Object data
oak with remnants of polychromy and gilding
height c. 47 cm × width c. 17.5 cm × depth c. 14 cm
Master of the Soest Altarpiece
Soldier, from Christ Carrying the Cross of the Soest Altarpiece
Utrecht, c. 1475 - c. 1500
Technical notes
Carved in relief and originally polychromed. The figure stands on an integrally carved, rising ground with Tremolierung carved with a curved gouge. Incised lattice pattern on the left side. There are remnants of red paint on the armour and green paint on the hose.
Scientific examination and reports
- paint samples: C.M. Groen and L. Vos, Centraal Laboratorium Amsterdam, August 1968
- conservation report: R. Popp, Centraal Laboratorium Amsterdam, 1977
Literature scientific examination and reports
Jaarverslag Nederlandse Rijksmusea 1973, p. 25; Jaarverslag Nederlandse Rijksmusea 1976, p. 17; K. Aben et al., ‘Conservering van de beelden van Soest’, Bulletin Centraal Laboratorium voor onderzoek van voorwerpen en kunst en wetenschap 1977, pp. 93-105
Condition
Badly worm-eaten and decayed. Among other things, the soldier’s arms and the figure of Christ are missing.
Conservation
- E.H. Baaij, 1905: impregnated with animal glue; applied retouches in plaster, cement and paper pulp.
- R. Popp, 1976: treated against woodworm, mould etc.; cleaned; plaster, cement and paper pulp retouches removed; wood returned to the original colour; polychromy fixed; animal glue residue from an earlier restoration removed; impregnated with low-viscosity epoxy resin.
Provenance
...; found in the Oude Kerk, Soest, with several other objects (BK-NM-12006-1 to -19), 1905;1 donated by the municipality of Soest to the museum, 1907
Object number: BK-NM-12006-15-B
Copyright: Public domain
Context
Restoration work in the tower of the Oude Kerk in Soest in 1905 uncovered in a bricked-up area an important treasure trove of statues, albeit in a deplorable condition.2 It is assumed that the figures were hidden there either in 1566 at the outbreak of the Iconoclasm or in December 1580, when Calvinists in the Eemland region endeavoured to destroy every last remnant of religious art.3
Among the carvings were five small oak groups and a number of loose fragments that together belonged to a large Passion altarpiece. All that survived of the altar case were a few wooden consoles and lead ornaments. In all probability the altarpiece consisted of a case in the shape of an inverted T, with seven compartments for as many scenes from Christ’s Passion. The case must have been around four metres wide overall and between 155 and 180 centimetres high.4 There was tracery (openwork Gothic ornament) above the altar groups. The placement of the scenes followed the chronology of the Passion story, with the Calvary, as usual, in the larger, central caisse or compartment. To the left of this scene was the Agony in the Garden (BK-NM-12006-15-C), the Flagellation (BK-NM-12006-13) and Christ Carrying the Cross (BK-NM-12006-15-B), with the Entombment (BK-NM-12006-12) and Christ’s Descent into Limbo (BK-NM-12006-14) on the right. The (unknown) seventh scene would have been a Descent from the Cross, Lamentation, Resurrection or Ascension.5 No elements of either of these have been identified to date.
The altarpiece must originally have been exceptionally fine. Remnants of gold leaf and brocade patterns indicate that the whole thing was elaborately decorated, and the carefully worked details, lively expressions and interaction between the figures attest to a very high standard of artistry. Countless style characteristics – such as the conspicuous lower eyelids of all the figures, the realism in their faces, the generally quite tight garments with few folds and the anecdotal nature of the scenes – are strong indications that the altar was created in the last quarter of the fifteenth century in the sculpture centre of Utrecht, not far from Soest.
Broekhuijsen-Kruijer gave the anonymous maker of the altar the provisional name of Master of the Soest Altarpiece. According to Leeuwenberg, two apostle figures that were also found in the church (BK-NM-12006-6 and BK-NM-12006-9) were ‘in all likelihood by the same hand’. He saw similarities in ‘the eyes and the face, the rather thickset forms, and the whole character’.6 However, the inconsistent style of the folds of the garments and the different handling of hair and beards – slightly wavy in the altar fragments as opposed to curly in the apostle statues – do not support this attribution.
As Van Binnebeke pointed out, an Ecce Homo group in Rotterdam, which he dated to around 1500 and located in Utrecht, with reservations, is stylistically akin to the Soest Altarpiece.7 The same soft-top boots, pointed shoes and rosette clasps are found in both pieces, as are the wispy hair and the variety of realistic and grotesque facial expressions. The quality of the Soest Altarpiece is superior, however.
Bieke van der Mark, 2024
The artist
Master of the Soest Altarpiece (active in Utrecht c. 1475-c. 1500)
The Master of the Soest Altarpiece was named by Broekhuijsen-Kruijer after the remnants of an altarpiece found in the Oude Kerk of Soest, a small village near Utrecht. During restoration work on the church carried out in 1905, nineteen wooden sculptures were discovered in a bricked-up area inside the church tower. Among them were seven stylistically unified altar groups clearly once belonging to a Passion retable. Despite their extremely poor condition, it was possible to determine the various scenes depicted: Christ in Agony, the Flagellation, Christ Carrying the Cross, the Calvary, the Entombment and Christ’s Descent into Limbo. In 1907, the five Passion groups were moved to the Rijksmuseum.8 Over the years, several attempts have since been made to reconstruct the original altarpiece.
