The Deposition ca. 1640–50 Leonhard Kern Despite the ravages of the Thirty Years War, Leonhard Kern's shop in Schwäbisch Hall flourished, producing statuettes and small reliefs of high quality in boxwood, ivory, and alabaster. They extended the precepts of Renaissance art deep into the seventeenth century, thanks to Kern's memories of his study in Italy (1609–12) and his emulation of Italian masters such as Giambologna. To the latter he may owe the V-shaped cleft in the mountains that part in this scene to reveal Jerusalem and to enframe the Holy Women above center, as well as the rectilinear

The Deposition ca. 1640–50 Leonhard Kern Despite the ravages of the Thirty Years War, Leonhard Kern's shop in Schwäbisch Hall flourished, producing statuettes and small reliefs of high quality in boxwood, ivory, and alabaster. They extended the precepts of Renaissance art deep into the seventeenth century, thanks to Kern's memories of his study in Italy (1609–12) and his emulation of Italian masters such as Giambologna. To the latter he may owe the V-shaped cleft in the mountains that part in this scene to reveal Jerusalem and to enframe the Holy Women above center, as well as the rectilinear cluster of figures at right that include Joseph of Arimathea, carrying a stack of linens and directing the preparation of the dead Christ's body for burial. Yet these are not strict quotations and the design, characteristically for Kern, is full of original touches, especially the angel at center, rare to this episode, who serves as intermediary between God and man whose wings greatly activate the The Deposition 210255

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