An ink drawing of Jesus Christ crucified on the cross. Around the cross are three male saints, one of whom is identified as Saint Bartholomew. All three look up at Jesus while one kneels on the ground, holding with his left hand the bottom of the cross. In the distant background are buildings of a city.
On the plate, l.l.: Israel ex. Cum Privil. Reg. On the plate, lower right margin: 13 On the plate, lower margin, six verse lines in groups of two disposed from left to right: Ces ennemis du Ciel que pechent mil fois Contre les saincts Decrets et les divines Liox Font gloire méchamment de pillar et d'abattre Les temples du Vray Dieu d'une main idolatre Mais pour punition de les avoir brulez Ils sont eux mesmes enfin aux flammes immolez
This small carved boxwood cross is divided on each face into five compartments containing Christian religious scenes. The cross is set in a stand decorated with mother-of-pearl and green glass-paste stones.
This small sanctification cross, which would have been used for holy water ceremonies in the Orthodox church, depicts six scenes drawn from the life of Christ and the Virgin Mary along with the four Evangelists writing the gospels. The Baptism of Christ appears in the center of one side of the cross with the Annunciation above and the Presentation of the Virgin in the Temple below, while two Evangelists are depicted in the horizontal arm. The Crucifixion serves as the central scene on the other side, with Doubting Thomas above, Christ's Descent into Hell below, and two more Evangelists on the horizontal arm of the cross.
A bearded man, wearing a loincloth and a long trailing headband, hangs from a cross by his arms, which have split open beneath the ropes that bind them. His left leg hangs downward and passes behind his right foot, which perches precariously on a forked branch. He strains to his left and gazes upward with his mouth open in a tortured movement augmented by the dramatic sweeps of drapery that frame his torso.
This bearded figure bound to a cross represents the Good Thief described in the gospel of Luke who was crucified alongside Christ and decried the injustice of Christ's execution (Luke 23:39-43). This sculpture once formed part of a complex, multi-figure altarpiece depicting the Crucifixion in which the Good Thief would have appeared next to a larger figure of the crucified Christ.
This standing figure of the Virgin turns slightly toward the left with her head bowed and hands clasped before her in a restrained expression of grief. Her robe is gilded, which contributes a regal note to this somber figure.
This figure of the Virgin once accompanied a statue of the crucified Christ and a mourning St. John the Evangelist as part of a crucifixion group that decorated the interior of a church in Castile. The muted coloring of the figure together with her somber expression quietly convey her grief.
Three grief-striken figures lament over the body of a dead man lying on the ground before them. One of these figures, a robed woman who clasps her hands in agony, leans forward to peer into the face of the dead man, who is rendered with dramatic foreshortening. To the left of this woman sits a long-haired man wiping his eyes while another woman with wild unkempt hair seated next to him raises her arms in abject sorrow. Three nails and a pair of vessels sit in the immediate foreground next to the artist's initials "HGB."
This woodcut print depicts the Virgin Mary, St. John the Evangelist, and Mary Magdalene lamenting over the body of Christ at the foot of the cross. The Virgin, with her cowl drawn over her head, leans over Christ's body, while John and the Magdalene, wild with grief, sit behind her. The posts of the three crosses and a ladder as well as the feet of the two criminals executed with Christ appear behind this dramatic knot of figures. The nails driven through Christ's hands and feet sit prominently alongside two vessels in the foreground.
This print depicts the body of a man being lowered from a cross. Two men lean over the top of the cross to remove the nails from the dead man's hands and pass his body down to two other men standing on ladders. Three women and a man lay on the ground in mourning at the foot of the cross.
This print represents the removal of Jesus' body after his crucifixion. Four men, including Nicodemus and Joseph of Arimathea, work to lower his body from the cross. The group of mourners at the foot of the cross includes the Virgin Mary, who slumps forward in a swoon, and John the Evangelist, who supports her from behind. The balanced composition and the dignified emotional restraint of the figures in the print reveal the influence of Raphael.
Processional cross with triumphant Christ (Christus triumphans) flanked by busts of the evangelists, Saints Matthew, John, Mark, and Luke (obverse); and suffering Christ (Christus patiens) flanked by busts of the Virgin Mary, God the father, Saint John and unidentified male saint with cross (Saint Philip?) (reverse)
The arms of the cross end in quatrefoil-shaped terminals. The front (obverse) is gilded and features a molding along the edges. The back (reverse) has a deep azurite blue ground and a gilded band punched with tiny rosettes that runs along the border.
The front (obverse) of the cross depicts the living Christ triumphant (Christus triumphans) on the cross, surrounded by busts of the Evangelists, Saints Matthew (proper left), John (top), Mark (proper right) and Luke (bottom), on the terminals. The reverse of the cross depicts the suffering Christ (Christus Patiens) surrounded on the terminals by busts of the mourning Virgin Mary (proper left) and Saint John the Evangelist (proper right), God the father holding an open book (top), and an unidentified male saint holding a cross, perhaps the Apostle Philip (bottom).
This carved bone sculpture depicts the Virgin Mary raising her right hand in a gesture of grief while her head is bent in mourning. A similar female figure, holding her hands clasped before her, appears in profile behind the Virgin, and another female figure stands to the left. Behind the mourning women the pointed helmets worn by two soldiers may be discerned.
This diminutive sculpture represents the grief-stricken Virgin and two other mourning women along with two soldiers that, together with its companion piece depicting John the Evangelist (1966/1.108), once formed part of a Crucifixion scene in a small portable altarpiece.
A small crowd of figures gathers around the body of a dead man and a fainting woman in the center of this bronze panel. The dead man's body and the two men holding his burial shroud appear in the foreground, while the fainting woman and the three women and the man who support her are positioned immediately above and behind them. Another woman with loose, flowing hair leans forward to kiss the left hand of the dead man, uniting the two parts of this central group. Four other male figures, rendered in slightly smaller scale and lower relief, look on from the sides. Three crosses provide the backdrop to the drama. The central cross is empty, yet two twisting nude males are suspended from the crosses on either side.
This bronze panel depicts the removal of Christ from the cross, which looms empty in the background. His muscular body, held by Joseph of Arimathea and Nicodemus, lies in calm repose at the center of a storm of grief. Mary Magdalene, her hair unbound, leans sharply forward to kiss Christ's left wrist, while the Virgin Mary falls back in a faint into the arms of three women and St. John the Evangelist. Great sweeps of drapery augment the impassioned responses of the figures. Four onlookers stand to the sides and the two thieves, their bodies naked and twisted, still hang on their crosses.
From the height of a cross, a crucified man, wearing a crown of thorns and a loincloth, looms over a dramatic landscape. Three heads with wings appear near the top of the cross, and a skull and crossed bones lay at its base. A vast prospect of distant mountains and a bustling port unfolds through the background.
This small etching depicts the Crucifixion of Christ. The heads and wings of three cherubim emerge from the clouds that gather around the top of the cross, signaling the divine importance of the event. The skull and bones at the base of the cross evoke the name Golgotha, or "Place of the Skull," where the Crucifixion was said to have taken place, and also allude to Christ's eventual triumph over death.