Explainer

Christmas culture

Creed

4 January 2024

11 min read

The Three Kings in Renaissance Florence

Alison Harpur explores the significance of Epiphany in Italian Renaissance art and how it reflects the life of the city.

Alison Harpur

Alison Harpur is an art historian, specialising in Italian Renaissance art, her further interests include theological methodologies for the history of art.

A round nativity scene depicts a procession of visitors including the Three Kings.

The Adoration of the Magi, Fra Angelico and Fra Filippo Lippi.

National Gallery of Art, Washington D.C.

We’re nearly at the end of the first week of January, as I am writing this, and the festivities of Christmas feel like a distant memory already. Although the traditional Twelve Days of Christmas run from Christmas Day until 5 January, by now we have probably put our Christmas jumpers back in the wardrobe and returned to the usual routine. But while sparkling decorations may already have been consigned to the cupboard until next Christmas, it is in these early days of the new year when Christians traditionally celebrate three of the most memorable characters of the Christmas story: the Magi, also known as the Three Kings or the Three Wise Men.

We associate the Magi with children’s nativity plays in the joyful days of December, and with gifts of gold, frankincense, and myrrh that look very much like they were cardboard boxes before they were covered with gold paint and sprinkled with glitter. But celebration of the Magi and their presentation of gifts to the newborn Jesus is actually commemorated on 6th January, the feast of Epiphany, when the light of God’s revelation breaks through the dreary January days.

The Magi were interpreted as symbols of the Three Ages of Man (youth, middle age, and old age) and, before the discovery of the Americas, of the three known continents (Africa, Asia, and Europe).

Epiphany

In the Bible, Matthew says that news of Jesus’s birth was revealed to wise men in the East, who interpreted the appearance of a star as a symbol that the King of the Jews had been born. They travelled to Jerusalem in search of the newborn King, where they encountered Herod, the King of Judea, who was (perhaps not surprisingly) concerned to learn of the birth of an apparent rival to the throne. Herod sent the wise men on to Bethlehem, with instructions to inform him when they found the newborn King, so that he could also go and worship him. We later discover, of course, that Herod’s real intention had been to find Jesus and kill him, in an attempt to remove the threat to his own power. As the wise men proceeded to Bethlehem, the star they had seen went ahead of them and rested over the birthplace of Jesus. There they discovered the newborn Jesus, with his mother, Mary, and they worshipped him, presenting him with gifts of gold, frankincense, and myrrh. Warned in a dream not to return to Herod, the wise men left Bethlehem and returned home.

Matthew doesn’t specify how many wise men visited Jesus, but Christian tradition has settled on three, corresponding to the number of their gifts. We are probably very familiar with these gifts of gold, frankincense, and myrrh from nativity plays and thousands of Christmas cards. But we may be less familiar with their traditional symbolism in relation to Jesus: gold for his kingship, frankincense for his divinity, and myrrh to foreshadow his sacrificial death. Stories about the Magi also developed in later literature, and the wise men were given the names of Caspar, Balthasar, and Melchior. The Magi were interpreted as symbols of the Three Ages of Man (youth, middle age, and old age) and, before the discovery of the Americas, of the three known continents (Africa, Asia, and Europe).

The Washington Adoration of the Magi is not a serene depiction of the biblical kings’ devotion, but the exuberant splendour of a busy Renaissance court.

We are familiar with representations of Epiphany from paintings such as the Adoration of the Magi in the National Gallery of Art in Washington, D.C., which was painted in Renaissance Florence around the middle of the fifteenth century. It was probably painted by Fra Angelico (c.1395–1455) and Fra Filippo Lippi (c.1406–1469), two of the most important Florentine artists of this period, who were also friars in the convents of San Marco and Santa Maria del Carmine respectively. The circular painting, or tondo, represents the Virgin Mary seated in a rocky but verdant landscape, tenderly supporting the Christ Child on her lap, with Joseph standing at her side. Behind them, a bulky ox lies in front of the stable where Christ was born and an ass eats hay from the manger where we presume Christ was laid. Kneeling among the delicately painted flowers in the foreground are the three Magi and their attendants, presenting their gifts to Christ in adoration. Sumptuously dressed in robes of blue, bright red, and pale lilac, decorated with gold, the Magi wear costumes that would have been understood in fifteenth-century Florence to allude to the exoticism of the East.

