Plaque with the Crucifixion and Defeat of Hades -

This plaque is a Byzantine masterpiece among ivory icons. It is a small representation of the Crucifixion and is the only surviving portion of a triptych whose wings are now missing.

This Byzantine depiction of the Crucifixion emphasizes Christ's victory over death. In this case, the cross signifies both the weapon with which Christ's crucifixion wins man's salvation and a victory standard. The impact of this message is brilliantly conveyed through the simplicity of the composition, which is marked by large areas of uncarved ivory. The resulting shallow space creates a dramatic stage for the emotional pathos of the figures.

Crucifix - Cimabue

This stationalcross from 1270 is designed to hang above the church’s altar. It features oversized end panels as seen in many Byzantine reliquary crosses. It is designed for instructive purposes, and so is encircled with traditional narrative paintings that would be recognized by the common people. The stories told here illustrate many scenes from the life of Mary and Jesus.

It is significant to me, because of the way it ties Christ’s death to His life in one image. The “stories” on the ends of the cross remind the viewer of the life of Christ, and the good He did. Often I believe the dramatic depictions of the crucifixion cause us to forget the grandeur of Christ’s life. The way the artist reminds us of that in this crucifix is significant.

Christ’s body doesn’t seem to represent natural proportions exactly, but there is noteworthy detail in His face and the faces of the other persons.

Crucifixion - Mosaic

This is an 11th Century mosaic from the Church of Dormition, Daphne, Greece. It highlights the popular Byzantine style of the age. The skull at the foot of the cross symbolizes Golgotha, the “place of the skull,” a hill outside Jerusalem. Many believed it was the site of Adam’s burial and of the Crucifixion.

The Lamentation - Scipione Pulzone

During the time of the Reformation a great divergence arose between the Catholic Church and the Protestant Reformers of the north regarding the content and style of art work. The Catholic Church viewed Protestantism and its iconoclasm as a threat to the church. They felt that much religious art in Catholic countries (especially Italy) had lost its focus on the religious subject-matter, and became too interested in decorative qualities.

This work in 1591 by Pulzone refocuses the message on Christ and is free of any decorative distractions. There is minimal, if any, blood on Christ, and the primary detail is in the faces of those lamenting Christ’s death. He is the largest figure (filling up almost the entire frame) and the simplicity of the depiction of Christ is very moving in and of itself.

The Crucifixion - Fra Angelico

Angelico also chooses to emphasize the brutality of the Crucifixion by portraying a lot of blood in this scene. I observed that the blood running down the cross from his feet runs all the way to the skull lying on the ground. The skull reminds the viewer of both the ominous death of Christ and the location where he died, Golgatha. The friends of Christ are identified by the golden halo’s around their heads, and the other darker figures surrounding are primarily Roman guards (identified by their red hats, clothing, flag, etc.)
I particularly like that Angelico included angels flying around Christ who seem to be ministering to Him, or at least they are entirely focused on the Son of God. It reminds me that the event of Christ’s death was both dramatic on Earth as well as in the heavens.

Interesting side note for this image:
Of all known works by Fra Angelico, this panel is the only one that bears an inscription that may be interpreted as a signature. Running across the bridle of the horse at the far right are the gilded letters Fr[a]t[er] Ihone[s], or Fra Giovanni. If this inscription refers to the artist rather than to his (unknown) patron, it would imply that the painting was completed only after Fra Angelico had professed his vows as a Dominican, some time between 1419 and 1422.

The Crucifixion - Master of the Berswordt Altar

This panel was part of an altarpiece from the Neustadter Marienkirche in Bielefeld, Westphalia in 1400 AD.The Crucifixion was one of thirty scenes proceeding from the Fall of Man to the Last Judgment. The artist was one of the foremost painters of the International Gothic in northwestern Germany.
The image depicts Christ in what appear to be His final moments on the cross after many bystanders have left and only those closest to Him remain. His side has also already been pierced. The artist emphasizes the brutality of Christ's death by emphasizing the blood running from his wounds. The woman most certainly are Mary and Martha, and the artist doesn't portray them as being overly sorrowful, but of course, their expressions show no sign of peace for the man they most loved is now dead.

Modern Church Window

The sun and moon on either side of the cross are a regular feature in medieval crucifixion. According to ancient traditional iconography of the Crucifixion, the mystery of Christ's death is depicted with two "witnesses" of cosmic salvation: the sun and the moon. They express the universal scope of salvation by Christ on the cross, but, also, the permanent symbol of the relationship between Christ (Sun of Justice) and the Church (Selene).The moon with its cosmic phenomena symbolizes the mystery of the Church. It does not shine its own light, but it projects out what it receives from the sun.