DOI issue:
Nr. 1
DOI article:Leibetseder, Stefanie: Iconographic studies of bas-reliefs and ivories by Paul Egell
DOI Page / Citation link:https://doi.org/10.11588/diglit.52949#0049
the stem of the cross there is the bowed head of an
unidentifiable woman to be seen, dressed in similar
clothing.
By presenting the dead body of Christ with his
wounds21 before a shroud Egell changed the icono-
graphie type of a Déposition from the Cross into that
of a Pietà.22 The special iconographie type of Pietà
that Egell chose dérivés from the type of the Pietà
with Angels. It was very populär in medieval times,
because it was modeled after the imago pietatis, an
image with three-figures that was populär in France
and Italy from the 13th Century onwards.23 Accord-
ing to Rudolf Berliner it was a complex type that
included motives from the iconographie type of the
Lamentation of Mary or Marienklage. Motives of great
importance were not, in his opinion, recognized by
researchers of this time: Mary’s pain and compassion,
as part of Christ’s deepest sorrow, form a portentous
“weapon” of Christ. Also, Mary had to sacrifice her
son humbly at God’s will.24 The diverse reactions of
Mary towards the sacrifice of her son are, on one
hand, expressed by her elevated position within the
composition, showing her with bowed head and
folded hands devoted to God’s will. However, the
woman similar to her standing behind the cross bows
her head in mourning. This représentation prob-
ably also depicts Mary. Egell, I would assume, tried
to indicate the twofold nature of God. He is to be
represented as a human being and also as God by the
two different représentations of Mary: mourning her
dead son and also worshiping him as God.
The Ornamentation and Composition
of Egell’s Lamentation Scene Regarding
Contemporary French Art of the Régence
Since it has been argued that the motives of the
frame of Egell’s bas-relief of the Lamentation of Christ
3. Déposition from the Cross, ascribed to Paul Egell, 1744, 45.0 X
28.0 cm, lime wood, bas-relief, excellent condition. Frankfurt a. M., City
Gallery Liebighaus, Inv. No. 922. Repro: LANKHEIT 1988 (see in
note 4), Vol. 2,pl. 257.
[Fig. 2] are dosely connected to its contents and its
further ornamentation is of French origin, some
remarks on its development shall be made before
discussing the composition of the tablet.
21 The lamentation of the Five Wounds of Christ is also a central
part of the liturgy of Good Friday and also of méditation. See
MARROW, J. H.: Passion Iconography in Northern EuropeanArt of
the Late Middle Ages and Early Renaissance (=Ars Neerlandica,
1). Bruxelles 1979, p. 33.
22 From the Lamentation of Christvùàx Christ standing, supported
by Mary and St. John developed the type of the Man of Sorrows
within northern-alpine art. — Beweinung Christi. In: Christliche
Ikonographie in Stichworten (see in note 10), p. 63.
23 Vesperbild. In: Ibidem, p. 368.
24 “Motive von größter inhaltlicher Bedeutung bleiben unbeachtet: daß Marias
Schmer^ und Mitleiden, als yii Christi schwersten Leiden gehörend eine
bedeutungsschwere „ Waffe,, Christi darstellten, daß aber andererseits
Maria das Opfer ihres Sohnes... sich unter den Willen Gottes demütig
beugend, darbringen... mochte!’ Most illuminating with regard to the
iconographie types discussed within this essay - BERLINER,
R.: Bemerkungen zu einigen Darstellungen des Erlösers als
Schmerzensmann. In: Rudolf Berliner (see in note 19), p. 208.
47
unidentifiable woman to be seen, dressed in similar
clothing.
By presenting the dead body of Christ with his
wounds21 before a shroud Egell changed the icono-
graphie type of a Déposition from the Cross into that
of a Pietà.22 The special iconographie type of Pietà
that Egell chose dérivés from the type of the Pietà
with Angels. It was very populär in medieval times,
because it was modeled after the imago pietatis, an
image with three-figures that was populär in France
and Italy from the 13th Century onwards.23 Accord-
ing to Rudolf Berliner it was a complex type that
included motives from the iconographie type of the
Lamentation of Mary or Marienklage. Motives of great
importance were not, in his opinion, recognized by
researchers of this time: Mary’s pain and compassion,
as part of Christ’s deepest sorrow, form a portentous
“weapon” of Christ. Also, Mary had to sacrifice her
son humbly at God’s will.24 The diverse reactions of
Mary towards the sacrifice of her son are, on one
hand, expressed by her elevated position within the
composition, showing her with bowed head and
folded hands devoted to God’s will. However, the
woman similar to her standing behind the cross bows
her head in mourning. This représentation prob-
ably also depicts Mary. Egell, I would assume, tried
to indicate the twofold nature of God. He is to be
represented as a human being and also as God by the
two different représentations of Mary: mourning her
dead son and also worshiping him as God.
The Ornamentation and Composition
of Egell’s Lamentation Scene Regarding
Contemporary French Art of the Régence
Since it has been argued that the motives of the
frame of Egell’s bas-relief of the Lamentation of Christ
3. Déposition from the Cross, ascribed to Paul Egell, 1744, 45.0 X
28.0 cm, lime wood, bas-relief, excellent condition. Frankfurt a. M., City
Gallery Liebighaus, Inv. No. 922. Repro: LANKHEIT 1988 (see in
note 4), Vol. 2,pl. 257.
[Fig. 2] are dosely connected to its contents and its
further ornamentation is of French origin, some
remarks on its development shall be made before
discussing the composition of the tablet.
21 The lamentation of the Five Wounds of Christ is also a central
part of the liturgy of Good Friday and also of méditation. See
MARROW, J. H.: Passion Iconography in Northern EuropeanArt of
the Late Middle Ages and Early Renaissance (=Ars Neerlandica,
1). Bruxelles 1979, p. 33.
22 From the Lamentation of Christvùàx Christ standing, supported
by Mary and St. John developed the type of the Man of Sorrows
within northern-alpine art. — Beweinung Christi. In: Christliche
Ikonographie in Stichworten (see in note 10), p. 63.
23 Vesperbild. In: Ibidem, p. 368.
24 “Motive von größter inhaltlicher Bedeutung bleiben unbeachtet: daß Marias
Schmer^ und Mitleiden, als yii Christi schwersten Leiden gehörend eine
bedeutungsschwere „ Waffe,, Christi darstellten, daß aber andererseits
Maria das Opfer ihres Sohnes... sich unter den Willen Gottes demütig
beugend, darbringen... mochte!’ Most illuminating with regard to the
iconographie types discussed within this essay - BERLINER,
R.: Bemerkungen zu einigen Darstellungen des Erlösers als
Schmerzensmann. In: Rudolf Berliner (see in note 19), p. 208.
47