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The Flagellation of Christ by a group of tormentors.  Above the architectural background a pair of putti hold up a shield bearing the initials IHS"},{"value":"Rectangular copper plaque with drawing in black over a white ground covered with translucent blue, turquoise, green, tan, and mulberry enamels, opaque red, white, and black enamels; blue, red, and green enamel jewelling over presumed silver foils, and gilding. The counter enamel is a semi-translucent, unevenly dappled dark brown, with many tiny raised dots, and several large corrosion craters.                                                                                                                            Christ stands in the centre tied with his arms behind his back to a mulberry column. He is naked except for a white loin cloth and his arms, torso and legs are covered with horizontal lines of drops of blood. His mulberry-coloured cloak lies in the foreground on greensward scattered with numerous flowers with red and green jewelled centres and white dotted petals. Two men on the right and one on the left stand with their arms raised holding bunches of green twigs with which they are about to strike Christ. Another man kneels on the left holding a snaking cord in his right hand and a crown of thorns in his left. The head of another is visible behind the column. Above the figures there is a black drape bordered by a curved line of red, blue and green jewels with white dotted edges. Above it, two fluted arches with jewelled edges spring from the green capital of the column. In the spandrel between them is a green mask, and a blue shield bearing the mnogram IHS in gothic letters, held up by two putti who lie horizontally on the top of the arches. Remnants of lavish gilding are visible on the figures and arches. The narrow gilt-metal inner frame has eighteen flower headed rivets. The outer frame of the stand is covered in very worn crimson velvet and is backed by crimson damask with a hinged prop in the middle."}],"identifier":[{"accession_number":"M.8-1938","primary":true,"type":"accession number","value":"M.8-1938"},{"priref":"139848","type":"priref","value":"139848"},{"source":"number in L.D. Cunliffe's inventory","type":"inventory number","value":"B39"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139848","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139848"}],"inscription":[{"description":[{"value":"in gothic letters"}],"location":"on blue shield in spandrel between arches","method":"painted in gold","transcription":[{"value":"IHS"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"L.D. 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The figures and garment in the foreground were derived from a print in a series of twelve illustrating the Passion of Christ by Martin Schongauer (c. 1441-1491), or from a copy after it. (See Documentation, Bartsch and Hollstein). The architectural setting was omitted, and the figures were depicted in more static and less muscular style. The man at the front of the group on the right follows the print in having his feet and legs facing away from the viewer, but the enameller has created a torso and head facing the viewer.                                                                                                    \n The plaque was attributed to the workshop of Nardon Penicaud on its accession. The treatment of the draping of Christ\u2019s loin cloth and the jewelled flowerheads on this plaque are very close in style to those on the Crucifixion plaque signed by Nardon P\u00e9nicaud and dated 1503 (Mus\u00e9e de Cluny, Paris), but although the faces of the figures have similarly long noses, they are treated with greater realism, which suggests that the plaque was made some years later. The triptych in the Museo Sacro Vaticano is also attributed to Nardon P\u00e9nicaud. There is very little deterioration of the blues and manganese-purples, which suggests that it was made later than the Deposition (MAR.M.250-1912) which has considerable degrading of the manganese-purples, probably in the 1520s.\nThe metal frame and red velvet-covered mount are typical of French 19th century mounting of painted enamels. The scarlet damask backing and prop could have been made for it while it was in Leonard D. 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(1817-1901); Wyndham Francis Cook (1860\u20131905); Humphrey Wyndham Cook (1893\u20131978); sold Christie\u2019s, 7-10 July 1925, Catalogue of an important collection of objects of art of the Middle Ages and Renaissance, the property of Humphrey W. Cook, Esq., and removed from 8 Cadogan Square, S.W., Being a portion of the Celebrated Collection formed by the late Sir Francis Cook, Bart.,  2nd Day, 8 July, p. 47, first part of lot 205, described as framed but illustrated unframed; L.D. 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The outlines are in black. The reverse has clear counter-enamel.\nChrist hangs on a gold Cross with  \u2018INRI\u2019 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 sem\u00e9 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."}],"identifier":[{"accession_number":"MAR.M.252-1912","primary":true,"type":"accession number","value":"MAR.M.252-1912"},{"priref":"156447","type":"priref","value":"156447"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156447","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156447"}],"inscription":[{"location":"on label at top of Cross","method":"hand-written in gold","transcription":[{"value":"INRI"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"C.B. 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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. 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