The young painter made ten preparatory drawings and sketches for this, more than for any other work of art. The harsh scene, in the noon sunlight, is emphasized by the approaching darkness.

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‘The Carrying of the Cross’ it is called, but ‘The Fall of Christ under the Cross’ describes it more accurately. It is the fourth sorrowful mystery. The Passion Gospel only describes the enforced assistance by Simon of Cyrene and the encounter with the mourning women of Jerusalem. In the traditional Stations of the Cross the devotion to Mary added this step to the calvary journey. You find it as the fourth Station; it shows an encounter between mother and son.

Based upon the production period of the entire series, this work probably dates from 1617; Anthony Van Dyck was barely 18 then. He was not registered yet as a free-master in St. Luke’s Guild; this only happened on February 11 of the following year, 1618.

Paintings are preceded by drawings, usually more than one. At best, we still possess these studies in public or private collections, but they’re rarely seen in daylight. Today, we, as a public, are fascinated by the making of .., whereas in the past, only the art historians were interested in the production process.

No less than ten preparatory drawings are known for this work, with pen and brush in brown ink, or with black chalk, more than for any other painting. The Antwerp Print Cabinet owns the copy on which grid lines prepare for the transfer to the panel or canvas.

Van Dyck first organized the whole composition more to the left, with Mary in an upright position. Probably, to respect the viewing direction of the whole series, he turned the composition to the right, with Mary sunk on her knees; an executioner lifts the cross beam, so that Jesus has no other choice than to get up again.

In the finished painting you see Jesus’s face in the centre, a little below the middle, a tiny worm trampled to the ground. Diagonal lines come from the commander’s stick, the tight rope and the outstretched arms.

This event happened on Good Friday, around noon; the servant on the right gets the full midday sun on his bare back and a shadow comes out under his left foot, which is slightly lifted. The sad procession climbs up Mount Golgotha, as you can see from the gentle slope at the bottom right.

Mary’s veil and the edges of her sleeves also catch a streak of sunlight.

The eye-to-eye of mother and child turns this event into an extreme drama; however, neither show defiance, their facial expressions are more subdued. The sacrifice of love is accepted in faith.

There’s a connection with the fourth scene in the series ‘The Presentation of Jesus in the Temple‘, in which old Simeon had prophesied to the young mother “a sword will pierce through your own soul also” (Luke, 2:35). A mother can suffer so deeply! Or: once a mother, always a mother.

Back to the painting: behind mother Mary, Simon of Cyrene is helping to lift the cross. His red cloak makes him stand out from the other characters. Given the imminent solar eclipse, the helmeted Roman soldier stands against a darkened background. In addition, he wears a sinister black suit of armour that reflects flashes of light.

As he had done in the last preparatory drawing, the painter has the bodies of Mary and the executioner cut off by the frame of the painting which has a suggestive effect: mentally you fill in the missing figures yourself.

Van Dyck demands strong concentration from his spectator: you are forced to look for the eyes of Jesus. He, however; doesn’t return your gaze, but looks at his mother; it’s a psychological line in the scene that you have to draw yourself.

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