Crucifixion-depictions.

 The other day, I came across a photo of this 12^th-century fragment
 of a Catalan crucifixion, and noticed that Jesus here actually looks Jewish
 – which is extremely rare.

 

His eyes are closed, which is extremely common,
so I did a bit of investigating to see
if there were any dying Jesuses with open eyes. 
There are just a few, and they are fairly unremarkable.
Jesus, unbearded, is well-fed to the point to stodginess on this early ivory,

 

while on this much later Romanesque ivory he is rather overdressed,
but bearded.

St Paul was not a fan of the crucifixion.  His view of the god he had created was as King of Heaven and the World and overseer of Family Values.  He was as ardent a royalist as Constantine the Great.  And for over a thousand years most representations of Jesus were as King of Heaven.

The earliest known Crucifixion-depiction in stone is a satirical Roman  graffito with a donkey's head.

But by the third century, crucifixion-amulets were in circulation.

It wasn’t until the thirteenth century that the lust for blood entered Christianity, ushering in thousands of horrible representations of suffering:
Jesus became more victim than king, but was still king of Heaven.  
It wasn’t until the fourth Lateran Council, also in the thirteenth century that marriage became a Christian rite (hitherto accorded only to kings and princes), not long after Jesus’ mother became a cult figure.  

Later on the ghastly Sacred Heart, beloved of Irish Catholics became (and remains) a vogue.

But, to revert from the obscene to the sublime, this superb Romanesque tympanum treats the subject very sanely.
As I said, Romanesque depictions of the crucifixions are very rare, but (reverting from the obscene to the sublime) this lovely Spanish tympanum, crams quite a lot of the post-crucifixion story into a small space.

Jesus is shown carrying the cross as he stumbles to Calvary, a scene that was uncommon on tympanums of that period.
In front of Christ are two soldiers; behind him, two more soldiers; and following them are two figures: a bearded man in a cassock and a woman with a grimace of pain, clutching her right hand with her left, in the traditional gesture of grief. 

On the outer ring, the three Marys are depicted visiting the tomb (sarcophagus), indicating the Resurrection. On either side, two soldiers guard the tomb. Their bodies lie on the ground in a strange contortion to fit the space. 

Finally, there is the unusual figure of an angel holding a book, maybe the Gospels.

To return to the question of eyes, here is Jesus (white, of course) with his eyes rolled back in pain, by the renaissance painter, Niccolo di Liberatore.  He is clean-shaven.

The thousands of crucified under the vicious Roman empire were always stripped of their clothes, including their loin-cloths.  Only one Western representation (that I know of – by guess who ?) shows the Prophet of Galilee naked and pale - and teen-aged.

Michelangelo: Crucifixion