Old Art of Mary Discovered on Wall Behind Crumbling Art of Mary in Rome

"At present after Jesus was born in Bethlehem of Judea in the days of Herod the king, behold, wise men from the E came to Jerusalem, maxim, 'Where is He who has been born King of the Jews? For we accept seen his star in the East, and have come to worship Him'…And when they had opened their treasures, they presented gifts to Him: gold, frankincense, and myrrh."  (Matthew 2: one-12) (New King James Version)

The feast of Epiphany is celebrated on January six, twelve days after Christmas. Matthew describes the visitors as wise men from the e. The number of Magi was determined by the three gifts. At that time, Magi were thought to be astrologers and dream interpreters.

"Adoration of the Magi" (sarcophagus of Crispina) (3rd Century)

The first known delineation of the "Adoration of the Magi" is found on the sarcophagus of Crispina in the Catacomb of Priscilla (3 rd Century) (Rome). From the earliest representation, it is typical to come across the newborn Baby sitting upright, acknowledging the Magi and accepting their gifts. As they were from the east, they are wearing Phrygian caps (Persia, now Islamic republic of iran), short tunics over trousers, and shoes. They are the aforementioned age, and because of the artist's limited skill, they have the same face. The gifts are not quite identifiable. The get-go of the Magi offers what is either a vessel or a crown, the second a bowl of fruit, and the third a bowl containing leaves. Backside the Magi are ii camels, and at the right is a column with a palm tree-similar top. Other sculptures on the sarcophagus depict scenes from the Former and New Testaments.

"Admiration of the Magi" (1296-1300)

Several Christian churches were built in the metropolis of Rome in the 12 th Century. The Church of Santa Maria in Trastevere, congenital past Pope Innocent Ii (1130-1143), was the largest and most important. The Italian painter and mosaicist Pietro Cavallini (1259-1330) was deputed to decorate the nave with a series of mosaics depicting scenes from the nativity to the death of the Virgin. In "The Adoration of the Magi" (1296-1300) the Virgin and Child are seated under a classical white marble arch. Mary sits on a golden demote with a cushion. She wears the traditional blue robe, but she wears red shoes. Only royalty was allowed to vesture red shoes. Wearing sandals, the elderly Joseph stands quietly behind her. Dressed in green, the colour of renewal and regeneration, Jesus reaches out the take the gifts.

By the Sixth Century, the Magi had been given names chosen from a list of Middle Eastern rulers. Each Magi represented one of the three ages of man. The gifts were of the quality given to a rex, and the Magi were at that time thought to exist kings. The oldest of the Magi, Melchior, kneels and offers gold. The middle-aged Balthasar, wearing a crown, offers frankincense. Gaspar, the youngest, brings myrrh. All wear Phrygian/Western farsi boots, leggings and rich garments.

The sky is gold to represent heaven, in the traditional style of Byzantine art.  A path on the green loma leads to a Romanesque church, signifying the journey of the kings to Bethlehem. The Star of Bethlehem appears in a blue circle. The prophesy of Balaam, a descendant of Abraham, can exist institute in Numbers 24:17: "I see him, but not now; I behold him, but not nearly. A star will come up out of Jacob; A scepter volition rising out of Israel." The Magi (priests of the aboriginal Farsi religion of Zoroaster) were watching and waiting for the Star.

Dissimilar from the four-pointed star in Early Christian fine art, the 8-pointed star depicted hither is called the Star of Redemption. The inscription across the bottom of the mosaic states, "With the star as guide, the unknown kid becomes known to the Gentiles." The eight-pointed star also is an aboriginal symbol of beginnings, resurrection, conservancy and affluence in Hinduism, Buddhism, Zoroastrianism, Islam, and Native Americans symbols.

"Adoration of the Magi" (1330-35)

The illuminated manuscript folio past the Willenhalm Chief contains the "Admiration of the Magi" (1330-35) within the alphabetic character a .  Mary, crowned equally a queen, sits on a chair carved with Gothic pointed arches and rosettes. The eldest King offering Jesus gold, which He accepts and passes to Mary. Gold was a souvenir the Holy Family could use in their sojourn in Egypt. The middle-aged and young Kings stand backside an altar rail equally if they were in a church building. The middle-aged male monarch's gift is frankincense that would help dissipate the smell of the stable. The young king's gift is myrrh, a consecrated incense used for anointing priests and kings. The middle-anile King points to the seven-pointed star, symbol of the seven days of creation. The star also was thought to ward off evil.

