The two young boys featured in Verrocchio’s Baptism of Christ are usually described as angels – but in this instance are shown without wings. They have halos, so are they angels or saints? The halos over the two other figures in the painting, Christ and John the Baptist, differ in colour, and the Saviour’s halo is marked with a cross.
Botticelli’s Madonna of the Magnificat (1481) also features angels without wings. Two of his ‘angels’ are arranged to mirror those in the Verrocchio painting. He repeated the motif in his Uffizi version of the Adoration of the Magi.
Is there a connection between the three groups? Probably, and likely to be Leonardo da Vinci. It is said to he painted the angel on the left in Verrocchio’s panel produced in 1475 for the Vallomvrosan monastery of St Salvi in Florence.
In the Magnificat, some historians have suggested that the two angels are meant to represent the Medici brothers, Lorenzo and Giuliano, while in the Adoration scene the two men placed left and right of the group are Giuliano de’ Medici and Leonardo.
The Baptism painting also connects to Florence Cathedral, Santa Maria del Fiore, where Giuliano de’ Medici was murdered in April 1478. Botticelli makes reference to both the assassination and Verrocchio’s painting in the Uffizi Adoration. The gold-brimmed hat (right) refers to the halo theme and its iconography in the Baptism of Christ.
More on this and the secret of the halos in a future post.