Winged altarpiece shaped like a heart  (Colditzer Altar): 
The Crucifixion [central panel]

Winged altarpiece shaped like a heart (Colditzer Altar): The Crucifixion [central panel]

Painting on limewood (Tilia sp.)

Medium

Painting on limewood (Tilia sp.)

[Löcher, Cat. Nuremberg 1997, 166]
[Exhib. Cat. Berlin 1937, no. 153]

Winged altarpiece shaped like a heart. The panel illustrates the central lutheran subjects of sin, faith and mercy. The heart shape alludes to the Love of Christ. The unique shape was chosen by the client.

Central panel: The Crucifixion

Christ is depicted on the cross between the two thieves. The

Winged altarpiece shaped like a heart. The panel illustrates the central lutheran subjects of sin, faith and mercy. The heart shape alludes to the Love of Christ. The unique shape was chosen by the client.

Central panel: The Crucifixion

Christ is depicted on the cross between the two thieves. The left, good thief looks up to him faithfully whereas the right hand, impenitent one stubbornly turns away. Christ's friends with the Virgin and St John and the women are gathered beneath the cross on the left, while soldiers fight over Christ's robe to the right. The captain, who is a believer is depicted on horseback and dressed in armour. Heavily armed troops can be seen in the background.

[Löcher, Cat. Nuremberg 1997, 166]

[Display label, GNM 2010]

Attributions
Lucas Cranach the Younger (and workshop)
Lucas Cranach the Younger

Attributions

Lucas Cranach the Younger (and workshop)

[Löcher, Cat. Nuremberg 1997, 166]

The master painted the central panel and sections of the nativity. He only considered one assistant capable of painting the ressurrection. The execution of the exterior sides of the wings were entrusted to another assistant, who may have learned from Netherlandish paintings in the mannerist style.
[Zimmermann 1924/25, 171-176, Figs. 72, 73, 74]

Lucas Cranach the Younger

[Sandner 1998 B, 135] [Exhib. Cat. Berlin 1937, no. 153]

Production date
1584

Production date

1584

[dated]

Dimensions
Dimensions of support: 159 x 145.5 cm

Dimensions

  • Dimensions of support: 159 x 145.5 cm

  • [Löcher, Cat. Nuremberg 1997, 166]

Signature / Dating

Artist's insignia on the shaft of the cross at the Christ's feet: winged serpent with dropped wings, facing left and dated '1.5.84.'

Signature / Dating

  • Artist's insignia on the shaft of the cross at the Christ's feet: winged serpent with dropped wings, facing left and dated '1.5.84.'

  • [Löcher, Cat. Nuremberg 1997, 166]

Owner
Germanisches Nationalmuseum, Nuremberg
Repository
Germanisches Nationalmuseum, Nuremberg
Location
Nuremberg
CDA ID
DE_GNMN_Gm1116a
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/DE_GNMN_Gm1116a/

Provenance

  • from the church in the castle of Colditz bei Grimma
  • at the beginning of the 19th century it was in a private collection in Hamburg (Collection Kroger)
  • Flechtingen Palace, District of Gardelegen, Province of Saxony
  • acquired in 1925 from a private collection

[Löcher, Cat. Nuremberg 1997, 166]

Exhibitions

Berlin 1937, no. 153, Plate 119
Cappenberg 1951, no. 360
Nuremberg 1959, no. 140, Fig. 14, 15
Nuremberg 1983, no. 496, Fig.

