Tag: Epiphany

Commentary by Hovak Najarian

In Jacopo Torriti’s Adoration of the Kings, Mary is sitting on a throne with the baby Jesus on her lap.   Rays of an inconspicuous star (to the left of the top of the throne) are pointing directly to the head of Jesus.  Three Magi with their crowns and splendid robes have arrived and are offering their gifts as they kneel.  As the first Magus presents his gift, Jesus reaches out like a curious child.  The other two Magi are kneeling in a similar position and create a sense of progression toward Jesus.  Variations among them are introduced through differences in their crowns, the color of their beards and hair, and the color of their robes.  In the large pictorial space above them, an angel hovers.  The angel’s active shape and large spreading wings fill the space and balance visually the stable and compact shapes of the Magi below.  All aspects—gestures, gazes, and leanings—of the wise men lead the viewer toward the infant Jesus.  As the Magi kneel, the angel above them looks at Jesus, extends an arm, and gestures, “Behold”

 In the year 1261, sculptor Nicola Pisano completed a large and much-admired baptistery pulpit for the cathedral of Pisa.  Among the scenes carved in relief was the visit of the Magi.  Pisano’s kneeling Magi is likely the basis for the kneeling wise men in Torriti’s Adoration of the Kings.

In the Gospel of Matthew, an account is given of wise men from the East being guided by a star as they traveled to Bethlehem to see the infant Jesus (Matthew 2:1-12).  It is believed these gift-bearing visitors were Magi from Persia.  Magi were known to be scholars who studied science, mathematics, philosophy, and the stars.  Matthew’s account does not indicate how many men journeyed to Bethlehem but because three gifts were brought, the assumption and tradition has been that there were three. 

When Herod learned of the Magi’s visit, he was frightened and wanted to know the time Jesus was born “so [purportedly] that I may also go and pay him homage.”  Herod’s evil intent was made known to the Magi in a dream and after they found Jesus and brought gifts, they did not return to Herod.  Instead they took another route as they returned home. 

 During the twelfth and thirteenth century there was an extraordinary growth in veneration of Mary and many churches honored her name.  In France, cathedrals were named Notre Dame (Holy Virgin) and in Rome alone, twenty-five churches were given her name.  The largest of these churches—known as Santa Maria Maggiore (Saint Mary Major)—was expanded numerous times and during the late thirteenth century the entire choir area was rebuilt.  Jacopo Torriti was commissioned to design the mosaic for its new apse.  By this time, Mary had been exalted to the status of royalty and in art she was often seated on a throne.  Torriti’s theme for the apse was the coronation of the virgin and its centerpiece was a large medallion depicting Christ placing a crown on the head of Mary.  Adoration of the Kings below the medallion is one of the scenes depicting the life of Mary.

Note

Artists before the Renaissance had difficulties when they tried to create a convincing likeness of a child. The face of Torriti’s infant Jesus has the facial features of his mother and a receding hairline. His proportions are like that of an adult’s body reduced in size.

A mosaic is an image created by cementing small pieces (called tesserae) of various hard colored materials – usually of uniform size – to a base such as a wall, floor or ceiling. Materials such as marble, glazed clay and glass have been used traditionally for tesserae and they continue to be used today.

Commentary updated 01.01.25. Hovak Najarian © 2013, 2025

Images

1. Web Gallery of Art
2. britannica.com
3. Mary Queen of the Third Millennium