| Christ Carrying the Cross | |
|---|---|
| Italian:Cristo della Minerva | |
 | |
 | |
| Artist | Michelangelo |
| Year | 1519–1521 |
| Type | Marble |
| Dimensions | 205 cm (81 in) |
| Location | Santa Maria sopra Minerva,Rome |
| Preceded by | Crouching Boy |
| Followed by | Brutus (Michelangelo) |
TheRisen Christ (Cristo della Minerva in Italian, also known asChrist the Redeemer orChrist Carrying the Cross) is a marble sculpture by the ItalyHigh Renaissance masterMichelangelo, finished in 1521. It is in the church ofSanta Maria sopra Minerva inRome, to the left of the main altar.
The work was commissioned in June 1514, by the Roman patrician Metello Vari, who stipulated only that the nude standing figure would have the Cross in his arms, but left the composition entirely to Michelangelo.[1] Michelangelo was working on a first version of this statue in his studio in Macello dei Corvi around 1515, but abandoned it in roughed-out condition when he discovered a black vein in the white marble, remarked upon by Vari in a letter, and later byUlisse Aldrovandi.[2] A new version was hurriedly substituted in 1519–1520 to fulfil the terms of the contract. Michelangelo worked on it inFlorence, and the move to Rome and final touches were entrusted to an apprentice,Pietro Urbano; the latter, however, damaged the work and had to be quickly replaced by Federico Frizzi at the suggestion ofSebastiano del Piombo.[3]
The first version, rough as it was, was asked for by Metello Vari, and given him in January 1522, for the little garden courtyard of his palazzetto near Santa Maria sopra Minerva,come suo grandissimo onore, come fosse d'oro translated as "As his greatest honor, as if it were of gold", a mark of the esteem in which Michelangelo was held". There it remained, described by Aldrovandi in 1556,[a] and noted in some contemporary letters as apparently for sale in 1607, following which it was utterly lost to sight. In 2000 Irene Baldriga recognized the lost first version, finished in the early seventeenth century, in the sacristy of the church of San Vincenzo Martire, atBassano Romano nearViterbo; the black vein is clearly distinguishable on Christ's left cheek.[2] It is now often called theGiustiniani Christ. The parts finished later are the "right hand, parts of the face and the back".[4]: 51
Despite all these problems, the second version impressed the contemporaries.Sebastiano del Piombo declared that the knees alone were worthy of more than the whole Rome, which William Wallace has called "one of the most curious praises ever sung about a work of art"[5] Christ is shown by Michelangelo unclothed in a standing pose. Christ's sexual organs are exposed in order to show that his sexuality is uncorrupted by lust and completely controlled by his will, so that in his resurrected body he shows his triumph over both sin and death.[6] A floating bronze loincloth was added in 1546 which shields the genitals from view.[7]
A leg is flexed and the head turned back, according to the principle ofcontrapposto. Compared to the first version, the more active pose allows more varied impressions when the statue is seen from different angles, "not only activating the space around him, but also suggesting an unfolding story". The first version was exhibited in theNational Gallery, London in 2017, in the same room as a cast of the second version, drawings for it, and letter relating to it.[4]: 49–55
Media related toChrist the Redeemer by Michelangelo Buonarroti (Rome) at Wikimedia Commons