Description: In his representation of the Crucifixion, Hayez chose to depict the moment of maximum intensity, the moment in which Christ and Mary Magdalene are alone, immersed in the absolute silence of a conception of pain outside of time, which is made sublime in the beauty of their forms. The painting is a sort of synthesis of high romantic values, both in terms of the structural balance, given by the intersection between the plane of the figure of Christ and that of Magdalene, and in terms of the properly pictorial elements, with color and light effects that cause the almost bleached white of Magdalene’s sleeve and Christ’s loincloth to stand out against the darkness of the background. It seems evident that the naturalism of Titian, an important point of reference for Hayez, here has become a completely new conception of painting, aimed towards the romantic search for the sublime and for formal perfection. There are clear references to Titian also in the dark landscape, pierced by the glow of dusk. In particular, there is an allusion to the Crucified Christ with the Virgin, St. Dominic and St. John in San Domenico at Ancona, while the foreshortened position of Hayez’s Christ is similar to that of the many crucifixes by Van Dyck.