The composition seems almost crowded. The effect is due to the clear contrast between the elements in close-up and the landscape below. The landscape is absolutely imaginative: in the background it shows Jerusalem, which resembles a German small town, along with improbable mountains and waters. This implies that Durer was trying to draw the public’s attention to the mourning figures: in fact he depicted the detailed background as if it was theatrical scenery. The centrality of the 9 figures is organized through a skilful line structure: there is a first triangle whose angles are on John and whose base lays on the white sheet that is going to be used to wrap Christ’s body; then we find another triangle, whose angle is on Mary’s head and whose base is between Mary Magdalen and Christ’s body.

The thoughtfully organized space is somehow upset by the presence of five small and almost imperceptible characters on the lower sides of the picture. In this case formal perfection was partly lowered for an important reason: in fact these figures are the family who commissioned the painting to the artist.

We praise You and we bless You, Jesus, our Lord, because with Your Cross You redeemed the world.