At the beginning of the Fifteenth Century, Gentile da Fabriano
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painted an
Adoration of the Magi,
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in which the faithful representation of contemporary scenes is again found. The
Virgin, completely enveloped in a large blue cloak, is seated in front of the
stable, with her head piously inclined towards her Son whom she is regarding
with tender gaze. St. Joseph is at her side and behind her are two young women
who are holding and admiring the gifts offered to the Saviour. The infant Jesus
has laid his hand on the head of the oldest of the Magi, who, prostrated, kisses
his feet with devotion. The two other Kings are much younger than the first one.
They are presenting their offerings to the Son of God, and are about to lay
their crowns before him. Then follows the retinue of these Magi; and in this
throng, where may be counted at least seventy figures on foot and on horseback,
of all ranks,
art oil paintings, of all ages, and of all sizes, it is easy to recognize a trace of
those popular festivals instituted in the preceding
century.Despite some slight Oriental disguises, one may easily
recognize the bearing, the general features, and the costumes of the Italy of
the first years of the Fifteenth Century. Gentile was also pleased to add to the
"superb chargers" mentioned by Lattuda, all kinds of animals, especially the
apes that the Milanese loved to include in their pompous processions. Finally,
in the background of this picture he has painted the embattled walls of a Guelph
city with two massive gates; the one through which the Magi have entered, the
other through which they will take their departure. Is there anything here,
either in the foreground or the background that suggests Jerusalem? Do you not
notice rather a resemblance to the fortifications of Milan, with the Porta
Romana and the Porta San-Lorenzo?
wholesale oil paintings
Adoration of the Magi.
Fabriano.
After having painted the frescoes of the Cathedral of Orvieto, Gentile lived
for a long time in the north of Italy, particularly in Venice. It is very likely
that while there, closer to the Orient and more especially nearer to Milan, he
painted his
Adoration of the Magi. We may then certainly consider this as
a faithful portrayal of one of those public ceremonials, which without doubt he
had witnessed, and in which he had most likely participated. Only, ignoring the
passions and violence of the period, he left everywhere in this painting the
imprint of his own gentle and tender nature. We know that Michael Angelo
remarked of Gentile that his name was in perfect harmony with the tone of his
works. None of them can more thoroughly convince us of the justice of this
observation than this picture. From the Virgin herself to the most humble of the servants of the Magi, and indeed even
to the animals, that beautiful soul which had for its servant a talent replete
with delicacy and suavity may be traced.
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Les Vierges de Raphaël (Paris, 1869). oil paintings wholesale
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