Spanish Renaissance school; 16th century. "Crucified Christ". Polychrome carved wood. Measurements: 44 x 42 x 11 cm. In this work the figure of the Crucified Christ still preserves the cross, in such a way that the choice of the three nails can be appreciated. The author presents a voluminous image of Christ, with a robust and defined anatomy that stands out especially for its expressiveness. The image of Jesus, who turns his face slightly, still has his eyes open, with his mouth half-open, probably showing the last breath of Christ s life. The polychrome piece achieves a greater dynamism thanks to the application of this colour, both the gold of the purity cloth and the red of the blood, giving great expressiveness to the work. However, the artist does not dramatise the laceration of Christ s body, but presents it in isolation, avoiding, for example, the blood on the face caused by the crown of thorns. In this case, the crown is presented in a very schematic manner. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, his body is usually depicted naked, although with his genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of depicting the different attitudes of the crucified Christ are designated by the Latin expressions Christustriumphans ("triumphant" - not to be confused with the Maiestas Domini or the Pantocrator), Christuspatiens ("resigned" - not to be confused with the Christ of Patience) and Christusdolens ("suffering" - not to be confused with the Virdolorum). The triumphans is represented alive, with his eyes open and his body erect; the patiens is represented dead, with his will totally emptied (kenosis), his head bowed, his face with a serene expression, his eyes closed and his body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in his mouth (curved).