The huge dimension of the painting, the soft wave of the cover, the use of thick and lively colours, make the Via Crucis in Carugate resemble the early medieval frescoes, which covered entirely walls, chapels, and naves of cathedrals (the San Francis of Assisi Church, the Scrovegni Chapel in Padua). The animals with their childish spirit become angels. They are the new protagonists of the painting: Christ embraces his mother while a goat watches over them, a sheep observes the shroud in the hands of the shepherdess, the ox and the donkey guard the entrance of the Sepulchre and feel the grief that humans experience in the time of separation. The sense of dreamy disorientation in the painting which is a feature of my way of working, is enhanced by the black lines, a sort of isobaric lines, crossing the painting in all its length and connecting even the furthest parts in the scene. The lines softly lengthen or roll into a vortex giving a dramatical aura to the representation. Colours used: pigments of naturally coloured ground and oxides “tied” to siloxane resin.