DOI Artikel:
Ratkowska, Paulina: Intelligens diabolus se per Christum spolia amissurum [...], Christ before Pilate: the Panel of the Toruń Polyptych
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18949#0038
Paulina Ratkowska
"Intelligens diabolus se per Christum
spolia amissurum [...]"
Christ before Pilate. The Panel
of the Toruń Polyptych
One of twelve (framed in pairs) panels of the Toruń Polyptych, relicts of
a grand retable from the end of the 14rh century,1 shows, on its reverse,
Christ before Pilate (ill. 1). The interior of the fantastic building, depicted
in an unreal section, is enclosed, above the figural composition, in two
semicircular arcades decorated with tracery; in the centre of the wali one of
the construction elements, a kind of a bracket, can be seen. Pilate in a cap
pulled down on his forehead (as it is well known, Pilate’s name has been
associated with the Latin pileus, cap), depicted in profile, is seated on
a wide, schematically rendered throne with volutes at the corners of the
back. Pilate, leaning slightly forward, is engaged in a lively discussion - this
is symbolised by the gesture of “counting on his fingers” which, in this case,
can be interpreted to Christ’s disadvantage, as recounting “false accusations”.
This gesture is known in the Gothic art of the 14th and 15th centuries.2 From
behind the Pilate’s throne an anthropo-zoomorphic, fragile, cobwebby,
black devil appears (ill. 2). Christ is lead by a group of soldiers with spears
- one sees only their helmets and arms. Jesus approaches, walking barefoot
on flagstones, and then stops with his hands crossed and bound in front of
him (ligatus).3 The artist depicted Christ in a slight contrapposto. His bent
visage with a high forehead and gaunt cheeks is filled with sadness and
gentleness. The courtier (cursor; nuntius)4 standing behind Christ is holding
him delicately (blando modo)5 by the left arm (ill. 3). A servant leaning out
1 The Toruń Polyptych, painted and carved, was created in a monastery studio at the Franciscan
church of the Holy Virgin in Toruń, cf. T. Dobrzeniecki, Catalogue of the Mediaenal Painting,
National Museum in Warsaw, Warsaw 1977, cat. no. 33, and 33 E3.
2 On the panel of the same retable 12 Year Old Christ in the Tempie Christ is depicted with
the same hand gesture, ibid., cat. no. 33 C5.
J “vinctus” (Mt 27:2), “ligaverunt eum” (Jn 27:13).
4 “Acta Pilati”, Cap. I, in Evangelia Apocrypha, ed. by C. De Tischendorf, Lipsiae 1876 (II ed.),
p. 218 f f.
5 Ibid., p. 217.
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"Intelligens diabolus se per Christum
spolia amissurum [...]"
Christ before Pilate. The Panel
of the Toruń Polyptych
One of twelve (framed in pairs) panels of the Toruń Polyptych, relicts of
a grand retable from the end of the 14rh century,1 shows, on its reverse,
Christ before Pilate (ill. 1). The interior of the fantastic building, depicted
in an unreal section, is enclosed, above the figural composition, in two
semicircular arcades decorated with tracery; in the centre of the wali one of
the construction elements, a kind of a bracket, can be seen. Pilate in a cap
pulled down on his forehead (as it is well known, Pilate’s name has been
associated with the Latin pileus, cap), depicted in profile, is seated on
a wide, schematically rendered throne with volutes at the corners of the
back. Pilate, leaning slightly forward, is engaged in a lively discussion - this
is symbolised by the gesture of “counting on his fingers” which, in this case,
can be interpreted to Christ’s disadvantage, as recounting “false accusations”.
This gesture is known in the Gothic art of the 14th and 15th centuries.2 From
behind the Pilate’s throne an anthropo-zoomorphic, fragile, cobwebby,
black devil appears (ill. 2). Christ is lead by a group of soldiers with spears
- one sees only their helmets and arms. Jesus approaches, walking barefoot
on flagstones, and then stops with his hands crossed and bound in front of
him (ligatus).3 The artist depicted Christ in a slight contrapposto. His bent
visage with a high forehead and gaunt cheeks is filled with sadness and
gentleness. The courtier (cursor; nuntius)4 standing behind Christ is holding
him delicately (blando modo)5 by the left arm (ill. 3). A servant leaning out
1 The Toruń Polyptych, painted and carved, was created in a monastery studio at the Franciscan
church of the Holy Virgin in Toruń, cf. T. Dobrzeniecki, Catalogue of the Mediaenal Painting,
National Museum in Warsaw, Warsaw 1977, cat. no. 33, and 33 E3.
2 On the panel of the same retable 12 Year Old Christ in the Tempie Christ is depicted with
the same hand gesture, ibid., cat. no. 33 C5.
J “vinctus” (Mt 27:2), “ligaverunt eum” (Jn 27:13).
4 “Acta Pilati”, Cap. I, in Evangelia Apocrypha, ed. by C. De Tischendorf, Lipsiae 1876 (II ed.),
p. 218 f f.
5 Ibid., p. 217.
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