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Cunliffe"}],"component":[{"materials":[{"note":[{"value":"translucent blue, turquoise, green, tan, and mulberry opaque red, white, and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular copper plaque, almost flat, 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 foils, and gilding. The counter enamel is not visible."}],"note":[{"value":"black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-97946","uid":"adlib-term-97946","uuid":"388f10ba-526c-32ab-869a-65750eb7faac"},"summary_title":"drawing"}},{"note":[{"value":"translucent blue, turquoise, green, tan, and mulberry enamels, opaque red, white, and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"28.5"},{"dimension":"Width","units":"cm","value":"11.5"}]},"name":"Plaque"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39778","uid":"adlib-term-39778","uuid":"8bd60ed6-968d-3faf-8ad5-b4e4ee9bb245"},"summary_title":"silver"}}],"name":"Foils"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"30.8"},{"dimension":"Width","units":"cm","value":"14"}]},"name":"Inner Frame"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"34"},{"dimension":"Width","units":"cm","value":"17.5"}]},"name":"Outer Frame"},{"name":"Front","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-107707","uid":"adlib-term-107707","uuid":"cbae1ed2-5069-35db-a029-700dc23ada11"},"summary_title":"Christian religion"}]},"department":{"value":"Applied Arts"},"description":[{"value":"copper decorated with polychrome enamels, jewelling, and gilding. 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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Christ, enthroned and crowned with thorns, is mocked by four tormenters. Above the architectural background a pair of putti hold up a shield bearing the initials IHS"},{"value":"Rectangular almost flat copper plaque, painted in black over a white enamel ground, and covered with translucent blue, turquoise, green, mulberry, and tan enamels, and opaque red, white, and black enamels, jewelling over foils, and gilding.                                                                                                            Christ is seated on a tan-coloured throne in the centre. He holds a sceptre in his right hand which is crossed over his left on his lap, and wears a dark mulberry gown, and a green crown of thorns from which scarlet blood trickles down his forehead and neck. He is flanked by two men who are pushing the crown down on his head with rods, and another stands behind him bowing his head, and pressing the crown down with his hands. The man on the right has a blue hose, a turquoise tunic, and a blue cap with a jewelled border. The one on the left has green hose, a grey cap, and a brown armour with three jewelled medallions on the elbows and breastplate, and a blue mail shirt, visible below his waist. The one above has a blue hat and a green tunic with two jewelled buttons or brooches. In the left forground another man kneels, having doffed his hat in mocking subserviance, and rests his right hand on Christ's right arm. He has green hose, a blue tunic with a red jewel on its back, and a turquoise hat with a jewelled edge. In the foreground there is a green tiled floor with a red spot and four white dots in each lozenge-shaped tile. Behind the figures there is a black drape scatered with gold circles with  a curved band of jewelling at the top, dividing them from the architectural setting of two jewelled arches rising from a central capital. In the spandrel of the arch there is a green mask below a blue shield inscribed IHS in gold, held up by two putti who lie horizontally above the arches. Remnants of lavish gilding are visible on the throne, costumes, and arches.  The gilt-metal frame has eighteen rosette-headed rivets at intervals, and is set into a display frame covered in worn red velvet. Its back is covered in red damask and has a hinged damask-covered prop in the middle."}],"identifier":[{"accession_number":"M.9-1938","primary":true,"type":"accession number","value":"M.9-1938"},{"priref":"139849","type":"priref","value":"139849"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139849","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139849"}],"inscription":[{"location":"on front on shield","method":"painted in gold","transcription":[{"value":"IHS"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-164806","uid":"adlib-agent-164806","uuid":"32ad1dba-2b4e-3170-bad1-91ce6cb808a1"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938-02-15"}],"method":{"value":"bequeathed"},"note":[{"value":"bequeathed 1937"}]}],"creation":[{"date":[{"earliest":1515,"from":{"earliest":1515,"era":["CE"],"latest":1515,"precision":"circa","value":"1515"},"latest":1525,"note":[{"value":"previously 1515-1530 but it should have the same dates as the companion wing, M.8-1938"}],"range":true,"to":{"earliest":1525,"era":["CE"],"latest":1525,"value":"1525"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179444","uid":"adlib-agent-179444","uuid":"ed67bba8-3737-3e75-b79c-5eddbb32b80a"},"summary_title":"workshop of Nardon Penicaud"},{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-105577","uid":"adlib-agent-105577","uuid":"0760ccbc-1239-3a7f-9ad2-4b95d7f1dece"},"summary_title":"Penicaud, Nardon"}],"note":[{"value":"The Crowning with Thorns took place after Jesus had been scourged on Pontius Pilate's orders. He was to the courtyard where he was dressed in a scarlet or purple robe, crowned with thorns, and mocked as King of the Jews (New Testament, Matthew, 27: 27-9; Mark 15: 17-18; and John 19: 2-3). The event was one of those usually included in representations of the Passion of Christ in Art.                                                                                       \nThe composition of this Crowning with Thorns  is almost similar to the right wing of a triptych in the Museo Sacro in the Vatican which lacks the shield bearing the sacred trigram at the top, and has instead one angel with outstretched wings in the spandrel instead of two flying above. The iconography was probably derived from a German engraving or woodcut of the late 15th century. The Christ and kneeling figure on the left, and the shaped edge of the dais are reminiscent of the Crowning with Thorns in a series of twelve illustrating the Passion of Christ by Martin Schongauer (c.1440\/53-91), but the other figures and the architectural setting are completely different. An example of the print of the is in the British Museum, 1895,0915.244.\nThe metal inner frame and the worn red velvet covering the wooden mount are typical of 19th century frames for Limoges painted enamels, applied by restorers such as Charles-Alfred Corplet (1827-94) and Alfred Andr\u00e9 (1839-1919). The crimson damask mount may have been made while it was in the collection of 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 cel\u00adebrated collection formed by the late Sir Francis Cook, Bart., day 1, second part of lot 205 (with M.8-1938); sold with M.8-1938 to S.J. Phillips for \u00a31312.10s (1250 guineas); Leonard D. 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