But the Magi are not the only ones who have come to worship Christ in this painting. Behind them, crowds of people stream downhill through an archway, many of them holding out their hands in gestures of awe and reverence. Some of them look upwards towards the star that was said to have rested over the birthplace of Christ. The Washington Adoration of the Magi is not a serene depiction of the biblical kings’ devotion, but the exuberant splendour of a busy Renaissance court or, in the case of fifteenth-century Florence, a bustling mercantile republic.

Florentine citizens would perform as the Magi and their retinue, processing across the city in elaborate costumes, a rare opportunity to diverge from the strict regulations... that dictated who could wear what in everyday life.

The Magi and the Medici in Renaissance Florence

Epiphany was a hugely significant celebration in fifteenth-century Florence. This was partly because the feast of the Magi on 6th January coincided with another religious celebration, the Baptism of Christ by St John the Baptist, who was Florence’s patron saint. But Renaissance Florence was also a prosperous centre of banking and trade, and the manufacture of luxury goods, and it was populated by wealthy and powerful men who sought to articulate religious devotion through association with the Magi. The Washington Adoration was probably in the collection of the powerful Medici family, who established their position in Florence through banking. They were prominent devotees of the Magi, and they were enormously influential, not least through their cultural patronage.

Cosimo de’ Medici (1389–1464) spent vast amounts of money on artistic and architectural projects in Florence. He sponsored the renovation of San Marco during the 1430s and 1440s, commissioning Fra Angelico to paint frescoes throughout the Dominican convent where he was based. Cosimo even had his own personal cell in San Marco, which was painted with an Adoration of the Magi, perhaps by a young Benozzo Gozzoli (c.1421–1497), who was then an assistant to Fra Angelico. San Marco was dedicated, as we might expect, to St Mark, and also to the early Christian martyrs Cosmas and Damian, who were patron saints of Cosimo de’ Medici. But the newly renovated building was ceremonially dedicated not on the feast of St Mark, but on the feast of the Magi, on 6 January 1443.

The Confraternity of the Magi

San Marco was the centre of devotion to the Magi in Renaissance Florence. The confraternity of the Magi, which met at San Marco, was a lay religious group whose members included the Medici family. Confraternities would meet regularly for worship and prayer, and would often perform charitable works. Their membership transcended some of the traditional divides of Renaissance Florence, with artisans and tradesmen meeting together alongside bankers, doctors, and lawyers.

One of the most important activities of the confraternity of the Magi was the organisation of festive processions in honour of the Magi on Epiphany. Florentine citizens would perform as the Magi and their retinue, processing across the city in elaborate costumes, a rare opportunity to diverge from the strict regulations known as sumptuary laws that dictated who could wear what in everyday life. The architectural fabric of Florence was also incorporated into the procession. Herod’s palace was represented by the Baptistery, opposite the Cathedral, or by the Palazzo della Signoria, the seat of Florentine government which was later known as the Palazzo Vecchio. The ceremonial route of the procession wound its way through Florence, past the Medici palace on the Via Larga (now Via Cavour), to its destination in “Bethlehem”, which was (of course) San Marco.

Epiphany was not the only time when Florentine citizens took part in processions honouring the Magi. They were also incorporated into the elaborate festivities associated with the feast of St John the Baptist, Florence’s patron saint, which lasted for several days in late June and often included extravagant processions. A Florentine chronicler, whose writings were published and discussed by the art historian Rab Hatfield, recounted the procession of the Magi during the feast of St John the Baptist in 1428, describing “eight horses, covered with silk, with eight pages dressed in silk and with pearls and heraldic ornaments and with shields, their faces angelic, riding one after the other with their livery. And after them, on a great and beautiful horse, came an old man with a white beard, dressed in a gold brocade of crimson and a peaked cap of crimson full of large pearls and with other ornaments of the greatest value, like a king such as those among the Christians.”

