15929611940001312637261000Standard Recordobject-156447170966176124417092969100001709661757485fitz-onlineadlib-object-156447https://data.fitzmuseum.cam.ac.uk/id/object/156447c7a55d42-7b4e-3e08-b9e0-a72144468f8b10personreferenceagent-149696adlib-agent-149696c1d7b5bf-63d4-3ba4-a080-9810b80bf16cChristpersonreferenceagent-154123adlib-agent-1541232fef3fa1-e550-35f4-b4de-2ced0eb2272aVirgin Marypersonreferenceagent-153247adlib-agent-153247363ad1b4-deb4-39c5-b401-49f5079f98bbSt Johnreferenceterm-107563adlib-term-10756338dcd825-1de1-3222-82c6-15a95729b5ffenamelsreferenceterm-107444adlib-term-107444571df7cf-e062-3968-ae5e-bec9d5a82f92C. B. Marlayclear counter-enamelreferenceterm-32638adlib-term-3263897b8d1a5-7b8f-3a2a-a275-7d001aeaae2benamelBack Of Plaquepale greyish-blue, pale bluish-green, pale mulberry, flesh pink, pale straw-yellow, red, black, and whitereferenceterm-32638adlib-term-3263897b8d1a5-7b8f-3a2a-a275-7d001aeaae2benamelreferenceterm-39593adlib-term-39593e3e2a3f8-2433-3f63-9bcf-e776644d312dgoldDecorationrectangular slightly convex copper plaque with arched top, enamelled in pale greyish-blue, pale bluish-green, pale mulberry, flesh pink, pale straw-yellow, red, black, and white enamels, and gilded. The outlines are in black. The reverse has clear counter-enamel.pale greyish-blue, pale bluish-green, pale mulberry, flesh pink, pale straw-yellow, red, black, and whitereferenceterm-28662adlib-term-28662dd47e505-ccda-3f2b-b576-6104109430e8enamellingreferenceterm-28681adlib-term-28681c1f659e2-1209-31cf-8ff4-154e11452559gildingreferenceterm-39588adlib-term-39588b17ff981-06b2-30a2-b9a9-b514fe84a191copperPlaquereferenceterm-107707adlib-term-107707cbae1ed2-5069-35db-a029-700dc23ada11Christian religionApplied ArtsCopper, enamelled and gilt.Rectangular slightly convex copper plaque with arched top, enamelled in pale greyish-blue, pale bluish-green, pale mulberry, flesh pink, pale straw-yellow, red, black, and white enamels, and gilded. The outlines are in black. The reverse has clear counter-enamel.
Christ hangs on a gold Cross with ‘INRI’ written in gold on a white panel over it. He wears a green crown of thorns and a white drape which is being blown out on either side by the wind. Blood pours from the wounds in his head, hands, feet, and side. At the base of the cross there is a white skull with black eye sockets. On the left the Virgin stands with her hands together in prayer, looking away from the Cross. She wears a white wimple, and a pale blue mantle over a mulberry dress. St John stands on the right holding a bluish-green book with both hands, and looking towards the Virgin. He has pale straw-coloured hair, and wears a white mantle over a mulberry gown. The ground is bluish-green. The black background has a gold sun on the left of the Cross and a moon on the right, and below its arms is semé with shooting stars (tadpole-like shapes). A narrow gold band runs round the curved edge, and within it is a line broken at intervals by four oblique strokes.MAR.M.252-19121accession numberMAR.M.252-1912156447priref156447urihttps://data.fitzmuseum.cam.ac.uk/id/object/156447https://data.fitzmuseum.cam.ac.uk/id/object/156447on label at top of Crosshand-written in goldINRIinscriptionreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumC.B. Marlay Bequestreferenceagent-149674adlib-agent-149674de1bf9dd-2091-39ca-85f6-41e736f6e32bMarlay, Charles Brinsley191219121912bequeathedMarlay died on 18 June 191215451545CE1545circa1545156011560CE15601560workshop ofmakerreferenceagent-114217adlib-agent-114217d84e37de-af7e-3317-8a55-c97eb4e99bccReymond, PierreImages of Christ on the Cross witnessed by the Virgin and St John were placed on church rood screens (jubés), where they reminded the congregation of Christ’s redemption of the world through his sacrifice. They also commemorated the poignant moment when the dying Christ commended his mother to the care of the unnamed disciple whom he loved, usually identified as the young St John, the only disciple recorded as a witness to the Crucifixion (John, 19 25-27). The initials INRI on a label at the top of the cross are an abbreviation of Iesus Nazarenus Rex Iudaeorum, the Latin version of a title, made also in Hebrew and Greek, which according to the Gospel was written by Pilate to be placed on the Cross (John 19, 19-20). Small enamelled plaques of this arched form were made for insertion into paxes which were kissed by the congregation during Mass, or were mounted as devotional images. The workshop of Pierre Reymond produced many of these small plaques with different subjects including the the Nativity (Fitzwilliam, M.41-1904), Virgin and Child Enthroned (Fitzwilliam, MAR.M.251-1912). the Pietà, St Jerome kneeling in Penitence, St John the Baptist, and St Francis of Assisi.
