{"secondaryobjectnumber":null,"periodterms":[],"creditline":"Bequest of Dan Fellows Platt, Class of 1895","caption":"Attributed to Joan Rosato (Spanish, active 1447–1482), Mystical Crucifixion: the Four Doctors of the Church and Saint Paul contemplating the Crucifixion, 1445. Tempera and gold on wood panel; 51.7 × 44 cm, 58.7 × 52.7 × 7.6 cm (frame). 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Tempera and gold on wood panel; 51.7 × 44 cm, 58.7 × 52.7 × 7.6 cm (frame). Bequest of Dan Fellows Platt, Class of 1895 (y1962-64)","displaydate":"1445","medium":"Tempera and gold on wood panel","media":[{"id":7327,"uri":"https://media.artmuseum.princeton.edu/iiif/3/collection/y1962-64","isprimary":1,"rank":1,"mediatypeid":1,"mediaviewtype":"(not assigned)","restrictions":null,"caption":"Luna Digitization Project"}],"displayperiod":null,"extended_content":false,"campuscollections":"false","bibliography":[{"boilertext":"James Clifton, <EM>The body of Christ in the art of Europe and New Spain, 1150-1800</EM>, (Munich; New York: Prestel, 1997).","citation":"James Clifton, <EM>The body of Christ in the art of Europe and New Spain, 1150-1800</EM>, (Munich; New York: Prestel, 1997)., cat. no. 64, p. 140","date":1997,"id":4580,"uri":"https://search.worldcat.org/title/37400813"},{"boilertext":"Patrick Mauries, <EM>Le trompe-l’œil: de l’antiquité au XXe siècle</EM>, (Paris: Gallimard, 1996).","citation":"Patrick Mauries, <EM>Le trompe-l’œil: de l’antiquité au XXe siècle</EM>, (Paris: Gallimard, 1996)., p. 104-107","date":1996,"id":4581,"uri":"https://search.worldcat.org/title/36202545"},{"boilertext":"<P>Erica Susanna Trimpi, <EM>Matteo di Giovanni: documents and a critical catalogue of his panel paintings</EM>, (Ann Arbor, MI: Thesis (Ph. D.)--University of Michigan, 1987).</P>","citation":"<P>Erica Susanna Trimpi, <EM>Matteo di Giovanni: documents and a critical catalogue of his panel paintings</EM>, (Ann Arbor, MI: Thesis (Ph. D.)--University of Michigan, 1987).</P>, p. 304-306, no. 11","date":1987,"id":4582,"uri":"https://search.worldcat.org/title/26453644"},{"boilertext":"<EM>El Renacimiento mediterráne: viajes de artistas e itinerarios de obras entre Italia, Francia y España en el siglo XV: Madrid, Museo Thyssen-Bornemisza, del 31 de enero al 6 de mayo de 2001, Valencia Museu de Belles Arts de València, del 18 de mayo al 2 de septiembre de 2001</EM>, (Madrid: Fundación Colección Thyssen-Bornemisza, 2001).","citation":"<EM>El Renacimiento mediterráne: viajes de artistas e itinerarios de obras entre Italia, Francia y España en el siglo XV: Madrid, Museo Thyssen-Bornemisza, del 31 de enero al 6 de mayo de 2001, Valencia Museu de Belles Arts de València, del 18 de mayo al 2 de septiembre de 2001</EM>, (Madrid: Fundación Colección Thyssen-Bornemisza, 2001)., p. 245-48, cat. no. 50, p. 347 (illus.)","date":2001,"id":4583,"uri":"https://search.worldcat.org/title/47800284"},{"boilertext":"Daniel Arasse, <em>Le détail: pour une histoire rapprochée de la peinture</em>, (Paris: Flammarion, 2008).","citation":"Daniel Arasse, <em>Le détail: pour une histoire rapprochée de la peinture</em>, (Paris: Flammarion, 2008)., p. 124, fig. 130","date":2008,"id":4584,"uri":"https://search.worldcat.org/title/470756813"},{"boilertext":"Barbara T. Ross, \"The Mather years 1922-1946,\"&nbsp; in \"An art museum for Princeton: the early years\", special issue, <em>Record of the Art Museum, Princeton University</em> 55, no. 1/2 (1996): p. 53–76.","citation":"Barbara T. Ross, \"The Mather years 1922-1946,\"&nbsp; in \"An art museum for Princeton: the early years\", special issue, <em>Record of the Art Museum, Princeton University</em> 55, no. 1/2 (1996): p. 53–76., p. 66, fig. 18","date":1996,"id":3053,"uri":"https://www.jstor.org/stable/3774780"},{"boilertext":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013)","citation":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013), p. 178","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"Alfred Acres, <em>Renaissance invention and the haunted infancy</em>, (London; Turnhout, Belgium: Brepols Publishers, 2013).","citation":"Alfred Acres, <em>Renaissance invention and the haunted infancy</em>, (London; Turnhout, Belgium: Brepols Publishers, 2013).","date":2013,"id":1231,"uri":"https://search.worldcat.org/title/754711955"},{"boilertext":"<p>Andrea de Marchi, \"\"The Mystical Crucifixion\" at Princeton and evidence for the Sienese education of Joan Rosató,\" <em>Record of the Princeton University Art Museum</em> 62 (2003): 32–45.