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The Entombment of Christ
1603–04 · Oil on canvas · Musei Vaticani — Pinacoteca, Sala XII
For Holy Saturday
Sizes
image 16.2×24 in on a 18×24 in sheet
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
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All editionsAbout this painting
Christ's hand hangs down and touches the corner of the stone, and the stone juts out toward us. A bearded man holds Him by the knees, bare feet planted on the edge; behind, Mary of Cleophas, as the Vatican Museums name her, lifts her arms and eyes to heaven. The Institute for Sacred Architecture reads the slab as the stone the builders rejected, made the corner. Elizabeth Lev says Caravaggio's canvas hung over the Vittrice chapel altar at the Chiesa Nuova, where the priest at Mass completed it. It went to Paris in 1797 and came back in 1817. The corner still reaches for an altar that is not there.
Sources: Vatican Museums, Pinacoteca, Sala XII, inv. 40386, oil on canvas, 300 x 203 cm · Institute for Sacred Architecture, 'Contemplating the Body of Christ: Caravaggio's Entombment' · 'The Stone of Unction in Caravaggio's Painting for the Chiesa Nuova', The Art Bulletin 40, no. 3 (1958) · Encyclopaedia Britannica, 'The Entombment of Christ' · Beth Harris and Steven Zucker, 'Caravaggio, Deposition (or Entombment)', Smarthistory
Now there was in the place where he was crucified a garden: and in the garden a new sepulchre, wherein no man yet had been laid.
John 19:41 · Douay-Rheims (Challoner)