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An the National Museum of Art of Romania, in Bucharest, is a triptych of height 48.5 cm., from which the left leaf is missing. Depicted on the central leaf are scenes of the Passion, in three registers: The Crucifixion, the Judgement of Pilate, the Hanging of Judas and the Denial of St Peter. Painted on the back of this leaf is a foliate cross. Represented on the right leaf is the Descent into Hell, on the front, and In Thee Rejoiceth, on the back. The Crucifixion is of the many-figured type with secondary episodes, which was disseminated in the thirteenth century. The foreground is dominated left by the Swooning of the Virgin, who is held up by John the Apostle, and on the right by six horsemen arrayed in two rows and holding flags. A notable feature in the two lower zones is the contemporary dress of Pilate's wife and of the maidservant conversing with Peter. The Descent into Hell is of the type in which Christ proceeds to the right, holding a scroll and summoning Adam, beside whom stands Eve, while on the left side of the scene stand St John the Baptist and the Prophet-Kings. The composition, widely diffused in Cretan painting, displays certain peculiarities: Adam does not come forth from a sarcophagus but from the maws of a beast; Christ does not step upon the gates of Hades but upon a winged personification of Death,

8 4

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scythe in hand; at his feet lie two naked youths and in the lower corners are represented right the sleeping soldiers around the sarcophagus, and left the Myrrh-bearing Women at the open tomb guarded by an angel. The illustration of the hymn In Thee Rejoiceth follows the earliest version, in which the central subject is circular. The triptych, known from an article in German, a century ago, was published thirty-five years ago in Romanian, by Alexandru Efremov, who attributed it to an artist of the Italo-Cretan School, of the first half of the sixteenth century. Various traits, such as the miniaturist execution with a host of figures, the mannerist poses, the portrait types, the lavish drapery of the garments, with emphasis on red, advocate on the contrary this work's close relationship with the art of George Klontzas, a pre-eminent Candiot painter whose activity is attested from 1562 and who died in early 1608. The many-figured Crucifixion and the In Thee Rejoiceth are favourite subjects of his, while the carved and gilded, arched wooden frame of the triptych is typical of Cretan workshops of the second half of the sixteenth century and identical with that of the triptych by El Greco in Modena. The Bucharest triptych is an uneven work and should probably be ascribed to George Klontzas assisted by apprentices.

Icnes de Saint-Georges (. 9), 78-79, . 51, . 38.

Panayotis L. Vocotopoulos

A TRIPTYCH OF THE ART OF GEORGE KLONTZAS IN BUCHAREST

352