Evocative of the photograph of a cat with the Matterhorn in the background that inspired his Zermatt paintings, the dramatic composition sets the crucifixion-like scene of ‘Holy Mountain’, the last of six prints in Peter Doig’s ‘Zermatt’ (D1, 2022), in the context of snowscapes. The Matterhorn is shown here as if illuminated by a bright light against a darkening sky, the figure of the skier simulating Christ, his cross swapped for pair of crossed skis.