Christ is shown here invading all of the space with His colossal stature, a stature which the fall from grace He endures at the Golgotha seems to amplify. The giant figure, the undetermined body, lacking arms and legs, the bowed head, left in a deep black, unfold before the viewer. Christ is drawn here like threatening in His helplessness which is also a seize of power. The entire body is speckled with hatches, tiny sparkles being discernable, here and there, as to indicate the possibility of a hope. A second and enigmatic figure stands at the right of the mass of Christ. It contrasts singularly with the latest, as it is made of clear line, and is drawn in profile. It looks like a kind of deranged penguin, which would have had lost his way and world to appear strangely at this so crucial time. His silhouette is ambiguous, both masculine and feminine. An event occurs, in this unprecedented scene: the penguin puts his enormous right arm around the giant but already self-erased body of Christ: to comfort Him, or, instead, to choke Him? It is like Christ’s ordeal was going along with horrific ghosts returning, made of the madness He has been accused of by ignorants. Anyway, it is also like he recovered the divine power to prefigure the future, loaded by hope. Hence the disturbance one feels looking at this incredible drawing. As the viewer tries to decipher this astonishing scene, many images come to his/her mind. Medieval figures, and their specific perspective, Michelangelo’s unfinished, Picasso’s findings and groups, are both present here, with this stunning novelty which, step by step, keeps arising, to constitute a work no other artist, nowadays, is able to produce.