Crucifixion; Burgundy; first half of the 15th century.

Crucifixion; Burgundy; first half of the fifteenth century.
Carved wood.
Remains of polychrome.
It presents faults, losses and damages caused by xylophagous.
Measurements: 45 x 85 x 19 cm.
Round sculpture representing the body of Christ at the moment of the Crucifixion, although it should be noted that in this case it is not anchored to the cross that must have existed in origin. It is a very stylized Christ anatomically, which is dressed only with the cloth of purity that stands out for its folds.
Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with open eyes and erect body; the patiens is represented dead, with the will totally emptied (kenosis), the head inclined, the face with serene expression, the eyes closed and the body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in the mouth (curved).