The Crucifixion by Matthias Grunewald

Long before Mel Gibson brought the horror and brutality of Christ’s passion to the movie screen in “The Passion of the Christ,” Matthias Grunewald brought the horror and brutality of Christ’s passion to his altarpiece.

In order to understand “The Crucifixion” by Grunewald, you must first understand the background of this unique work of art.

“The Crucifixion,” which is part of the Isenheim Altarpiece was commissioned by the Antonites. The Antonites were a hospital order of medieval monks that devoted themselves to the care of people in the tiny hamlet of Isenheim. In the 1500s, that care consisted primarily of treating patients who were afflicted with a terrible skin disease called “St. Anthony’s fire,” or ergotism, which was caused by rye fungus. This disease caused serious convulsive symptoms including painful seizures and spasms, as well as visible and painful pustules and open wounds.

The Antonites would construct temporary hospitals at all the major trade junctions affected by this disease. People who came to these hospices knew they would soon die. German painter, Matthias Grunewald was invited to the Antonites’ monastery and asked to create an altar piece for the Abby church in this hospital. In a time before painkillers, Grunewald was asked to create a painting that patients could meditate upon to help them cope with their own agonies. As they suffered from their disease, they could look up to see Christ’s intense suffering for them on the cross. This would bring hope to the dying audience.

On the far left of the painting, is Mary, the mother of Jesus. She is not dressed in the clothing of her times. She is dressed in the same way that the nuns/nurses were dressed as they cared for the sick in the hospital.

Mary is being comforted by the Apostle John. Jesus has asked the disciple whom He loved (John 19:26) to care for his mother.

Mary Magdalene, from whom Jesus drove out seven demons (Luke 8:2) is kneeling in front, praying, wringing her hands in sorrow. She has a vessel of ointments at her side, which she is planning to use later to anoint Jesus’ dead body. At the hospital where this painting was originally displayed, Mary Magdalene would have been at eye level with the patients. She best symbolizes the feelings of the patients. They could see her grief and immediately identify with it.

On the right, John the Baptist is pointing at Christ and saying: “Illum oportet crescere, me autem minui” or: “He must become greater, I must become less” (John 3:30). The Lamb is at John’s feet. His side is pierced and blood is being collected in a chalice. This is an ancient and well-used image for the Lord’s Supper, the Feast of the Lamb.
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Jesus on the cross dominates the picture. He is specifically painted larger than all the other individuals in order to stand out and tower over everyone else.

We may often see images in contemporary art or on the movie screen of a bloody, beaten and suffering Jesus on the cross. However, portraying Jesus as horribly twisted and mangled as he is in this painting was unusual and truly unique in the 16^th century.

Christ’s skin is a grayish green. His body is covered with wounds – the same plague-type sores the patients had covering their bodies. Christ’s head is crowned with thorns and hanging painfully on His chest. His limbs are twisted and His hands and feet are distorted, bringing to mind the convulsive seizures and spasms of those suffering from St. Anthony’s fire.

This is a portrait of a brutal, solitary … but substitutionary death.

The original painting was physically huge – about 9’ tall x 16’ wide. The figures in the painting appeared to be life-size to the patients that would stand in front of it.  “The Crucifixion” became part of the curative process at the hospital. Every patient that was brought into the hospital was brought past this painting and given a chance to study it, to meditate upon it, to pray, and to hopefully find some spiritual comfort in its message. The belief was so strong that a patient did not receive any medical treatment until they first were exposed to the painting.

Grunewald’s image of the crucified Christ portrays a visceral and emotional intensity. As the patients entered the Antonites hospital in Isenheim, they saw that Christ was not only taking their sins upon him, but also their painful and deadly disease, as well.

This image of the crucified Christ communicated to the hurting in the 16th century that Jesus was hanging on that cross specifically for them. When we in the 21st century see this image of the crucified Christ, it communicates the same message – Christ is on that cross for us.

Seeing Jesus on the cross like this does not put any money into our checkbooks … but faith in the crucified Christ has stored up treasures for us in heaven! The crucified Christ may not heal our cancer … but trust in his substitutionary death will raise our bodies from the dead on the Last Day! Viewing the horribly disfigured Son of God on the Roman cross may not put any hair on our heads or make us more popular with the girls; it may not trim our waistlines or put us into bikini shape for the summer (if we ever have summer again). No, it may not do any of those things … but confidence in what Christ accomplished on the cross does make us right with God – now and for eternity!

Whether we are healthy or diseased, old or young, 16th century or 21st century Christians, these words are a powerful prayer as we meditate upon the cross of Christ: “Nothing in my hand I bring, Simply to thy cross I cling; Naked, come to thee for dress, Helpless, look to thee for grace” (“Rock of Ages, Cleft for Me”, Augustus M. Toplady).

Credits: Great thanks to Steve Brown for his insights into this unique work of art. Steve also believes very strongly in the arts. The artwork he is most passionate about is the art of using contemporary music in Lutheran worship. You can learn more at Steve’s blog: Worship Ideas You Can Use.