Christ on the Cross

The artist copied Dürer’s 1509 designed woodcut “Christ on the Cross,” part of his “Kleinen Passion,” which was first laid in 1511, reduced in size and from the opposite side. As early as 1827, Heller published the presumption that it was not a direct copy after Dürer’s woodcut, but after the copperstitch copy that Abraham von Waesberge (1602-1672) had moved to The Hague (cf. Heller Dürer 1827 II.610 and I E 39ab of the StaatsHBamberg). The copyist also shows the cross in the center with the lifeless body of Christ. The bleeding side wound emphatically retrieves the jellyfish. The night scene serves as a light source for a radiant crusade, announces the overcoming of death and illuminates the image personnel. While armed men are on the left, the mourners are gathered on the right. Three women turn to each other in quiet despair, John throwing the arms of heaven plainly, and Mary Magdalene sinks at the feet of the dead home. Heller mentions later deductions with the number “17” (cf. Heller Dürer 1827 II.587,1473).