The Mocking of Christ
The original, as its museum records it
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.
The file this print is made from
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View in the galleryAbout this painting
The blindfold is the one thing this panel refuses. Luke has the mockers blindfold him and demand he prophesy who struck him, and some of Cimabue's Tuscan contemporaries, as Anne Derbes has shown, were already adopting that seated, blindfolded Christ. Cimabue's stands, arms limp, while a hand reaches from the crowd and seems to pull away his halo.
Two sheathed swords, set symmetrically, steady the frenzy and carry the eye up to his sorrowful face. This board's wormholes reportedly matched the back of the National Gallery's Virgin, which hung directly above. Fewer than ten panels are accepted as Cimabue's.
Sources: 'A long-lost Cimabue has emerged — and the first light of painting now burns brighter than ever', Apollo Magazine · Anne Derbes, Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant, Cambridge University Press, 1996 · Apollo Magazine article; Gordon, National Gallery catalogue, discusses same color logic across the three panels · Musée du Louvre, Département des Peintures, object record · Luke 22:64, Douay-Rheims (Challoner).
And they struck his head with a reed: and they did spit on him. And bowing their knees, they adored him.
Mark 15:19 · Douay-Rheims (Challoner)
Printed on demand. Public-domain masterwork, reproduced from a 8,134 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.