Crucifixion

Giovanni Testori places Ferrari's work on the sculptural decoration of the chapels of the Sacro Monte in the second and third decades of the 16th century, and notes that, besides reviving a tradition of northern medieval sculpture, the artist must also have known the Emilian «mortori», preferring the works of «the less lofty but more popular Mazzoni». Gaudenzio, with his collaborators and followers, now passes decisively from formal norm to scenic truth: the canons of Sculpture give way to the inventions of an «action» that fuses sculpture and painting into an existential immediacy.