It all started with this photo sent by a friend, with this message:

"Have you seen the beauty of this work? Did you make the base*?"

My eye was immediately drawn to this work. My brain started buzzing; I had to know more. What was this Christ on the cross, where did it come from, what era is it from?

* This time, no, the base was not made in our workshops 😅

First, let's go back to the photo that was sent.

After a very brief investigation, it turns out that this work was photographed in the window of the Alexandre Piatti gallery.

This gallery is located on Rue de Beaune in the mythical Carrée Rive Gauche, THE antique dealers' district of Paris.

La Bulle and the Alexandre Piatti gallery have been collaborating for several years now.

Specializing in Early Period art, Alexandre strives to modernize the perception one might have of this period in art history, which is ultimately quite unknown. In his gallery, emotion is very often present.

It was therefore natural for me to ask Alexandre about the provenance of this Christ on the cross.
My investigation was progressing faster than expected 👍🏻

We were in the presence of a remarkable specimen of an articulated Christ.

Art history often holds surprises for us, and when the magic happens, it's like this.

But what exactly are we talking about? The representation of Christ on the cross is a very common theme in the art world.

So why so much emotion for this one? Let's go back to the genesis.

The representation of Christ evolves with time. From the triumphant Christ of the early representations, with attributes such as a royal crown, a long cloak, and especially open eyes, we shift to the penitent Christ. The one who sacrificed himself for men, adorned with a simple perizonium. The royal crown having been replaced by the crown of thorns.

Saint Francis of Assisi imposed on the representation of Christ a dimension of suffering absent until then. The penance and pain of Christ on the cross must be shown. The faithful must thus enter into compassion and "honor the sufferings Christ endured for us."

Christ was no longer to be a simple image; his carnal aspect was now to be highlighted. He is the incarnation of man on earth, and his suffering must be shown.

• the eyes close
• the head bows
• blood continues to flow from the 5 wounds
• pain is etched on his face

Today, our gaze is accustomed to this representation.

As base makers, the figure of Christ on the cross is not entirely foreign to us.

Here are the suggestions we can offer for basing a Christ on the cross.

In many cases of Christ on the cross, the cross has disappeared because it was made of wood. Hence the usefulness of creating a custom base.

If you are in this kind of situation, send us a message to discuss it.

Not so similar

Beyond their differing colors, these three Christs seem more or less similar.

However, this is not the case. This is why it is not possible for us to create a standard display stand for a Christ (unlike, for example, a sea coconut).

Look closely 🔎

1. The position of the feet: crossed for the two on the left and parallel for the one on the right.
2. The position of the arms, more or less long and in a V shape.
3. The presence or absence of Christ's attributes: the crown of thorns and the perizonium. The one on the right is completely nude, which is quite rare.

For these three pieces, the size and proportions of the base are adapted to the size of each. However, the support system is identical. It is located under the arms. This is a less intrusive solution for the artwork, as it simply involves resting the object on the hooks.

It must be admitted that this project of a suspended Christ was particularly daring. And the effect in the shop window was truly impressive, especially at night.

Experience the Passion of Christ!

This style of sculpture comes from a tradition that developed in the Middle Ages between the 11th and 12th centuries. These works contributed to the devotion of the faithful during Holy Week. Christ appears in all his suffering in a much more human incarnation than usual. They are meant to invite the faithful to experience his passion through their entire body. Imagine that at the time, the sculpture was adorned with real human hair that had to be changed regularly.
The articulated nature of this work gives it a unique appearance.

But why allow the movement of the arms?
By giving it movable arms, the artist allows his work to transition from a representation of the crucified Christ to that of the deposed Christ. The head more bowed and the arms alongside the body.

Only 60 copies of this type of articulated Christ still exist.

They are mainly visible in Italy. The one depicted above can be attributed to Giovanni Angelo Del Maino. This artist was one of the greatest masters in creating this type of Christ.
Some of these Christs are present at the Pinacoteca di Brera in Milan. For the rest, some examples can be found at the MET in New York.

Thanks to the Alexandre Piatti gallery. To learn more: https://www.anticstore.com/christ-articule-italie-lombardie-xve-siecle-120873P