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The Holy Trinity between the Lady of Sorrows and Saint Giles, c. 1513-16 (oil on wood)
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The Holy Trinity between the Lady of Sorrows and Saint Giles, c. 1513-16 (oil on wood)
5055823 The Holy Trinity between the Lady of Sorrows and Saint Giles, c.1513-16 (oil on wood) by Baldung Grien, Hans (1484/5-1545) (studio of); 60.2 x 48.6 cm; Kunstmuseum, Basel, Switzerland; (add.info.: The coat of arms with the jumping hare and the presence of Aegidius suggest that the board was commissioned by the Freiburg
Giles of Rome (Aegidius Romanus (c. 1243-1316), was an archbishop of Bourges famed for his commentary on Aristotle, styled Doctor Fundatissimus (" Best-Grounded Teacher" ) by Pope Benedict XIV. He was Prior General of the Augustinian order); German, out of copyright
Media ID 22322552
© Bridgeman Images
Aegidius Archbishop Badge Bishop Calvary Cleric Crown Of Thorns Crozier Crucify Dove Ecclesiastic Holy Ghost King Of The Jews Nailed Northern Trinity Ecclesiastical Mourning Noble Northern Renaissance
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EDITORS COMMENTS
This print showcases "The Holy Trinity between the Lady of Sorrows and Saint Giles" a remarkable oil painting created by Baldung Grien in c. 1513-16. The artwork, measuring 60.2 x 48.6 cm, is housed in the Kunstmuseum in Basel, Switzerland. In this piece, we witness a profound depiction of religious symbolism and devotion. The central focus lies on the Holy Trinity - God the Father, Jesus Christ as his Son, and the Holy Spirit represented by a dove hovering above them. Surrounding this divine presence are figures of immense significance: the Virgin Mary as the Lady of Sorrows and Saint Giles. The inclusion of Aegidius's coat of arms with a jumping hare suggests that this commission was intended for Freiburg. Aegidius Romanus (c. 1243-1316), an archbishop renowned for his commentary on Aristotle and esteemed by Pope Benedict XIV as Doctor Fundatissimus ("Best-Grounded Teacher"), adds further depth to this composition. Baldung Grien's masterful use of color and detail brings these sacred figures to life against a backdrop reminiscent of Calvary – where Jesus was crucified – adorned with symbols such as crosses and crowns of thorns. Through its exploration of Christian themes within German Northern Renaissance artistry, this painting serves as both an expression of faith and an embodiment of noble spirituality. It invites viewers to contemplate their own beliefs while appreciating the skillful craftsmanship that has preserved it throughout history.
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