“In the evening, a rich man of Arimatèa came, named Joseph, who also had become a disciple of Jesus. He went to Pilates and asked him the body of Jesus. So Pilato ordered it to be handed over to him. Joseph, who took the body of Jesus, wrapped it in a sheet of paper and laid it in his new grave, which had been dug in the rock; then rolled a large stone on the door of the cemetery, and left. They were there, in front of the tomb, Mary di Magdala and the other Mary”. (Gospel of Matthew 27, 57-61).
This extraordinary Raffaello sheet is one of the sixteen preparatory drawings that the Urbinate performed between 1506 and 1507 for the construction of the shovel destined for the Baglioni chapel in San Francesco al Prato a Perugia and today preserved at the Gall the Borghese era in Rome.
The drawing, kept at the Office of Designs and Stamps, is most likely the latest storm in order in virtue of its high degree of fineness and narrow correspondence with the final version of the painting.
The sheet, already framed and ready to be put back on a life-size cardboard, excludes the group with the Virgin and the two Marie. In addition, the most relevant changes in relation to the painting are about the elimination of the woman behind Maddalena, in the final version moved in the group of figures surrounding the Virgin, and the conference of new morphic features Logical to the far right bearer, identified with Nicodemus.
The scene depicts the moment Jesus' body, laid down on the cross, is transported to the grave.
The two men carrying the body of Christ are heading left towards the cave, climbing up the steps. They only use a piece of linen to carry Jesus and they have a bent back because of effort.
Some people are clinging around the body of Jesus, including an ephemeral Saint John on the left, a woman behind Maddalena with a hand close to her mouth and Mary Maddalena frightening who takes the hand of the beloved Messiah. Here we can notice the contrast between the “living” hand of Mary Maddalena and the “dead” of Christ.
Anatomical details are done with great care and this is due to the knowledge of Fra Bartolomeo’s work and in part the careful study of Michelangelo’s sculptural models by Raffaello.
The great urban artist decided to represent a precise and intermediate moment, very difficult to portray to narrate this painful episode of the Passion of Christ and the exceptional preparatory drawing shows how much Raffaello was davv i was a genius.
Raffaello, Composite studio for the 'Deposition' (Rome, Gallery Borghese), pen and ink, red stone frame, pen and style frame, black stone traces, partial dotting on paper, measurements: 290 x 297 mm, D cabinet Isegni and the Prints of the Office
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