Bulletin du Musée National de Varsovie (32.1991)

The Master of the Gdańsk Triptych, known as the Jerusalem Triptych, proved to be aware
of this view, shared by numerous Latin commentators.2" Here, in the programme of Christ's
battle with the Satan, the first Temptation, actirtg as the prologue to the Passion cycle, is brought
out. The originality of the message stands out against the earlier and contemporary approaehes
to the subject.21

The earliest scenę of the Temptation by the Satan occurs in the 8th century miniaturę
of the Book of Kells.22 In the centrę, a tower is represented, and above the roof, Christ is shown
in half-figure, with both hands extended towards the Satan, and a scroll in his left hand. The
Satan, standing on a roof beam of the tower, is slim, black and winged. The scenę is an illu-
tration of the Temptation on the battlements of the Jerusalem Tempie. In the Stuttgart Psalter,
the illustration aceompanying Psalm XCI shows Christ standing on a mountain, directed
towards the winged Devil, represented with a fork. Another dcvil is shown running down the
mountain; at the bottom, costly vessels are placed to symbolize "all the kingdoms of the world,
and their glory" (Mt. IV, ll).23 On the right, two angels are depicted as they approach Christ.

In the Book of Percicopes made for Otto III, a full-page miniaturę representing a series of
the three Temptations is preceded by a scenę of the Baptism in the Iiiver Jordan.24 The two-
-zone programme of the miniaturę is repeated in Queen Ingeborg s Psalter.2'" Three Temptations
enclosed within a single miniaturę with identical depictions of the Tempter occur in two ma-
nuscripts, Henry Hi s Evangelistary-'i and Henry III's Evangcliary." We find another exam-
ple on the ceiling of the Romanesąuc Church of St. Martin in Zillis (Figs 4, 5), within a rich
Christological programme, where the Satan has a zoo - and antrophomorphic form in the three
segments containing representations of the successive Temptation scenes.28 Duccio di Baonin-
segna's workshop was the place of the origin of a panel belonging to the predella of the Maesta
in the Siena Cathedral. The third Temptation represented on it shows Christ standing on the
Mountain and driving the black Tempter away with a gesture of his hand.28 Two 15th century
representations exemplify the finał stage of the mcdiaeval iconography of the TemptationT
with the Satan oceuring in human form with the zoomorphic motifs of the earlier characteri-
sation of his personality retained. These are: 1. a wing of Michael Pacher's retable of 1481.,
with Christ depicted in a purple robe, and the Satan in a streaming yellow robe pointing out
at the Stones with his righti hand; and the next two Temptations, one on a tali Gothic tempie^

and the other on the Mountain, seen in the background;30 and 2. a wing of the tryptych by

i.

20. Bcda Venerabilis, Expcsito in Mattheum, Lib. I, Cap. IV: Mignę, Patr. Lot., voI. 92, col. 19 c; Rabanus Maurus: Commen-
tarium in Matheum, Lib. I, cap. IV; Mignę, Patr. £af., vol. 107, col. 782 D; Theóphylactus, Ennarralioin Eyangeliunt
Malthei, cap. IV; Mignę, Poir. Gracca, vol. 123, col. 131 A.

21. Johannes Chrisostcrnus, Patr. gr., voI. LVII, col. 213, explains in bis comment on the Gospel according to Ma ttliew
why angeles were absent during Cbrist's battle with the Satan.

22. Dublin Trinity College, Ins. 58, fol. 202v; ed. E.H. Alton and P. Meyer, Codex Cenardinensis, II, Bern, 1950; B. Brrnk.
..Tradition und Neuerungin der christlichcn Kunst des ersten Jahrbundcrts", Studien zur Geschichte des WeltberichtsbildeSr
Vicnna, 1966, p. 197, Fig. 75.

23. Brcnk, op. cii., Fig. 74; G. Schiller, Ikonographie der christlichcn Kunst, I. Giitersloh, 1966, Fig. 389.

24. J. Squi!beck, ,,La Tentation du Christ au desert et la Bclliger Insignis", Bulletin des Musees Itoyaux d'Art et d'Hisloire,-
4 serie, 37 Annee, 1965, Fig. 2, Munich, Staatl. Bayerische Bibliothek, c. 1000, seripterium Reicbenau.

25. Squilbcck, op. cii., Fig. 5, p. 125, Chantilly, Bibliotheąue du Chatcau; F. Dcuchler, Der Ingeborgpsaltcr, Berlin, 1967, pp.
40—43, 112, Fig. XV.

26. Bremen, Univcrsilatsbibliolhck, Ms 6.21, fol. 25v, Zeitschrift fiir Schuitizfrische Archeologie und Kunstgeschichte, vo]. 43,
No. 1, 1986, p. 127, Fig. 3.

27. Escorial, Vitr. 17, fol. 26r; F. Miithericli, ,,Die Stellung der Bildcr in der fruhmittelaltcrlichcn Psalterillustraticn" in Der
Stuttgarter Bilderpsalter, Stuttgart, 1968, p. 180, Fig. 43.

28. E. Murbacb, Zillis, Ziiricb; 1967; A.L. Towneloy, ,,Zur Ikonographie des Lebens-Jesus-Zyklus in der St. Martin Kirche-
von Zillis",Zeitschriftftr Schtceizericchc Archaclcgie und Kunstgeschichte, vel. 30, No. 1, 1973, pp. 40—53, Fig. 12.

29. Schiller,.Jfconograp/iie, op. cif., Fig. 398; J.H. Stubblebine, duccio di Buóninsegna.and his Schcol, II, Plates, Princeton^
" New Jersey, 1979 Duccio*s workshop (Piętro Lorenzetti), Frick Collection, New York, Fig. 92.

30. E. Ilempel.Das Werk Michael Pachers,Vienna, 1957,left wing.pp. 29—30, Fig. 62; Schiller, Ikónographie, op. cit., Fig. 40£

30