Similarly, celebration of the feast of the Magi on Epiphany also embraced broader aspects of Florentine civic devotion. The same chronicler who recounted the feast of St John the Baptist described a multitude of performative themes during the celebration of Epiphany in 1429: “And after lunch there were about seven hundred costumed men on horseback, among whom were the three Magi and their retinue, honourably dressed. And of the striking things they had with them, there were three giants and a wild man and, upon a car, a man impersonating David, who killed the giant with the sling.” It is hard not to read the description of this procession, with giants and a representation of David riding a festive float, and not imagine a scene like the Triumph of David by Pesellino (1422–1457), currently in the National Gallery’s exhibition devoted to this Florentine artist.

Given the traditional association of the Magi with the Three Ages of Man, it is no coincidence that Gozzoli portrayed three generations of the Medici family among the followers of the Magi.

The Journey and Adoration of the Magi

The broader visual and material culture of these festive processions informed how Florentine artists designed their paintings, and how contemporary viewers responded to them. There are many fifteenth-century Florentine paintings of the Adoration of the Magi in our galleries and museums. In the National Gallery in London, there are similar bustling scenes of devotion in Botticelli’s Adoration of the Kings (another tondo) of around 1470–1475 and an Adoration by Botticelli and Filippino Lippi (the son of Filippo) from the same period.

One of the most well-known paintings of the Magi from Renaissance Florence was painted on the walls of the Medici Palace chapel in 1459 by Benozzo Gozzoli, the same artist who probably painted the Adoration of the Magi in Cosimo’s personal cell at San Marco. Gozzoli’s frescoes in the Medici Palace chapel represent not the Adoration of the Magi, but the Journey of the Magi, with Caspar, Balthasar, and Melchior on horseback, winding their way towards Bethlehem through the landscape depicted on the walls of the chapel. The Magi are accompanied by a vast retinue of followers, which includes portraits of the Medici family and their allies, including Cosimo de’ Medici, his adult son, Piero (1416–1469), and his grandson, Lorenzo (1449–1492). Given the traditional association of the Magi with the Three Ages of Man, it is no coincidence that Gozzoli portrayed three generations of the Medici family among the followers of the Magi, tying the religious narrative to the contemporary realities of Florentine life.

The altarpiece in the Medici Palace chapel was painted by Filippo Lippi, who painted at least part of the Washington Adoration of the Magi. The original altarpiece is now in Berlin, and the painting currently displayed in the chapel is a fifteenth-century copy. It represents the Adoration of the Christ Child with the Infant St John the Baptist (Florence’s patron saint) and St Bernard of Clairvaux (the medieval saint to whom the chapel in the Palazzo della Signoria, the seat of Florentine government, was dedicated). Although the altarpiece had a definitive religious function, the inclusion of those two saints was also distinctly political. But the Magi are not shown in adoration before the Virgin and Child in Filippo Lippi’s altarpiece, nor does Gozzoli show them at their destination in his frescoes. We are left with their journey towards Christ. Perhaps the place of the Magi in adoration before the Virgin and Child was taken by the Medici family themselves during the performance of liturgy in the chapel.

When we look at the processions and sumptuous costumes of the Magi in these paintings, we may recall the descriptions of contemporary processions by Florentine chroniclers. When the original viewers of these paintings looked at them, they would probably have seen them through the lens of the religious festivities that they observed and participated in on their own streets. Many of the artists who painted the works we see today in our galleries and museums also designed the ephemeral decorations for Florentine civic processions, and the relationship between art and performance would probably have been reciprocal.

