{'ObjectID' : '2306', 'ObjectCode' : 'N-3067-00', 'ObjectNumber' : 'NG3067', 'ObjectDateBegin' : '1479-01-01', 'ObjectDateEnd' : '1483-12-31', 'ObjectDisplayDate' : 'about 1481', 'ObjectDimensions' : '48.4 x 93.9 cm', 'ObjectMedium' : 'Oil on oak', 'ObjectAlphaSort' : 'David, Gerard', 'ObjectAuthor' : 'Gerard David, active 1484; died 1523', 'ObjectTitle' : 'Christ Nailed to the Cross', 'ObjectShortTitle' : 'Christ Nailed to the Cross', 'ObjectCreditLine' : 'Layard Bequest, 1916', 'ObjectString' : 'NG3067: Gerard David, active 1484; died 1523, Christ Nailed to the Cross, about 1481, Oil on oak, (48.4 x 93.9 cm), Layard Bequest, 1916.', 'ObjectLocation' : 'Room 5', 'ObjectPrivateLocation' : 'Gallery 05', 'ObjectPublicLocation' : 'Room 5', 'ObjectSchool' : 'Netherlandish', 'ObjectCurator' : 'Susan Foister', 'ObjectDescription' : 'This brutal scene is not described in the Bible, although it forms part of a literary and visual tradition (see Pseudo Bonaventura, Meditations, and Memlinc\'s Passion Scenes in the Galleria Sabauda, Turin). It illustrates the preparations for the Crucifixion on Golgotha. Christ\'s clothes have been discarded at the left; soldiers hammer the final nails into his hands and feet, and a figure digs the hole in which the foot of the cross will be placed. Jesus gazes out at the viewer. In the foreground are a bone and a skull which is sniffed at by an inquisitive dog. According to legend Golgotha was also the site of Adam\'s burial, hence the presence of the skull - this motif which appears in many depictions of the Crucifixion links the old and new dispensations.
NG 3067 may have been the central part of a triptych; the side panels are thought to be the Pilate and the Jews and the Holy Women with Saint John now in Antwerp (Koninklijk Museum voor Schone Kunsten). The reconstructed triptych is regarded as one of the artist\'s earlier works, and has usually been dated to the early 1480s. Some of the background figures are copied, directly or indirectly, from an Eyckian Crucifixion (now New York, Metropolitan Museum of Art).
Acquired from Count (Ercole?) di Thiene of Vicenza by Sir A.H. Layard, probably in 1860; Layard Bequest, 1916.
Davies 1953, pp. 112-16
Davies 1968, pp. 45-6', 'ObjectStatusID' : '1', 'PublicAccess' : '1', 'GroupNumber' : '', 'GroupTitle' : '', 'GroupArtist' : '', 'GroupDate' : '', 'GroupParts' : '', 'ImageID' : '2243', 'ImageFile' : 'N-3067-00-000032-WZ-PYR.tif', 'ImageCode' : 'N-3067-00-000032-WZ', 'ImagePath' : '/pics/tmp/websiteimages/Website_Collection_Online/Web Zoom Images/WZ web NG Fronts/', 'ImageLevels' : '6', 'ImageXsize' : '6000', 'ImageYsize' : '3055', 'FileGroup_ID' : '14', 'impos' : '630'} /* Array ( [0] => 
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630 --> 2243 N-3067-00 Gerard David, active 1484; died 1523
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    [ObjectCode] => N-3067-00
    [ObjectNumber] => NG3067
    [ObjectDateBegin] => 1479-01-01
    [ObjectDateEnd] => 1483-12-31
    [ObjectDisplayDate] => about 1481
    [ObjectDimensions] => 48.4 x 93.9 cm
    [ObjectMedium] => Oil on oak
    [ObjectAlphaSort] => David, Gerard
    [ObjectAuthor] => Gerard David, active 1484; died 1523
    [ObjectTitle] => Christ Nailed to the Cross
    [ObjectShortTitle] => Christ Nailed to the Cross
    [ObjectCreditLine] => Layard Bequest, 1916
    [ObjectString] => NG3067: Gerard David, active 1484; died 1523, Christ Nailed to the Cross, about 1481, Oil on oak, (48.4 x 93.9 cm), Layard Bequest, 1916.
    [ObjectLocation] => Room 5
    [ObjectPrivateLocation] => Gallery 05
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    [ObjectSchool] => Netherlandish
    [ObjectCurator] => Susan Foister
    [ObjectDescription] => This brutal scene is not described in the Bible, although it forms part of a literary and visual tradition (see Pseudo Bonaventura, Meditations, and Memlinc\'s Passion Scenes in the Galleria Sabauda, Turin). It illustrates the preparations for the Crucifixion on Golgotha. Christ\'s clothes have been discarded at the left; soldiers hammer the final nails into his hands and feet, and a figure digs the hole in which the foot of the cross will be placed. Jesus gazes out at the viewer. In the foreground are a bone and a skull which is sniffed at by an inquisitive dog. According to legend Golgotha was also the site of Adam\'s burial, hence the presence of the skull - this motif which appears in many depictions of the Crucifixion links the old and new dispensations.
NG 3067 may have been the central part of a triptych; the side panels are thought to be the Pilate and the Jews and the Holy Women with Saint John now in Antwerp (Koninklijk Museum voor Schone Kunsten). The reconstructed triptych is regarded as one of the artist\'s earlier works, and has usually been dated to the early 1480s. Some of the background figures are copied, directly or indirectly, from an Eyckian Crucifixion (now New York, Metropolitan Museum of Art).
Acquired from Count (Ercole?) di Thiene of Vicenza by Sir A.H. Layard, probably in 1860; Layard Bequest, 1916.
Davies 1953, pp. 112-16
Davies 1968, pp. 45-6
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