The Crucifixion

Label

These low-relief images depict important religious narrative scenes and Christian figures. Representations of Christ’s descent from the cross and his burial were especially popular subjects because they visualized the physical nature of Christ’s death and resurrection; other scenes allowed viewers to meditate on specific saints or biblical stories. Devotional plaquettes had many uses and were commonly owned in Italy at the turn of the 16th century. Framed and attached to a handle, they could become a pax for use during the Mass. They could also be set into boxes or cabinet doors or pierced and hung on a wall in a private space. Small-scale plaquettes could even be kept in a pocket. The addition of a family’s coat of arms allowed patrons to further personalize a plaquette. While they were mass produced, plaquettes were often used for personal devotion, as suggested by the patterns of wear on the surface of these reliefs, which indicate repeated touching. This selection of plaquettes suggests the diversity of sculptural production for religious use in this period.

From the 2024 exhibition Living with Sculpture: Presence and Power in Europe, 1400–1750, curated by Elizabeth Rice Mattison, Andrew W. Mellon Curator of Academic Programming and Curator of European Art, and Ashley Offill, Curator of Collections

Course History

ARTH 84, Media and Meaning in Renaissance Sculpture, Adrian Randolph, Fall 2013

HIST 63.02, Material Culture of Science, Whitney Robles, Spring 2022

ITAL 1.01, Introductory Italian I, Giorgio Alberti, Fall 2022

ITAL 1.02, Introductory Italian I, Andrea Zoller, Fall 2022

ITAL 1.03, Introductory Italian I, Andrea Zoller, Fall 2022

Italian 1.02, Introductory Italian I, Andrea Zoller, Winter 2023

Italian 1.01, Introductory Italian I, Giorgio Alberti, Winter 2023

Italian 11.01, Intensive Italian, Giorgio Alberti, Winter 2023

Art History 7.05, Pompeii: Antique & Modern, Ada Cohen, Winter 2023

Italian 2.01, Introductory Italian II, Andrea Zoller, Winter 2023

Italian 2.02, Introductory Italian II, Matteo Gilebbi, Winter 2023

History 63.02, Reading Artifacts: The Material Culture of Science, Whitney Barlow Robles, Spring 2023

History 63.02, Reading Artifacts: The Material Culture of Science, Whitney Barlow Robles, Spring 2023

Italian 1.01, Introductory Italian 1, Giorgio Alberti, Fall 2023

Italian 1.02, Introductory Italian 1, Marco D'Angelo, Fall 2023

Italian 1.03, Introductory Italian 1, Floriana Ciniglia, Fall 2023

Italian 1.04, Introductory Italian 1, Noemi Perego, Fall 2023

Italian 2.01, Introductory Italian II, Marco D'Angelo, Fall 2023

Italian 1.01, Introductory Italian 1, Giorgio Alberti, Winter 2024

Italian 1.02, Introductory Italian 1, Floriana Ciniglia, Winter 2024

Italian 2.01, Introductory Italian II, Giorgio Alberti, Winter 2024

Italian 2.02, Introductory Italian II, Noemi Perego, Winter 2024

Studio Art 17.08, Digital Drawing, Karol Kawiaka, Winter 2024

Studio Art 17.08, Digital Drawing, Karol Kawiaka, Winter 2024

Geography 29.01, Global Cities, Erin Collins, Spring 2024

Geography 29.01, Global Cities, Erin Collins, Spring 2024

History 42.01, Women's Gender, and Sexuality Studies 22.01, Gender & European Society, Patrick Meehan, Spring 2024

History 96.39, Saints and Relics, Cecilia Gaposchkin, Spring 2024

Italian 1.01, Introductory Italian I, Noemi Perego, Spring 2024

Italian 11.01, Intensive Italian, Floriana Ciniglia, Spring 2024

Italian 2.01, Introductory Italian II, Floriana Ciniglia, Spring 2024

Italian 3.01, Introductory Italian III, Tania Convertini, Spring 2024

Italian 3.02, Introductory Italian III, Giorgio Alberti, Spring 2024

Exhibition History

European Bronzes from the Collection of Roger Arvid Anderson, Class of 1968, Gene Y. Kim, Class of 1985, Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 19, 1996-June 22, 1997, no. 23.

From Altarpiece to Portrait: Assembling a European Collection, Harrington Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, July 24, 2019 - January 28, 2020

Introduction to the History of Art II, 1500 to present, Harrington Gallery Teaching Exhibition, ArtH2, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 24-March 14, 2004.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 3, 1999.

Ivan Albright Gallery, Hoood Museum of Art, Dartmouth College, Hanover, New Hampshire, November 16, 2009.

Living with Sculpture: Presence and Power in Europe, 1400–1750, Citrin Family Gallery and Engles Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 23, 2024–March 22, 2025.

Renaissance and Mannerist Plaquettes and Medals from the Collection of Roger Arvid Anderson, Class of 1968, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 19-November 21, 2013.

Publication History

Roger Arvid Anderson, The Roger Arvid Anderson Collection, Medals, Medallions, Plaquettes and Small Reliefs, Paintings, Sculpture, Works on Paper and Textiles, San Francisco: Roger Arvid Anderson (published privately), design by David L. Wilson, 2015, p. 120.

Provenance

Richard Trescott, London; sold to Roger Arvid Anderson, San Francisco, California, about 1987-1990; lent to present collection, 1992; given to present collection, 2016.

Catalogue Raisonne

Kress, Fig. 179, No. 147; Wixom, No. 42/43

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