It shows the common subject of Christ Carrying the Cross to his crucifixion, at the moment when he fell and his mother suffers a spasm of agony, the Swoon of the Virgin, or "Lo Spasimo".

[2] All the emotion of the painting is densely crammed into the foreground and the background is similar to that of a stage set with distant groups of people and crosses.

Here being drawn to shore, it was seen to be a thing divine, and was taken care of, being found uninjured, even the winds and waves in their fury respecting the beauty of such a work.

[6] In 1661 the painting was acquired by the Spanish Viceroy Ferrando de Fonseca on behalf of King Philip IV, who wanted it placed on the main altarpiece of the Royal Alcazar of Madrid chapel.

Perhaps by royal commission, in 1674, Juan Carreño de Miranda executed a splendid copy of Raphael's original, which was displayed to the public on the main altar of the Convent of Santa Ana of barefoot Carmelites in Madrid.