[1] Cornelis van der Geest, a wealthy merchant and churchwarden of the Catholic Church of St. Walburga, secured this commission for Rubens and funded the majority of the project.

[1] The Antwerp triptych was positioned above the high altar preceded by a set of stairs, making it visible from a great distance in the vast Gothic cathedral of St.

[2] While Rubens' triptych was present in St. Walburga, the painting was surrounded on all sides by images of God the Father, Christ, angels, and at the top of the structure was a gilded wooden pelican, which was a common representation of Christ's redemptive sacrifice, based on the ancient legend that the pelican hacked his brood to death in a first rage, but then brought them back to life with his own blood.

[1] The setting is dark and restless as the group of spectators, soldiers, horses, and the strained bodies of the executioners surround the soon-to-be crucified Christ.

[4] Jesus Christ and the elevation of his cross are the focal points for this artwork, with features of the story overflowing from the middle panel onto the wings on both sides.

[4] Jesus' body is a picture of classical nobility; with arms raised and gaze turned upward, Rubens emphasizes Christ's willing sacrifice over the horrors of his crucifixion.

[3] The Virgin and Saint John are identified above them, deeply moved, reflecting on the meaning of the raising of the cross and Christ's plea for forgiveness.

[3] The Elevation of the Cross is an accurate biblical representation of the crucifixion of Christ, in keeping with the specific guidelines for art produced following the Council of Trent.

[5] Rubens contrasts the uniqueness of Christ's plea for forgiveness with quotations from ancient depictions of the vengeance of the gods (Laocoon, Niobids, Farnese Bull).

[3] The work shows the clear influence of ancient sculptures (Laocoon, Niobids, Farnese Bull)[3] and Italian Renaissance and Baroque artists such as Caravaggio, Tintoretto and Michelangelo.

[1] Peter Paul Rubens's foreshortening is evident in the contortions of the struggling, strapping men, which is reminiscent of Tintoretto's Crucifixion in the Scuola di San Rocco in Venice.

[2] Christ cuts across the central panel diagonally, akin to Caravaggio's Entombment where both descent and ascent are in play at a key moment.

[2] Rubens was head of a workshop that consisted of a hierarchy of pupils, assistants, and collaborators – all of which played an important role in the creation of the painting.

Also called a modello, this oil sketch served as a sample painting for the patron to approve the overall story and imagery, especially paying attention to the iconographic details.