The Martyrdom of St. Julitta; the front presumably was a relief work depicting five figures; detail from the movable wing of a winged altarpiece
Late 15th century
Wood, tempera, gilt
120 x 107 cm
Inv. 56.540
Inscription (on the banderol emerging from the saint’s mouth):
Gra(tia)s ago ti[bi] / D(omi)ne q[uod] me / [cum] / filio / meo ad tuam / gra(tia)m p(er)veni(r)e voluisti • /
• S(ancta) Julita •
As part of her martyrdom, Julitta witnessed the murder of her little son, Cyricus, and later she was flayed, sprayed with hot oil, and finally beheaded. The depiction of her torture was presented originally on the workday side of a winged altarpiece.
The former inner side was adorned with a relief comprising five figures, the impression of which can be seen on the surface of the panel. The upper third was gilt and presumably had carved appliqué decoration. The rounded arches of the background architecture of the relief are filled with gilt rhombus-patterned decoration.
The left side and bottom of the painting of Julitta were truncated. The original edge can be seen all along the right side and top of the work.
Provenance:
Perhaps prior to 1879, the work entered János Simor’s collection; however, it has not been identified with any certainty in the early records of the Prince Primate’s Gallery.
Restoration:
According to the inscription on the upper cross brace affixed to the feast-day side, it was restored in 1917 by Sebestyén Endrődi.
Gra(tia)s ago ti[bi] / D(omi)ne q[uod] me / [cum] / filio / meo ad tuam / gra(tia)m p(er)veni(r)e voluisti • /
• S(ancta) Julita •
As part of her martyrdom, Julitta witnessed the murder of her little son, Cyricus, and later she was flayed, sprayed with hot oil, and finally beheaded. The depiction of her torture was presented originally on the workday side of a winged altarpiece.
The former inner side was adorned with a relief comprising five figures, the impression of which can be seen on the surface of the panel. The upper third was gilt and presumably had carved appliqué decoration. The rounded arches of the background architecture of the relief are filled with gilt rhombus-patterned decoration.
The left side and bottom of the painting of Julitta were truncated. The original edge can be seen all along the right side and top of the work.
Provenance:
Perhaps prior to 1879, the work entered János Simor’s collection; however, it has not been identified with any certainty in the early records of the Prince Primate’s Gallery.
Restoration:
According to the inscription on the upper cross brace affixed to the feast-day side, it was restored in 1917 by Sebestyén Endrődi.
