Crucifix and figure, polychromed wood, Dead Christ, North Italian (possibly Tuscan), mid 13th century

Christ is bearded with hair falling on to his shoulders, with His head, crowned with twisted rope, inclined to the right. He is clad in a knee-length perizonium which folds over at the hips, His side, hands and feet are pierced. The body swings gently to the right, with the legs and feet side by side. The figure is hollowed out at the back. The right hand of Christ was missing and a replacement was carved in the Museum.

Purchased with the aid of contributions from the Bequest of Dr W.L. Hildburgh F.S.A and the Associates of the V&A

Provenance: Pisa Collection, Milan until 1937; Mario Bellini, Florence until 1952; Thomas Hyland Collection, Princeton, NJ, USA, on loan to the Victoria and Albert Museum from 21/8/1985. Acquired by the V&A in 1986 through Sotheby's, New York, for £60,263.

Historical significance: The figure belongs to the Christus patiens type of crucifix, showing the dead Christ at peace - just after death with His eyes closed and His stomach sagging forward. There is a similar North Italian Crucifix of unknown provenance in the Detroit Institute of Arts, but there Christ's feet are crossed. The crucifix shows stylistic similarities to the Christ of the Deposition group at Volterra (E. Carli, La Scultura Lignea Italiana, Milan 1960, pl.6) and to painted crucifixes of the second half of the 13th century, such as that attributed to Coppo di Marcovaldo in the Pinacoteca Civica, S Gimignano (J. White Art and Architecture in Italy 1250 to 1400, pl.45A). This touching and beautifully-rendered sculpture illustrates the deep spirituality inherent in the greatest works of the Italian duecento.

This painted monumental image of the dead Christ would have dominated the church and been a focal point for spiritual devotion, probably hanging over the altar. Most surviving images of this kind remain in their original setting, and this is a rare example to be found in a Museum.

This striking figure would have been the most prominent religious image within the church, either hanging above the altar or placed above the central screen. Similar figures were commonly found in central Italy. They were usually made of poplar, which is a soft but strongly grained wood. It cannot be carved in fine detail but responds well to bold treatment.

A.2&:2-1986