Sisto Badalocchio - Deposition in the Tomb

The subject of the “Deposition of Christ” is very widespread in Western sacred art. It developed during the Middle Ages, first in narrative frescoes depicting episodes from the Passion and later as a standalone subject. It then became widely popular during the Renaissance and throughout the seventeenth century. “The Deposition” has two main variants: the first depicts the lowering of Christ’s body from the cross; the second shows its transport and burial in the tomb. The painting in question belongs to the latter type. The figures depicted are recurring: Joseph of Arimathea and Nicodemus, who are always shown carrying Christ’s body; Saint John the Evangelist; Mary Magdalene, always identifiable by her red hair; and a group of weeping virgins, including Our Lady of Sorrows. The central figure is always Christ’s body, displayed in its redemptive sacrifice. More specifically, the work in question is believed to be a copy by Sisto Badalocchio of an original oil on copper attributed to Annibale Carracci and now held by the Metropolitan Museum of Art in New York. The attribution to Carracci was established precisely because so many copies of the original prototype exist (which must have been painted by a great master), many of which were executed by Badalocchio himself, a collaborator of the Carracci. Another variant by Badalocchio, painted in 1607, is held by the Dulwich Gallery in London.

Both the composition and style of this work follow the original prototype, which is characterized by the strong classical influence typical of the Carracci school, although it already contains elements that point toward the Baroque. Indeed, the entire scene is organized according to the harmonious principle of a balanced distribution of masses, with a monumental plasticity that clearly recalls the great masters of the High Renaissance. However, it also employs compositional devices designed to engage the viewer emotionally, in keeping with seventeenth-century aesthetics. For example, the setting in the dark cave is illuminated by the dim candlelight that highlights Christ’s body, which is presented to the viewer’s imagination through a highly effective foreshortening. It is also very interesting that the weeping virgins are placed outside the cave, visible in the background through the receding perspective that leads to its entrance. Stylistically, this version of the Deposition fully follows the principles of classical aesthetics in its plastic definition of monumental masses and their placement within a concrete space. The figures are arranged naturally across the scene, expressing a variety of passionate, heartfelt gestures typical of the religious expression found in the Carracci’s works. Technically, the artist who executed the work shows complete fidelity to the model in depicting the voluminous drapery and blending the figures into the space with a fully naturalistic approach. The use of light, especially the deep shadows on Christ’s foreshortened body, also reveals the painter’s great skill.

The work is believed to be by Sisto Badalocchio, who painted several copies of Annibale Carracci’s Deposition. Born in Parma in 1585, he died around 1647. He trained by working with the Carracci, first with Agostino in Bologna, then following Annibale to Rome, where he assisted in decorating the Farnese Gallery. In 1609, he moved to Parma. Among his most important works are the frescoes in the church of San Giovanni Evangelista in Reggio Emilia, inspired by Correggio’s decoration of the dome of the church of San Giovanni Evangelista in Parma.

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