Two letters to the editor respond to Charlotte Higgins's article on Francisco de Zurbarán. Paul McGilchrist critiques the physical inaccuracy of crucifixion depictions, including Zurbarán's *The Crucified Christ*, noting that most paintings fail to convey the true weight and distortion of a body suspended by nails. Jean Wilson highlights Zurbarán's series *Jacob and his 12 Sons* at Auckland Palace in Bishop Auckland, describing its history since 1756 and its connection to Bishop Trevor's support for Jewish rights.
These letters matter because they engage critically with art historical interpretation, raising questions about anatomical realism in religious painting and the cultural significance of long-term collections. They also demonstrate how public access to historic works—like the Zurbarán series at Auckland Palace—can spark ongoing dialogue about art, faith, and social history.