Details

Detail 1 from top left

Bruegel's treatment of landscape evolves in the course of his career from the bird's-eye views and extensive landscapes of the Large landscape series to the remarkable naturalism of the Months. Impossibly sheer outcrops of rock like this one at left characterize the landscape tradition of the Antwerp school founded by Joachim Patinir. Patinir's followers – in particular Herri met de Bles, Matthys Cock (the brother of Bruegel's print publisher, Hieronymous Cock) and Cornelis Matsys – had turned his style into a popular but stale formula.^[6] The sequence of Bruegel's landscape drawings and of the landscape in his paintings shows the gradual abandonment of this formula. In this case, however, his desire to convey the rocky, unfamiliar terrain of the Holy Land causes him to fall back on the ready-made landscape features of the Antwerp school.^[7]

Detail 2 from centre right

In a detail such as this at right, Bruegel's painting possesses a vividness which would seem to come from his observation of contemporary life.^[8] Public executions were a familiar feature of 16th century life, especially in troubled Flanders. Here Bruegel shows the two thieves who were to hang on either side of Christ being trundled to the place of execution. Anachronistically, both clutch crucifixes and are making their final confessions to the cowled priests beside them. The thieves, their confessors and the ghoulish spectators who surround the cart are all in contemporary dress. In Bruegel's day public executions were well attended occasions which had the air of festivals or carnivals. Here Bruegel shows the absolute indifference of the gawping crowds to the fear and misery of the condemned men. (Elsewhere in the picture he shows the pickpockets and the pedlars who preyed upon the crowds at such events.) It is noteworthy that Bruegel makes no distinction between the two thieves, one of whom Christ was to bless.

Detail 3 from right margin

On the mount of Golgotha (literally, 'place of skulls') the two crosses which are to bear the bodies of the thieves have been erected and a hole is being dug for the cross which is to bear Christ's body, as may be seen in the detail at left. Onlookers on foot and on horseback flock towards this gruesome spot through a landscape dotted with gallows on which corpses still hang and wheels to which fragments of cloth and remnants of broken bodies not eaten by the ravens still cling.

Detail 4 from bottom right

With the exception of Christ himself, the figures in the procession wear contemporary dress, and there can be no doubts that Bruegel meant his representation of the scene to have a particular reference to his own day. The sacred figures – the fainting Virgin assisted by Saint John and the other two Marys (only one of whom is shown here in the detail) – are separated from the main events by being placed on a small, rocky plateau. They act out their own, apparently independent, drama, largely unnoticed by the figures behind them. Larger than the background figures and isolated from them, are the Virgin and her companions.^[9]