The kingly character of the adorers, which became in the thirteenth century a point of faith, is expressed by giving them all the paraphernalia and pomp of royalty according to the customs of the time in which the artist lived. They are followed by a vast train of attendants, guards, pages, grooms, falconers with hawks; and, in a picture by Gaudenzio Ferrari, we have the court-dwarf, and, in a picture by Titian, the court-fool, both indispensable appendages of royal state in those times. The Kings themselves wear embroidered robes, crowns, and glittering weapons, and are booted and spurred as if just alighted from a long journey; even on one of the sarcophagi they are seen in spurs.
The early Florentine and Venetian painters profited by the commercial relations of their countries with the Levant, and introduced all kinds of outlandish and oriental accessories to express the far country from which the strangers had arrived; thus we have among the presents, apes, peacocks, pheasants, and parrots. The traditions of the crusades also came in aid, and hence we have, the plumed and jewelled turbans, the armlets and the scymitars, and, in the later pictures, even umbrellas and elephants. I remember, in an old Italian print of this subject, a pair of hunting leopards or chetas.
It is a question whether Joseph was present—whether he ought to have been present: in one of the early legends, it is asserted that he hid himself and would not appear, out of his great humility, and because it should not be supposed that he arrogated any relationship to the divine Child. But this version of the scene is quite inconsistent with the extreme veneration afterwards paid to Joseph; and in later times, that is, from the fifteenth century, he is seldom omitted. Sometimes he is seen behind the chair of the Virgin, leaning on his stick, and contemplating the scene with a quiet admiration. Sometimes he receives the gifts offered to the Child, acting the part of a treasurer or chamberlain. In a picture by Angelico one of the Magi grasps his hand as if in congratulation. In a composition by Parmigiano one of the Magi embraces him.
It was not uncommon for pious votaries to have themselves painted in likeness of one of the adoring Kings. In a picture by Sandro Botticelli, Cosmo de' Medici is thus introduced; and in a large and beautifully arranged composition by Leonardo da Vinci, which unhappily remains as a sketch only, the three Medici of that time, Cosmo, Lorenzo, and Giuliano, are figured as the three Kings. (Both these pictures are in the Florence Gal.)
A very remarkable altar-piece, by Jean Van Eyck, represents the worship of the Magi. In the centre, Mary and her Child are seated within a ruined temple; the eldest of the three Kings kneeling, does homage by kissing the hand of the Child: it is the portrait of Philip the Good, Duke of Burgundy. The second, prostrate behind him with a golden beaker in his hand, is supposed to be one of the great officers of his household. The third King exhibits the characteristic portrait of Charles the Bold; there is no expression of humility or devotion either in his countenance or attitude; he stands upright, with a lofty disdainful air, as if he were yet unresolved whether he would kneel or not. On the right of the Virgin, a little in the foreground, stands Joseph in a plain red dress, holding his hat in his hand, and looking with as air of simple astonishment at his magnificent guests. All the accessories in this picture, the gold and silver vessels, the dresses of the three Kings sparking with jewels and pearls, the velvets, silks, and costly furs, are painted with the most exquisite finish and delicacy, and exhibit to us the riches of the court of Burgundy, in which Van Eyck then resided. (Munich Gal, 45.)
In Raphael's composition, the worshippers wear the classical, not the oriental costume; but an elephant with a monkey on his back is seen in the distance, which at once reminds us of the far East. (Rome, Vatican.)
Ghirlandajo frequently painted the Adoration of the Magi, and shows in his management of the accessories much taste and symmetry. In one of his compositions, the shed forms a canopy in the centre; two of the Kings kneel in front. The country of the Ethiopian King is not expressed by making him of a black complexion, but by giving him a Negro page, who is in the act of removing his master's crown. (Florence, Pitti Pal.)
A very complete example of artificial and elaborate composition may be found in the drawing by Baldassare Peruzzi in our National Gallery. It contains at least fifty figures; in the centre, a magnificent architectural design; and wonderful studies of perspective to the right and left, in the long lines of receding groups. On the whole, it is a most skilful piece of work; but to my taste much like a theatrical decoration,—pompous without being animated.
A beautiful composition by Francia I must not pass over.[1] Here, to the left of the picture, the Virgin is seated on the steps of a ruined temple, against which grows a fig-tree, which, though it be December, is in full leaf. Joseph kneels at her side, and behind her are two Arcadian shepherds, with the ox and the ass. The Virgin, who has a charming air of modesty and sweetness, presents her Child to the adoration of the Wise Men: the first of these kneels with joined hands; the second, also kneeling, is about to present a golden vase; the Negro King, standing, has taken off his cap, and holds a censer in his hand; and the divine infant raises his hand in benediction. Behind the Kings are three figures on foot, one a beautiful youth in an attitude of adoration. Beyond these are five or six figures on horseback, and a long train upon horses and camels is seen approaching in the background. The landscape is very beautiful and cheerful: the whole picture much in the style of Francia's master, Lorenzo Costa. I should at the first glance have supposed it to be his, but the head of the Virgin is unmistakably Francia.
[Footnote 1: Dresden Gal. Arnold, the well-known print-seller at
Dresden, has lately published a very beautiful and finished engraving
of this fine picture; the more valuable, because engravings after
Francia are very rare.]