Manufacture Of Malines, 17th Century, Mocked Christ

Manufacture of Malines, 17th century
Mocked Christ
Alabaster with golden highlights, cm 12,5 x 10 
Gilded wooden frame, cm 21,5 x 19
Unlike the Flagellation, which usually sees Christ beaten at the column, the episode of the Redeemer derided includes several other moments: in this work, the minions in fact approach Jesus the scourges, while Pontius Pilate and some Pharisees judges, already pointing to the crowd that we must imagine beyond the arch in a narrative prefiguration of the story, are supposedly placed in the prospective lunge. The thoughtful scenographic organization, carved at high and bas-relief, masterfully surprises in the story of the various floors. The artist deals brilliantly with alabaster, sharpening its smooth surface with thin golden threads. 
The place of execution of the work is recognized in the changing Malines, famous area of artistic processing of this precious material. City of central-northern Belgium in the region of Antwerp, this possession passed from the control of the bishopric of Liège, feudal of the Germanic empire, to the Burgundian influence following the greater specification of textile manufacture. To the productive and commercial multipolarism followed essentially the cultural one, clearly subject to the more or less direct influences of the new economic realities. 
Formerly known as Mellina or Mechelen, according to the Dutch name, the city was the capital of the Netherlands when Margaret of Austria, regent for her father Maximilian I Habsburg, proclaimed it as a city of residence. Later it became a Catholic archbishopric, Malines shone for the riches forfeited thanks to the double secular and religious interventions. The production in alabaster reached its peak between the third quarter of the sixteenth century and 1572, when the Spanish rule won the city walls and seemed more appropriate, to the masters of the city, focus on perfecting the textile industry with tapestries and carpets.  
Usually the small quadrangular scenes contained episodes from the life of Christ or scenes from the Old Testament. Intended for these panels could be the large altarpieces intended to accommodate different depictions, as demonstrated by the altar of the Victoria and Albert Museum in London, belonging to the third quarter of the sixteenth century and hosting, besides the panel with the Crucifixion, also the one with the transport of Christ to the tomb. Often the frames surrounded by small tiles, when intended for private sale, however, consisted of a few centimeters of tablet wood, subsequently gilded, finely decorated to frame as a jewel the main image. Similar to the present is the Saint Jerome in the desert kept at the New Art Gallery in Walsall (West Midlands), less enlightened, however, than the present. 
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