鞭打ち後のキリスト

Most painters showed Christ tied to the column being whipped. Murillo chose the moment just after, when the soldiers have gone and Christ, alone on the ground, gathers his scattered clothes. It is a quieter, more intimate kind of suffering, and it suited Seville around 1670, a city that liked its devotion tender and up close. Murillo was the leading painter there and grew rich on exactly this sort of work. The canvas later travelled far from home. In the 1840s it hung in Paris in the Spanish Gallery of Louis-Philippe, the French king who briefly made Spanish Baroque the height of fashion. Two angels attend Christ in the gloom, a small mercy set against the bare stone.