Peter and John Healing the Lame Man

Label

These low-relief images depict important religious narrative scenes and Christian figures. Representations of Christ’s descent from the cross and his burial were especially popular subjects because they visualized the physical nature of Christ’s death and resurrection; other scenes allowed viewers to meditate on specific saints or biblical stories. Devotional plaquettes had many uses and were commonly owned in Italy at the turn of the 16th century. Framed and attached to a handle, they could become a pax for use during the Mass. They could also be set into boxes or cabinet doors or pierced and hung on a wall in a private space. Small-scale plaquettes could even be kept in a pocket. The addition of a family’s coat of arms allowed patrons to further personalize a plaquette. While they were mass produced, plaquettes were often used for personal devotion, as suggested by the patterns of wear on the surface of these reliefs, which indicate repeated touching. This selection of plaquettes suggests the diversity of sculptural production for religious use in this period.

From the 2024 exhibition Living with Sculpture: Presence and Power in Europe, 1400–1750, curated by Elizabeth Rice Mattison, Andrew W. Mellon Curator of Academic Programming and Curator of European Art, and Ashley Offill, Curator of Collections

Course History

ANTH 17, The Anthropology of Health and Illness, Sienna Craig, Spring 2012

ANTH 17, The Anthropology of Health and Illness, Sienna Craig, Spring 2012

ANTH 17, The Anthropology of Health and Illness, Sienna Craig, Spring 2012

ARTH 27.02, Living Stone: Sculpture in Early Modern Italy, Elizabeth Kassler-Taub, Winter 2022

History 42.01, Women's Gender, and Sexuality Studies 22.01, Gender & European Society, Patrick Meehan, Spring 2024

History 96.39, Saints and Relics, Cecilia Gaposchkin, Spring 2024

Italian 1.01, Introductory Italian I, Noemi Perego, Spring 2024

Italian 11.01, Intensive Italian, Floriana Ciniglia, Spring 2024

Italian 2.01, Introductory Italian II, Floriana Ciniglia, Spring 2024

Italian 3.01, Introductory Italian III, Tania Convertini, Spring 2024

Italian 3.02, Introductory Italian III, Giorgio Alberti, Spring 2024

Anthropology 31.01, Women’s, Gender, and Sexuality Studies 36.01, Gender in Cross-Cultural Perspectives, Sabrina Billings, Fall 2024

German 13.01, Beyond Good and Evil, Heidi Denzel, Fall 2024

History 3.01, Europe in the Age of Wonder, Cecilia Gaposchkin, Fall 2024

Italian 1.02, Introductory Italian I, Floriana Ciniglia, Fall 2024

Italian 1.03, Introductory Italian I, Floriana Ciniglia, Fall 2024

Italian 1.01, Introductory Italian I, Floriana Ciniglia, Fall 2024

Italian 11.01, Intensive Italian, Matteo Gilebbi, Fall 2024

Italian 3.01, Introductory Italian III, Giorgio Alberti, Fall 2024

Italian 3.02, Introductory Italian III, Matteo Gilebbi, Fall 2024

Exhibition History

European Bronzes from the Collection of Roger Arvid Anderson, Class of 1968, Gene Y. Kim, Class of 1985, Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 19, 1996-June 22, 1997, no. 14.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 3, 1999-October 19, 2000.

Living with Sculpture: Presence and Power in Europe, 1400–1750, Citrin Family Gallery and Engles Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 23, 2024–March 22, 2025.

Publication History

T. Barton Thurber and Adrian W.B. Randolph, Antiquity in Rome from the Renaissance to the Age of Enlightenment: Selections from Dartmouth's Collections, Hanover, New Hampshire: Trustees of Dartmouth College, 2001, listed p.73.

Roger Arvid Anderson, The Roger Arvid Anderson Collection, Medals, Medallions, Plaquettes and Small Reliefs, Paintings, Sculpture, Works on Paper and Textiles, San Francisco: Roger Arvid Anderson (published privately), design by David L. Wilson, 2015, p. 182.

Provenance

Tony Blumka, New York, New York; sold to Roger Arvid Anderson, San Francisco, California, about 1989; lent to present collection, 1994; given to present collection, 2016.

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