Altarpiece
ca. 1390-1410 (made)
| Artist/Maker | |
| Place of origin |
This altarpiece in bone and ivory was probably made in Venice, in about 1390-1400. This altarpiece depicts sixtythree scenes from the New Testament and the Apocryphal Gospels. The scenes are separated by rows of small figures under canopies and surrounded by a border of foliage. While most of the plaques are of bonme, some are of ivory and self-evidently do not belong to the original sequence. The panels have been subject to at least two intrusive campaigns of restauration and rearrangement. One was by Carl Schmidt in 1836, who was a Prussian furniture maker working in Vienna. On acquisition, Margaret Longhurst rearranged it to the current scheme, which is chronological.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Carved bone and ivory, with traces of pigment and gilding on a modern wood support |
| Brief description | Panels, carved bone and ivory, from an altarpiece, depicting scenes from the New Testament, School of the Embriachi, North Italy (Venice), ca. 1390-1400, with later additions |
| Physical description | Carved bone and ivory plaques on wood depicting scenes from the New Testament. The scenes are separated by rows of small figures under canopies and surrounded by a border of foliage. Two groups of plaques appear in the border; the first depicts amorini among foliage, some of them holding blank shields, while the second is composed of large, fleshy stems bearing fruit and flowers, from which emerge figures playing musical instruments. The 63 narrative scenes are arranged in seven registers with nine panels to each tier, most of the scenes being composed of four carved plaques. Below the scenes are moulded and recessed strips, on which have been painted captions in black pigment. |
| Dimensions |
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| Object history | The panels were in Vienna in 1836, when they were the subject of restauration by the cabinet-maker and sculptor Karl Schmidt. By 1923, when the panels were shown at the Burlington Fine Arts Club, they were owned by Lavinia Mary Fitzalan-Howard, Duchess of Norfolk; purchased from her in 1928, for £600. |
| Subjects depicted | Joachim (Saint) Mary (Virgin Mary) Anna (The Prophetess) Joseph (Of Nazareth, Saint) Jesus Christ John (Saint John the Baptist) Lazarus (Saint) Judas (Iscariot) Pilate, Pontius Thomas (Saint) The Disciples Expulsion of Joachim From the Temple Joachim and Anna at the Golden Gate Presentation of the Virgin Marriage of the Virgin The Annunciation Naming of the Baptist Rest of the Journey to Bethlehem The Nativity The Annunciation The Magi at Sea Journey of the Magi Adoration of the Magi Dream of Joseph The Flight Into Egypt Massacre of the Innocents Christ Among the Doctors The Baptist in the Desert Baptism of Christ Christ Expels Demons First Temptation of Christ The Wedding at Cana Christ Meeting the Woman of Samaria Healing of a Nobleman's Son Healing of the Paralytic Jesus Teaching The Sermon on the Mount Healing of the Sick Feeding of the Five Thousand Exorcism of the Daughter of the Syro-Phoenician Woman Calling of the Apostles Christ Walking on the Waves The Transfiguration Woman Taken in Adultery Healing of the Man With the Dropsy The Raising of Lazarus Dinner at the House of Simon Christ's Entry Into Jerusalem Christ Preaches Christ Washing the Feet of the Apostles Judas's Betrayal The Agony in the Garden The Arrest of Christ Christ Before Annas Christ Led Before Caiaphas Peter Denies Christ Christ Before Herod Pilate Washes His Hands The Flagellation The Mocking of Christ Ecce Homo Road to Cavalry Deposition From the Cross The Maries at the Sepulchre The Harrowing of Hell The Resurrection Christ Appears to the Holy Women Supper at Emmaus The Incredulity of Saint Thomas The Crucifixion The Ascension Pentecost Dormition of the Virgin Assumption of the Virgin |
| Places depicted | |
| Summary | This altarpiece in bone and ivory was probably made in Venice, in about 1390-1400. This altarpiece depicts sixtythree scenes from the New Testament and the Apocryphal Gospels. The scenes are separated by rows of small figures under canopies and surrounded by a border of foliage. While most of the plaques are of bonme, some are of ivory and self-evidently do not belong to the original sequence. The panels have been subject to at least two intrusive campaigns of restauration and rearrangement. One was by Carl Schmidt in 1836, who was a Prussian furniture maker working in Vienna. On acquisition, Margaret Longhurst rearranged it to the current scheme, which is chronological. |
| Bibliographic references |
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| Collection | |
| Accession number | A.11-1928 |
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| Record created | November 18, 2004 |
| Record URL |
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