Literature

Reference on page Catalogue Number Figure / Plate
Hübner 2023
AuthorDaniel Hübner
TitleEin Herz für Luther. Das Colditzer Retabel von Lucas Cranach d.J.
JournalKulturgut
IssueII. Quartal 2023, Heft 77
Year of Publication2023
Link https://www.gnm.de/fileadmin/redakteure/Kulturgut/2023/GNM_Kulturgut_2023_II.pdf
Pages13-19
Grebe 2015 319-328 Fig. 1
AuthorAnja Grebe
TitleDas 'sprechende' Retabel. Neue Überlegungen zum Colditzer Altar Lucas Cranachs des Jüngeren
Publicationin Elke E. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages318-329
Herrschaft 2015 182
AuthorJana Herrschaft
TitleMaltechnik und Materialwahl Lucas Cranach des Jüngeren am Beispiel der Kanzelbilder in der Kapelle auf Schloss Augustusburg (Sachsen)
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Link https://lucascranach.org/application/files/7016/2097/3068/Herrschaft_Heydenreich_2014_A_Lucretia_by_Cranach_the_Elder.pdf
Pages180-191
Lücke 2015 36, Fn. 37
AuthorMonika Lücke
TitleLucas Cranach der Jüngere als Unternehmer
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages30-41
Sandner, Heydenreich, Smith-Contini 2015 137, 138, Fn. 81 Fig. 10a
AuthorGunnar Heydenreich, Ingo Sandner, Helen Smith-Contini
TitleVeränderungen beim Unterzeichnen in Cranachs Werkstatt und die Arbeitsweise von Sohn Lucas
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Link https://lucascranach.org/application/files/5215/6337/7366/Heydenreich_Sandner_Smith-Contini_2015_-_Unterzeichnung.pdf
Pages128-141
Waterman 2015 286, Fn. 30
AuthorJoshua P. Waterman
TitleThe Artistic Emergence of Lucas Cranach the Younger
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages280-289
Werner 2015 15
AuthorElke Anna Werner
TitleLucas Cranach der Jüngere und die Reformation der Bilder. Zur Einführung
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages8-16
Cat.Hess, Hirschfelder, Bär 2010 297, 411 Fig. 260
AuthorFrank Bär
EditorDaniel Hess, Dagmar Hirschfelder, Germanisches Nationalmuseum, Nuremberg
TitleRenaissance. Barock. Aufklärung. Kunst und Kultur vom 16. bis zum 18. Jahrhundert
SeriesDie Schausammlungen des Germanischen Nationalmuseums
Volume3
Place of PublicationNuremberg
Year of Publication2010
Exhib. Cat. Nuremberg 2004 88-90
AuthorBarbara Dienst
EditingManfred Knedlik
TitleFaszination Meisterwerk. Dürer, Rembrandt ,Riemenschneider
Place of PublicationNuremberg
Year of Publication2004
Exhib. Cat. Eisenach 1998 135 No. 15.4 Figs. 15.4, 15.4a
EditorWartburg-Stiftung, Eisenach, Fachhochschule , Ingo Sandner
TitleUnsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen. Ausstellungskatalog und Tagungsband Katalogteil 1; 2: Werkstatt und Schüler Cranachs; 3: Süddeutsche Meister; 4: Albrecht Dürer und sein Kreis; 5: Rheinische Meister
Place of PublicationRegensburg
Year of Publication1998
Pages229-240
Heydenreich 1998 A 182, 191
AuthorGunnar Heydenreich
TitleHerstellung, Grundierung und Rahmung der Holzbildträger in den Werkstätten Lucas Cranachs d.Ä.
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages181-200
Poscharsky 1998 21-39
EditorPeter Poscharsky
TitleDie Bilder in den Lutherischen Kirchen. Ikonographische Studie
Place of PublicationMunich
Year of Publication1998
Sandner 1998 A 57 Fig. 7.6 [detail]
AuthorIngo Sandner
TitleZeichengeräte um 1500
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages51-60
Cat. Nuremberg 1997 166-172
AuthorKurt Löcher
TitleDie Gemälde des 16. Jahrhunderts. Germanisches Nationalmuseum Nürnberg
Place of PublicationOstfildern-Ruit
Year of Publication1997
Strieder 1994 A No. 254
AuthorPeter Strieder
EditorGermanisches Nationalmuseum, Nuremberg
TitleFührer durch die Sammlungen, Germanisches Nationalmuseum Nürnberg
Place of PublicationMunich
Year of Publication1994
Rosenfeld, Zindel 1993 320
AuthorJörg Rosenfeld, Christoph Zindel
TitleEin Holzrelief des späten 16. Jahrhunderts aus Wittenberg. Bemerkungen zu Lucas Cranach d.J. und Wolfgang Schreckenfuchs
JournalZeitschrift für Kunsttechnologie und Konservierung
Issue7
Year of Publication1993
Pages311-322
Koepplin 1988 81-82
AuthorDieter Koepplin
TitleKommet her zu mir alle. Das tröstliche Bild des Gekreuzigten nach dem Verständnis Luthers
Publicationin Kurt Löcher, ed., Martin Luther und die Reformation in Deutschland. Vorträge zur Ausstellung im Germanischen Nationalmuseum 1983, Wissenschaftliche Beibände zum Anzeiger des Germanischen Nationalmuseums, Bd. 8
Place of PublicationNuremberg
Year of Publication1988
Pages183-190
Löber 1988 63 Fig. 46