By the mid sixteenth-century there were many prints and book illustrations of the Crucifixion with the Virgin and St John, which could have served as a model for the enameller, and a specific source has not been identified. One possibility is a print by Martin Schongauer, although the figures are not identifical. (Bartsch, VI (Part 1), p. 129, no. 23; Illustrated Bartsch 8, formerly volume 6 (Part 1), Early German Artists, ed. Jane C. Hutchison, New York, 1980, p. 237, no. 23.)
Apart from the presence of a skull below the Cross, the scene closely resembles a grisaille plaque attributed tentatively to Pierre Reymond, situated in a triptych above a set of enamelled plaques illustrating the Lord's Prayer by his contemporary, Colin Nouailher, in the Musée des Beaux-Arts, Limoges (Inv. 2000.10.1).referenceterm-110475adlib-term-110475223ae6a7-2f91-3314-ae3c-da3233ae47dc16th Century, Midreferenceterm-15498adlib-term-1549861725bf5-360f-3837-8aab-3c90b956a537literalFranceFrancecountryliteralHaute VienneHaute VienneregionLimogesHeightcm7.8Widthcm6.1referencemedia-136162adlib-media-1361627243c5f0-427c-3e54-b4f0-7af038817d50jpegaa/aa20/MAR_M_252_1912_20_281_29.jpg1heightpixels760widthpixels65516162604606151imagejpegaa/aa20/mid_MAR_M_252_1912_20_281_29.jpg1heightpixels580widthpixels50016162604606151imagejpegaa/aa20/MAR_M_252_1912_20_281_29.jpg1heightpixels760widthpixels65516162604606151imagejpegaa/aa20/preview_MAR_M_252_1912_20_281_29.jpg1heightpixels290widthpixels25016162604606151image0media
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imagereferencemedia-3599818313portfolio-media-3599818313070fb67b-293e-393a-8f75-d57d0863d21djpegportfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/308/large_MAR_M_252_1912_2_200801_mfj22_mas.jpg1heightpixels1536widthpixels102415293709110001imagejpegportfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/308/mid_MAR_M_252_1912_2_200801_mfj22_mas.jpg1heightpixels750widthpixels50015293709110001imageMAR.M.252-1912_2_200801_mfj22_mas.tif15293709110001imagejpegportfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/308/preview_MAR_M_252_1912_2_200801_mfj22_mas.jpg1heightpixels375widthpixels25015293709110001image3media
imagereferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueobject namereferenceterm-125750adlib-term-1257502b10ac09-63c3-34ed-87d5-487058c1c344Limoges painted enamelscategoryhistory noteuncertain before the testator, Charles Brinsley Marlay (1831-1912)1same formreferenceobject-156446adlib-object-15644635b242f5-e76e-30e3-8d60-b5b01d0cdf371reference1term-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaque1same formreferenceobject-156427adlib-object-156427f09bb5a2-0dfa-36aa-8bc5-51b4ccd945881reference1term-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaquereferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumRef. p. 237, no. 23, the Crucifixion by Martin Schongauer237referencepublication-6075adlib-publication-607508cc642f-6f62-3ec7-bc4a-d8d0fce9ef1dThe Illustrated Bartsch, 8, Formerly Volume 6 (Part 1), Early German ArtistsCf. p. 90, no. 724, lent by F. Davis, the plaque at the top above the plaques of the Lord's Prayer90referencepublication-6194adlib-publication-61947d8edc6b-459b-3eb8-84c9-8b43101b820cCatalogue of the Special Loan Exhibition of Enamels on Metal held at the South Kensington Museum London in 1874Cf. pp. 295-9, illustrated, the Lord's Prayer triptych with the Crucifixion plaque above, attributed to Pierre Reymond, exhibited at South Kensington in 1874295-9referencepublication-200002664adlib-publication-200002664b15e6464-77a8-34fa-9ad7-9bbbcd063ed8Les acquisitions du Musée municipal de l’Evêché - musée de l’Email de LimogesCf. p. 124-5, no. 21, two arched plaques of St Jean the Baptiste and St Francis of Assisi, attributed to Pierre Reymond and dated c. 1550. Inv. nos. Gr 9 and Gr 10.124-5referencepublication-7297adlib-publication-729763470d8f-cfbe-3825-9919-c40c11c83e45Émaux peints de Limoges XVe-XVIIIe siècles, la collection du Musée des Arts DécoratifsCf. p. 190, OA 4010, an arched plaque of the Arrival of the Holy House of the Virgin at Loretto, in grisaille and colours, attributed to Pierre Reymond. Also p. 192, OA 4008 an arched plaque of St Jerome kneeling in Penitence, in grisaille and colours, attributed to Pierre Reymond.190referencepublication-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-9cf44da02136Renaissanceobject namereferenceterm-108538adlib-term-108538795ce314-a9bb-3fcc-9c39-4b671ec72fc3crossnamed eventreferenceterm-106788adlib-term-106788219a0cd7-61a6-33f6-b140-adfa5c5cc3bbCrucifixionliteralcrosscrossliteralCrucifixionCrucifixionreferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaqueThe Crucified Christ with the Virgin and St Johnobject
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