"Adoration of the Magi" (1475-76)

Botticelli, ane of the most popular artists in Florence, was commissioned to paint at to the lowest degree vii Adorations of the Magi. This "Adoration of the Magi" (1475-76) (44''x 53'') was commissioned past Gaspare del Lama for his chapel in the Church of Santa Maria Novella.  Del Lama was a money lender and had difficulty with the police force. This painting, like many others deputed by wealthy Florentines, was to help mitigate his sins in the Last Judgement. Botticelli includes his cocky-portrait, the first figure at the correct dressed in gold. Farther dorsum, an elderly face up, thought to exist del Lama's, looks out at the viewer.

Del Lama also paid homage to the influential Medici family. Florence held religious celebrations with elaborate processions through the streets. One of the virtually prestigious was for Epiphany in which the Medici family oft played the Magi. Botticelli includes the Medici and many of their friends and associates. The patriarch of the family, Cosimo de Medici, kneels earlier the Virgin and Child and reaches out to touch Jesus' extended pes. He uses a fragile white cloth because he is touching someone holy. Cosimo's son Piero I (the Gouty), the middle-aged Magi wearing the red mantle with the ermine stole, kneels in the middle of the limerick. The angel in white and gold is Piero's son Giovanni de Medici, later Pope Leo 10. He holds Piero's gift, and they substitution glances. Lorenzo de Medici (the Magnificent), too Piero's son, looks on from the correct. Although he stands behind his male parent and brother, his night hair and black mantle with reddish slashed sleeves prepare him apart.

Hands noticed at the far left is Giuliano de Medici, Cosimo'due south second son. He wears a short red tunic, simply is noticeable for his strutting pose. He was the "golden boy" of Florence. His favorite horse nudges him.  Leaning on Giovanni's left shoulder is Francesco de Pazzi. Although he looks like he is Giuliano's best friend, he will assassinate him in the Pazzi defection confronting the Medici in 1478.

Botticelli sets Joseph, Mary, and Jesus above the gathering on an outcropping of rocks.  The stable consists of a partial stone wall, a big stone, and a makeshift wooden roof. The Star of Bethlehem shines downward with gilt rays on the Holy Family.  Young vines sprout from the crumbling walls. In the distance at the left, Botticelli has painted decaying Roman arches: The old gives way to the new.

Perched high on the stone wall at the right is a peacock. In Christian fine art, the peacock was a symbol of Christ's resurrection. The peacock'due south splendid feather is a symbol of royalty. It was thought that when a peacock dies, the mankind does not decay; thus, the peacock became a symbol for everlasting life.

"Adoration of the Magi" (1478-82)

Although Botticelli's painting of 1475-76, was highly political and was made for public display in the chapel of a church building, not all of Botticelli's Adorations were political. The "Adoration of the Magi" (1478-82) (28'' 10 41'') (National Gallery, Washington, DC) is solemn and religious. The event takes identify in a peaceful, green landscape. The Holy Family and two of the Kings are at the center of the painting in a triangular composition. They kneel to offer their gifts. The middle-aged Rex is located at the left of center. His righthand rests on his chin as he contemplates the scene. He extends his left arm to present his gift. Joseph leans on his crutch. The ox and the ass expect on.

Gathered in a circumvolve in front end of the manger, those who accompanied the Magi look on in reverence. Closer to the manger, some individual faces tin can be seen, only they do non distract attention from the scene. Botticelli includes horses, camels, and the Magi'southward attendants at both sides of the painting. The system of the retinue of the Magi, like to that plant in da Vinci'southward unfinished "Adoration of the Magi" of 1481-82, is a tribute da Vinci. Botticelli as well includes ruins of Roman arches on the left, similar to those seen in his before painting and in the da Vinci version. Dead branches protrude from the ruins, while at the right, two tall green trees can be seen. The manger clearly is intended to represent the new replacing the old. Botticelli splits the Roman temple into two parts, which back up a new solid wooden roof.

detail of "Adoration of the Magi" (National Gallery of Art)

Botticelli was able to satisfy a number of of import patrons and their dissimilar spiritual needs. This work probably was painted while Botticelli was in Rome working on the walls of the Sistine Chapel. Hither, the beauty of Botticelli's manner is on full display. The colors throughout are delicate and fresh. The figures are placed in svelte poses, and delicate threads of aureate extend throughout the unabridged scene.

Beverly Hall Smith was a professor of art history for 40 years.  Since retiring with her husband Kurt to Chestertown six years agone, she has taught art history classes at WC-ALL and Chesapeake College'due south Found for Adult Learning.  She is also an artist whose piece of work is sometimes in exhibitions at Chestertown RiverArts and she paints sets for the Garfield Center for the Arts.

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Source: https://talbotspy.org/looking-at-the-masters-epiphany-by-beverly-hall-smith/