The Calvary Regiment or the Going to the Crucifixion,  is an oil painting on the 1564 painting of Pieter Bruegel, a Flemish Renaissance painter. The monument, in which the monumental cross was used to nail Jesus himself, was fictional, showing the scene of the movement in the Flemish territory. Calvary or Golgotha is the name of the hill on which Jesus was crucified according to the Christian belief in Jerusalem.
This is the second largest work of Bruegel in terms of its dimensions. He is one of sixteen in the inventory of Niclaes Jonchelinck, a rich collector from Antwerp and patron of Bruegel. Jonchelinck, who mediated Bruegel's Months series, may have done the same in this work. The work has been transferred from Bruegel to Jonchelinck's collection in Antwerp. In 1604 the Holy Roman Emperor of II. The book, which was recorded in Rudolf's Prague Collection, was transferred to Vienna. Napoleon was held in Paris by Bonaparte from 1809 to 1815 as the spoils of war. The work of more than 150 human figures is a crowded composition, which is quite traditional in comparison to the other works of Bruegel, which is probably due to the elimination of such a sacred religious event, the monograph of Brunswick Monogram by an anonymous flamencan painter and the contemporary Pieter Aertsen. This is an adaptation of known projects. The unobtrusive position of Jesus among the crowds is a common practice of Bruegel. The main theme of the painting is hidden among the crowds. In fact, even the figures in the picture help to mislead this target, the gaze of everyone turned to the right-hand-side dial of the picture, and Simon turned to be forcibly taken by the soldiers to help carry the cross,  and hardly anyone is facing Jesus. The grieving Mother Mary and her followers were intentionally placed on a rocky ground in an indifferent attitude to the dramatic events that occurred behind them. Throughout his career, Bruegel's landscape studies have evolved from bird's-eye landscapes to expansive landscapes with outstanding naturalness. The Antwerp School, pioneered by Joachim Patinir, is uniquely characterized by rock masses on the ground. Patinir's followers transformed the style into a popular but old form. The series of landscape drawings by Bruegel shows the gradual abandonment of this formula. However, in this study, the reason why the painter turned to the school of Antwerp is that he wanted to transfer the rocky and unusual land structure of the holy land to his painting. In the table, God is depicted as a miller in the position of looking at the scene from above. The ring on the left side of the picture in the walls around the city symbolizes the circle of life and the green leafy tree on the left represents the tree of life. The black ring formed by the audience on the left side Golgotha ​​Hill symbolizes the circle of death. The painter pictured himself and his patron Jonchelinck at the bottom of a wheel-shaped narrow tree on the right, which he represents as a death tree.

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