Crucifix
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Crucifix , Christ , Crucifixion , Pope Gregory XIII , Saint Philip Neri , Conservation
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Abstract
In the Chapel of the Crucifixion, also known as the Cybo-Soderini Chapel, of Santa Maria del Popolo in Rome is a fifteenth-century wooden painted crucifix mounted on a modern cross. First documented in 1530, the crucifix has sparked various attributions and interpretations. Emilio Lavagnino attributed the work to the Emilian sculptor Guido Mazzoni (c. 1445–1518), whose expressive figures, such as those in the Lamentation of Sant'Anna dei Lombardi, exhibit similarly anguished facial features. Claudio Strinati argued that the crucifix does not align with the church’s visual culture, suggesting it may have been a gift rather than a commissioned work by a sculptor from the Ferrara-Modena region, such as Mazzoni. Strinati’s theory is supported by Mazzoni’s documented activity in Modena, Naples, and Bologna, far from Rome.
Other scholars propose alternate origins. Barbara Fabjan, for instance, attributes the crucifix to Matteo Civitali (1436–1502), a Tuscan sculptor, drawing comparisons with Civitali’s Eucharistic Christ at Lammari. She suggests that the piece may have been commissioned by Teodorina Cybo (c. 1455–1508) for the chapel, highlighting its possible Tuscan connections. More broadly, the crucifix could be the work of a sculptor from the Ferrara-Modena region, underscoring the uncertainty of its provenance.
Christ hangs in a frontal position, his head upright but twisting to the right. His arms are outstretched, and his thin legs emerge from a heavy loincloth with multiple folds. The overlapping feet form a triangular composition. The face is roughly carved, with hollow eye sockets, sharp cheekbones, and an open mouth showing the tongue and teeth. While the modelling of the body and legs does not emphasize extreme agony, the chest appears prominently high and visible from the front, as does the chest wound. Details such as wrinkles on the sides of the hips reveal a careful attention to detail. The crown of thorns is missing, but blood is painted on Christ’s forehead.
The crucifix has been venerated by Saint Philip Neri (1515–1595), Pope Gregory XIII (reigned 1572–1585), and Cardinal Scipione Gonzaga (1542–1593), reflecting its historical and spiritual significance. However, the sculpture has undergone significant restorations over time, including one in 1988. The arms and feet are reconstructed, and the crucifix is heavily repainted, obscuring some of its original features.
Photograph(s) licensed under a Creative Commons Attribution 4.0 International Licence.
Description
Santa Maria del Popolo
Citation
Enzo Bentivoglio and Simonetta Valtieri, Santa Maria del Popolo (Rome: Bardi Editore, 1976): 127–131; Claudio Strinati, “La Scultura,” in Umanesimo e primo Rinascimento in S. Maria del Popolo, ed. Roberto Cannata, Anna Cavallaro, and Claudio Strinati (Rome: De Luca Editore, 1981), 29–51; Barbara Fabjan, “I Cibo e un Crocifisso ligneo in Santa Maria del Popolo a Roma,” in L’arte del legno in Italia: Esperienze e indagini a confronto, ed. Giovan Battista Fidanza (Pergola: Quattroemme, 2005), 181–184.