Αποκαθήλωση: Διαφορά μεταξύ των αναθεωρήσεων

Other figures not mentioned in the [[Gospels]] who are often included in depictions of this subject include [[St. John the Evangelist]], who is sometimes depicted supporting a fainting Mary (as in [[Deposition (Rogier van der Weyden)|the work below by VanRogier van der Weyden]]), and [[Mary Magdalene]]. The Gospels mention an undefined number of women as watching the crucifixion, including the [[Three Marys]], ([[Salome (disciple)|Mary Salome]] being mentioned in {{bibleverse||Mark|15:40}}), and also that the Virgin Mary and Mary Magdalene saw the burial ({{bibleverse||Mark|15:47}}). These and further women and unnamed male helpers are often shown. <ref>G. Schiller, ''Iconography of Christian Art'', Vol. II'', 1972 (English trans from German), Lund Humphries, London, p.164, ISBN 853313245</ref>

Even in early depictions the details and posing of the composition, and especially the position of Christ's body, are varied. The scene was usually included in medieval cycles of the Life or the [[Passion of Christ]], between the [[Crucifixion]] and the ''Entombment of Christ''. Even in early depictions the details and posing of the composition, and especially the position of Christ's body, are varied. The ''[[Lamentation of Christ]]'', or ''[[Pieta]]'', showing the body of Christ held by Mary, may intervene between these two, and is common as an individual image, especially in [[sculpture]]. The ''Bearing of the body'', showing Christ's body being carried to his tomb, and the ''Anointing of Christ's body'', showing the body laid flat on the top of the tomb or a similarly-shaped "anointing-stone" are other scenes that may be shown. This last is especially important in Orthodox art, where it is shown on the [[Epitaphios]].

With the Renaissance the subject became popular for [[altarpiece]]s, partly because of the challenges of the composition, and the suitability of its vertical shape. The [[Mannerist]] version of [[Rosso Fiorentino]] is usually regarded as his most important work, and [[Pontormo]]'s altarpiece is perhaps his most ambitious work. The subject was painted several times by both [[Rubens]] and [[Rembrandt]], who repeated one of his paintings (now in Munich) in a large print, his only one to be mainly [[engraving|engraved]], as well as making two other [[etching]]s of the subject.

[[Image:La descente de croix Rubens.jpg|thumb|right|240px|''Deposition'' by [[Rubens]], [[Palais des Beaux-Arts de Lille|Lille]].]]

*Cod.Codex Grec.Grecus 510 (9th century Byzantine, [[ParisBibliothèque nationale]], National libraryParis)

*[[St Albans Psalter]] - English Romanesque miniature (ca. 1130-45) [http://www.abdn.ac.uk/stalbanspsalter/english/commentary/page047.shtml]

*[[Rogier van der Weyden]], ''[[Deposition (Rogier van der Weyden)|Descent from the Cross]]'' (ca. 1435, [[Museo del Prado]], [[Madrid]])

[[Category:PassionArt Playof the Passion]]