1592970669000 1312637261000 Standard Record object-156445 1747246367457 1714475167000 1747245848890 adlib fitz-online adlib-object-156445 https://data.fitzmuseum.cam.ac.uk/id/object/156445 300d158e-d47f-3e37-abe4-0a5592423f8f 9 person reference agent-149696 adlib-agent-149696 c1d7b5bf-63d4-3ba4-a080-9810b80bf16c Christ person reference agent-160327 adlib-agent-160327 75a35321-4b64-3679-afc3-9010efe3a6f7 Joseph of Arimathea person reference agent-98990 adlib-agent-98990 6114d175-af1f-3d54-9624-600ff6924a26 Nicodemus person reference agent-154123 adlib-agent-154123 2fef3fa1-e550-35f4-b4de-2ced0eb2272a Virgin Mary person reference agent-152235 adlib-agent-152235 abbfd154-1b29-395b-915a-fc47cace0fad Mary Magdalene reference term-107563 adlib-term-107563 38dcd825-1de1-3222-82c6-15a95729b5ff enamels reference term-107444 adlib-term-107444 571df7cf-e062-3968-ae5e-bec9d5a82f92 C. B. Marlay dark blue, turquoise, green, yellow, flesh pink, red, mulberry, pale brown, black, grey, and white reference term-32638 adlib-term-32638 97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b enamel probably silver reference term-109906 adlib-term-109906 cbea03fb-f9ac-3c28-ab2d-d20a955a2b53 silver foil reference term-28681 adlib-term-28681 c1f659e2-1209-31cf-8ff4-154e11452559 gilding Decoration thick, 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-enamel reference term-28662 adlib-term-28662 dd47e505-ccda-3f2b-b576-6104109430e8 enamelling reference term-106226 adlib-term-106226 194567f2-2bcd-3446-ae31-652386611815 painting reference term-28681 adlib-term-28681 c1f659e2-1209-31cf-8ff4-154e11452559 gilding reference term-39588 adlib-term-39588 b17ff981-06b2-30a2-b9a9-b514fe84a191 copper Plaque Height cm 29 Width cm 12 Frame Applied Arts Copper decorated with polychrome enamels and jewelling over silver (?) foil, and gilded. Gilt-metal frame Thick, 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.250-1912 1 accession number MAR.M.250-1912 156445 priref 156445 uri https://data.fitzmuseum.cam.ac.uk/id/object/156445 https://data.fitzmuseum.cam.ac.uk/id/object/156445 reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum C.B. Marlay Bequest reference agent-149674 adlib-agent-149674 de1bf9dd-2091-39ca-85f6-41e736f6e32b Marlay, Charles Brinsley 1912 1912 1912 bequeathed 1520 1520 CE 1520 circa 1520 1525 the very dark counter enamel indicates a date before about 1530 1 1525 CE 1525 1525 probably workshop reference agent-105577 adlib-agent-105577 0760ccbc-1239-3a7f-9ad2-4b95d7f1dece Penicaud, Nardon The 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. reference term-124749 adlib-term-124749 3cb14eef-9414-324c-8abb-f4e5e0d52ff1 16th Century, Early reference term-15498 adlib-term-15498 61725bf5-360f-3837-8aab-3c90b956a537 literal France France country Limoges reference media-146505 adlib-media-146505 2f4779fa-36d3-3c8e-a00e-e61fd802efb0 jpeg aa/aa20/MAR_M_250_20_281_29.jpg 1 height pixels 760 width pixels 415 1742592648853 1 image jpeg aa/aa20/MAR_M_250_20_281_29.jpg 1 height pixels 760 width pixels 415 1742592648853 1 image jpeg aa/aa20/MAR_M_250_20_281_29.jpg 1 height pixels 760 width pixels 415 1742592648853 1 image jpeg aa/aa20/preview_MAR_M_250_20_281_29.jpg 1 height pixels 458 width pixels 250 1742592648853 1 image 0 media image reference media-146506 adlib-media-146506 9c8cfc7b-d847-3e07-9ba5-a96a1742b215 jpeg aa/aa20/MAR_M_250_20_282_29.jpg 1 height pixels 760 width pixels 442 1742592602670 1 image jpeg aa/aa20/MAR_M_250_20_282_29.jpg 1 height pixels 760 width pixels 442 1742592602670 1 image jpeg aa/aa20/MAR_M_250_20_282_29.jpg 1 height pixels 760 width pixels 442 1742592602670 1 image jpeg aa/aa20/preview_MAR_M_250_20_282_29.jpg 1 height pixels 430 width pixels 250 1742592602670 1 image 1 media image reference media-3621246468 portfolio portfolio-media-3621246468 