The Risen Christ

In 1476 Vecchietta dated this bronze, in which we have perhaps the highest proof of his «pseudo-Renaissance» language. The obsession with anatomical truth - such that Vigni supposed the use of casts from life - and the displayed drama lead one to see in it an echo of Pollaiuolo's sculptural tension, born from a rib of Donatello's sublime tragic reality. But, as Ragghianti rightly says, it is rather «a hallucinated medieval realism that criss-crosses with exacerbated details, of a lacerating physicality, the gentle sinuosity of the Gothic hanchement».