Ta’ Ġieżu Crucifix: Iconography of the suffering Christ through science and art

Creation of the sculpture

The division of labour in artists’ workshops, particularly in 17th-century Spain and its empire, including Naples and Sicily, may have had its origins in the medieval guild system. 

Artists were generally split into two major guilds: the painters’ guild, which included painters of sculptures, and the carpenters’ guild, which incorporated sculptors and woodworkers in its membership. In order to specialise in a particular practice, artists were required to pass technical examinations administered by the guilds.

Many were, however, proficient in more than one guild specialisation. For example, Fra Innocenzo da Petralia, to whom Valletta's Ta’ Ġieżu Crucifix is attributed, used to sculpt and paint his crucifixes, therefore, probably, he had been licensed by both the painters’ and carpenters’ guilds. But we do not know much of his academic background; he was a simple Franciscan friar from a remote town, Petralia. 

Assembling and carving the sculpture

Comparing the crucifix’s surface (outer layer) and wood sample with corresponding X-rays confirmed that most of the figure was carved from a single, thick column of wood. It was hollowed at the back from mid-chest down, to the cloth (perisoma), to reduce the sculpture’s weight and minimise cracking along the grain. 

But extra sections of wood were attached to the main column to accommodate the figure’s expansive stance and three-dimensionality. These sections were carved to form the head, arms and legs, part of the perisoma and fingers.

Tthe hollowed torso and the nails securing the back panel of the Crucifix can be seen in these X-rays by James Azzopardi, and assembled together by perit Annemarie Delicata.

From the above observations and studies, particularly after the CAT scan and other X-rays of the crucifix, it is, therefore, clear that the crucifix is not made out of one piece of wood and is not a solid structure. It has also been noted that the crucifix is not made of one type of wood.

Significant artistic features and techniques 

The face of God 

A significant aspect of Fra Innocenzo’s crucifix is the intense expressiveness he was able to achieve. This is sensitively captured in the whole structure but particularly on the face of Christ. His calm brow and open mouth convey a moment of heightened sensation, the distinctive bone structure of the face frames half-closed eyes as he relieved his soul to God the Father.

These features, which appear true to life, are integrally carved from one wood block though separated from the main trunk. This magnificent and expressive sculpture made people think that the head of Christ was made by the angels. 

Close-up of the face

It was clear, during the studies, from visual analyses and physical examination under normal lighting, as much through radiographies, that the head of Christ was executed separately from the main trunk and secured with nails. This confirms and, in a way, satisfies the legend that the head was miraculously created. 

Probably, angels did not have tools, hammers and nails to produce it because they are spiritual beings! But my faith makes me believe that supernatural forces were helping Fra Innocenzo while he was sculpting the face and head of Christ. There’s an overwhelming energy emanating from the sculpture and I confirm this through my experience and of many others. While explaining this, I do not challenge miracles! 

Significant signature features in Fra Innocenzo works

‘Gonfiori’/swollen lumps/hematomas

Both Fra Innocenzo and Fra Umile Pintorno and a few followers who were less skilled, like Francesco Gallusca, used flagellation marks and similar features in their sculptures. These flagellation marks look like swollen lumps, some of which are coloured dark blue and black. Blood is painted in a way that it looks like it is squirting freshly out of them. 

The CAT scan and SEM ((scanning electron microscope) test show that these features were made with gesso and animal glue and were shaped by hand to look like a lump around inserted nails. These hematomas and other manufacturing characteristics were also discovered on the wooden statue of the Ecce homo that one can find in the same Ta’ Ġieżu church. 

The swollen lumps known as ‘gonfiori'.

This Ecce Homo, better known as ‘corononazione delle spine’, was altered many times in the course of history through invasive and aggressive intervention methods by various artists, probably to make the effigy look like other Good Friday processional statues. During a restoration intervention many years ago, these characteristics were revealed, showing the particular characteristics of Frate Umile and Fra Innocenzo.

Parchment skins

Another characteristic is the use of parchment, pargamena, to create open-wounds effects – ‘l’effetto della pelle squarciata’. Mixed materials were used to impress the viewer with violent realism.

The Ecce homo at Ta’ Ġieżu church during the restoration process.

