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Nice set of 3 well-preserved altarcards, calligraphed in red and black and profusely illustrated from around 1850
Nice set of 3 well-preserved altarcards.
| Maker: | SPANISH FORGER ? | |
| Date: | ca. 1880 | |
| Colored: | In attractive original colors. | |
| Size: | 430 x 550 mm / 16.9 x 21.7 inches | |
| Condition: | Dimensions: Central panel (430 x 550 mm): 105 x 124 mm (miniature plant) 80 x 127 mm (side miniatures) side panels (430 x 260 mm): 88 x 150 mm (miniature) Each panel is framed in a beautiful molded frame and golden dough. Gouache worn piecemeal on the illumination of the Crucifixion and at a fraction of the illumination representing Saint John, two tears parchment on the center panel. | |
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Description
The central altar card is lavishly decorated in a classical style and features three illuminated scenes: the Crucifixion in the center, the angel appearing to the shepherds at the Nativity on the left, and the Adoration of the Magi on the right.
Two smaller altar cards are also present, each with miniatures. Like the central card, the text on these cards is also calligraphed and surrounded by richly decorated borders consisting of acanthus leaves, flowers, and fruit twines.
The left smaller panel is adorned with a beautiful miniature of the flight into Egypt of the Holy Family, accompanied by the Angel.
The other panel is adorned with an illumination representing the apostle John accompanied by an eagle, writing the Gospel to Patmos.
It is most-likely the work of a miniaturist of the late nineteenth known as the Spanish Forger (the Spanish Forger) century.
Although it has never been identified, it is now better known through the work that led to an exhibition at the Pierpont Library in 1978. His style is more French than Spanish, and it recognizes some detail in its pigments.
The tradition of using altar cards dates back to the 15th and 16th centuries when only the large central card with the text of the liturgy was used. This made it easier for the celebrant to read the text during Mass. In the 17th century, the Gospel of John was added to the central card, and a third card was introduced for symmetry. While the sequence and number of texts on the cards varied, the central card was always the largest. Until the Second Vatican Council in 1962, the altar cards were present on the High Altar during the Tridentine Mass. The large central card containing extracts from the Canon of the Mass was placed centrally on the Altar. After the Mass, the cards were removed or put away under the Altar cloth.
A few unobtrusive tiny stains, a few text lines a bit pale, but altogether a fine set.
Reference: The Spanish Forger. Voelke, William and Roger S. Wieck. New York, The Pierpont Morgan Library, 1978.
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