32c4e3e9-1af4-3bf3-abc4-4c737c5278ed jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/299/large_MAR_M_250_1912_1_200801_mfj22_mas.jpg 1 height pixels 1536 width pixels 1024 1529370892000 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/299/mid_MAR_M_250_1912_1_200801_mfj22_mas.jpg 1 height pixels 750 width pixels 500 1529370892000 1 image MAR.M.250-1912_1_200801_mfj22_mas.tif 1529370892000 1 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/299/preview_MAR_M_250_1912_1_200801_mfj22_mas.jpg 1 height pixels 375 width pixels 250 1529370892000 1 image pyramid tiff portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/299/MAR_M_250_1912_1_200801_mfj22_mas.ptif 1 height pixels 4992 width pixels 3328 1529370892000 1 image 2 media image reference media-2908627214 portfolio portfolio-media-2908627214 451b20e7-12a5-3db2-a308-206d281aaf74 jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/300/large_MAR_M_250_1912_2_200801_mfj22_mas.jpg 1 height pixels 1536 width pixels 1024 1529370898000 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/300/mid_MAR_M_250_1912_2_200801_mfj22_mas.jpg 1 height pixels 750 width pixels 500 1529370898000 1 image MAR.M.250-1912_2_200801_mfj22_mas.tif 1529370898000 1 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/300/preview_MAR_M_250_1912_2_200801_mfj22_mas.jpg 1 height pixels 375 width pixels 250 1529370898000 1 image pyramid tiff portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/300/MAR_M_250_1912_2_200801_mfj22_mas.ptif 1 height pixels 4992 width pixels 3328 1529370898000 1 image 3 media image reference term-107484 adlib-term-107484 935e21d3-0b7f-3ca6-9987-b79c82e054fd plaque object name reference term-125750 adlib-term-125750 2b10ac09-63c3-34ed-87d5-487058c1c344 Limoges painted enamels category history note uncertain before Charles Brinsley Marley (1831-1912) by whom bequeathed reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum Cf. pp. 272- 3, no. 105, and pl. XXXIV, left wing of triptych in the Musée de Bourges, attributed to the workshop of Nardon Pénicaud 282=3 reference publication-6072 adlib-publication-6072 16b7c8dd-a034-3641-b87a-c2f1ae0386e8 Les émaux limousins de la fin du XVe siècle et de la première partie du XVIe; étude sur Nardon Penicaud et ses contemporains Cf. 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 Collection 46-50 reference publication-6021 adlib-publication-6021 6dafbb49-bc39-3d0c-b5ad-634dbead2cf0 The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance Cf. 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 plaque 42-6 reference publication-200002180 adlib-publication-200002180 a2294bc4-cc14-3e0f-9aab-728d1027c94e Limoges Painted Enamels, Sixteenth and Seventeenth Centuries Cf. 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 Collection 45 reference publication-6073 adlib-publication-6073 273632b3-da99-366e-9c3b-efd466467b8e Les émaux peints de Limoges. Musée du Louvre, Département des objets d'art reference term-10618 adlib-term-10618 9ebc0ae1-8cf8-312b-832c-9cf44da02136 Renaissance reference term-102735 adlib-term-102735 9ffebc71-0d53-3435-b13f-9ab850955082 prayer object name reference term-108538 adlib-term-108538 795ce314-a9bb-3fcc-9c39-4b671ec72fc3 cross object name reference term-107336 adlib-term-107336 bc93742f-8916-3829-bfef-6ffba0378959 skull object name reference term-32149 adlib-term-32149 8d0a972c-4bee-31ec-9bee-976d7cc14d21 bone object name reference term-106795 adlib-term-106795 619c7689-2029-3c57-b0e2-12f5b54bedb8 flower named event reference term-101708 adlib-term-101708 0643f36c-67b5-3a64-9347-56657ea44489 deposition literal cross cross literal skull skull literal bone bone literal flower flower literal deposition deposition

reference term-107484 adlib-term-107484 935e21d3-0b7f-3ca6-9987-b79c82e054fd plaque

plaque object OBJECT