:, sets of which are now found in almost all Roman Catholic churches, as well as in many Lutheran churches and Anglican churches. However, the subject occurs in many other contexts, including single works and cycles of the
598:
252:: "He was oppressed and afflicted, yet he did not open his mouth; he was led like a lamb to the slaughter, and as a sheep before its shearers is silent, so he did not open his mouth" and
616:
369:, a large crowd of figures may surround Jesus, displaying a great variety of feelings, from contempt to grief. This development culminates in the large landscape of
339:
processions in
Catholic countries, some of which include actors playing the leading persons and a cross. On the Via Dolorosa such events occur all year round.
198:, which was permanently driven into the ground at Golgotha. However, in Christian imagery Jesus, and Simon, carry the complete cross—both patibulum and stipes.
182:, who was recruited by the soldiers from the crowd to carry or help carry the cross. Modern scholars, following descriptions of criminals carrying crossbars by
474:, when the Virgin swoons, faints, or at least falls to her knees, both fairly recent and rather controversial introductions, without scriptural authority.
405:. These continued through the Renaissance and Baroque period, with a "close-up" half length composition first appearing in Northern Italy around 1490.
365:
as Simon carries the cross. In some early depictions, Jesus and Simon carry the cross together. In the later Middle Ages, probably influenced by
829:
524:
534:
486:
146:
583:
529:
758:
256:"I had been like a gentle lamb led to the slaughter...", both of which were very frequently cited by medieval commentaries. In medieval
931:
898:
429:, the suffering of Christ is often less graphically depicted in these than in larger scenes where he is mobbed by a hostile crowd. As
20:
855:
957:
519:
514:
213:
appearing from the 13th century, and the falls of Christ, eventually three, first found in the Late Middle Ages. Luke mentions that
509:
631:
26:
113:
in
Jerusalem, although the specific path of this route has varied over the centuries and continues to be the subject of debate.
894:
851:
825:
754:
201:
Only Luke mentions the "women of
Jerusalem", who were in later patristic writings and Christian art taken to include the
812:(exhibition at the National Gallery of Art (Washington) and Kunsthistorisches Museum Wien, Yale University Press, 2006,
459:
around 1500 painted on a single wood panel. Christ is depicted with soldiers as he gazes upon his viewers with sorrow.
495:
390:
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915:
886:
872:
843:
817:
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352:
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Individual works with articles include the following (apart from a large number of cycles featuring the scene):
952:
947:
277:, where it is divided into a number of incidents, which between them account for most sculptural depictions:
332:
106:
232:, have the thieves' two crosses already set up at the place of execution in the distant background.
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417:
370:
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141:
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171:
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8:
467:
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An early example of a type of devotional image showing Jesus alone is a small panel by
190:, often take the Gospel description as meaning Jesus, then Simon, carried only a heavy
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911:
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The carrying of the cross is mentioned, without much detail, in all the canonical
570:
380:
299:
214:
179:
178:. Only John specifically says Jesus carried his cross, and all but John include
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860:
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305:
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The fully elaborated traditional account of the episode is demonstrated in the
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68:
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412:
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became popular, the scene often occurs as the left-hand wing to a central
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122:
110:
49:
336:
206:
202:
42:
38:
690:
605:
463:
220:
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Gospel figures in art, a Guide to imagery, Getty
Publications, 2003,
604:
Jesus Christ bearing the Cross, Lorch in the Rhine Valley, ca. 1425,
315:
191:
865:
The
Sixteenth Century Italian Paintings, Volume II, Venice 1540-1600
810:
Bellini, Giorgione, Titian, and the Renaissance of Venetian painting
689:
Zuffi, 283; See Schiller 81 for later exceptions, including one by
637:
430:
187:
102:
466:
in Italy, usually showing either the meeting with Veronica or the
808:
Brown, David Alan, Pagden, Sylvia Ferino, Anderson, Jaynie eds.,
183:
159:
151:
98:
622:
608:
328:
195:
71:, and a very common subject in art, especially in the fourteen
261:
910:, 1972 (English trans from German), Lund Humphries, London,
335:. The procession is still re-enacted in a number of annual
462:
From around 1500, the subject became used for single piece
109:. The actual route taken is defined by tradition as the
879:
The fifth gospel: Isaiah in the history of Christianity
836:
Sassetta: the Borgo San Sepolcro altarpiece, Volume 1
324:
Ten through fourteen cover the rest of the Passion.
