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Bearing of the Body of Christ to the Sepulchre
Robert Campin
about 1425
Pen over charcoal sketch on white paper, 24 x 35.7 cm
Paris, Musee du Louvre, Cabinet des dessins
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| | | This drawing is most probably a sketch for a panel of an altarpiece.
In Merode and Seilern Triptych, Campin portraits the donors in the traditional position, kneeling on the left wing panel. In the Bearing of the Body of Christ to the Sepulchre, he integrated the portrait of a donor with the central scene. The donor (Barthelemy Alatruye?) is portrayed as a biblical person (Nicodemus) and thus participates directly in the happening (role portrait).
Composition is completely symmetrical regarding the central axis. The figures on the right have their counterparts in the figures on the left. It is very unusual that Mary Magdalene has such prominent place on the same level as the Virgin Mary and as her mirror image.
The Bearing of the Body of Christ to the Sepulchre is a Byzantine motif. In the west it could be found, before Campin, only in early illuminated manuscripts (up to year 1000). The same composition is used in the Death of Melager on Roman sarcophagi.
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Bearing of the Body of Christ to the Sepulchre - figures | |
Master of Frankfurt, Bearing of the Body of Christ to the Sepulchre | |
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 "Bearing of the Body of Christ to the Sepulchre")
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