Animated Sculptures of the Crucified Christ: Origins, Development and Impact

Abstract

Animated sculptures of the crucified Christ represent an extremely broad and methodologically intriguing challenge for scholars. Their unusual construction (e.g. moveable arms, legs, head, tongue, eyes, various covers imitating human skin, wigs, receptacles for blood) and the varied functions they fulfilled during the liturgical year make these figures one of the most intriguing manifestations of late medieval piety. The aim of this article is to demonstrate that contemporary study of them should diverge from previous—and still the most common—approaches that concentrate on their use in Depositio Crucis ceremonies, typical for northern parts of medieval Europe. The article shows that the only effective way of analyzing them is to take a genuinely interdisciplinary approach, starting with a radically expanded base of historical evidence and source material. Only thorough studies that combine a reflection on the real substance of their functioning with analysis of their essential character, manifested during various kinds of Good Friday ceremonies as well as across the whole liturgical year, can enhance our knowledge and understanding of the presence and role of these sculptures in the religious consciousness and mentality of the Middle Ages.