page_title: Seilern Triptych
section_title: Center panel
hierarchical_section_title: Seilern Triptych / Description / Center panel
caption_attribution_description: English: Triptych with the Entombment of Christ Oil on panel, 60 x 48.9 cm (central panel without frame), 60 x 22.5 cm (wing without frame) London, Courauld Institute Galleries Català: Instruments de la Passió, dins del "Tríptic de l'enterrament de Crist"
context_page_description: The Seilern Triptych, variously dated c. 1410-15 or c 1420-25 is a large oil and gold leaf on panel, fixed winged triptych altarpiece generally attributed to the Early Netherlandish painter Robert Campin. It is the earliest of two known triptychs attributed to him., although the outer wing panels paintings are lost. The work details the events of Christ's passion; with iconography associated with the liturgy of Holy Week. The panels, which should be read from left to right, detail three stations of the cycle of the Passion of Jesus; the crucifixion, the burial and the resurrection.
  Campin was one of the very early founders of the Northern Renaissance, and famed and successful in his lifetime for his breakthrough use of oil paints, but was largely forgotten during the early and early-modern period. He was rediscovered during the late nineteenth century, and has since been described as one of the most significant religious painters of the 15th century.
context_section_description: The figures in the center panel are significantly larger and more volumetric, or solid, than those in the wings. Although the panel is connected to the wings by the continuous skyline, the scale and temporal setting of the central panel is very different to that of the wings. The scale is much reduced, and the figures far more tightly compacted, bring them much closer to the viewer, setting the scene with a far shallower and less realised space than the wings. Their prominence in the pictorial space has at times been compared to concurrent trends in sculpture, especially by Claus Sluter.
  Christ's body is raised, perhaps awkwardly, on a shroud above the top slab of the sarcophagus. In this way the tomb is positioned, as described by art historian Shirley Blum, "the altar supporting Body and Blood of the dead Christ". According to Barbara Lane becomes "both the celebrant and the sacrifice of the constantly repeated Mass". The mourners gather around the tomb in a semi-circle, looking sorrowfully towards Jesus as he is wrapped in his burial shroud. They include Mary, Joseph of Arimathea (With a brown beard, dressed in pale (now) yellowish clothes and supporting Christ's head) and Nicodemus. Before the tomb, in the mid foreground are Saint John supporting the Virgin, a woman dressed in blue and holding a veil containing the face of Christ who is probably Saint Veronica, and in a symbol of the ritual act of anointing, Mary Magdalene rubbs oil on the feet of Christ.
  The portrayals of Joseph and  Nicodemus are similar to those in Melchior Broederlam's Presentation. Strong emphasis is given to the shroud covering the body of Christ, a motif later seen in work Jean Michel and Georges de la Sonnette, two pupils of Sluter.
  Two hovering angels carry the instruments of the Passion, including the sponge, nails and the crown of thorns, represent the Crucifixion. The two angels standing at either side of the tomb are in mourning. The one on the right wipes a tear from his face in grief. This angel wears the liturgical vestments of the priest, including an alb and stole, indicating that he is about to perform mass. The angel to the right holds a spear, alluding to the crucifixion, and looks downwards towards the donor in the left hand panel, linking the narrative and panels together.
  The central panel has sometimes been compared to Italian equivalents, especially to Simone Martini's c 1334, Entombment, which, since it was taken to Dijon,  Campin may have seen first hand.
caption: Angels holding instruments of the Passion
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