Art/ Collection/ Art Object
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Triptych with Scenes from the Passion of Christ

Artist:
Possibly Master Pertoldus (Berthold Schauer?)
Date:
1494
Geography:
Made in Salzburg, Austria
Culture:
Austrian
Medium:
Silver, silver gilt, mother-of-pearl, bone, and cold enamel
Dimensions:
Overall (open): 27 3/8 x 9 7/8 x 7 1/4 in. (69.5 x 25.1 x 18.4 cm)
Classification:
Metalwork-Silver
Credit Line:
Gift of Ruth and Leopold Blumka, 1969
Accession Number:
69.226
On view at The Met Cloisters in Gallery 14
This triptych is remarkable for its completeness as well as for the high quality of its execution. At the center of the shrine is Crucifixion, with Christ before Annas on the bottom panel of the left wing, and the Bearing of the Cross above. On the right wing, the Agony in the Garden is at top, with the Entombment below. Above the center section are three medallions (the one on the left is a modern replacement) representing, from left to right: Saint Catherine, the Virgin and Child, and Saint George and the Dragon. The Annunciation appears on the large medallion below the Crucifixion. In addition to these carved appliqués and the silver figure of Christ at the top, the triptych is embellished with skillful engravings. Saints Andrew, Benedict, and Catherine appear on the base, while the Last Supper is depicted in the reverse of the central shrine, flanked by the Flagellation and the Arrest of Christ (left), and the Crown of Thorns and the Resurrection of Christ (right).

The inscription above the Crucifixion—RUDBERTI ABBATIS PERSTO EGO IUSSO SUO (I stand by order of Abbot Rupert)—links the triptych to Abbot Rupert Keutzl of the Benedictine abbey of Saint Peter at Salzburg. The date 1494 appears three times on the object. Documents record a triptych made about this date by the goldsmith Pertoldus, but we cannot be certain that that work is the same as The Cloisters' triptych.
Inscription: Inscriptions:
(on the molding above the Crucifixion) INICIUM SAPIENTIE TIMOR DOMINI ECCI [ecclesiastici] PRIMO
(on the moulding above the Last Supper) RUDBERTI ABBATIS PERSTO EGO IUSSO SUO
(in Crucifixion scene, above head of Christ) INRI
(above plaque veil of Veronica) simulated inscription on banderole of angel in Annunciation plaque.

Marking: Dated: (on mother-of-pearl frame at bottom of angel holding Veil of Veronica; twice on base) 1494

Arms: of Abbot Rupert and of Monastery of St. Peter of Salzburg
(on left of base) crossed keys in black enamel on silver-gilt [handles of keys at bottom]
(on right side of base) red clover leaf on grey ground on upper right half; lower left grey clover leaf on ground

Marks:
(above St. Catherine on base) Salzburg silver
From the Treasury of Benedictine Abbey of St. Peter, Salzburg; Oscar Bondy, Vienna (1930–confiscated by Nazi officials in 1938) ; restituted to his widow, Elizabeth Bondy, New York (by 1950) ; Ruth and Leopold Blumka, New York (until 1969)
Katalog der von dem Wiener Alterthums-Vereine veranstalteten Ausstellung von Kunstgegenständen aus dem Mittelalter und der Renaissance. 2nd ed. Vienna: K. K. Hof- und Staatsdruckerei, 1860. no. 4, pp. 4–5.

Essenwein, August Ottmar. "Die archäologische Ausstellung des wiener Alterthums-Vereins." Organ für christliche Kunst 11, no. 3 (February 1, 1861). p. 31.

Lotz, Wilhelm. Kunst-topographie Deutschlands: Statistik der deutschen Kunst des Mittelalters und des 16. Jahrhundert. Volume 2, Süddeutschland. Kassel: Theodor Fischer, 1863. p. 433.

"Hausaltärchen in der Schatzkammer des St. Peters stiftes in Salzburg." Mittheilungen der K.K. Central-Commission zur Erforschung und Erhaltung der Baudenkmale 13 (1868). pp. LI–LII, ill.

Lind, Karl. "Die österreichische kunsthistorische Abteilung der Wiener-Weltausstellung." Mittheilungen der K. K. Central-Commission zur Erforschung und Erhaltung der Baudenkmale 18 (1873). pp. 152, 158, fig. 7.

Officieller Kunst-Catalog. Welt-Ausstellung 1873 in Wien. Vienna: s.n., 1873. no. 15, p. 24.

Kuhn, Joseph Alois. Katalog der Kunst- und Kunstindustrie-Ausstellung alter und neuer deutscher Meister sowie der deutschen Kunstschulen im Glaspalaste zu München 1876: Volume 2, Katalog für die Ausstellung der Werke älterer Meister. Munich: C. Wolf & Sohn, 1876. no. 150, pp. 31–32.

Hartig, Michael, ed. Ausstellung kirchliche Kunstschätze aus Bayern: Katalog: Residenzmuseum München. Munich: Residenzmuseum, 1930. no. 93, p. 24, pl. 29.

Frey, Dagobert, and Karl Ginhart, ed. Die Kunstdenkmäler in Kärnten, Salzburg, Steiermark, Tirol und Vorarlberg. Georg Dehio: Handbuch der deutschen Kunstdenkmäler. Österreich, Vol. 1. Berlin and Vienna: Deutscher Kunstverlag, 1933. p. 156.

Gómez-Moreno, Carmen. Medieval Art from Private Collections: A Special Exhibition at The Cloisters, October 30, 1968 through January 5, 1969. New York: The Metropolitan Museum of Art, 1968. no. 145.

The Metropolitan Museum of Art. Masterpieces of Fifty Centuries. New York: Dutton Publishing, 1970. no. 177, p. 194.

The Metropolitan Museum of Art. Notable Acquisitions (Metropolitan Museum of Art) no. 1965/1975 (1975). p. 158.

Fritz, Johann Michael. Goldschmiedekunst der Gotik in Mitteleuropa. Munich: C. H. Beck, 1982. p. 291, fig. 761.

The Metropolitan Museum of Art. The Metropolitan Museum of Art Guide, edited by Kathleen Howard. New York: The Metropolitan Museum of Art, 1983. no. 33, p. 374.

Husband, Timothy B., and Charles T. Little. Europe in the Middle Ages. New York: The Metropolitan Museum of Art, 1987. no. 135, p. 147.

The Metropolitan Museum of Art. The Metropolitan Museum of Art Guide, edited by Kathleen Howard. 2nd ed. New York: The Metropolitan Museum of Art, 1994. no. 33, p. 406.

Kammel, Frank Matthias, and Andreas Curtius. Spiegel der Seligkeit: Privates Bild und Frömmigkeit im Spätmittelalter. Nuremberg: Germanisches Nationalmuseum, 2000. no. 80, pp. 254-255.

Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. no. 108, pp. 146–48, 198.

Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. 75th Anniversary ed. New York and New Haven: The Metropolitan Museum of Art, 2012. pp. 154-155.



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