Francesco di Lorenzo Mochi was born in Montevarchi on June 29, 1580. He was trained in Florence by the painter Santi di Tito. Santi di Dito favored simple composition and natural form and rejected the artificiality of mannerism. [1] With this formation, there is a painterly clarity to Mochi's relief style. This is clearly seen in all of Mochi's works. Mochi's work is never cluttered and is always able to convey emotion in any work he undertakes. This confirms the positive effect of training on another medium. He is a fantastic sculptor, but he is often overshadowed by Bernini, who was also a famous Italian sculptor of the same generation. Mochi died in Rome on February 6, 1654. He created the Tabernacle Door with the Crucifixion from 1635 to 1640. It is a bronze relief that depicts the moment Jesus hung on the cross, saying to his mother “Woman, behold your son,” then entrusted to the care of his disciple John. It is assumed that Mochi's work served as a door due to its large size, gilding, keyhole and hinge. [2] The doors of tabernacles were considered very important to the Church at that time. Tabernacles are not only a holy place, but are used for the protection and preservation of the Body of Christ. The wafers are kept locked behind the doors of the tabernacle, as they are considered sacred and intended only to be handled by a privileged few. The doors served a great purpose: to keep the Eucharist away from normal citizens, and the tabernacle door decorations reflect this ideal. Mochi's tabernacle door not only shows the importance of renouncing the visibility of the representation of the Body of Christ, but also shows Mochi's talent as an artist through his meticulous approach to...... middle of paper ......ortening in the clouds, and didn't fail to meticulously sculpt realistic-looking hair. He made a magnificently crafted door which had the sacred duty of hiding guests from unworthy glances. The wafers were hidden behind the locked tabernacle to avoid contamination and protect its sacred nature. The changes in the appearance and position of tabernacles to protect the Body of Christ show the initial concerns of the Church at this time. The Church had control over whether the holiness inherited from the hosts was being dissipated. What the doors of the tabernacles offered were symbols on the blocked door of the Blessed Sacrament to replace the experience. It was the access of the faithful to the Blessed Sacrament, the images on the door. Mochi's depiction of the Crucifixion was one of many religious decorations that were found on the door of the tabernacles..