Dana Stehlfkova

mammaasmamm^a

structed church in Melnik (1486-1488) was organised by a provost
of the chapter serving to the queen as a chaplain 25.

An important example of a silver half figure of the Suffering
Christ, standing in a grave, was represented on the base of a
monstrance from Ratibor in Upper Silesia, dated 1495, having
closed parallels in a graphic sketch for monstrance, signed by
Master E.S. (before the year 1467 26) as well as on a painted
panel from the National Gallery in Prague. Engravings by Master
E.S. and Martin Schongauer also seems to influence the retable
from the royal castle Krivoklat in Central Bohemia and figures
from the monstrance of Melnik chapter of the same royal court
niveau.

A powerfully expressive figure of Suffering Christ inspired
by Hans Multscher was crafted to the upper level of a monstran-
ce from Hnanice (in the southern Moravia, now in a museum in
Znojmo), dated 1524 on the base and signed by the goldsmith
Erhart Efferdinger. This master was educated and based in Vi-
enna, but spent some years away, working in Moravia 27. This
is not only his first marked work, but also the oldest preserved
hallmark of Vienna 28.

Intensive private devotion and self-excruciation of mystics
in the second half of the 14 th century led to the depiction of
Ecce Homo with several wounds and instruments of flagellation,
usually a cane and whip in the crossed hands of Christ. Early
examples document it by the illuminated Carthusian manuscript
from Prague-Sm(chov (mentioned above) and the stained glass
from the church in Prague-Slivenec, dated between 1360-1370 29,
now preserved in the Museum of Decorative Arts in Prague. The goldsmiths followed these models relatively
late, as documented by engravings (a chalice from Żory in Lower Silesia 30 from the last quarter of the 15 th cen-
tury), a graphic sketch of monstrance by the goldsmith (?) Wenceslas of Olomouc 31 and a graphic by Albrecht
Diirer.

The first sketch of Man of Sorrows in the renaissance style for goldsmiths around and after 1500 was repre-
sented by a woodcut of an athletic figure of Christ standing, both hands raised, with Adam's skull at his feet, craf-
ted by Albrecht Durerforthe Grosse Passion (1497-1498) (Fig. 9) 32. Transformed to a three-dimensional statuette,
he decorates the upper level of the monstrance from Rajhrad (southern Moravia, Fig. 10) 33, accompanied by two
angels with Arma Christi. The high quality of statuettes such as that from Rajhrad or as on Efferdinger's monstrance

25 A. Podlaha, Soupis pamatekhistorickych a umeleckych, dil XV., politicky okres Melnik, Praha 1899, p. 118. E. Poche, Umelecke
remeslo [in:] Dejiny ćeskeho vytvarneho umeni, 1/2, Praha 1984, p. 614

26 A. Bartsch, Early German Artists, New York 1978, vol. 9/1, 9/2 German Printings 9/1, 9/2.

27 H. Jager-Sunstenau, Geschichte der Wiener Goldschmiede-lnnung, manuscript Diss., Wien 1953, p. 2:44; Od gotiky k renesan-
ci..., s. 567, no. 281 (D. Stehlikova).

28 W. Neuwirth, Wiener Silber. Punzierung 1524-1780, Wien 2004, pp. 17, 111, 128-131.

29 F. Matous, Corpus vitrearum medii aevi,Tschechoslowakei, Praha 1975, pp. 78-79.

30 J. M. Fritz, Gestochene Bilder, Gravierungen auf deutschen Goldschmiedearbeiten der Spatgotik, Koln-Graz 1976, no. 677b.

31 M. Lehrs, Wenzel von Olmutz, Dresden 1889.

32 A. Bartsch, Early German Artists, ed. J. C. Hutchinson, New York 1990, vol. 8/1,2.

33 L'artgothique tardifen Boheme, Moravie etSilśsie 1400-1550, [catalogue de I exposition au chapel Charles Quint], ed. K. Cha-
monikola, Bruxelles 1998, pp. 216-217, no. 51 (D. Stehlikova).

8. Monstrance from Popice nearZnojmo,
south Moravia (Znojmo?), 1515

320