Gothic Christ, 15th century.
Carved and polychrome wood.
Measurements: 154 cm (height) x 148 cm (width).
Round figure carved in wood and polychrome, representing a crucified Christ, already dead, with closed eyelids and half-open lips. The tilted head draws a diagonal with respect to the legs slightly tilted to the opposite side, so that the body is harmonious in anatomy and proportions. There is a restrained drama in the treatment of the traces of suffering, especially in the chest with its marked ribs, and the thinness that gives a glimpse of muscles and tendons, as if the tension of pain were still palpitating in the inert body. The purity cloth is gathered at the side, favouring a play of naturalistic drapery. All these characteristics are typical of the late Gothic period: the naturalism imprinted on the canvases, which differs from the greater angularity of the early Gothic, as well as the study of chiaroscuro and the realistic intention in the anatomical description.
During the Gothic period, free-standing sculpture, independent of the architectural framework, considerably increased its repertoire, both in typology and iconography. However, the figure of Christ crucified respects the tradition of the Romanesque period, although the Christ dressed in a tunic disappears and the cloth of purity is maintained. From the Gothic period onwards, Christ was depicted dressed only in a cloth of purity. In the Romanesque it always appeared with four nails, but in the Gothic period the model of three nails became more and more frequent, with only one for the feet, as we see here. As the Gothic period progressed, the cloth of purity became shorter, until the knees were exposed.
The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the "Agnus Dei", the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour was not due to an organic process but to an act of divine will, Christ is represented, as in our work, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the Passion, provoking commiseration.
Crucified Crucifixions can be found in Spain as early as the 11th century, at least, and it was precisely the trend towards naturalism that was already evident in the Proto-Gothic period that led to the generalisation and popularity of the theme. Throughout the three centuries of the historical Gothic period, the theme evolved, starting from Romanesque models but introducing significant changes from the outset. Thus, the head is inclined towards the shoulder, as we see here, and the face, if Christ is alive, appears impassive, with closed or half-open eyes and a generally closed mouth. The anatomy evolves from Byzantine-type geometric schemes to an increasingly naturalistic modelling which, from the 14th century onwards, is mixed with a sense of pain and an emphasis on the pathetic, leading to distortion of the figure and often to abundant blood. The legs are placed in a forced position, the right leg on the left and the feet joined by a single nail. There is also a certain movement of external rotation, often resulting in the heel crossing in front of the opposite foot. As the style progresses, a greater lightness and movement in the composition will be appreciated, reflected mainly in the advancement of the knee, with the belly depressed and the shoulders forward, as can be seen in this piece.