The Cross Beyond the Cross: A Catholic Examination of Dalí's Corpus Hypercubus and the Shadow of Freemasonic Symbolism By Jeff Callaway
The Cross Beyond the Cross: A Catholic Examination of Dalí's Corpus Hypercubus and the Shadow of Freemasonic Symbolism By Jeff Callaway Texas Outlaw Poet I. Introduction: A Crucifixion Reborn — Or Reimagined? Painted in 1954, Crucifixion (Corpus Hypercubus) is one of Salvador Dalí's most striking and provocative religious works. It hangs today at the Metropolitan Museum of Art in New York, a gift from the Chester Dale Collection, where it has resided since 1955 — silent, luminous, and endlessly argued over. It is a painting that stops you cold. You expect nails. You expect blood. You expect the tortured, holy agony of Calvary. Instead, you get a Christ serene and muscular, hovering before a geometric structure made of interlocking cubes, with not a wound visible on His body, floating above a black-and-white checkered floor while a lone female figure gazes up at Him from below. Beautiful? Absolutely. Spiritually complex? Without question. But is it purely Catholic? Is it purel...
