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Christ showing his wound

Relief
1420-1425 (carved)
Artist/Maker
Place of origin

This figure has been tentatively identified as the figure of Christ once situated over the now-destroyed small doorway leading into the Chiostro delle Ossa, next to the Church of Sant' Egidio within the Hospital of Santa Maria Nuova in Florence. Christ’s wounds were a focus for devotion. His side wound was especially venerated, and in prayers it was evoked as a refuge for sinners. The hole in the chest of the figure may have housed a relic.

Object details

Categories
Object type
TitleChrist showing his wound (assigned by artist)
Materials and techniques
Painted terracotta, modelled in deep relief, with a flat back
Brief description
Relief, 'Christ showing his wound', terracotta, 1420-1424, Italian
Physical description
This deep relief figure of Christ is shown in three-quarter length, gazing downwards to his right. He wears the crown of thorns, and is showing his wound. A figure of Christ, naked except for a loin cloth cut off just above the knees and holding open the wound in his side with both hands. The crown of thorns rests on his hair which falls in long curls over his shoulders. In the centre of the chest is a circular cavity which was found to be filled with sand and in which was a thorn. Traces of original paint. The figure is modelled in half relief, the back being flat and the lower part of the drapery and the top of the beard are left rough.
Dimensions
  • Height: 104.1cm
  • Width: 61.8cm
  • Depth: 23.2cm
  • Weight: 64kg
Measured for the Medieval and Renaissance Galleries
Object history
This figure originally came from the Hospital of Santa Maria Nuova, Florence. It was in the lunette of a doorway, and is shown in its original position in a fresco of 1428 by Bicci di Lorenzo; the fresco is still in the Florentine hospital.
Subject depicted
Summary
This figure has been tentatively identified as the figure of Christ once situated over the now-destroyed small doorway leading into the Chiostro delle Ossa, next to the Church of Sant' Egidio within the Hospital of Santa Maria Nuova in Florence. Christ’s wounds were a focus for devotion. His side wound was especially venerated, and in prayers it was evoked as a refuge for sinners. The hole in the chest of the figure may have housed a relic.
Bibliographic references
  • Motture, P., Jones, E. and Zikos, D., ed. by, Carvings, Casts and Collectors: The Art of Renaissance Sculpture, London, 2013 p. 26 Raggio, Olga. 'Catalogue of Italian Sculpture in the Victoria and Albert Museum' in Art Bulletin Vol. L. 1968. pp. 100.
  • Pope-Hennessy, John. Catalogue of Italian Sculpture in the Victoria and Albert Museum. London: Her Majesty's Stationary Office, 1964. pp.64-5
  • Borngässer, B. 'Die Apsisdekoration der alten Kathedral zu Salamanca' Mitteilungen des Kunsthistorischen Institutes in Florenz. Vol. XXXI, 2/3, 1987, p.276, illus. p. 269
  • Gentilini, Giancarlo, I della Robbia, La Scultura Invetriata nel Rinascimento. Florence, 1992, p.31, p.153, note 39.
  • Seymour, Charles Jnr. Sculpture in Italy 1400-1500 (The Pelican History of Art) Harmondsworth, 1966, p.65
  • Middeldorf, Ulrich 'Some Florentine Painted Madonna Reliefs', in Steelman Sheard, Wendy and Paoletti, John T (ed.)Collaboration in Italian Renaissance Art. New Haven and London, 1978, pp.77, 82, note 8.
  • Dolcini, Loretta, Verrocchio's Christ and St. Thomas: a masterpiece of sculpture from Renaissance Florence, New York, Metropolitan Museum of Art, 1992
Collection
Accession number
A.43-1937

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Record createdDecember 15, 1999
Record URL
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