On stylistic grounds, the retable can be dated to the late fifteenth century. The realistic rendering of the nude physical form and the faces, with the pronounced detailing of the eyelids, suggest the Master of the Soest Altarpiece was active in Utrecht, closely adhering to local woodcarving traditions. Leeuwenberg attributed two other figures from the church (BK-NM-12006-6 and BK-NM-12006-9) to the same master, though this conclusion appears unfounded, especially when considering the dissimilar treatment of the hair.
Marie Mundigler, 2024
References
K. Broekhuijsen-Kruijer, ‘Het Passieretabel uit Soest’, Bulletin van het Rijksmuseum 32 (1984), pp. 3-16; J. Leeuwenberg with the assistance of W. Halsema-Kubes, Beeldhouwkunst in het Rijksmuseum, coll. cat. Amsterdam 1973, pp. 60-62; B. Nederveen, ‘Het passieretabel van Soest. Kanttekeningen bij een reconstructie’, Bulletin van het Rijksmuseum 52 (2004), pp. 270-81; Van der Mark in M. Leeflang et al., Middeleeuwse beelden uit Utrecht 1430-1530/Mittelalterliche Bildwerke aus Utrecht, exh. cat. Utrecht (Museum Catharijneconvent)/Aachen (Suermondt-Ludwig-Museum) 2012-13, no. 25
Entry
This fragment is part of the Calvary scene from the Soest Altarpiece.9 It was not known that a scene of Christ carrying the cross had been part of the altarpiece until Broekuijsen-Kruijer identified a broken fragment as the hands of the soldier dragging Christ on a rope on the road to Calvary (fig. a).10 Nederveen subsequently convincingly linked this soldier looking up, which had previously been regarded as part of the Calvary, with Christ carrying the cross.11 The soldier is turned to the left and seen in a three-quarter rear view. He has a mean, thuggish face. His armour has straps and buckles, and is decorated with red and gold patterns. A scarf is knotted around his head.
Nederveen identified the bare left foot in the foreground as that of the lost figure of Christ carrying the cross. A small piece of his long robe can still be seen in an old photograph (fig. b).12 Given the position of his limbs, the soldier is shown on the point of stepping towards Christ to deal him a vicious blow. This is a quite frequent motif in fifteenth- and sixteenth century depictions of Christ carrying the cross, among them an Utrecht version in the Rijksmuseum (BK-18041). The pose of a figure seen from behind in the Antwerp altarpiece in the church of Västra Ingelstad in Denmark (before 1517), corresponds with the soldier in the Soest Altarpiece.13
Bieke van der Mark, 2024
Literature
J. Leeuwenberg with the assistance of W. Halsema-Kubes, Beeldhouwkunst in het Rijksmuseum, coll. cat. Amsterdam 1973, no. 23a, with earlier literature; Jaarverslag Nederlandse Rijksmusea 1976, p. 17; K. Broekhuijsen-Kruijer, ‘Het Passieretabel uit Soest’, Bulletin van het Rijksmuseum 32 (1984), pp. 3-16; P. van Dael et al., Hout- en steensculptuur. Beeldhouwkunst 1200-1800 in de collectie van het Museum Boijmans-van Beuningen, coll. cat. Rotterdam 1994, p. 85; R. Smolders et al., Het geheugen van de hand. De vergankelijkheid van sculptuur, exh. cat. Deurne (Museum de Wieger) 1995, p. 43; B. Nederveen, Soest, tussen Amersfoort en Utrecht. Een studie naar de herkomst van de laatgotische sculptuur uit de Hervormde Kerk te Soest, Amsterdam 1999 (unpub. thesis University of Amsterdam), pp. 13, 93-96; J.H.M. Hilhorst and J.G.M. Hilhorst, Soest, Hees en De Birkt. Van de achtste tot de zeventiende eeuw, Hilversum 2001, pp. 239-40, 260, 278; B. Nederveen, ‘Het passieretabel van Soest. Kanttekeningen bij een reconstructie’, Bulletin van het Rijksmuseum 52 (2004), pp. 270-81; Van der Mark in M. Leeflang et al., Middeleeuwse beelden uit Utrecht: 1430-1530/Mittelalterliche Bildwerke aus Utrecht: 1430-1530, exh. cat. Utrecht (Museum Catharijneconvent)/Aachen (Suermondt-Ludwig-Museum) 2012-13, no. 25c; J. Groenveld, ‘De Sint-Jansverering in een Sint-Vitusparochie voor 1580’, Tussen Vecht en Eem: Tijdschrift voor regionale geschiedenis 35 (2017), pp. 213-25, esp. p. 220
Citation
B. van der Mark, 2024, 'Meester van het retabel van Soest, Soldier, from Christ Carrying the Cross of the Soest Altarpiece, Utrecht, c. 1475 - c. 1500', in F. Scholten and B. van der Mark (eds.), European Sculpture in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.24283
(accessed 24 November 2024 20:45:01).Figures