The Flagellation of Christ

As is usual in this iconographic type of sculpture by Fernández, Christ appears tied to a low cone-shaped column inspired by the one that has been in the Roman church of Santa Práxedes since the 13th century. His pitiful state is intended to provoke the compassion of viewers and to move believers.

Thus it was not possible to investigate its origins, but given that it was a subject very characteristic of Carmelite religiosity, it is possibly that its roots lie here. However, it is true that there are specimens in monasteries of other religious orders. Its dimensions, smaller than life-size, lead us to suspect that it was intended for private worship in an oratory or cloister.

As already pointed out, it must be considered a work of the first order, produced by the hand of the master himself at the height of his skill. In it, classicism of form is blended with intensity of religious emotion. The treatment of nakedness, the expression of the face, which has glass eyes, and the very fine carving of Christ’s hair and beard, as well as of the column, are characteristic of the master. His incarnation enhances the naturalism, although the blood is not excessively dwelt upon. It has also been said that the polychroming of the perizonium is similar to that of the fichu on the Verónica of the “paso” of the Camino del Calvario (Way of the Cross) (National Sculpture Museum) which was entrusted to the sculptor in 1614. However, it can also be compared with that in many other works by him; for instance, the cloth that covers Dimas’s nakedness (1616).