Caravaggio's Crucifixion of St. Peter

David · The Crucifixion of Saint Peter

Painted by Caravaggio in 1601 at the age of thirty, nine years before his death, The Crucifixion of Saint Peter is an example of classic Baroque art, and it is also classic Caravaggio. It’s one of my favourite paintings in Rome and I never tire talking about it. It’s so dramatic, so in your face, there’s certainly nothing subtle nor graceful, nor pious about this representation of St Peter, who is about to be crucified upside down.

Upside down, because he did not consider himself worthy of being crucified the same way as Jesus Christ. He’s an old man, practically naked, very vulnerable. He’s already had his feet and hands nailed to the cross. Look at the bloodied nails. Despite the torturous pain, Peter is still straining, still making an effort, still resisting but his strength is waning. Perhaps in a moment he will lie back, give in and accept his fate. The realism in the scene is so striking. Peter’s wrinkled forehead; his weary eyes staring at something out of sight; his open mouth gasping a breath.

Meanwhile his executioners are simple workmen giving it their all to hoist up the cross. It’s very telling that we don’t really see their faces. Any emotion on their part is held back and concealed by their physical efforts necessary to finish what they’re doing. The painting is a display of force and movement. One workman’s veined arm is holding the cross at Peter’s legs while his colleague pulls hard on the rope, at the same time as the third shoves up with his shoulder. The same man’s backside and dirty feet are in prominent view. All these separate actions and reactions come together to give us a dramatic moment, which is one defining aspect of baroque art. Different from the tranquil scenes of a renaissance painting, Baroque gives us great drama and intense emotion. To sum up Caravaggio in a single word, he is dramatic.

This depiction is gritty and physical, more realistic, which ordinary Catholic worshippers could relate to. Drama and emotion in art was in fact encouraged by the Roman Catholic church in response to the austerity of the newly founded protestant faith, thus Baroque art was a visible element of what was known as the Counter Reformation.

Caravaggio produced several paintings which depicted tense scenes of violence and death. As we can see, the drama in this scene is heightened through Caravaggio’s use of chiaroscuro, which means, light and darkness. He produces shadows and contrast. The background is also very dark, which further highlights what is happening, just like a drama unfolding onstage under a spotlight. Chiaroscuro was Caravaggio’s signature style and was present in much of his work.

One final thing worthy of mention is the composition. The action is happening off centre and the cross is presented diagonally with Peter’s feet and the labourer’s backside given prominence. In a way, things are upside-down and backwards. Compared to a renaissance painting this is unbalanced, but we are certainly more emotionally involved in the scene as the cross exits the frame and enters our viewing space. Caravaggio has brought us up close to the action to feel the energy and the terror of what’s happening to Peter.