Mocking of Christ

Central predella panel of the high altarpiece of the charterhouse of Vall de Crist in Altura (near Castellón), Spain. The other eight scenes of the predella are in the Museo de Bellas Artes in Valencia (nos. 2233-2240). The main panel is now in the cathedral of Segorbe. The retablo was dedicated to the Virgin of the Angels (Señora de los Ángeles) and the Eucharist, and was paid for by Doña Ursula, wife of Don Francisco Zarzuela, justice of Aragón and lord of Jérica.

Joan Reixac, Spanish (active Valencia), documented 1437 - 1484

Made in Valencia, Spain, Europe


Oil on panel

15 1/2 × 15 1/4 inches (39.4 × 38.7 cm)

Curatorial Department:
European Painting

* Special Exhibition Galleries, first floor (Dorrance Galleries)

Accession Number:
Inv. 203

Credit Line:
John G. Johnson Collection, 1917

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This panel was once the central image of a predella, or base, of an altarpiece. The altarpiece stood in the charterhouse (Carthusian monastery) of Vall de Crist in Altura, near Castellón, Spain, but today its main panel is in the cathedral of Segorbe in Castellón and the other eight predella paintings are in the Museo de Bellas Artes in Valencia.

Additional information:
  • PublicationPhiladelphia Museum of Art Handbook (2014 Edition)

    Although the Valencian artist Joan Reixac was influenced by contemporary Netherlandish art (he even owned a version of Jan van Eyck’s painting Saint Francis of Assisi Receiving the Stigmata; see Philadelphia Museum of Art, cat. 314), he always retained a highly personal style, as seen in the pathos of this image of Christ being mocked. This was one of nine scenes of the Passion of Christ that originally formed the predella, or base, of the altarpiece in the charterhouse of Vall de Crist, located near Segorbe in eastern Spain. The picture’s blue-and-white floor tiles depicting emblems of Spanish heraldry are typical of those produced near Valencia by Islamic ceramists. Carl Brandon Strehlke, from Philadelphia Museum of Art: Handbook. Philadelphia: Philadelphia Museum of Art, 2014, p. 96.

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