The painting was destined for the Church of Santa Maria in Vallicella (Chiesa Nuova) and initially was found inside as an altarpiece of one of the chapels. At the altar illuminated only with the rays of the sun falling upon it, in an interior, in which a feeling of community is made apparent by the host (Body of Christ), the painting had to have a magic effect on the faithful, providing them with a feeling of participation in the mystery of death and salvation. Nicodemus looks directly upon on from the painting, as if he was checking, if we notice and understand this mystical moment of transformation happening right in front of our eyes. The viewer looking at this painting from below had to feel, that the Body of Christ is given directly to him, that the stone slab, which seems to come out of the painting, is an edge of the table, on which the miraculous transformation of a body into the host takes place.

There is a theatrical pathos in the painting, as well as the simplicity of emotion, empathy for sadness of the figures presented on it as well as the dignity of a dead, pale body of Christ. But also definite reality, in which we are participating. We feel the weight of Christ’s body, feel how his legs under their own burden will soon slip out of the arms of the embracing Nicodemus, see how John’s fingers penetrate the wound in his side. Nicodemus with a common, ugly face and tense veins in his legs looks like a poor vagabond, such as were often encountered along Roman streets, Our Lady – an old nun contemplating death, Mary Magdalene a woman filled with immeasurable sadness and Mary the Mother of Clopas, a thoroughly terrified woman (only her spread out arms remind us of the cross and the martyrdom Christ had just experienced).

The painting in an excellent manner , was part of the then esthetics and post-Trent ideology (Council of Trent). In truth it was to reach out to simple people, lift up their hearts, but also move and impart the mystery of faith. These ideals were specifically preached by the Oratorians – a society of priests and lay-brothers, who joined together in working for the poor and needy, common prayers and disputes. Their spiritual guide was Philip of Neri (Filippo Neri), while their intention a community of the poor and rich striving to bring back love for the Church and  a simple, bereft of devotion and intellectualism faith. And for it was for the congregation of this church and for one of its enthusiasts, Girolamo Vittrice, that Caravaggio painted this masterpiece.

As one of only a few, this painting was immediately accepted by the clients and the artist did not have to paint subsequent versions, which was often the case. It evoked admiration, despite the fact that the painter did not adhere to the Biblical version of the story, which often caused problems. The painting lacks Joseph of Arimathea, who according to the Gospel of St. Matthew, laid the body of Christ “in his own new tomb that he had cut out of the rock. He rolled a big stone in front of the entrance to the tomb and went away”. On the other hand, both St. John the Evangelist and Our Lady make an appearance, since they traditionally accompany Christ at the cross. Why had the artist made such a decision we can only guess. Perhaps Caravaggio introduced the figure of St. John – the favorite disciple of Christ and a grieving mother in order to strengthen the emotionality of the scene; or perhaps he had wanted to reference The Crucifixion   found in a neighboring chapel, painted by Scipione Pulzone. On the latter painting both figures are filled with pain, while in Caravaggio’s work they were shown in silent suspension.

The thing that raised the admiration of viewers back then and which still amazes us today, is not only the way the figures were portrayed, excellent diagonal composition, through which the artist builds tension in the painting, but also the refined color scheme. The rich coloring of John’s and Nicodemus’s robes contrasts with the lead whiteness of Christ’s shroud, which is also present within the shown group of women.

The Entombment of Christ was highly praised and reestablished the status of Caravaggio in Rome, despite the bad reputation which the artist had previously enjoyed. It  ensured him with the rank of an original and novel painter, who was able to move with his paintings. 

Crowds of people are always present in front of the canvas, not only because Caravaggio is popular. It is simply impossible to ignore it, it “clutches” at our throats and stops us dead in our tracks. It also makes us aware of the great barbarism (but at the same time benefit) that was caused by separating the painting from its original surroundings and transporting it to a secure location, but one that removes the aura which fills church interiors and is created between the painter and the faithful directing their thoughts, pain or prayers towards it. But even for those who remain irreligious, there is a feeling of some strange inappropriateness of this work being placed in a museum in which it currently finds itself.

However, in the case of this painting we are presented with an opportunity. In the chapel of the church, which it previously adorned, its copy has been hung. It attracts tourists’ attention and is brightly illuminated and although it is not the original it allows us to at least feel a part of the former atmosphere of this place.


The Entombment of Christ, 1604, 300 x 203 cm, Musei Vaticani