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Castilian School, Workshop in La Rioja or the Basque Country. First third of the 16th century.
Castilian School, Workshop in La Rioja or the Basque Country. First third of the 16th century.
"“The imprisonment of Saint Agatha"
Polychromed and carved wood with estofado technique.
58,5 x 44 x 13 cm.
This curious relief presents an episode from the life of Saint Agatha, probably that of her imprisonment by order of Quintianus, consul of Sicily, in times of persecution of Christians, for not having agreed to his mandate to renounce her faith in Christ. This type of compact and vividly expressive scene was usually made in the first third of the 16th century to form part of often monographic altarpieces relating the life of a saint, in this case Saint Agatha of Catania.
The scene is made up of five characters arranged in a circular composition on an inclined plane, a technique used to achieve depth, but also so that the figures in the background can be seen clearly, since otherwise they would hardly be perceptible, and even more so if the relief occupied a niche placed at a particular height. The action takes place among the three characters in the foreground – Saint Agatha and Quintianus at the ends, arranged in profile, and the henchman who, at Quintianus’ order, has proceeded to arrest the saint, who is placed on his back with one foot forward, to accentuate the depth of the scene. The two figures in the background help to complete the scene, in such a way that each one of them directs their gaze to one side, the one on the left to Saint Agatha and the bearded one on the right to Quintianus.
The figures are of a short canon, carved with great detail, especially the heads, with their headdresses, and their facial features, which seem to follow the same pattern. They wear luxurious clothes, richly decorated with estofado and covered with very superficial folds that are cleverly worked to create a certain dynamism and sense of movement. The game of the looks between the characters in the scene is particularly striking.
Saint Agatha, who has a serious countenance and whose body denotes a certain rigidity, has just been arrested, as indicated by the crossed hands on her abdomen at the same time as the henchman grabs her by the arms. Her hair is covered by a curious headdress of northern European origin. For his part, the henchman, depicted from behind and dressed in a military suit, holds the saint with both arms while he looks at the consul for orders on what to do with her, surely leading her to the scaffold where she was tortured and had her breasts cut off. He has a sullen face and abundant hair. Finally, Quintianus’ figure shows great movement in the way that he advances his left leg at the same time as grabbing his cloak with the arm on the same side. In the other hand he carries a cane, indicative of his power. Bearded like his henchman, his head is covered by a flat circular headdress.
Due to its general characteristics and stylistic features, this beautiful relief would have been carved by a skilled Castilian master (perhaps from the Rioja or Basque area) in the first third of the 16th century.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
Castilian School, Workshop in La Rioja or the Basque Country. First third of the 16th century.
"“The imprisonment of Saint Agatha"
Polychromed and carved wood with estofado technique.
58,5 x 44 x 13 cm.
This curious relief presents an episode from the life of Saint Agatha, probably that of her imprisonment by order of Quintianus, consul of Sicily, in times of persecution of Christians, for not having agreed to his mandate to renounce her faith in Christ. This type of compact and vividly expressive scene was usually made in the first third of the 16th century to form part of often monographic altarpieces relating the life of a saint, in this case Saint Agatha of Catania.
The scene is made up of five characters arranged in a circular composition on an inclined plane, a technique used to achieve depth, but also so that the figures in the background can be seen clearly, since otherwise they would hardly be perceptible, and even more so if the relief occupied a niche placed at a particular height. The action takes place among the three characters in the foreground – Saint Agatha and Quintianus at the ends, arranged in profile, and the henchman who, at Quintianus’ order, has proceeded to arrest the saint, who is placed on his back with one foot forward, to accentuate the depth of the scene. The two figures in the background help to complete the scene, in such a way that each one of them directs their gaze to one side, the one on the left to Saint Agatha and the bearded one on the right to Quintianus.
The figures are of a short canon, carved with great detail, especially the heads, with their headdresses, and their facial features, which seem to follow the same pattern. They wear luxurious clothes, richly decorated with estofado and covered with very superficial folds that are cleverly worked to create a certain dynamism and sense of movement. The game of the looks between the characters in the scene is particularly striking.
Saint Agatha, who has a serious countenance and whose body denotes a certain rigidity, has just been arrested, as indicated by the crossed hands on her abdomen at the same time as the henchman grabs her by the arms. Her hair is covered by a curious headdress of northern European origin. For his part, the henchman, depicted from behind and dressed in a military suit, holds the saint with both arms while he looks at the consul for orders on what to do with her, surely leading her to the scaffold where she was tortured and had her breasts cut off. He has a sullen face and abundant hair. Finally, Quintianus’ figure shows great movement in the way that he advances his left leg at the same time as grabbing his cloak with the arm on the same side. In the other hand he carries a cane, indicative of his power. Bearded like his henchman, his head is covered by a flat circular headdress.
Due to its general characteristics and stylistic features, this beautiful relief would have been carved by a skilled Castilian master (perhaps from the Rioja or Basque area) in the first third of the 16th century.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
"On Prophets, Saints and Princesses"
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