</p>","citation":"<p>Andrea de Marchi, \"\"The Mystical Crucifixion\" at Princeton and evidence for the Sienese education of Joan Rosató,\" <em>Record of the Princeton University Art Museum</em> 62 (2003): 32–45.</p>, p. 32, fig. 1; p. 36, fig. 5; p. 37, fig. 10; p. 38, fig, 12","date":2003,"id":3016,"uri":"https://www.jstor.org/stable/3774818"},{"boilertext":"Norman E. Muller, \"Technical Note,\" <em>Princeton University Art Museum</em> 62 (2003): 46–49.","citation":"Norman E. Muller, \"Technical Note,\" <em>Princeton University Art Museum</em> 62 (2003): 46–49., p. 47, fig. 4","date":2003,"id":3018,"uri":"https://www.jstor.org/stable/3774819"},{"boilertext":"Betsy Rosasco, \"<em>The Mystical Crucifixion</em>: A Dominican Picture?,\" <em>Record of the Princeton University Art Museum</em> 62 (2003): 50–67.","citation":"Betsy Rosasco, \"<em>The Mystical Crucifixion</em>: A Dominican Picture?,\" <em>Record of the Princeton University Art Museum</em> 62 (2003): 50–67., p. 50, fig. 1","date":2003,"id":3019,"uri":"https://www.jstor.org/stable/3774820"},{"boilertext":"B. B. Fredericksen and F. Zeri, <EM>Census of pre-nineteenth-century Italian paintings in North American collections</EM>, (Cambridge, MA: Harvard University Press, 1972).","citation":"B. B. Fredericksen and F. Zeri, <EM>Census of pre-nineteenth-century Italian paintings in North American collections</EM>, (Cambridge, MA: Harvard University Press, 1972)., p. 209","date":1972,"id":572,"uri":"https://search.worldcat.org/title/488066386"},{"boilertext":"Bernard Berenson, <EM>Italian pictures of the Renaissance: a list of the principal artists and their works with an index of places. Central Italian and North Italian schools</EM>, (London: Phaidon, 1968).","citation":"Bernard Berenson, <EM>Italian pictures of the Renaissance: a list of the principal artists and their works with an index of places. Central Italian and North Italian schools</EM>, (London: Phaidon, 1968)., p. 5","date":1968,"id":4076,"uri":"https://search.worldcat.org/title/21407"},{"boilertext":"Bernard Berenson, <EM>Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere, con un indice dei luoghi</EM>, (Milano: U. Hoepli, 1936).","citation":"Bernard Berenson, <EM>Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere, con un indice dei luoghi</EM>, (Milano: U. Hoepli, 1936)., p. 393","date":1936,"id":4139,"uri":"https://search.worldcat.org/title/1136695"},{"boilertext":"Bernard Berenson,<EM> Italian pictures of the Renaissance: a list of the principal artists and their works, with an index of places</EM>, (Oxford, UK: Clarendon Press, 1932).","citation":"Bernard Berenson,<EM> Italian pictures of the Renaissance: a list of the principal artists and their works, with an index of places</EM>, (Oxford, UK: Clarendon Press, 1932)., p. 457","date":1932,"id":4140,"uri":"https://search.worldcat.org/title/2029496"},{"boilertext":"Mario Marubbi, \"Illustrare i Padri\", in Maria Rosa Cortesi, <EM>Leggere i padri tra passato e presente: atti del convegno internazionale di studi, Cremona, 21-22 novembre 2008</EM>, (Firenze: SISMEL edizioni del Galluzzo, 2010).","citation":"Mario Marubbi, \"Illustrare i Padri\", in Maria Rosa Cortesi, <EM>Leggere i padri tra passato e presente: atti del convegno internazionale di studi, Cremona, 21-22 novembre 2008</EM>, (Firenze: SISMEL edizioni del Galluzzo, 2010).","date":2010,"id":813,"uri":"https://search.worldcat.org/title/707959822"},{"boilertext":"Erwin