Mixed materials used to impress violent realism

FTIR (Fourtier-transform infrared spectroscopy) is most often used in the analysis and identification of organic, polymeric and, in some cases, inorganic materials.

This scientific test proved that the blood is made out of a terpenic substance mixed with red vermilion. The blood flowing through the wounds was not sculpted during the process, along with the anatomical features, but was added during the creation of flesh tones. 

From physical observation under normal radiant light, it was noted that, after the artist formed the thick blood from terpenic material, which is quite messy, he used another layer of flesh tones to ‘clean’ the uncontrolled, running blood and balanced it out with the flesh tones.

XRF (micro X-ray) used to analyse paintings, and identify elements, and which is non-invasive exercise, was used.

SEM (scanning electron microscope) has shown these materials: gesso, lead white paint, lead black (inconclusive), red ochre, varnish, burnt sienna. There was also the presence of titanium white, used for old restorations retouching. (Separate documents support these results and scientific analyses, which one finds in the proposal and intermediate reports of this project). Heritage Malta's Mattew Grima and his team carried out these analyses. 

The crucifix during XRF analysis technology (micro X-ray), a non-invasive process.

Violent realism, versus compassion and spiritual meaning

The anatomical features, along with the very pale delicate skin tones, and rough texture, though translucent, of the strong dark red blood colour, the multiple wounds, expressions and many other features and details of the Ta’ Ġieżu Crucifix are all based on meditation and contemplation of the Passion of our Lord in the scriptures. 

The artist was also inspired by the Old Testament books and psalms and written accounts of saints like St Brigid, who had mystical and beatific visions.

The blood

One of the features that immediately shock the viewer is the blood on the figure of Christ… so much blood! Although it is placed systemically and artistically with the coral colour and deep-hue reds over bluish bruises and honey-white flesh tones, it is dramatically and violently traumatic… it gives you the chills.

According to the Catholic faith, Christ sealed man’s salvation with His blood. His blood has paid our ransom to rescue us from God’s wrath because we could never pay the massive debt we owed to the Father.

The terpanic resin against the light looks like red translucent liquid as if fresh blood on the figure's back: the most dramatic and painful impression of the Crucifix.

The blood on His white, divine, sinless body represents not only His violent Passion but, more so, the theological and spiritual meaning − blood is our sins. Christ paid and sealed our salvation not by silver and gold, but by His blood – His crucifixion sealed our salvation. 

The parchment

Pargimena is a finer quality parchment made from skins of young animals such as lambs. Use of this material was also confirmed in the laboratories. This parchment produces the effect of wound, loose skin (ġilda tperper in Maltese). Parchment also has a theological meaning: Christ is the Lamb of God. 

The crown of thorns

The crown of thorns on Christ’s head is made from woven branches, very possibly vine – deduced from observations in my childhood in the vine fields of my father. The branches forming the crown are held by four large nails inserted into the head. 

It is quite feasible to believe that the crown was made by Fra Innocenzo himself. Again, vine branches might be an interesting theological symbol. In the sacrament of the Eucharist, wine transubstantiates into the blood of Christ. 

The crown of thorns

Skeletal anatomy

The weight of the wooden crucifix is 33 kilos, exactly the age of Christ when He offered Himself on the cross to the Father. Fra Innocenzo made an almost skeletal figure. One can see all the bones and the rib-gage, which is just about covered with a frail veil of pale skin. The rest of the body has very little mass. 

The figure is almost naked. The loin cloth was only created for liturgical and devotional decorum. Theologically, the first Adam had made all humanity naked, and, therefore, the second Adam became naked so that He might cloth humanity’s naked souls. 

Fr Charles Vella during restoration works.

A sign of hope

The figure of Christ presents not only the dramatic and violent aspects of the crucifixion but also the promise of redemption. His face radiates a serene and glorious hope, reminding us that His sacrifice is not in vain. Instead, it serves as a profound meditation on the existential suffering we all endure in our lives.

This crucifix offers both hope and redemption, transforming our struggles into a deeply spiritual experience. As we await a miracle, we also learn to accept suffering − not in despair but with faith − allowing God’s will to be fulfilled.