Marco Palmezzano (circa 1459-63 – Forlì – 1539)

Salvator Mundi

oil on panel
18 ¾ x 15 ⅝ inches (47.6 x 39.7 cm.)

Literature:
Federico Zeri et al., Arte Emiliana dalle raccolte storiche al nuovo collezionismo, Modena, 1989, p. 23, n. 7.


Marco Palmezzano was trained by Melozzo da Forlì, although his work is most indebted to the Venetian painter Giovanni Bellini (c. 1430-1516).  Palmezzano likely encountered the latter’s work in Venice at the turn of the century, as a document dated 30 May 1495 settles a division of property in the city between Palmezzano and his two brothers.   

Our painting was completed during this period, just after the artist relocated to Venice.  The treatment of the face of Christ is similar to that in a painting of the Coronation of the virgin with the Saints Francesco and Benedict (circa 1498-9) in the Brera Gallery, Milan.

Palmezzano had a prolific output of altarpieces and other religious works, yet the present painting remains the sole surviving depiction of Salvator Mundi, or Savior of the World.  Such devotional images of Christ as Salvator Mundi were especially popular among Northern European painters such as Jan van Eyck (c. 1395-c. 1441), Hans Memling (c. 1433-1494) and Albrecht Durer (1471-1528).  The traditional depiction portrayed Christ with his right hand raised in blessing, while holding a globus cruciger – a Christian symbol of authority representing Christ’s dominion over the world – in his left hand.  In the present work, Palmezzano depicts Christ performing the traditional blessing, but instead substitutes a white banner with a red cross in order to symbolize His victory over death.  While Christ was often portrayed with this banner in scenes after the Resurrection, or in the Descent into Hell, it is less common to find the banner present in Salvator Mundi depictions.