Physical description
Painted crucifix, tempera on poplar panel, in the terminals: top: the Pelican in her piety; sides: Mary and St John.
Place of Origin
Sicily, Italy (painted)
Date
1490-1500 (painted)
Artist/maker
Antonio de Saliba, born 1461 - died 1539 (attributed to, artist)
Materials and Techniques
tempera on poplar panel
Dimensions
Height: 220 cm, Width: 155 cm estimate, Depth: 7 cm, Weight: 23.5 cm
Object history note
Purchased, 1895
Purchased from Messrs Williamson & Sons, 45High Street, Guildford
According to tradition (unsupported by documentary evidence), from Hever Church, Kent, where it is said to have formed the rood.
The carved openwork frame appears to be a later addition
Historical significance: Antonio de Saliba (?1466/7 - ?1535) also called Antonello da Messina, nephew of the more famous Antonello da Messina (c. 1430-1479), worked primarily in Sicily. Stylistic evidence and the presence of works associated with him in and around Venice suggest however that he also spent some time in the north of Italy. In addition to using the same name, Antonio often closely imitated the paintings of his uncle, consequently the artist have often been confused with each other, a situation perhaps intentionally encouraged by de Saliba who used various forms of his uncle's signature on his works. His paintings flaunt their debt to Antonellos' style and also incorporate elements by Giovanni Bellini. A number of Antonio's documented Sicilian commissions are lost, but the Virgin and Child Enthroned (1497; Catania, Mus. Civ. Castello Ursino) characterizes his style with its references to Antonello's Virgins, as well as to the works of Bellini, Cima da Conegliano and Bartolommeo Montagna. Antonio produced numerous paintings for provincial churches, and the majority consist of modernized reworkings of Antonello's prototypes.
On the terminals, Mary and St John each express their grief at Christ's Crucifixion and are exectued in a style close to that of Antonello. At the top of the crucifix, a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass.
The carved openwork frame appears to be a later addition
Historical context note
A painted Crucifix is a painted wooden panel in the form of a cross, with a central figure of the crucified Christ. Other figures or scenes are sometimes also included on the apron (on either side of Christ’s lower body) and on the terminals (rectangular extensions of the cross arms). Painted Crucifixes were commonly either placed behind the altar or suspended from the chancel arch. The double-sided construction of some suggests that they may also have been carried in liturgical processions.
Painted crosses became popular in Italy by the 12th century. The earliest surviving Tuscan painted crucifix' represent Christ asChristus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist.
Descriptive line
Painted crucifix, possibly by Antonio de Saliba, Sicilian, late 15th century. Tempera on poplar panel.
Bibliographic References (Citation, Note/Abstract, NAL no)
Kauffmann, C.M. Catalogue of Foreign Paintings, I. Before 1800. London: Victoria and Albert Museum, 1973, pp. 10-11, no. 8
The following is the full text of the entry:
ANTONIO de Saliba (?1467-1535)
Sicilian School
Born probably in 1467, he is documented from January 1480, when he worked with Jacobello, son of Antonello da Messina, until May 1535.
Lit. S. Bottari, La pittura del quattrocento in Sicilia, 1954, p. 88, pls. 133-43.
Ascribed to ANTONIO de Saliba
8
PAINTED CRUCIFIX
In the terminals: top:THE PELICAN IN HER PIETY
sides:MARY AND ST JOHN
Tempera on poplar panel
85 ½ x 60 ¾ (217 x 154)
In a carved openwork frame, which appears to be a later addition
323-1895
Traditionally said to have formed the rood of the parish church of Hever, Kent, this crucifix has usually been considered Italian 14th century. Recently, however, it has been firmly placed in Sicily, late 15th century (by Everett Fahy, oral opinion), and Professor V. Scuderi of Palermo has tentatively attributed it to Antonio de Saliba.
The figures of Mary and St John betray the influence of Antonello da Messina (active 1456-79), but otherwise this work adheres closely to the most usual type of 14th century Italian crucifixes, in which the body of Christ lies straight against the cross bent only slightly at the knee, with a single nail piercing both feet. The 'Pelican in her piety' pecks her breast and causes the blood to flow in order to feed her famished young. This legend is found in early medieval Bestiaries, where it is paralleled by the sacrifice of Christ's blood to save the parched soul of mankind. Originally derived from a passage in the Psalms (Psalm 102, 7), this comparison was well known to medieval commentators and consequently the pelican is quite often depicted from the 13th century as a symbol of the Crucifixion.
Condition. Badly rubbed on the left side of the body especially on the loin cloth, also on the face. Cleaned in 1968.
Prov. According to tradition (unsupported by documentary evidence), from Hever Church, Kent, where it is said to have formed the rood. Bought in 1895.
Exh. Society of Antiquaries, English medieval paintings ..., 1896, no. 28.
Lit. Artist, xviii, July-December, 1896, p. 358 f., repr. (as English); Proceedings of the Society of Antiquaries, 2 s., xvi, 1895-97, p. 205 (as Italian, 15th century); C. M. Kauffmann, 'Notes on two paintings' in V. & A. Museum, Yearbook, i, 1969 p. 49 f.
Artist, xviii, July-December, 1896, p. 358 f., repr.
Described as English
Proceedings of the Society of Antiquaries, 2 s., xvi, 1895-97, p. 205
As Italian, 15th century
C. M. Kauffmann, 'Notes on two paintings' in V. & A. Museum, Yearbook, i, 1969 p. 49 f.
Exhibition History
English medieval paintings (The Society of Antiquaries of London 01/01/1896-31/12/1896)
Production Note
Formerly described as English (1896) and subsequently as Italian, 14th century; published as late 15th century attributed to Antonio de Saliba in 1973.
Materials
Tempera; Poplar
Techniques
Painting
Subjects depicted
Jesus Christ; Mary (Virgin Mary); St. John the Evangelist; Pelican in her piety
Categories
Christianity; Paintings
Collection code
PDP
