He did not stir, but he remained exactly where he had fallen, with his left arm bent out at an akward angle and his mouth gaping.

But there was no such beauty in Rogojin's picture. This was the presentment of a poor mangled body which had evidently suffered unbearable anguish even before its crucifixion, full of wounds and bruises, marks of the violence of soldiers and people, and of the bitterness of the moment when He had fallen with the cross--all this combined with the anguish of the actual crucifixion. "The face was depicted as though still suffering; as though the body, only just dead, was still almost quivering with agony.