The feast of Epiphany was hugely important in fifteenth-century Florence. Delving into the history of its celebration sheds light on Renaissance paintings of the Magi, reminding us that the visual and material culture of religious imagery in this period expanded with exuberance beyond churches and palaces throughout the city’s streets. As we consider the significance of Epiphany in these cold, dark days of early January, we can remember the festivities that accompanied the feast of the Magi in Renaissance Florence, and the ways in which the paintings of the Magi that we see in our museums, galleries, churches, and chapels reflect a much broader visual and material culture of civic devotion.

Further reading:

Cristina Acidini Luchinat, The Chapel of the Magi: Benozzo Gozzoli’s Frescoes in the Palazzo Medici-Riccardi, Florence (London: Thames & Hudson, 1994)

Diane Cole Ahl, Benozzo Gozzoli (New Haven and London: Yale University Press, 1996)

Rab Hatfield, ‘The Compagnia de’ Magi’, Journal of the Warburg and Courtauld Institutes, vol.33, 1970, pp.107-161

Dale Kent, Cosimo de’ Medici and the Florentine Renaissance: The Patron’s Oeuvre (New Haven and London: Yale University Press, 2000)

Jeffrey Ruda, ‘The National Gallery Tondo of the “Adoration of the Magi” and the Early Style of Filippo Lippi’, Studies in the History of Art, vol.7, 1975, pp.6-39

Essay

Art

Awe and wonder

Creed

Trauma

7 December 2024

10 min read

What good is a beautiful Notre Dame to a traumatized world?

Beauty reminds us why life is worth preserving.

J. S. Averill

J.S. Averill is an American writer and children's educator. She has recently started Substacking.

Stone columns and walls frame round and arched stain glassed widnows.

Notre Dame interior.

Notredame.fr.

On the day the Notre Dame cathedral burned my daughter was just a few days shy of her fourth birthday. She was serious and silent as we watched, on our computer screen, the flames lick through the roof and the spire fall. When I closed the computer, my daughter slipped quietly upstairs to her bedroom and pulled out her collection of pennies scrounged from parking lots, sidewalks, and in between furniture cushions. She placed them into an envelope along with a drawing of the cathedral (spelling wasn’t in her tool kit yet) and directed me to please post it to Paris “for them to fix Notre Dame with.”

It was a beautiful thing to do. And while, unfortunately, it was going to take rather a lot more than a few US pennies to do the job, my daughter was instinctively picking up on something that many others were too: first, that we didn’t want to lose Notre Dame, and second, that it was going to cost a lot of money to save it. Within the first 48 hours €900mn were pledged to the restoration effort from French sources alone.

It was heartwarming at first, France and the rest of the world rallying to save this architectural and historical treasure. But a sour note soon crept in. This sudden appearance of so much money, ready and available to help rebuild the cathedral left many wondering why that money had not been directed toward improving and even saving lives in France and throughout the rest of the world.

A few weeks later, ethicists Peter Singer and Michael Plant co-authored an article echoing these concerns. Bluntly titled “How Many Lives is Notre Dame Worth?”, Singer and Plant argue that the €1 billion currently pledged to Notre Dame’s reconstruction would be better directed to, for example, bed nets for impoverished people in malaria-stricken regions of the world. They estimated that €1 billion dedicated to this cause could prevent approximately 285,000 premature deaths.

It made me uncomfortable, the facts stated like that. Is it right to be devoting so much money to a project that is largely aesthetic when there are people dying of want? If my daughter were in danger of dying from malaria or malnutrition, I would wish for her to be prioritised over a thousand cathedrals.

And yet, envisioning a world in which everything beautiful, but not strictly necessary to keeping a heart beating – ballet companies, art galleries, poetry publishing houses, infrastructures that protect the world’s national parks, ancient cathedrals – is neglected and left to crumble until every human on the globe has their basic, practical needs met seemed to me to be self-inflicting another kind of deep poverty. What ought we, as people who want to make the world better for everyone, to do with our resources of money, time, and strength?

Beauty allows the trauma sufferer to discover empathy both for themselves and others (goodness) and thence to recognize themselves once more as human (truth).

