
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
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View in the galleryThe column takes the wounds. Rouen's curators point to its marbling, streaked like wounds, rising skyward above a Christ whose stripped, athletic body is still whole. Light from a cellar window, falling from above, strikes the gestures of the men at work; the museum says it lends them a kinetic force, and that their common look makes them seem more like unhappy victims than tormentors.
The picture came to Rouen in 1955 under Mattia Preti's name; Roberto Longhi soon returned it to Caravaggio. The red mantle lies thrown down, royalty stripped; the white loincloth, the museum notes, recalls the shroud.
Sources: Musée des Beaux-Arts de Rouen, 'La Flagellation du Christ', Caravaggio, 955.8.1; read 2026-09-06. · Musée des Beaux-Arts de Rouen, 'The Flagellation of Christ', Caravaggio, 955.8.1 (English page); read 2026-09-06. · Musée des Beaux-Arts de Rouen, exhibition page 'Caravage. Un coup de fouet'; read 2026-09-06. · INHA, Agorha, 'Caravaggio, La Flagellation du Christ, peinture', Rouen 955.8; read 2026-09-06.
Then therefore Pilate took Jesus and scourged him.
John 19:1 · Douay-Rheims (Challoner)
Printed on demand. Public-domain masterwork, reproduced from a 9,312 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.