15929706690001312637261000Standard Recordobject-156445170966176111517090557490001709661757485fitz-onlineadlib-object-156445https://data.fitzmuseum.cam.ac.uk/id/object/156445300d158e-d47f-3e37-abe4-0a5592423f8f8personreferenceagent-149696adlib-agent-149696c1d7b5bf-63d4-3ba4-a080-9810b80bf16cChristpersonreferenceagent-160327adlib-agent-16032775a35321-4b64-3679-afc3-9010efe3a6f7Joseph of Arimatheapersonreferenceagent-98990adlib-agent-989906114d175-af1f-3d54-9624-600ff6924a26Nicodemuspersonreferenceagent-154123adlib-agent-1541232fef3fa1-e550-35f4-b4de-2ced0eb2272aVirgin Marypersonreferenceagent-152235adlib-agent-152235abbfd154-1b29-395b-915a-fc47cace0fadMary Magdalenereferenceterm-107563adlib-term-10756338dcd825-1de1-3222-82c6-15a95729b5ffenamelsreferenceterm-107444adlib-term-107444571df7cf-e062-3968-ae5e-bec9d5a82f92C. B. Marlaydark blue, turquoise, green, yellow, flesh pink, red, mulberry, pale brown, black, grey, and whitereferenceterm-32638adlib-term-3263897b8d1a5-7b8f-3a2a-a275-7d001aeaae2benamelprobably silverreferenceterm-109906adlib-term-109906cbea03fb-f9ac-3c28-ab2d-d20a955a2b53silver foilreferenceterm-28681adlib-term-28681c1f659e2-1209-31cf-8ff4-154e11452559gildingDecorationthick, narrow rectangular copper plaque, enamelled in dark blue, turquoise, green, yellow, flesh pink, red, mulberry, pale brown, black, grey, and white, and gilded.The jewels and flower centres are foiled in silver ? The reverse has dark brown counter-enamel.dark blue, turquoise, green, yellow, flesh pink, red, mulberry, pale brown, black, grey, and white; dark manganese-brown mottled counter-enamelreferenceterm-28662adlib-term-28662dd47e505-ccda-3f2b-b576-6104109430e8enamellingreferenceterm-106226adlib-term-106226194567f2-2bcd-3446-ae31-652386611815paintingreferenceterm-28681adlib-term-28681c1f659e2-1209-31cf-8ff4-154e11452559gildingreferenceterm-39588adlib-term-39588b17ff981-06b2-30a2-b9a9-b514fe84a191copperPlaqueHeightcm29Widthcm12FrameApplied ArtsCopper decorated with polychrome enamels and jewelling over silver (?) foil, and gilded. Gilt-metal frameThick, narrow rectangular copper plaque, enamelled in dark blue, turquoise, green, yellow, flesh pink, red, mulberry, pale brown, black, grey, and white, and gilded.A very thin wash of red produces flesh pink.The jewels and flower centres are foiled in silver (?).The reverse has dark brown counter- enamel.
Joseph of Aramathea stands on a ladder with his right arm over the tau Cross and round the body of Christ which he lowers into the arms of Nicodemus who stands on the right. On the left of the Cross, the Virgin Mary has sunk to her knees, and holds her hands together in prayer. Mary Magdalene (?) kneels beside her with her right arm around her shoulders. A skull and a bone lie at the foot of the Cross. The foreground on each side is scattered with jewelled flowers, and the sky is scattered with stars.
Joseph of Aramathea is balding and bearded. He wears a short mulberry gown over a garment with long yellow sleeves, and blue boots. Christ wears a crown of thorns and a white loin cloth. His white body is tinged with pink and blood trickles from his brow, hands, side, and feet. Nicodemus has a short beard, and a yellow hat with a jewel on its upturned brim. He wears a dark blue and mulberry tunic with jewelling round the neckline, green tights and brown boots with jewelled tops. The Virgin wears a dark blue mantle over a white wimple and mulberry dress. Mary Magdalene has a turquoise jewelled cap over her pale brown hair. She wears a dark blue cloak over a mulberry dress. The skull and bone are white and grey, and the flowers have white dotted petals around yellow and blue foiled centres.
The rectangular gilt-metal frame, has two applied twisted stems with leaf terminals at the top and bottom and five on each the side.MAR.M.250-19121accession numberMAR.M.250-1912156445priref156445urihttps://data.fitzmuseum.cam.ac.uk/id/object/156445https://data.fitzmuseum.cam.ac.uk/id/object/156445referenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumC.B. Marlay Bequestreferenceagent-149674adlib-agent-149674de1bf9dd-2091-39ca-85f6-41e736f6e32bMarlay, Charles Brinsley191219121912bequeathed15201520CE1520circa15201525the very dark counter enamel indicates a date before about 153011525CE15251525probablyworkshopreferenceagent-105577adlib-agent-1055770760ccbc-1239-3a7f-9ad2-4b95d7f1decePenicaud, NardonThe role of Joseph of Arimathea in the removal of Christ’s body from the Cross and its subsequent burial is described in all the Gospels, but it is only in St John (20.38-40) that Nicodemus is mentioned as his helper. The skull and bone at the foot of the Cross are a reference to name of the site of the Crucifixion, Golgotha, the place of the skull, and to the tradition that the Cross was erected over the grave of Adam.