Recently, a book entitled The Ethics of Beauty, by Greek Orthodox ethicist, Timothy Patitsas, has informed my perspective on this quandary. In the preface of his book Patitsas critiques the definition of contemporary ethics (“the rational investigation of morality”) in its elevation of two of the Socratic transcendentals, Truth and Goodness, to the exclusion of the third, Beauty. He writes,

“. . . we find Ethics identifying itself as the investigation of ‘the Good’ by ‘the True’ . . . But, in discarding Beauty, Ethics itself risks becoming not only unlovely but also an affront to loveliness and loses its power to motivate the human soul except through the force of argument.”

I recognize this modern approach in Singer and Plant’s article. They extrapolate what goodness would be (directing money toward providing bed netting) from what is true (the number of needy people and the lives that could be saved). Patitsas suggests, instead, an approach to ethics that leads with Beauty, then flowing to Goodness and Truth. “If we do not begin with Beauty,” he writes, “it is all too easy to miss the full complexity of human personhood.”

Patitsas believes that only those who have “encountered the very antithesis of Beauty” can judge whether the “Beauty-first” approach has any merit, and so his first chapter is a discussion of how it might serve those who have suffered severe trauma. Citing the work of psychiatrist Jonathan Shay, Patitsas explains that a traumatic experience is the profound learning of a soul-shattering “truth”, resulting in a profound excommunication of the sufferer from their fellow humans, from God, and from themselves:

“In any all-engulfing experience, you obtain a knowledge that totally overtakes you, but when such an experience includes trauma, other effects are added, including the cutting of communion, the unraveling of character, and the learning of heretical truths.”

These “heretical truths”, according to Patitsas, are newfound, deep, perhaps unarticulated, revelations that the world is hostile towards the sufferer, and that their life is not situated in a mutually dependent, mutually beneficial relation to their fellow humans. Instead, humankind is a threat to them, and God, at best, has no interest in their flourishing. In other words, it leads the sufferer to view and position themselves as something outside the bounds of humanity. Patitsas writes, “When we experience trauma, our very being is thrust away from coherence and solidity and towards non-being - and this is hell.”

Shay found that suicide among traumatized war veterans increased significantly when they were treated using talk therapy, an exclusively truth-centric Freudian approach. Instead, Patitsas argues, the trauma sufferer must be “recommunicated” through Beauty – Beauty being the only agent with experiential power sufficient to meet the potency of trauma. Beauty allows the trauma sufferer to discover empathy both for themselves and others (goodness) and thence to recognize themselves once more as human (truth).

When I first read Patitsas’s description of a Beauty-first path back from trauma I immediately recognized it as my own. In my twenties I experienced, within 18 months of each other, the violent deaths of my brother and my baby son. And truly I felt like a razor blade had engraved in the marrow of my bones the heretofore concealed truth of the universe: nothing precious will survive. I viewed other people as a threat, either for their propensity to suddenly die and break my heart, or the way they caused harm either deliberately or accidentally. God became my worst enemy, all-powerful and merciless.

And yet, most of the rest of the world did not appear to know what I now knew, so I felt forced to cut myself off in order to protect myself and to stay true to truth itself. I was a Gollum-like creature living in the shadows, reduced to panic-attacks set off by ordinary noises such as the doorbell ringing or an object being dropped. Sometimes I just lay in a ball on the floor and screamed for no particular reason other than that the world was so terrifying, so horrifying. I used to be a sane person, now “truth” had made me insane.

The way back to the land of the living was not, for me, through rationality. I cannot, to this day, say why these tragedies happened; I don’t imagine I will ever feel at peace with them. And it was a long time before I was able to speak the truth of what had happened without feeling that I was just twisting the knife in my wound. The first time I caught an inkling that maybe I still might find a place in the world was through a work of fiction. I read of a young Italian who becomes a soldier and is caught up in the ravages of the first World War. He loses everything and everyone precious to him over the course of the war and he witnesses and participates in situations contrary to all moral order. He survives the war, but must discern whether and how to live in its aftermath. The book is his recollection and reflection, as an old man, upon his life. He dies pronouncing the sum of it all as beautiful and precious beyond measure. And reading it I could see that it was. I could recognize myself in much of his pain and struggle, but for the first time I had seen a vision of a way of living that does not deny all that is traumatic and cruel, but can yet hold it within a vessel of costly and weighty beauty.

