Domenico Alfani (c.1480-after 1553) – Christ in the Tomb. St. Louis, St. Ercolano Bishops of Perugia Part 1

The triptych presents three distinct figures contained within circular medallions, each framed by a gilded border that contributes to a sense of solemnity and enclosure. The central panel commands immediate attention due to its depiction of a nude male figure seated upon what appears to be a stone ledge. His posture is one of quiet resignation; his head slightly bowed, gaze directed downwards, suggesting introspection or sorrow. The body exhibits a degree of anatomical realism, though the rendering lacks the meticulous detail characteristic of High Renaissance works. A subtle modeling of light and shadow defines musculature, yet the overall effect remains somewhat flattened.
To the left, a figure clad in green robes and a tall conical hat holds a heart within his hands. His expression is one of profound grief or contemplation, further emphasized by the downward cast of his eyes. The heart, prominently displayed, serves as an unambiguous symbol of divine love and sacrifice. The positioning of his hands suggests a gesture of offering or mourning.
On the right side, another figure in elaborate red robes and a similar headdress holds open what appears to be a book or manuscript. His gaze is directed outwards, suggesting a didactic purpose – perhaps conveying a message or scripture. The rich color palette of his garments contrasts with the muted tones of the other two figures, drawing attention to his role as an interpreter or messenger.
The composition’s circular format lends itself to a sense of completeness and unity, while also creating a feeling of isolation for each individual figure. The limited depth of field contributes to this effect, pushing the subjects forward and minimizing any background context.
Subtly, there is a suggestion of narrative progression across the three panels. The left panel establishes an emotional state – sorrow or loss – the central panel presents a pivotal moment of suffering, and the right panel implies a subsequent explanation or interpretation. This sequence could be interpreted as a meditation on themes of sacrifice, grief, and divine revelation. The absence of any explicit setting or landscape further emphasizes the focus on the psychological and spiritual states of the figures depicted.