Antonio Susini was one of the most accomplished bronze casters in Florence in the late sixteenth and early seventeenth century. He trained and worked in the celebrated workshop of Giambologna (Jean de Boulogne), the leading Mannerist sculptor at the De Medici court, and became one of his closest and most trusted collaborators.

Introduced to Giambologna in the 1580s by the important patron Jacopo Salviati, Susini worked in his workshop until establishing his own foundry around 1600. Giambologna held his assistant's abilities in such high regard that he entrusted him with the production of many of his most celebrated bronzes and took him to Rome to study the antique sculptures being excavated and restored. This close familiarity with classical antiquity informed Susini's own sculptural practice and his highly regarded bronze reductions of antique models.

Giambologna’s extraordinary popularity created a demand for bronzes coveted by collector’s and prestigious diplomatic gifts. To meet this demand, Giambologna established an exceptionally effective workshop in which Susini was responsible for casting Giambologna’s small bronzes, working from his master’s molds. The close association between the two sculptors was widely recognized during their lifetimes. As early as 1609, inventories list bronzes by Susini after Giambologna’s models, reflecting his recognition and reputation.

The small bronzes which Susini’s foundry cast so expertly were made using the lost wax technique. After the initial casting, the rough surfaces were meticulously chiseled, chased, filed, and varnished. Susini is thought to have refinished some of the models himself, producing superb casts, using a gold toned bronze alloy characterized by their refined finish. His warm reddish-brown varnish has often darkened over time to a deeper brown or almost black.

Among the distinctive bronze models of the crucified Christ are two compositions that convey distinct moments of the Passion: Cristo morto, showing the dead Christ with his head bowed and eyes closed, and Cristo vivo, the living Christ, his head raised and gaze directed heavenward. While The Dead Christ represents the reality of Christ’s human suffering and death, his sacrifice invites contemplation and devotion. The Living Christ emphasizes his divine and spiritual strength and acceptance of his sacrifice, anticipating the promise of salvation. Susini’s Christ remains alive, looking toward heaven and his divine promise of eternal life.