A subject
The crucifixion of Christ: Christ's death on the cross; Golgotha
Matthew 27:45-581436–16272 hands
Opened by a notation lookup, not by an editor. Iconclass 73D6 glosses this subject as “the crucifixion of Christ: Christ's death on the cross; Golgotha (Matthew 27:45-58; Mark 15:33-45; Luke 23:44-52; John 19:25-38)”, and this library reads the Douay-Rheims, where the passage stands at Matthew 27:45-58. Iconclass states 4 references for this subject; the first one this corpus holds is used.
Now from the sixth hour there was darkness over the whole earth, until the ninth hour.
Matthew 27:45
An editor has read 2 pictures against this passage and confirmed them.
2 hands, 1436 to 1627
The hands
2
Jan van Eyckca. 1436–38The Crucifixion; The Last JudgmentFletcher Fund, 1933. CC0-1.0Van Eyck's diptych. The left wing is the Crucifixion, the crowd at Golgotha under the three crosses. 
Francisco de Zurbarán1627The CrucifixionRobert A. Waller Memorial Fund. CC0.. CC0-1.0Zurbaran's Crucifixion of 1627, the figure alone against black. Nothing in the picture but the cross and the body.
The passage
14 verses45Now from the sixth hour there was darkness over the whole earth, until the ninth hour.
46And about the ninth hour Jesus cried with a loud voice, saying: Eli, Eli, lamma sabacthani? that is, My God, my God, why hast thou forsaken me?
47And some that stood there and heard, said: This man calleth Elias.
48And immediately one of them running took a sponge, and filled it with vinegar; and put it on a reed, and gave him to drink.
49And the others said: Let be, let us see whether Elias will come to deliver him.
50And Jesus again crying with a loud voice, yielded up the ghost.
51And behold the veil of the temple was rent in two from the top even to the bottom, and the earth quaked, and the rocks were rent.
52And the graves were opened: and many bodies of the saints that had slept arose,
53And coming out of the tombs after his resurrection, came into the holy city, and appeared to many.
54Now the centurion and they that were with him watching Jesus, having seen the earthquake, and the things that were done, were sore afraid, saying: Indeed this was the Son of God.
55And there were there many women afar off, who had followed Jesus from Galilee, ministering unto him:
56Among whom was Mary Magdalen, and Mary the mother of James and Joseph, and the mother of the sons of Zebedee.
57And when it was evening, there came a certain rich man of Arimathea, named Joseph, who also himself was a disciple of Jesus.
58He went to Pilate, and asked the body of Jesus. Then Pilate commanded that the body should be delivered.
In the stacks
Not yet checked6Suggested by an AI model from books the library holds but has not yet set as editions. A passage here is a place to read, not a citation.
Christian iconography
During the thirteenth and fourteenth centui Temark me first appearance and frequent adoptio; iconographic theme, which will be noticed at length chapter on the Tnnity. God is at this period fre represented sitting in heaven and holding in hia ai Son affixed to the cross. Thus the crucified is not o upon earth, where he expired, in the midst of agoni( distorted hia glorious body, but Ma cruel anguish brought to sadden heaven. Thenceforth, the crt instrument of his suffering, will rarely be found even when the Saviour ia shown
0.75Religious art in France, 13 century
» Glossa ordmarta lib. Genes, xlvm. 12-15. See Manasseh, and Ephraim. also Isidore of Seville, Qiuest. in I'et. Testam., cap. xxxi. ; De benediciionibus patriarcharum. I42 OF THE THIRTEENTH CENTURY Bourges who, in placing this scene at the culminating point of his window, expressed the belief that it was not for a chosen people but for all men that Christ died on the Cross.1 After the Bearing of the Cross the Crucifixion furnished the occasion for the richest symbolism. In the medallions which surround this scene we find the spring
0.74PEN, PENCIL, AND POISON 73 of "The Crucifixion," by Rembrandt. It is ex- tremely characteristic of his style: — " Darkness — sooty, portentous darkness — shrouds the whole scene: only above the accursed wood, as if through a horrid rift in the murky ceiling, a rainy deluge — ' sleety- flaw, discoloured water ' — streams down amain, spreading a grisly spectral light, even more horrible than that palpable night. Already the Earth pants thick and fast ! the dark- ened Cross trembles ! the winds are dropt —
0.74Religious art in France, 13 century
FIG. 79.— FROM A SYMBOLIC WINDOW AT LE MANS (From Hue her) quote the Glossa ordinaria? Elisha is a type of Jesus Christ. When he learns that the widow's son is dead he first sends his servant with his staff to revive the child, but the servant lacks the divine power which will accomplish the miracle. This is an image of God's servant Moses who could not save the people, although God had given him a rod that 1 It is Elisha, and not Elijah to whom the Bible attributes
0.74Religious art in France, 13 century
186 OF THE THIRTEENTH CENTURY was buried, so that His blood should flow over the bones of our first parent.1 The Cross was not fashioned from any chance wood but from the Tree of the Knowledge of Good and Evil. Its trunk, after having served as the bridge over which the Queen of Sheba passed when she entered Jerusalem, had been miraculously preserved at the bottom of the Temple reservoir. So by the will of God the instrument of the Fall became the means of the Redemption.* And lastly, the
0.73The Varieties of Religious Experience
No words were spoken to me; my soul seemed to see my Saviour in the spirit, and from that hour to this, nearly nine years now, there has never been in my life one doubt that the Lord Jesus Christ and God the Father both worked upon me that afternoon in July, both differently, and both in the most perfect love conceivable, and I rejoiced there and then in a conversion so astounding that the whole village heard of it in less than twenty‐four hours. “But a time of trouble
0.72
How this subject was made
The subject was opened by an Iconclass notation. The library's map reads 73D6, whose own gloss is the crucifixion of Christ: Christ's death on the cross; Golgotha (Matthew 27:45-58; Mark 15:33-45; Luke 23:44-52; John 19:25-38)
, as Matthew 27:45-58; a picture reaches this page when the notation a cataloguer put on it resolves here, whether the cataloguer wrote the notation down or wrote a subject heading that carries one. The authority is iconclass.org/73D6.
Connections
Painted
- The Crucifixion; The Last Judgment1436Van Eyck's diptych. The left wing is the Crucifixion, the crowd at Golgotha under the three crosses.
- The Crucifixion1627Zurbaran's Crucifixion of 1627, the figure alone against black. Nothing in the picture but the cross and the body.