37:, c. 1400. The cluster of halos at the left are the
327:It is also one of the Sorrowful Mysteries of the
939:
525:Christ Carrying the Cross (El Greco, Barcelona)
535:Christ Carrying the Cross (El Greco, New York)
487:Christ Falling on the Way to Calvary (Raphael)
449:on the right-hand wing. A notable version of
331:, and the meeting with Mary the fourth of the
16:Christ on the road to Golgotha, artistic theme
863:, National Gallery Catalogues (new series):
530:Christ Carrying the Cross (El Greco, Madrid)
867:, 2008, National Gallery Publications Ltd,
342:
881:, 1996, Cambridge University Press, 1996,
739:Lent, Yom Kippur, and Other Atonement Days
105:being the site of the crucifixion outside
21:Christ Carrying the Cross (disambiguation)
520:Christ Carrying the Cross (Bosch, Vienna)
515:Christ Carrying the Cross (Bosch, Madrid)
510:Christ Carrying the Cross (Bosch, Ghent)
407:
385:
346:
140:
126:
48:
25:
268:
940:
116:
908:Iconography of Christian Art, Vol. II
228:(see below for both), and the London
741:, 44–48, 2009, Infobase Publishing,
147:Christ Falling on the Way to Calvary
13:
838:, 2009, Harvard University Press,
496:Christ Carrying the Cross (Titian)
391:Master of the Virgo inter Virgines
14:
969:
85:. Alternative names include the
958:Christ carrying the cross in art
630:
615:
597:
582:
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455:was completed by Cretan painter
790:
781:
772:
763:
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713:
704:
695:
683:
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67:is an episode included in the
1:
802:
425:Somewhat in contrast to most
314:Jesus meets the daughters of
787:Brown etc., 102-103, 110-111
383:, which he did not earlier.
7:
333:Seven Sorrows of the Virgin
311:Jesus falls the second time
194:, the crossbar, to a pole,
134:from a 19th-century German
132:Jesus falls the second time
10:
974:
551:
320:Jesus falls the third time
290:Jesus falls the first time
120:
18:
61:Christ Carrying the Cross
737:Blackwell, Amy Hackney,
710:Sawyer, 89; Israels, 423
666:Andreas J. Köstenberger
645:
546:Pieter Bruegel the Elder
477:
452:Christ Bearing the Cross
418:Christ Bearing the Cross
371:Pieter Bruegel the Elder
358:Pieter Bruegel the Elder
343:History of the depiction
287:Jesus is given His cross
308:wipes the face of Jesus
422:
394:
361:
155:
138:
57:
46:
953:Stations of the Cross
541:Procession to Calvary
411:
389:
376:Procession to Calvary
353:Procession to Calvary
350:
275:Stations of the Cross
248:passages. These are
235:Also of relevance is
144:
136:Stations of the Cross
130:
87:Procession to Calvary
73:Stations of the Cross
54:Sebastiano del Piombo
52:
29:
948:Crucifixion of Jesus
877:Sawyer, John F. A.,
501:Cristo della Minerva
401:of 1330-1350 in the
269:In popular devotions
19:For other uses, see
834:Israėls, Machtelt,
468:Swoon of the Virgin
421:painted around 1500
224:, Bruegel's Vienna
117:Biblical references
41:in front, with the
457:Nikolaos Tzafouris
423:
395:
362:
156:
139:
58:
47:
930:, 9780892367276,
904:Schiller, Gertrud
895:978-0-521-56596-7
852:978-0-674-03523-2
826:978-0-300-11677-9
755:978-1-60413-100-0
590:Sandro Botticelli
302:carries the cross
244:episode from two
241:Francis of Assisi
83:Passion of Christ
31:Andrea di Bartolo
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920:Zuffi, Stefano,
797:
794:
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719:Schiller, 80, 82
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403:Frick Collection
284:sentences Christ
239:, with which St
211:Veil of Veronica
164:Matthew 27:31–33
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964:
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861:Penny, Nicholas