When we encounter something truly beautiful, we do not perceive that we are all-important, but it affirms that we are a precious part of a transcendent whole.

Another agent of recovery was a recording I owned of the great pianist Artur Rubenstein performing the second movement of Chopin’s first piano concerto. The way he touches the piano keys at certain moments is the tenderest, gentlest thing I have ever known. I used to lay on the floor, a bloody mess, and break my heart into that music and feel it miraculously held. I found that my heart, though black and almost smoking with ruin, surprisingly arose and responded to that gentleness. It could live in that small corner of the universe, completely without fangs. I could still find a home among such things.

There was also a very large, old cemetery, an oasis of big trees, flowers and grass, in the midst of the gray concrete city in which we lived. I used to walk the miles of paths through the cemetery and watch the seasons change: the flowers in the spring, the leaves in the autumn, the green grass in the summer, snow in the winter. I would read the inscriptions carved into the gravestones by the people who loved them, and I could not deny that although death was here in abundance, so too was life.

It was then, once Beauty had cracked the door open and enabled me to at least consider the possibility that I might still be able to live, that was I able to follow where Beauty had gone ahead and allow people to touch me with love. Then I could speak of my pain in a way that could heal instead of just fester the wound.

As I have spent time pondering Patitsas’s thesis, it occurs to me that a worthy definition of Beauty might be that which regifts to all of us – trauma sufferers or not – the goodness and truth of our humanity. From the earliest days of the Judeo-Christian faith, Beauty has been believed to be a manifestation of God in the world, a showing-forth of his character. Since this tradition also teaches that the primary identity of humans is that we bear God’s image, it seems logical that Beauty might also act as a corrective and restorative mirror to us humans in a world in which our humanity is constantly barraged both from within ourselves and from outside influences. When we encounter something truly beautiful, we do not perceive that we are all-important, but it affirms that we are a precious part of a transcendent whole. Beauty does not flatter us that we need no improvement, but rather, it acknowledges our limited strength, limited power, limited knowledge and wisdom, limited desire and ability to do good, and yet assures us that it can hold these wounds and that we possess incorruptible dignity. And when we grasp the reality and blessedness of our own humanity, we are able to recognise and embrace it in others as well. Then we are moved to provide bed netting for those who need it, food for those who are hungry, medical help for the sick and wounded, companionship for the lonely, and all other acts of kindness and mercy.

And so, I affirm with all my heart Singer and Plant’s assertion that we ought to make great efforts to save lives and ameliorate suffering. Indeed, these actions are themselves beautiful! However, it is only at our very real and profound peril that we discount Beauty as a waste of resources. If we do not allow Beauty the seat at the head of the table, we are in grave danger of forgetting why it is that we must do what we can to ease suffering, of forgetting why life is worth preserving, of forgetting that it is possible to have every physical need met and yet be dying.

In this world we are often constrained to choose between tragic options, and there may come a day when Notre Dame must be left to crumble. However, even though I live thousands of miles from Paris, it does my heart good to see it so wonderfully resurrected, and I sense many share my joy.

Notre Dame is already birthing more Beauty into the world. According to a recent article, the reconstruction project has injected a surge of life into the arts and crafts sector. I hope it will result in the creation and preservation of many good and beautiful things. And I hope that we will, all of us, become artisans of the world, creating and tending Beauty. May Beauty appear as stories, music, art, and architecture. May it show up as the tending and protection of nature. May it be food, clean water, mosquito netting placed into hurting hands. May it be caring medical attention. May it be gardens tended and work well done. May it be patience, forgiveness, and grace extended. May it be measured, considered words spoken and printed. May it be children generous with their pennies.May it be Notre Dame standing another 800 years and more.