gh creative engagement with customary standards.” Unlike the tales related to Christ’s birth, the events of the passion were decorated by agonizing emotions such as passionate companion and anger. The artists here worked deftly to make the viewer share these feelings1. This shows that the artists were driven by the work and ideologies of modern theologians who implored the faithful to recognize with Christ in his torment.
This painting was intended to cultivate a sense of mediation on Christ’s self-sacrifice and it consequently points to his torment by depicting him hanging greatly with bowed head and bleeding wounds. A swarm of other statures forms the backdrop of the cross and they are frequently notable for their expressiveness. The altarpiece depicts Virgin Mary weeping piteously in the foreground. Other hosts of statures are in oriental dress just gaze at Christ as if he has somewhat enthused them. These figures permeate the scenes with enhanced reality, which in effect makes the episode more available to virtuous rumination (MacArthur 12-25).
The episodes from the passion have made the concentration of greater independent picture. This approach by the artist brought new probabilities for artists as well as virtuous viewers. The artist seems to have been influenced by the spirit of counter-reformation, which is why the artist worked hard to involve the emotions in meditation of Christ’s suffering and death. The painting dispenses with details of tales and environment and so compels the observer into deviating engagement with the body of Christ. This was achieved by showing Christ’s suffering with categorical realism at distance to the observer2. The artist style depicts a demonstration of the potency of artistic custom in the service of expressive effect. The superlative costumes and compacted configuration of the statures demonstrates the artist’s experience and emphasizes the reality of the scenes presented.
In the 15th century, the Catholic