18th century masterpiece sculpture of Jesus Christ known as Ecco-Homo
After Restoration
An 18th century masterpiece sculpture of Jesus Christ known as Ecce-Homo, Mexico. The Knights Of Columbus Museum, New Haven, CT. purchased this historically significant
artifact, and then contracted our firm to restore it after it was damaged during shipping.
artifact, and then contracted our firm to restore it after it was damaged during shipping.
18th Century Masterpiece sculpture of Jesus Christ titled, "Ecce-Homo," Before Crucifixion
"You did a beautiful job restoring this in time for our exhibition."
Mary Lou Cummings, Curator
Mary Lou Cummings, Curator
The Knights of Columbus Museum
1 State Street, New Haven, Connecticut
1 State Street, New Haven, Connecticut
Carved wooden sculpture of Christ entitled "Ecce Homo." Ecce Homo (Latin, 'Behold the Man') comes from the gospels of St. John concerning the Passion and Death of Jesus. The phrase occurs as a title for pictures or sculpture of Jesus wearing the crown of thorns. According to John, these were the words 'Ecce Homo' used by Pontius Pilate when he showed Christ to the people, to which their response was 'Crucify him!'
Similar scriptural events of the narrative cycle of the Passion include the Crowning of Thorns, the Flagellation and the Mocking of Christ. Another representation and title is the Man of Sorrows. Here we see a stark wooden sculpture of the flagellated and weakened Christ, seated, with his hands bound before him. His body is bent in suffering and covered with the wounds imposed during the scourging. His head is topped by a three elements of hammered silver, which represents his halo, a symbol of his divinity. Christ's expression is one of grief and sorrow. The cubed pedestal upon which he sits is painted with the instruments of Christ's Passion and of the insults to which he was subjected: the hands which struck him; the sponge, reed and lance; the torches and staves of his captors; the column, ropes and whips of the flagellation; the cross, hammer and ladder; the crown of thorns and nails. A carved and raised leaf-like motif encircles the border of the base and displays traces of gilded paint.
Similar scriptural events of the narrative cycle of the Passion include the Crowning of Thorns, the Flagellation and the Mocking of Christ. Another representation and title is the Man of Sorrows. Here we see a stark wooden sculpture of the flagellated and weakened Christ, seated, with his hands bound before him. His body is bent in suffering and covered with the wounds imposed during the scourging. His head is topped by a three elements of hammered silver, which represents his halo, a symbol of his divinity. Christ's expression is one of grief and sorrow. The cubed pedestal upon which he sits is painted with the instruments of Christ's Passion and of the insults to which he was subjected: the hands which struck him; the sponge, reed and lance; the torches and staves of his captors; the column, ropes and whips of the flagellation; the cross, hammer and ladder; the crown of thorns and nails. A carved and raised leaf-like motif encircles the border of the base and displays traces of gilded paint.