A monk and a hooded figure, his back bared so that he can whip himself in penitence, kneel before a dreamlike vision of Jesus rising from his tomb. This plaque, with an inscription naming the society of Saint Dominic, was probably intended for private prayer by a member of a Dominican brotherhood.
Focus on the crucified Christ and his suffering was widespread in the 1300s. Pope John XXII (reigned 1316–34) declared that the Imago pietatis should be evoked during the celebration of the Mass. Pope Innocent VI (reigned 1352–62) affirmed that devotion to the Instruments of the Passion would reduce punishment for sin after death; seen here are the vinegar-soaked sponge that was offered to Jesus on the cross and the lance that pierced his side.
Inscription: SOTIETAS DOMINCI (Society of St. Dominic), FR, meaning frater, and PB, the meaning of which is not clear
Albert Germeau, France; Victor Gay, Paris; Simon Seligmann, Paris; Georges and Edna Seligmann, New York (until 1982)
The Metropolitan Museum of Art. Notable Acquisitions, 1982-1983 (Metropolitan Museum of Art) (1983). p. 22.
Parker, Elizabeth C. "Recent Major Acquisitions of Medieval Art by American Museums." Gesta 23, no. 1 (1984). p. 70, fig. 8.
Wixom, William D., ed. Mirror of the Medieval World. New York: The Metropolitan Museum of Art, 1999. no. 177, pp. 151–52.
Evans, Helen C., ed. Byzantium: Faith and Power (1261-1557). New York, New Haven, and London: The Metropolitan Museum of Art, 2004. no. 293, pp. 483-484.
Puglisi, Catherine, and William Barcham, ed. Passion in Venice: Crivelli to Tintoretto and Veronese. New York; London: Museum of Biblical Art, 2011. no. 6, pp. 44-5.
Kennedy, Trinita. "Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy." In Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy, edited by Trinita Kennedy. Nashville: Frist Center for the Visual Arts, 2014. no. 25, p. 5.
Kennedy, Trinita, ed. Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy. Nashville: Frist Center for the Visual Arts, 2014. no. 25, pp. 146-147.
Neff, Amy. "Painting, Devotion, and the Franciscans." In Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy, edited by Trinita Kennedy. Nashville: Frist Center for the Visual Arts, 2014. no. 25, p.40.
Williamson, Paul, and Glyn Davies. Medieval Ivory Carvings, 1200–1550. Vol. 2. London: Victoria and Albert Museum, 2014. p. 861.
Date: ca. 1180–90Medium: Copper: engraved, chiseled, stippled, and gilt; champlevé enamel: dark, medium, and light blue; turquoise, dark and light green, yellow, red, and white; wood core, painted red on exteriorAccession: 17.190.514On view in:Gallery 304