AuthorKarl Löber
TitleAgaleia. Erscheinung und Bedeutung der Akelei in der mittelalterlichen Kunst
Place of PublicationVienna, Cologne
Year of Publication1988
Bott 1985 No. 254
AuthorGerhard Bott
EditorGermanisches Nationalmuseum, Nuremberg
TitleFührer durch die Sammlungen, Germanisches Nationalmuseum Nürnberg
Place of PublicationNuremberg
Year of Publication1985
Exhib. Cat. Nuremberg 1983 No. 496
EditorGerhard Bott
TitleMartin Luther und die Reformation in Deutschland. Ausstellung zum 500. Geburtstag Martin Luthers
Place of PublicationFrankfurt a. M.
Year of Publication1983
Strieder 1980 No. 259
AuthorPeter Strieder, Leonie von Wilckens
EditorGermanisches Nationalmuseum, Nuremberg
TitleGermanisches Nationalmuseum Nürnberg. Führer durch die Sammlungen
Place of PublicationMunich
Year of Publication1980
Roth 1978 442-444 Fig. 1
AuthorWalter Roth
TitleHautveränderungen in künstlerischen Darstellungen. III. Beispiele aus dem Germanischen Nationalmuseum Nürnberg
JournalDer Hautarzt
IssueBd. 29
Year of Publication1978
Pages442-444
Strieder 1977 No. 259
AuthorPeter Strieder, Leonie von Wilckens
EditorGermanisches Nationalmuseum, Nuremberg
TitleGermanisches Nationalmuseum Nürnberg. Führer durch die Sammlungen
Place of PublicationMunich
Year of Publication1977
Schade 1974 95-96 Plate 254
AuthorWerner Schade
TitleDie Malerfamilie Cranach
Place of PublicationDresden
Year of Publication1974
Link http://digi.ub.uni-heidelberg.de/diglit/schade1974
Pilz 1970 299 No. 167
AuthorKurt Pilz
TitleDie St Nikolaus- und Ulrichskirche in Nürnberg - Mögeldorf. Ihre Geschichte und ihre Kunstwerke.
Place of PublicationNuremberg
Year of Publication1970
Schade 1968 B 75-76
AuthorWerner Schade
TitleDie Epitaphbilder Lucas Cranach d. J.
Publicationin Bozena Steinborn, ed., Ze Studiów nad Sztuka XVI Wieku na Slasku i w Krajach Sasiednich(Materialy z konferencji urzadzonej przez Muzeum Slaskie we Wroclaw 10 i 17 grudnia 1966 roku)
Place of PublicationBreslau
Year of Publication1968
Pages63-76
Exhib. Cat. Nuremberg 1959 No. 140 Fig. 14, 15
AuthorHerwarth Röttgen
EditorGermanisches Nationalmuseum, Nuremberg
TitleAus der Frühzeit der evangelischen Kirche
Place of PublicationMunich
Year of Publication1959
Zimmermann E. H. 1953 212-215 Fig. 3
AuthorErnst Heinrich Zimmermann
TitleBeiträge zum Werk Lucas Cranachs d. J.
JournalZeitschrift für Kunstwissenschaft
IssueVol. 7, 3/4
Year of Publication1953
Pages209-215
Exhib. Cat. Cappenberg 1951 No. 360
Authorn. a.
TitleDeutsche Kultur. Das Germanische Nationalmuseum zeigt Deutsche Kultur von der Spätgotik bis zum Rokoko [Museum für Kunst und Kulturgeschichte der Stadt Dortmund, Schloß Cappenberg]
Place of PublicationDortmund
Year of Publication1951
Cat. Nuremberg 1936/1937 46-47 Figs. 384, 385, 386
AuthorEberhard Lutze, Eberhard Wiegand
TitleKataloge des Germanischen Nationalmuseums zu Nürnberg. Die Gemälde des 13.-16. Jahrhunderts
Place of PublicationLeipzig
Year of Publication1937
Exhib. Cat. Berlin 1937 55 153 Pl. 119
EditorStaatliche Museen, Berlin
TitleLucas Cranach d. Ä. und Lucas Cranach d. J. Gemälde, Zeichnungen, Graphik
Place of PublicationBerlin
Year of Publication1937
Holst 1930 12
AuthorNiels von Holst
TitleDie deutsche Bildnismalerei zur Zeit des Manierismus
SeriesStudien zur deutschen Kunstgeschichte
Volume273
Place of PublicationStrasbourg
Year of Publication1930
Schultz 1927 74
AuthorFritz Traugott Schulz
TitleDas Germanische Museum von 1902 - 1927. Festschrift zur Feier seines 75jährigen Bestehens
SeriesAnzeiger des Germanischen Nationalmuseums
Place of PublicationNuremberg
Year of Publication1927
Zimmermann E. H. 1926 171-176 Figs. 72, 73, 74
AuthorErnst Heinrich Zimmermann
TitleEin herzförmiges Altarwerk Lucas Cranach des Jüngeren
Publicationin Fritz Traugott Schulz, ed., Festschrift zum 60. Geburtstag von Dr. Theodor Hampe, Jahrgänge 1924 und 1925 des Anzeigers des Germanischen Nationalmuseums, Nürnberg 1926
Place of Publication[Nuremberg]
Year of Publication1926
Pages171-176
Gurlitt 1898 44-45
AuthorCornelius Gurlitt
TitleAmtshauptmannschaft Grimma. Beschreibende Darstellung der älteren Bau- und Kunstdenkmäler des Königreichs Sachsen
Volume19
Place of PublicationDresden
Year of Publication1898
Heller 1821 198
AuthorJoseph Heller
TitleVersuch über das Leben und die Werke Lucas Cranachs
Place of PublicationBamberg
Year of Publication1821
Link http://digi.ub.uni-heidelberg.de/diglit/heller1821
  • Winged altarpiece shaped like a heart (Colditzer Altar): The Crucifixion [central panel], 1584

