Gallery LabelThis panel was orginally part of an altarpiece to which two panels in the Städtisches Museum at Trier—a "Beheading of John the Baptist" (with "Harbouring the Pilgrim" on the reverse), and "The Feast of Herod" (with "Feeding the Hungry" on the reverse)—also belonged. When the altarpiece was closed, the "Acts of Mercy" could be seen while the opened altarpiece showed the gold-ground paintings with scenes from the life of John the Baptist and Saint Lawrence. Since "Acts of Mercy" depicted in the art of this period commonly numbered six, three panels are probably missing from the wings of the altarpiece, one with the "Baptism of Christ," and two other scenes from the life of Saint Lawrence. There is no indication of the contents of the central panel. An altarpiece by the same hand is in the Nonnberg at Salzburg, where this panel may also have been painted.

The aggressive realism and formal simplicity found here are characteristic of works made in Salzburg in the second half of the fifteenth century. Hatch marks to indicate shadows on Lawrence's grill suggest that the artist was familiar with the techniques of engraving and woodcutting, newly discovered art forms which probably originated in the Upper Rhine region.

NotesThis painting was originally part of an altarpiece to which two panels in the Städtisches Museum Simeonstift, Trier, also belonged: "The Beheading of John the Baptist" (verso, "Harboring the Pilgrim") and "The Feast of Herod" (verso, "Feeding the Hungry"). When the altarpiece was closed, the Acts of Mercy would be visible, and when open, the scenes from the lives of Saints John the Baptist and Lawrence. At that time, most depictions of the Acts of Mercy included six, not seven, scenes, so three panels are probably missing from the wings of the altarpiece, one with the Baptism of Christ, and two with additional scenes from the life of Saint Lawrence. The central panel is also lost.

An altarpiece by the same artist is in the Stift Nonnberg, a convent in Salzburg, and the altarpiece to which the MMA panel belongs may also have been painted there.

The female saint on the versos of the MMA and Trier panels has been identified as Elizabeth of Hungary, Hedwig, Erentrud, and Hildegard of Bingen [see Refs. Buchner 1959 and Nickel 1981].

Provenance[Paul Lindpaintner, Berlin, by about 1952–55; sale, Lempertz, Cologne, November 23, 1955, no. 37, as by a Salzburg Master about 1460, for 10,000 marks to Linsky]; Mr. and Mrs. Jack Linsky, New York (1955–his d. 1980); Mrs. Jack Linsky, New York (1980–81)