This text reconstructs the religious, legal and historical context of the Crucifixion and of other images of public torture. The result is an account of a time when criminal justice and religion were entirely interrelated and punishment was a visual spectacle devoured by a popular audience. Mitchell Merback compares the images of Christ's Crucifixion with those of the two thieves who met their fate beside Jesus. In paintings by well-known Northern European masters and provincial painters alike, Merback finds the two thieves subjected to incredible cruelty, cruelty that artists could not depict in their scenes of Christ's Crucifixion because of theological requirements. He explores the ways audiences in early modern Europe understood images of physical suffering and execution. The frequently shocking works also provide a perspective from which Merback examines the live spectacle of public torture and execution and how audiences were encouraged by the Church and the State to react to the experience.