Title

Flagellation

Giraldo, Lucas [attributed to] [style of] (?, ? - ?, ca. 1550)

Generic classification

Object

Date

Century

Cultural context / style

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Material

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Provenance

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Inventory Number in Current Collection

Object history

It seems plausible to assume that this piece was part of an altarpiece that is now lost. The Enrique Larreta Museum of Spanish Art (Buenos Aires, Argentina) houses three scenes from the original set: *Ecce Homo*, *The Flagellation *, and *The Descent from the Cross*. However, the scene of the flagellation is of a higher quality, something evident in the figure of Christ. We do not know the provenance of these pieces; nevertheless, they are reminiscent of some works undertaken by Lucas Giraldo. This artist frequently collaborated with others, such as Juan Rodríguez, making it difficult to pinpoint his style with precision. Some of the characteristics evident in his works are: an elongated figure, expressive figures, and highly contrasting skin textures; all elements found in these reliefs (Picatoste, 1900; Tormo, 1917; Parrado del Olmo, 1981; Parrado del Olmo, 2013). 

Giraldo carried out commissions for the Cathedral of Ávila, such as the altarpiece of Santa Catalina or the choir screen (Heras, 1967); he collaborated on the altarpiece and the tombs at El Parral (Segovia) and on the altarpiece of the Monastery of San Jerónimo de Guisando (Ávila), a work that has since disappeared (Parrado del Olmo, 1981; Gómez Moreno, 1983). In Segovia, he also created the altarpiece for the Church of Santa Columba, a building that suffered severely from the consequences of the confiscation. The condition of the church led to its demolition in 1930, and nine scenes from the altarpiece are preserved in the Museum of Segovia: The Circumcision, The Adoration of the Magi, The Massacre of the Innocents, The Flight into Egypt, Jesus Among the Doctors, The Agony in the Garden, Jesus Carrying the Cross, The Resurrection, and Pentecost. These reliefs share many stylistic similarities with the Ecce Homo, The Flagellation, and The Descent from the Cross—episodes that are notably absent from the altarpiece of Santa Columba. Could they have belonged to the same ensemble? We do not know.

In any case, the three reliefs resemble the works of Lucas Giraldo, and although we cannot confirm their authorship, we do believe they originate from the Castilian region. In the mid-20th century, the three reliefs became part of the collection of the Enrique Larreta Museum of Spanish Art (Buenos Aires), where they are currently preserved.

We would like to thank Patricia Nobilia of the Research and Exhibitions Department at the Enrique Larreta Museum of Spanish Art (Buenos Aires, Argentina) for her assistance.

Description

There are seven figures depicted in this relief, with the figure of Christ at its center. He is tied to a column while being flogged by four Roman soldiers. Christ’s naked body shows clear influences from Berruguete in its posture and anatomical rendering. It is also worth noting that the figures exhibit highly contrasting skin textures. Based on the composition, style, and polychromy of the relief, we can date it to the second quarter of the 16th century.

Locations

• Second quarter of the XVI^th c.

  region

  Possible origin from Castile and Leon, Castilla y León (Spain)

• Second half of the XX^th c. - present

  museum

  Museum of Spanish Art "Enrique Larreta", Buenos Aires (Argentina)