受難之路

This is the second-largest known painting by Bruegel (after The Wine of Saint Martin's Day). For Bruegel the composition is unusually traditional. Perhaps because he was treating such a solemn religious event, he adopted a well-known scheme. Christ's insignificance among the crowds is a familiar device of mannerist painting, as is the artificial placing of Mary and her companions in a rocky foreground, which is deliberately distanced from the dramatic events taking place behind them.