Book contents
- Frontmatter
- Contents
- List of Figures
- Acknowledgements
- Series Editors’ Preface
- List of Contributors
- 1 Introduction: Conversion Machines: Apparatus, Artifice, Body
- 2 The Conversional Politics of Compliance: Oaths and Autonomy in Henrician England
- 3 The Sepulchre Group: A Site of Artistic, Religious, and Cultural Conversion
- 4 Stony Bundles and Precious Wrappings: The Making of Patio Crosses in Sixteenth-Century New Spain
- 5 The Conversion of the Built Environment: Classical Architecture and Urbanism as a Form of Colonisation in Viceregal Mexico
- 6 Material and Spiritual Conversions: Jacopo Ligozzi and the Descrizione del Sacro Monte della Vernia (1612)
- 7 ‘Haeretici typus, et descriptio’: Heretical and Anti-Heretical Image-Making in Jan David, SJ’s Veridicus Christianus
- 8 Disorientation as a Conversion Machine in The Island of Hermaphrodites (1605)
- 9 Dynamic Conversions: Grief and Joy in George Herbert’s Musical Verse
- 10 Theatres of Machines and Theatres of Cruelty: Instruments of Conversion on the Early Modern Stage
- 11 Body or Soul: Proving Your Religion in the Early Modern Mediterranean
- 12 Human Conversion Machines: Hamlet and Others
- 13 Human Conversion Machines: Hamlet and Others
- Index
3 - The Sepulchre Group: A Site of Artistic, Religious, and Cultural Conversion
Published online by Cambridge University Press: 08 March 2025
- Frontmatter
- Contents
- List of Figures
- Acknowledgements
- Series Editors’ Preface
- List of Contributors
- 1 Introduction: Conversion Machines: Apparatus, Artifice, Body
- 2 The Conversional Politics of Compliance: Oaths and Autonomy in Henrician England
- 3 The Sepulchre Group: A Site of Artistic, Religious, and Cultural Conversion
- 4 Stony Bundles and Precious Wrappings: The Making of Patio Crosses in Sixteenth-Century New Spain
- 5 The Conversion of the Built Environment: Classical Architecture and Urbanism as a Form of Colonisation in Viceregal Mexico
- 6 Material and Spiritual Conversions: Jacopo Ligozzi and the Descrizione del Sacro Monte della Vernia (1612)
- 7 ‘Haeretici typus, et descriptio’: Heretical and Anti-Heretical Image-Making in Jan David, SJ’s Veridicus Christianus
- 8 Disorientation as a Conversion Machine in The Island of Hermaphrodites (1605)
- 9 Dynamic Conversions: Grief and Joy in George Herbert’s Musical Verse
- 10 Theatres of Machines and Theatres of Cruelty: Instruments of Conversion on the Early Modern Stage
- 11 Body or Soul: Proving Your Religion in the Early Modern Mediterranean
- 12 Human Conversion Machines: Hamlet and Others
- 13 Human Conversion Machines: Hamlet and Others
- Index
Summary
Supposing that the disciples, the future apostles, the women who had followed Him and now stood at the Cross, all of whom believed in and worshipped Him – supposing that they saw this tortured body and face so mangled and bleeding and bruised as here represented (and they must have so seen it) – how could they have gazed upon the dreadful sight and yet have believed that He would rise again?
Fyodor M. Dostoevsky, The IdiotSculptural Conversion
Positioned in a semi-circle around a tomb-like altar on which rests the supine Christ, twelve biblical figures participate in one of the seven corporeal works of mercy – the burial of their dead (Fig. 3.1). Lifelike in their bodily and emotive expressions, these heavily draped, winged, and armoured figures – portraying the Virgin Mary, John the Evangelist, Nicodemus, Joseph of Arimathea, the Three Maries, the Angels of the Resurrection, and the three sleeping soldiers – solicit the viewer to witness the dead body of Christ in tangible time and space. Together, the life-size polychrome statues form a sculptural group, Compianto sul Cristo morto (Lamentation over the Dead Christ). The monumental composition is kept in a brick-vaulted chapel inside the church of Santa Maria della Scala in Moncalieri, a town just outside Turin. The sculptures are framed against a pastel-coloured wall and an ornamental iron gate, which is not how they were exhibited initially, namely without any barriers. Between the early fifteenth and mid-sixteenth centuries, hundreds of such large-scale works made of various materials were displayed in parish, monastic, hospital, and cemetery churches across Europe. In this chapter, I examine several of these groups – they come from sites in France, Germany, Switzerland, Italy, and Spain – and I propose that their formal, iconographic, and contextual characteristics reveal how local artists and patrons adopted different artistic traditions and devotional practices for their making. In contrast to previous scholarship that has, for the most part, categorised the Sepulchre groups into distinct regional works, I argue that they belonged to the same artistic phenomenon that made Christ's burial a site of multifold processes of conversion, the first of which is sculptural.
Two bearded attendants stand atop a rugged base on either side of Christ's tomb in Moncalieri (Fig. 3.2). The attendants are slightly hunched forward because they hold onto the edges of the shroud with which they transported Christ from the Cross.
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- Information
- Conversion MachinesApparatus, Artifice, Body, pp. 44 - 74Publisher: Edinburgh University PressPrint publication year: 2023