Plaque

Physical description

The circular relief depicts Christ on the cross surrounded by images of the twelve Apostles in vine branches. It shows God the Father with a hoe and a scroll with the inscription: "pater umificat" [The Father revives], and the Virgin pouring liquid from a jug onto the ground beneath the cross with the inscription: "maria fecundat" [Mary fertilises]. On top of the cross is a scroll with the inscriptions (almost illegible):"ego uitis vera" [Ego sum vitis vera- I am the true vine. John XV,1], and "ego sum uitis vos palmites" [I am the vine, you are its branches. John XV,5]. Above the scrolls appears the Dove of the Holy Spirit.
The roundel is cast in one piece. Several cracks and repairs are visible on the edge. Two cracks run diagonally across the relief, visible from the back. A leaf at the top left is re-modelled and a hole at the top has a later filling. On the back is written in black ink: "No. 2569" and the letters "P L" in an early nineteenth-century hand. There are two fingerprints on the reverse.The background of the frame is painted dark blue. The vine-leaves framing the scene are unpainted. In the centre brown branches with green grapes frame the images of the Apostles in alternating red and grey robes. The extremities of the brown cross are red; the rocky ground is also painted dark blue. The Virgin wears a grey gown with a red belt and a white mantle, and holds a red jug. God the Father wears a red mantle. The haloes of God the Father, Christ, the Virgin and the Apostles are yellow.

Place of Origin

Rhineland, Germany (made)

Date

ca. 1430-1440 (made)

Artist/maker

Unknown (production)

Materials and Techniques

Painted stucco

Dimensions

Diameter: 21.6 cm overall, Diameter: 11.5 cm relief, Depth: 2 cm relief

Object history note

Bought for 12 s. in Paris (vendor unknown) in 1856.

Historical significance: The prototype was probably metal or Solnhofen limestone, which was disseminated in terracotta versions. These have been dated about 1430-40, and a Middle Rhenish origin has been suggested by Arens. The present relief is the only version which has been polychromed, and must have been used for devotional purposes. Roundels in terracotta of a similar size were also produced in the workshop of Judocus Vredis (about 1470-1540) in the Cistercian abbey in Wedderen near Dülmen in Westfalia. These reliefs are stylistically reminiscent of the production in terracotta in Utrecht. The subject of Christ crucified on the vine tended by God the Father and the Virgin with the images of twelve Apostles conveys the idea of mankind's redemption through Christ, whilst being simultaneously a representation of the Church according to John XV, 1.

Bibliographic References (Citation, Note/Abstract, NAL no)

Exh. London 2000, pp. 42-43, no. 20 (colour plate).
Jopek, Norbert German Sculpture 1430-1540. A Catalogue of the Collection in the Victoria and Albert Museum. London: 2002, PP. 38, Cat.no. 6
Inventory of Art Objects Acquired in the Year 1856. In: Inventory of the Objects in the Art Division of the Museum at South Kensington, Arranged According to the Dates of their Acquisition. Vol I. London: Printed by George E. Eyre and William Spottiswoode for H.M.S.O., 1868, p. 43.
Arens, Fritz. Die ursprüngliche Verwendung gotischer Stein-und Tonmodel. Mainzer Zeitschrift 66, 1971, p. 123, pl. 39 (Gc 37)

Exhibition History

Seeing Salvation: The Image of Christ (National Gallery (London) 07/05/2000-26/02/2006)

Labels and date

Christ crucified on the Vine
About 1430-40
Germany, Middle Rhine
Painted stucco [2010]

Production Note

Middle Rhenish

Subjects depicted

Mary (Virgin Mary); Grapes; Cross; Christianity; Vine; God; Dove; Apostle

Categories

Sculpture

Collection code

SCP