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778:Schiller, 80-81
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571:Dominican friar
565:Christ, with a
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503:, sculpture by
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381:Crown of Thorns
345:
300:Simon of Cyrene
271:
215:the two thieves
180:Simon of Cyrene
125:
119:
91:Road to Calvary
65:his crucifixion
56:, about 1513–14
24:
17:
12:
11:
5:
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575:Barna da Siena
567:donor portrait
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544:, painting by
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399:Barna da Siena
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288:
285:
270:
267:
254:Jeremiah 11:19
230:Jacopo Bassano
121:Main article:
118:
115:
95:Way to Calvary
78:Life of Christ
69:Gospel of John
63:on his way to
35:Way to Calvary
15:
9:
6:
4:
3:
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844:0-674-03523-2
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818:0-300-11677-2
815:
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747:1-60413-100-4
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420:
419:
415:depiction of
414:
413:Cretan School
410:
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378:
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367:Passion plays
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246:Old Testament
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237:Matthew 16:24
233:
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176:John 19:16–18
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172:Luke 23:26–32
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168:Mark 15:20–22
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22:
932:Google books
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907:
899:Google books
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864:
856:Google books
835:
830:Google books
809:
792:
783:
774:
769:Schiller, 81
765:
759:google books
738:
733:
728:Schiller, 82
724:
715:
706:
697:
685:
676:
667:
662:
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539:
505:Michelangelo
490:
481:
471:
461:
450:
446:Resurrection
444:
438:
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416:
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363:
351:
326:
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293:Jesus meets
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234:
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145:
131:
123:Via Dolorosa
111:Via Dolorosa
94:
90:
86:
76:
60:
59:
34:
796:Penny, 8-10
577:, 1330–1350
464:altarpieces
435:Crucifixion
337:Good Friday
250:Isaiah 53:7
207:Virgin Mary
203:Three Marys
154:, 1516–1517
43:Three Marys
39:Virgin Mary
942:Categories
803:References
691:Tintoretto
606:Bodemuseum
491:Lo Spasimo
440:Entombment
437:, with an
295:His Mother
226:Procession
221:Il Spasimo
640:, c. 1602
625:, c. 1565
592:, 1490–91
431:triptychs
393:, c. 1495
316:Jerusalem
192:patibulum
107:Jerusalem
701:Penny, 8
638:El Greco
306:Veronica
258:typology
205:and the
188:Plutarch
103:Golgotha
552:Gallery
472:spasimo
184:Plautus
160:Gospels
152:Raphael
99:Calvary
81:or the
926:
914:
893:
885:
871:
850:
842:
824:
816:
753:
745:
623:Titian
609:Berlin
360:, 1564
329:Rosary
282:Pilate
196:stipes
671:194).
646:Notes
569:of a
489:, or
478:Works
262:Isaac
924:ISBN
912:ISBN
891:ISBN
883:ISBN
869:ISBN
848:ISBN
840:ISBN
822:ISBN
814:ISBN
751:ISBN
743:ISBN
668:John
186:and
174:and
93:and
470:or
443:or
373:'s
101:or
944::
906:,
897:,
889:,
854:,
846:,
828:,
820:,
757:,
749:,
573:,
356:,
260:,
170:,
166:,
162::
150:,
97:,
89:,
33:,
45:.
23:.
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