Apex of the painter's mature production, the canvas returns a dramatic image of Calvary, in which the bodies of Christ and the robbers are illuminated by a strong light that pierces the stormy sky. The painting combines memories from Giulio Romano, with derivations from the Nordic world, evident above all in the brawl of the soldiers who dispute the robes of Christ at the foot of the cross, a scene taken from a famous engraving by Luca di Leyda. These pieces of brutal realism are counterpointed by others of refined elegance, such as the composed and very noble lamentation of the mourners on the left, juxtaposed with a frieze as in a classical bas-relief. The restless conduction of the brushstroke that lights up with flashes in the landscape on the background and juts out with plastic evidence the figures in the foreground reveals the now strongly anti-classical propensities that nourish the artist's language in mature years. It is clear that, after the attention paid to Raphael and Parmigianino, the Ferrara painter is looking for other models to refer to in order to express his strongly pathetic imagination and the anguished feeling of religiosity.