Images

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Technical studies

09. 2010Technical examination / Scientific analysis

  • Infrared reflectography
  • irr

Underdrawing

DESCRIPTION

Tools/Materials:

- dry medium, dark chalk

Type/Ductus:

- detailed underdrawing

- freehand underdrawing; fine, thin, and precise lines (long and short)

Function:

- rough indication for the final painted version; used to delineate shapes, forms and spaces; scant representation of volume in the figures on the cross

Deviations:

- numerous minor alterations made during the painting process to clearly define forms

INTERPRETATION

Attribution:

- Lucas Cranach the Younger

[Smith, Sandner, Heydenreich, cda 2012]

  • photographed by Ingo Sandner
  • photographed by Gunnar Heydenreich

1997Technical examination / Scientific analysis

  • Holzartenbestimmung / Dendrochronologie
  • Infrared reflectography
  • Stereomicroscopy
  • irr
  • detail
  • detail
  • detail
  • detail
  • detail

Support

- limewood (Tilia sp.)

- 12 boards

- width at the centre from the left: 10.5, 15.1, 11.1, 18.2, 9.6, 9.8, 14.6, 11.3, 12.5, 10.8, 13.4, 8.6 cm

- thinned slightly to a thickness of 2.2 cm

- the knots were left in the wood

- original size

Ground and Imprimatura

- a ground was applied and the panel and it was painted before it was framed

- lines were incised freehand along the burr at the edge of the ground and painted surface

- white imprimatura

Underdrawing

- soft pen

- the contours and main lines within the forms are indicated

- numerous deviations in the painted version:

On the right below the horse's neck there is a drawing, which is difficult to interpret. It may be a horse's bridal, that has been decorated; the sword of the man on the far left hangs to his right; in relation to the painted version the positions have been shifted slightly

Paint Layers and Gilding

- the paint has been stippled to imitate wool or felt

- the fine hairs were executed with a feather

- the Virgin's halo is oil gilded

- the man on the right edge wears a cap with a peak, which was excuted in sgraffitto

- the right foot of the henchman who divides Christ's robe has been moved further forward

- there are different types of drying cracks in the ochre, red, blue, brown and black tones

[Bartl, Cat. Nuremberg 1997, 167]

Condition Reports

Date1997

Support:

  • the panel has been thinned to a thickness of 2.2 cm

  • the joins were later partially reglued

  • the wood exhibits numerous splits

  • the joins are partially loose

  • there are small splits along the top and bottom edges

  • there is a loss at the top left

Reverse:

  • cradled

  • the wood exhibits splits, which were caused when it was sawn

  • stained brown

Painted surface:

  • the Virgin's blue robe, which appears greenish due to a yellowed varnish was overpainted with a green glaze in a past restoration campaign, that has since been removed

  • losses in the paint layers above the application of tow

  • losses along the joins and the splits

  • whitish, very brittle varnish on all five panels obscures the brilliance of the paint (Water damage?)

  • there are different types of drying cracks, which were presumably the reason why the panels were overpainted at such an early stage

  • wide craquellée in the red paint is in the top glaze of the shadow over which paint was applied

  • the shadows in the blue and green robes have turned brown

  • the paint containing lead white has become more transparent and where it overlaps the motive below is visible

  • depressed paint layers and old scratches mostly in the upper and lower areas

  • old paint losses in the Virgin's face and robe have been retouched

  • cleaning test above Christ's left arm

[Bartl, Cat. Nuremberg 1997, 167]

Conservation History

Date1959

as yet no information

[Bartl, Cat. Nuremberg 1997, 167]

Date1958

as yet no information

[Bartl, Cat. Nuremberg 1997, 167]

Citing from the Cranach Digital Archive

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