Currently not on view
The Descent into Hell,
1490
school of Simon von Taisten, Austrian, ca. 1450 – 1530
y1954-62
In the apocryphal Gospel of Nicodemus, Christ descends into Limbo to save the souls of the righteous but unbaptized patriarchs of the Old Testament. This scene was extremely rare in Roman Catholic iconography, disappearing almost entirely after the sixteenth century; in the Orthodox Church, however, the Descent became so popular as to replace the depiction of Christ’s resurrection. Western versions of the Descent often included reptilian demons and fiery landscapes, incorporating some of the imagery of the more common Last Judgment scene. Here the representation of Satan refers in part to Genesis 3:15, in which God tells the serpent that the son of man “shall bruise thy head, and thou shalt bruise his heel”; Christ literally fulfills that prophecy by trampling Satan underfoot, simultaneously crushing the gates and lifting the Just toward Heaven. In so doing, he exemplifies both the downward force of divine retribution and the upward force of salvation. Christ clasps the wrist of Adam, who leads a train of the Just, including Eve, Abel, David, and Solomon.
Information
Title
The Descent into Hell
Dates
1490
Maker
school of Simon von Taisten
Medium
Tempera on wood panel
Dimensions
61.5 × 59.5 cm (24 3/16 × 23 7/16 in.)
frame: 77 × 75.5 × 6.7 cm (30 5/16 × 29 3/4 × 2 5/8 in.)
Credit Line
Museum purchase, Carl Otto von Kienbusch Jr., Memorial Collection
Object Number
y1954-62
Place Made
Europe, Lower Bavaria-Upper Austria
Inscription
Along top of broken arch, upper left: 1490
Culture
Type
Materials
Subject
Anonymous sale, Dorotheum, Vienna, May 18, 1922, lot 16; Richard Ederheimer, New York (by 1928-1954; sold to Princeton University Art Museum).
- Loan Exhibition of German primitives, (New York: F. Kleinberger Galleries, New York)., p. 8, no. 11
- Charles Louis Kuhn, A catalogue of German paintings of the Middle Ages and Renaissance in American Collections, (Cambridge, MA: Harvard University Press, 1936)., p. 69; no. 297; pl. 59
- A selection of paintings by the old masters, studio of R. Ederheimer..., (New York: Richard Ederheimer?, 1936)., no. 6
- Charles Louis Kuhn, Catalogue of the Germanic Museum exhibition of German paintings of the fifteenth and sixteenth centuries: lent from American collections; Harvard University tercentenary celebration, June 5 to September 30, 1936, (Cambridge, MA: Harvard University, 1936)., no. 23
- Early German paintings, (New York: Schaeffer Galleries, 1937).
- "Recent acquisitions", Record of the Art Museum, Princeton University 14, no. 1 (1955): p. 17-19., p. 18
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The Carl Otto von Kienbusch, Jr. Memorial Collection (Princeton: Princeton University Art Museum, 1956)
, no. 40[? -obscured on card] - Richard E. Spear, "A 1490 "Harrowing of Hell"", Record of the Art Museum, Princeton University 21, no. 1 (1962): p. 2-9., p. 29; fig. 1
- Josef Ringler, "Simon von Taisten und der Flügelaltar von Zwickenberg in Kärnten", Der Schlern 42 (1968): p. 518-526., p. 518-526
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Thomas R. Rumsey, Men and women of the Renaissance and Reformation, 1300-1600, (Wellesley Hills, MA: Independent School Press, 1981).
, p. 72 -
Martin Angerer, Heinrich Wanderwitz and Eugen Trapp, Regensburg im Mittelalter, (Regensburg, Universitätsverlag Regensburg, 1995).
, Vol. 2: cat no. 24.3a-d