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拍品專文
St. Martin, or Martin of Tours, was an early Christian saint (circa 315-397) who was born in Pannonia, now Hungary. He was made bishop of Tours around 370, and founded one of the first monasteries in France. St. Martin was also known as a destroyer of pagan shrines, and many churches are dedicated to him across England and France. He is widely represented in northern Renaissance Art.
These three narrative panels from a retable by Martín de Soria represent the baptism of St. Martin, his mass, and his death. In the largest of the panels, which depicts the mass, St. Martin elevates the host while two angels lift up his hands - though the golden sleeves that they are said to have placed on his forearms are not illustrated. The globe of fire that descended upon him at that moment is manifested in an apparition of God the Father. The striking similarity of the ecclesiastical portal in the scene of the baptism to the late Romanesque Puerta Infantes of the Cathedral of Lérida including such details as the zigzag pattern on one of the archivolts, may be taken as an indication that the retable was executed for a town in the Huesca province, just west of Lérida, where Martín de Soria was often employed.
A panel from the same retable representing an unidentified scene from the legend of St. Martin is in the collection of Don Pedro Milá, Barcelona, and two more panels, the Nativity and the Epiphany, are in the Maillard Collection, Paris. Another section, depicting the Purification, belongs to M. Léon Birschansky, Paris. The painting in the Museum of Fine Arts, Boston, illustrating St. Martin's encounter with Christ disguised as a beggar, may be the central compartment (or one of the central compartments) of this retable.
These three narrative panels from a retable by Martín de Soria represent the baptism of St. Martin, his mass, and his death. In the largest of the panels, which depicts the mass, St. Martin elevates the host while two angels lift up his hands - though the golden sleeves that they are said to have placed on his forearms are not illustrated. The globe of fire that descended upon him at that moment is manifested in an apparition of God the Father. The striking similarity of the ecclesiastical portal in the scene of the baptism to the late Romanesque Puerta Infantes of the Cathedral of Lérida including such details as the zigzag pattern on one of the archivolts, may be taken as an indication that the retable was executed for a town in the Huesca province, just west of Lérida, where Martín de Soria was often employed.
A panel from the same retable representing an unidentified scene from the legend of St. Martin is in the collection of Don Pedro Milá, Barcelona, and two more panels, the Nativity and the Epiphany, are in the Maillard Collection, Paris. Another section, depicting the Purification, belongs to M. Léon Birschansky, Paris. The painting in the Museum of Fine Arts, Boston, illustrating St. Martin's encounter with Christ disguised as a beggar, may be the central compartment (or one of the central compartments) of this retable.