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Title

The Mass of Saint Gregory

Cruz, Diego de la [attributed to] (Active in Burgos between 1480-1500)

Master of the Solomon of Fromista [attributed to] (Active in the late 15th and early 16th centuries)

Generic classification
Painting
Object
Painting
Date
ca. 1490-1500
Century
Late 15th c.
Cultural context / style
Hispano-Flemish style
Dimensions
46 x 27 9/16 in
Material
Panel
Iconography / Theme
Misa de San Gregorio
Provenance
Possible origin from Castile and Leon (Castilla y León, Possible origin from Castile and Leon, Spain)
Current location
Philadelphia Museum of Art (Filadelfia, United States)
Inventory Number in Current Collection
EW 1993-127-1
Object history

The provenance of this panel is unknown, although it has been related to Diego de la Cruz and the Maestro del Salomón de Frómista, artists who worked in the Castilian environment. Silva Maroto (1990) is inclined to think that it was made by the latter, which would link the piece to the current provinces of Palencia and Burgos. This master had trained with Diego de la Cruz in Burgos, which makes the panel similar to La misa de San Gregorio that Diego de la Cruz made and which is currently in the Torelló collection.

In any case, the piece left Spain at the beginning of the 20th century and was part of the collection of Georges Chalandon, a collector from Lyon. It was later sold to Arnold Seligmann, Rey & Co. in 1934 and remained in the New York headquarters until 1941. It then passed into the hands of Borislav Bogdanovich, who worked as an agent for Jean Neger until 1956, when it was sold to the Samuel S. Fleisher Art Memorial. Finally, in 1993 the Philadelphia Museum of Art acquired the panel, where it is kept today.

Description

This painting responds to an iconographic type very repeated in the 15th century (Silva, 1990) and resembles the painting of The Mass of St. Gregory by Diego de la Cruz, which is in the Torelló Collection. The arma Christi occupies a large part of the composition: scourges, ropes, rods, rods and the whip. Likewise, five figures appear in the composition, Christ is standing on the altar and shows his wounds with his hands facing forward, recalling his passion. On the other hand, in the lower part are Saint Gregory, two cardinals and a smaller acolyte.

Locations
* The relative location of dealers, antique shops, art galleries, and collectors leads us to the places where they were based or had one of their main headquarters. However, this does not always indicate that every artwork that passed through their hands was physically located there. In the case of antique dealers and art merchants, their business often extended across multiple territories; sometimes they would purchase items at their origin and send them directly to clients. Similarly, some collectors owned multiple residences, sometimes in different countries, where they housed their collections. It is often difficult to determine exactly where a specific piece was kept during its time in their possession. Consequently, the main location of the dealer or collector is indicated. These factors should be considered when interpreting the map. Refer to the object's history in each case.
Bibliography
  • SILVA MAROTO, María Pilar (1990): Pintura hispanoflamenca castellana: Burgos y Palencia. Obras en tabla y sarga, vol. II, Junta de Castilla y León, Valladolid, pp. 366 / 453-455.
Citation:

Isabel Escalera Fernández, "The Mass of Saint Gregory" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/369