It is regarded as Sanmartino’s masterpiece, largely due to the rendering of the transparent veil, and thus considered one of the world's most remarkable sculptures. Due to its life-like representation of the body of Jesus and the illusionary and trompe-l'œil veil, the sculpture was thought by many to have been created via alchemy.[1][2]
It is considered a masterpiece of 18th-century sculpture and launched Sanmartino's career.
The commission passed to the then young Giuseppe Sanmartino, who was charged with producing "a marble statue sculpted with the greatest realism, representing Our Lord Jesus Christ in death, covered by a transparent shroud carved from the same block of stone as the statue."[4]
Abandoning Corradini's earlier model,[2] Sanmartino produced a work with the dead Jesus laid on a couch, covered by a veil which adheres perfectly to his form. The mastery of the Neapolitan sculptor lies in his successful depiction, looking through the veil, of the suffering that Jesus had undergone during the crucifixion. Signs of Jesus's pain can be seen on his face and body. The sculpture became highly praised, and helped launch Sanmartino's career.[2]
Shaping further detail into the marble block, Sanmartino placed depictions of the instruments of the passion at Jesus's feet, including pliers, shackles, and the crown of thorns.[4]
Over the centuries, the masterly depiction of the veil has acquired a legend, in which the original commissioner of the sculpture, the famous scientist and alchemistRaimondo di Sangro, teaches the sculptor how to transform cloth into crystalline marble. Over the years many visitors to the Cappella, amazed by the veiled sculpture, erroneously believed it to be the result of an alchemical "marblification" performed by di Sangro, a Grand Master of the local Masonic Lodge and an alchemist.[2] He was said to have laid a real veil on the sculpture, and to have transformed this veil into marble, over time, by means of a chemical process.[5]
In reality, a close analysis leaves no doubt that the work was entirely produced in marble. This is also confirmed by some letters written at the time of its production. A receipt of payment to Sanmartino, dated 16 December 1752 and signed by the prince, is preserved in the Historical archive of the Bank of Naples and reads: "And you will pay the aforementioned fifty ducats to the Magnificent Giuseppe Sanmartino on my behalf, for the statue of Our Lord in death covered by a veil also of marble" (E per me gli suddetti ducati cinquanta gli pagarete al Magnifico Giuseppe Sanmartino in conto della statua di Nostro Signore morto coperta da un velo ancor di marmo).[5]
In other letters, di Sangro writes that the veil was produced from the same block of stone as the statue.
Critique
The 18th century sculptor Antonio Canova tried to acquire the work, stating that he would willingly give ten years of his life to have produced something of similar quality.[6]
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