Limoges plaques of the Deposition were often paired with Christ carrying the Cross as wings of triptychs with the Crucifixion in the centre. Plaques with closely comparable iconography form the right wing of triptychs in the Walters Art Gallery, Baltimore, the Musée du Louvre, Paris, and the Frick Collection, New York. All three triptychs have been attributed to the Penicaud workshop, usually to Nardon, or to a collaboration between Nardon and Jean I Penicaud, but Baratte (2000) preferred to attribute the Louvre’s example to Jean I Penicaud and to date it as late as 1530, rather than in the early 1520s. The Louvre’s plaque differs from the other two in having four bones instead of one, and in having the skull on the right of the base of the Cross instead of on the left. The central panel of the Walters' and Louvre’s triptychs was derived from a woodcut illustration to a book of hours printed in Paris in 1505, and re-used in Antwerp in 1525, which explains the discepancy beween the style of the costume and the suggested date range. This Deposition also occurs in reverse on the left wing of a triptych attributed to Nardon Pénicaud in the Museum des Arts décoratifs, in the Hôtel Lallemant at Bourges.referenceterm-124749adlib-term-1247493cb14eef-9414-324c-8abb-f4e5e0d52ff116th Century, Early#referenceterm-15498adlib-term-1549861725bf5-360f-3837-8aab-3c90b956a537literalFranceFrancecountryliteralHaute VienneHaute VienneregionLimogesreferencemedia-146505adlib-media-1465052f4779fa-36d3-3c8e-a00e-e61fd802efb0jpegaa/aa20/MAR_M_250_20_281_29.jpg1heightpixels760widthpixels41516162472980561imagejpegaa/aa20/MAR_M_250_20_281_29.jpg1heightpixels760widthpixels41516162472980561imagejpegaa/aa20/MAR_M_250_20_281_29.jpg1heightpixels760widthpixels41516162472980561imagejpegaa/aa20/preview_MAR_M_250_20_281_29.jpg1heightpixels458widthpixels25016162472980561image0media
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imagereferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueobject namereferenceterm-125750adlib-term-1257502b10ac09-63c3-34ed-87d5-487058c1c344Limoges painted enamelscategoryhistory noteuncertain before Charles Brinsley Marley (1831-1912) by whom bequeathedreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumCf. pp. 272- 3, no. 105, and pl. XXXIV, left wing of triptych in the Musée de Bourges, attributed to the workshop of Nardon Pénicaud282=3referencepublication-6072adlib-publication-607216b7c8dd-a034-3641-b87a-c2f1ae0386e8Les émaux limousins de la fin du XVe siècle et de la première partie du XVIe; étude sur Nardon Penicaud et ses contemporainsCf. pp. 46-50, no. 26, a triptych with a similar right wing, attributed to Nardon Penicaud, c. 1520-25, but Verdier surmised that there would at that period have been ‘constant cooperation between the aging Nardon and his brother, Jean I Pénicaud'. He considered that it was this Triptych which was the prototype for the others, and mentions two more, in the Louvre, and in the Frick Collection46-50referencepublication-6021adlib-publication-60216dafbb49-bc39-3d0c-b5ad-634dbead2cf0The Walters Art Gallery, Catalogue of the Painted Enamels of the RenaissanceCf. pp. 42-6, no. 18.4.8, a triptych with a comparable Deposition on the right wing, which lacks the skull and bone 26.7 x 9.5 cm. Verdier envisaged Jean I Penicaud assisting an aging Nardon on this plaque42-6referencepublication-200002180adlib-publication-200002180a2294bc4-cc14-3e0f-9aab-728d1027c94eLimoges Painted Enamels, Sixteenth and Seventeenth CenturiesCf. p. 45, OA 9947, attributed to Jean I Penicaud. This is less close in style to the Fitzwilliam's Deposition than the ones in the Walters Art Gallery and Frick Collection45referencepublication-6073adlib-publication-6073273632b3-da99-366e-9c3b-efd466467b8eLes émaux peints de Limoges. Musée du Louvre, Département des objets d'artreferenceterm-10618adlib-term-106189ebc0ae1-8cf8-312b-832c-9cf44da02136Renaissancereferenceterm-102735adlib-term-1027359ffebc71-0d53-3435-b13f-9ab850955082prayerobject namereferenceterm-108538adlib-term-108538795ce314-a9bb-3fcc-9c39-4b671ec72fc3crossobject namereferenceterm-107336adlib-term-107336bc93742f-8916-3829-bfef-6ffba0378959skullobject namereferenceterm-32149adlib-term-321498d0a972c-4bee-31ec-9bee-976d7cc14d21boneobject namereferenceterm-106795adlib-term-106795619c7689-2029-3c57-b0e2-12f5b54bedb8flowernamed eventreferenceterm-101708adlib-term-1017080643f36c-67b5-3a64-9347-56657ea44489depositionliteralcrosscrossliteralskullskullliteralboneboneliteralflowerflowerliteraldepositiondepositionreferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaqueThe Depositionobject
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