The Agony in the Garden
Cameo
ca. 1500 (made)
ca. 1500 (made)
Artist/Maker | |
Place of origin |
The art of engraving gemstones can be traced back to ancient Greece in the 8th century BC and earlier. Techniques passed down to the Egyptians and then to the Romans. There were major revivals of interest in engraved gems in Europe during the Byantine era, the Middle Ages, the Renaissance, and again in the 18th and 19th centuries. At each stage cameos and intaglios, these skillful carvings on a minute scale, were much prized and collected, sometimes as symbols of power mounted in jewelled settings, sometimes as small objects for private devotion or enjoyment. This cameo conveys in miniature a scene from the Passion of Christ found in the engravings of such South German artists as Martin Schongauer (about 1430-91), and Albrecht Dürer (1471-1528); see V&A inventory numbers E.755-1940 and E.704-1940. On the eve of the Crucifixion Christ has gone to the garden of Gethsemane to pray, accompanied by three of his disciples. While the disciples sleep, Christ kneels in prayer, against a distant view of the towers of Jerusalem. The chalice of bitter wine offered to him by God, and representing the coming suffering of his death on the Cross, appears in front of him.
Object details
Categories | |
Object type | |
Title | The Agony in the Garden (generic title) |
Materials and techniques | Engraved gemstone |
Brief description | Cameo depicting The Agony in the Garden, oval layered agate in gold setting; Germany, about 1500 |
Physical description | Vertical oval cameo. Milky white and dull, mottled, translucent pink layered agate. Depicting the Agony in the Garden. Christ kneels with clasped hands at the top facing left among rocks, a chalice in front of him. Below him the three apostles are shown sleeping, two on the right and one on the left. In the distance a group of buildings represents Jerusalem. Set in a simple gold mount with loop for suspension. |
Dimensions |
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Style | |
Object history | Recorded as 'Bought from Sampson, London'. |
Historical context | This cameo conveys in miniature a scene from the Passion of Christ found in the engravings of such south German artists as Martin Schongauer (about 1430-91), and Albrecht Dürer (1471-1528), see V&A inventory numbers E.755-1940 and E.704-1940. |
Subjects depicted | |
Associations | |
Summary | The art of engraving gemstones can be traced back to ancient Greece in the 8th century BC and earlier. Techniques passed down to the Egyptians and then to the Romans. There were major revivals of interest in engraved gems in Europe during the Byantine era, the Middle Ages, the Renaissance, and again in the 18th and 19th centuries. At each stage cameos and intaglios, these skillful carvings on a minute scale, were much prized and collected, sometimes as symbols of power mounted in jewelled settings, sometimes as small objects for private devotion or enjoyment. This cameo conveys in miniature a scene from the Passion of Christ found in the engravings of such South German artists as Martin Schongauer (about 1430-91), and Albrecht Dürer (1471-1528); see V&A inventory numbers E.755-1940 and E.704-1940. On the eve of the Crucifixion Christ has gone to the garden of Gethsemane to pray, accompanied by three of his disciples. While the disciples sleep, Christ kneels in prayer, against a distant view of the towers of Jerusalem. The chalice of bitter wine offered to him by God, and representing the coming suffering of his death on the Cross, appears in front of him. |
Bibliographic references |
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Collection | |
Accession number | 7535-1861 |
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Record created | September 2, 2004 |
Record URL |
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