Panofsky, <EM>Early Netherlandish painting: its origins and character</EM>, (Cambidge, MA: Harvard University Press, 1953).","citation":"Erwin Panofsky, <EM>Early Netherlandish painting: its origins and character</EM>, (Cambidge, MA: Harvard University Press, 1953)., p. 310, note 5","date":1953,"id":4227,"uri":"https://search.worldcat.org/title/2571305"},{"boilertext":"\"Recent acquisitions,\" <EM>Record of the Art Museum, Princeton University</EM>&nbsp;22, no. 1 (1963): p. 15-19.","citation":"\"Recent acquisitions,\" <EM>Record of the Art Museum, Princeton University</EM>&nbsp;22, no. 1 (1963): p. 15-19., p. 16","date":1963,"id":1867,"uri":"https://www.jstor.org/stable/3774326"},{"boilertext":"Raimond van Marle, <em>The development of the Italian schools of painting</em>, (The Hague: M. Nijhoff, 1923-1938).","citation":"Raimond van Marle, <em>The development of the Italian schools of painting</em>, (The Hague: M. Nijhoff, 1923-1938)., Vol. 16: p. 247","date":1924,"id":4249,"uri":"https://search.worldcat.org/title/631047131"},{"boilertext":"Allen Rosenbaum and Francis F. Jones,<em> Selections from The Art Museum, Princeton University, </em>(Princeton,&nbsp;NJ: The Art Museum, Princeton University, 1986)","citation":"Allen Rosenbaum and Francis F. Jones,<em> Selections from The Art Museum, Princeton University, </em>(Princeton,&nbsp;NJ: The Art Museum, Princeton University, 1986), p. 75 (illus.)","date":1986,"id":1899,"uri":"https://search.worldcat.org/title/14244748"},{"boilertext":"Osvald Sirén and Maurice W. Brockwell, <EM>Catalogue of a loan exhibition of Italian primitives: in aid of the American War Relief</EM>, (New York: F. Kleinberger Galleries, 1917).","citation":"Osvald Sirén and Maurice W. Brockwell, <EM>Catalogue of a loan exhibition of Italian primitives: in aid of the American War Relief</EM>, (New York: F. Kleinberger Galleries, 1917)., p. 133, no. 50","date":1917,"id":4533,"uri":"https://search.worldcat.org/title/29069018"},{"boilertext":"<P>George H. Edgell, <EM>A history of Sienese painting</EM>, (New York: L. MacVeagh, 1932).</P>","citation":"<P>George H. Edgell, <EM>A history of Sienese painting</EM>, (New York: L. MacVeagh, 1932).</P>, p. 207; p. 282 (illus.)","date":1932,"id":4537,"uri":"https://search.worldcat.org/title/2217374"},{"boilertext":"Keith Christiansen, Laurence B. Kanter and Carl Strehlke, <EM>Painting in Renaissance Siena, 1420-1500, (</EM>New York: Metropolitan Museum of Art, 1988).","citation":"Keith Christiansen, Laurence B. Kanter and Carl Strehlke, <EM>Painting in Renaissance Siena, 1420-1500, (</EM>New York: Metropolitan Museum of Art, 1988)., no. 47","date":1988,"id":4562,"uri":"https://search.worldcat.org/title/848524842"},{"boilertext":"Lionello Venturi, <EM>Italian paintings in America</EM>, (New York : E. Wyhe, 1933).","citation":"Lionello Venturi, <EM>Italian paintings in America</EM>, (New York : E. Wyhe, 1933)., no. 173","date":1933,"id":4573,"uri":"https://search.worldcat.org/title/6006946"},{"boilertext":"Olan A. Rand, Jr., \"A problem in iconography\", <CITE>Record of the Art Museum, Princeton University</CITE> 16, no. 2 (1957): p. 26-35","citation":"Olan A. Rand, Jr., \"A problem in iconography\", <CITE>Record of the Art Museum, Princeton University</CITE> 16, no. 2 (1957): p. 26-35, p. 27 (illus.)","date":1957,"id":4574,"uri":"https://www.jstor.org/stable/3774256"},{"boilertext":"John Pope-Hennessy, \"The development of realistic painting in Siena-II\", <em>Burlington magazine</em> 84, no. 495 (Jun., 1944): p. 139-145.","citation":"John Pope-Hennessy, \"The development of realistic painting in Siena-II\", <em>Burlington magazine</em> 84, no. 495 (Jun., 1944): p. 139-145., p. 139-1944; pl. IIB","date":1944,"id":4575,"uri":"https://www.jstor.org/stable/868933"},{"boilertext":"Bryson Burroughs, \"Loan Exhibition of the Arts of the Italian Renaissance\",<EM> Bulletin (Metropolitan Museum of Art)</EM> 18, no. 5 (May, 1923): p. 105+107-114).","citation":"Bryson Burroughs, \"Loan Exhibition of the Arts of the Italian Renaissance\",<EM> Bulletin (Metropolitan Museum of Art)</EM> 18, no. 5 (May, 1923): p. 105+107-114)., p. 108","date":1923,"id":4576,"uri":"https://www.jstor.org/stable/3254773"},{"boilertext":"Giorgio Vigni, <EM>Lorenzo di Pietro: detto Il Vecchietta</EM>, (Firenze: G. C. Sansoni, 1937).","citation":"Giorgio Vigni, <EM>Lorenzo di Pietro: detto Il Vecchietta</EM>, (Firenze: G. C. Sansoni, 1937)., p. 89","date":1937,"id":4577,"uri":"https://search.worldcat.org/title/3013930"},{"boilertext":"Andre Chastel, <EM>Musca depicta, </EM>(Milano: Franco Maria Ricci, 1984).","citation":"Andre Chastel, <EM>Musca depicta, </EM>(Milano: Franco Maria Ricci, 1984)., p. 69; p. 68 (detail)","date":1984,"id":4578,"uri":"https://search.worldcat.org/title/13142926"},{"boilertext":"Daniel Arasse, <EM>Le détail: pour une histoire rapprochée de la peinture</EM>, (Paris: Flammarion, 1992).","citation":"Daniel Arasse, <EM>Le détail: pour une histoire rapprochée de la peinture</EM>, (Paris: Flammarion, 1992)., p. 82, fig. 79; p. 79-85","date":1992,"id":4579,"uri":"https://search.worldcat.org/title/231856097"}],"nowebuse":"False","periods":[],"department":"European Painting and Sculpture ","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199338,"term":"Nazi-era gaps","termtype":"Provenance & Cultural Heritage"}],"daterange":"A.D. 1000-1500","dateend":1445,"depicted":[],"titles":[{"title":"Mystical Crucifixion: the Four Doctors of the Church and Saint Paul contemplating the Crucifixion","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"y1962-64","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nLong considered a Sienese painting and attributed to Vecchietta or Matteo di Giovanni, this panel was recently reattributed to the Master of the Predellas —<BR>identified as Joan Rosato — an artist from Majorca. Rosato was probably trained, was surely active, and is known to have died in Italy, which may account for the confusion. The crisp, dry forms of the figures and the supernatural vision, however, partake of a Spanish aesthetic and mystic strain, and make the new attribution more satisfactory.</P>\r\nAlthough the panel has been considered a devotional image for a layman, its iconography is unique and erudite. The Crucifixion is situated on a hill so barren and desert-like that, besides the skull of Adam, only ants are seen, coming and going from the anthill. Traces of a horse’s hooves betray the recent presence of a horseman, possibly Longinus, the traditional name for the centurion who pierced Christ’s side and who is often shown on horseback in Crucifixion scenes. Four church fathers, the four doctors who founded the Roman Catholic theological tradition, hover on clouds around Christ: the first, Gregory the Great, is shown as pope; the next two, Ambrose and Augustine, as bishops; and the last, Jerome, anachronistically, as a cardinal. The apostle Paul, pointing to Christ, holds a Bible open to the Letter to the Colossians 2:3: \"In whom are held all the treasures of wisdom and knowledge.\" A scroll in front of Christ is inscribed: \"I am the Homeland and the Way.\" Sacred imagery of this type was intended to stimulate devotion and pious reflection in Christian viewers, whether laypersons or clerics. </P></SPAN></SPAN>","remarks":null},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Dan Fellows Platt (1873 -1938), Englewood, NJ; by descent to Ethel Bliss Platt (1881-1971) [1]; 1962 gift to Princeton University Art Museum.\n<p>\n\tNotes \n</p>\n<p>\n\t[1] Dan Fellows Platt left his collections to the University but gave his wife life-tenure and the right to sell  \n</p>","remarks":null}],"datebegin":1445,"sortnumber":"1962   64y","published_date":"2026-02-11 10:12:13.915683","objectid":28732,"dimensions":"51.7 × 44 cm (20 3/8 × 17 5/16 in.)\r\nframe: 58.7 × 52.7 × 7.6 cm (23 1/8 × 20 3/4 × 3 in.)","on_view":false}