Two disciples of Jesus are named in the New Testament as sons of Alphaeus: Matthew the evangelist and James (the Less). But in the 13th century Golden Legend collection of hagiographies the compiler Jacobus de Varagine links two more sons to Alphaeus, Simon the Zealot and Jude Thaddeus who were sons of Mary Clophas, suggesting perhaps they were half-brothers to Matthew and James.
The Van Eycks have placed the four men together in the group of “Witnesses of the Old Testament” from the lower corner section of the Adoration of the Lamb panel in the Ghent Altarpiece.
Matthew’s hat is shaped as a white pearl and refers to the parable told by Jesus known as the Pearl of Great Price. Only Matthew’s gospel (13:44-46) records this parable.
Matthew’s brother is referred to as James the Less as there was another disciple named James (the Great) among the twelve apostles commisioned by Jesus to go out and sow the word of God and proclaim the kingdom of Heaven.
Both James’s are depicted wearing a type of berry cap worn by field workers. See the example alongside of the sower planting seed in the October folio of the Très Riche Heures du Duc de Berry.
John, duke of Berry, originally commisioned the Limbourg brothers to produce his Very Rich Book of Hours but they were never able to complete the work. The three brothers all died in 1416, as did the duke of Berry, most likely from the plague.
A closer look at James the Less reveals more detail about the connection to the Limbourg brothers and John of Berry. Firstly, the assumption that the men died from the plague, a disease that swept Europe at various times and was associated with the fleas of rats. The chin tie hanging from the cap is a visual reference to infer a rat’s tail. This in turn links with the figure in red above James – Judas Iscariot – the disciple who betrayed Jesus. He also is shown with iconography symbolising a rat.
The Duke of Berry’s Book of Hours has a calendar section depicting the labours of the month. The October page already mentioned is the month of tilling and sowing. Each calendar page is crowned with a semi-circle depicting signs of the zodiac related to the paticular month.
Several of the figures in the group of “Witnesses of the Old Testament” are also linked to celestial constellations. James the Less is one such figure. He represents Ursa Minor or the Lesser Bear. I revealed in a previous post that the hands of the nearby figure in green, one of which points in the direction of James, represents the composition of seven stars known as Ursa Major, the Great Bear.
The Van Eycks always confirmed links and connections in more ways than one, hence why I explain the method of constructing the picture as like fitting pieces of a jigsaw. A piece or reference rarely stands alone, it always has two or more connecting pieces.
So here’s another piece of the jigsaw to connect to the head of James the lesser that confirms the link to the Duke of Berry, his Book of Hours and the Lesser Bear.
Notice the “button nose” given to James. It is meant to mirror the “button nose” of John of Berry. A profile of the duke appears in the January calendar page of his Book of Hours. Notice too in this depiction John’s hands are shaped as bear claws, acknowledging his fondness for the small domesticated bear he kept as a pet. The bear is even sculpted on John’s tomb, but with human hands! And this brings the connection back to the hands of the figure in green symbolising the Great Bear constellation with human hands.
The top section of Botticelli’s Uffizi version of the Adoration of the Magi shows the Virgin Mary presenting the Infant Jesus on her lap to Cosimo de’ Medici, the Elder. Behind her stands Joseph, while above the group the Star of Bethlehem shines through the rafters of the temporary dwelling portrayed in a state of ruin and collapse.
What remains of the walled structure is divided into three distinct sections, the bricked corner walls to the right of the group; the dark and craggy rock that forms the back wall; and the pale outcrop which Joseph rests on. Then there is the raftered roof supported by two tree trunks.
The left half of the bricked walls section is shaped to represent the sejant erect heraldic lion, the symbol of Florence known as the Marzocco. Placed alongside the infant Jesus representing the sacrificial Lamb of God, it becomes the Lion and Lamb peace symbol.
Sculpted from the rock shelf which Joseph is leaning on is a head representing Leonardo da Vinci. When this is merged with the lion feature it produces a sphinx-like form of half-man and half-lion. Botticelli is specifically drawing attention to the Great Sphinx of Giza in Egypt, and Leonardo’s claim in one of his notebooks that he travelled to Egypt and further East. However, historians put this down to fantasy on Leonardo’s part.
The shape of the dark rock that forms the back wall is a bellowing bull, its horns are represented as part of the roof’s rafters. The bellowing represents thunder, the horns, lightning (next to the light from the Star of Bethlehem breaking through the darkness). The bull is Taurus and another pointer to Leonardo’s travelogue and the mysterious draft letter letter to “the Decatdar of Syria, Lieutentant of the Sacred Sultan of Babylon” found in one of his notebooks, detailing his time spent in Armenia and describing the Taurus Mountains.
The dark rock also represents the sculpted Lion of Babylon that depicts a man pinned underneath (Leonardo). Its inclusion is another reference to Egypt but particularly to a part of Cairo at the time known as Babylon. The motif may also refer to the biblical “Babylon Captivity” of the Jews and so a symbol of oppression. Leonardo as the pinned man under the lion points to the polymath’s of oppression by the Florentine authorities and the likely false and malicious charge of sodomy made against him, hence his desire to leave the city when an opportunity arose and move to Milan. The mayhem and random slaughter of citizens following the assassination of Giluiano de’ Medici was another likely factor in Leonardo’s desire to leave Florence.
That Joseph is depicted leaning on the flat cap of Leonardo’s sculpted head, seemingly asleep, reinforces the dream and journey theme. After the departure of the Magi’s visit to Bethlehem, an angel of the Lord appeared to Joseph in a dream warning him of Herod’s intention to slay the new-born child, and that he should escape into Egypt. (Matthew 2 : 13-15)
Adding support to the premise that Leonardo is portrayed in his familar peaked flat cap as the Great Sphinx are the two tree trunks supporting the timbered roof of the building. They form the Roman numeral IV –four – and refer to a period in the Sphinx’s history and that of the short reign of the Egyptian pharaoh Thutmose IV.
It was Thutmose who, as a prince, was out hunting one day and decided to rest in the shade of the Sphinx which was buried up to its neck in sand. Wikipedia explains: “He soon fell asleep and had a dream in which the sphinx told him that if he cleared away the sand and restored it he would become the next Pharaoh. After completing the restoration he placed a stone tablet, now known as the Dream Stele, between the two paws of the Sphinx. The restoration of the Sphinx, and the text of the Dream Stele would then be a piece of propaganda on Thutmose’s part, meant to bestow legitimacy upon his unexpected kingship.” (Peter Clayton, Chronicles of the Pharaohs)
This propoganda theme likely mirrors the motive and steps taken by Lorenzo de’ Medici to enhance his reputation following the Pazzi consiracy. The de facto ruler of Florence soared in popularity among the people of the Republic after the brutal murder of his brother Giuliano.
Like the Sphinx, Leonardo’s head is buried from the neck down. The shadowed area falls behind the head of Lorenzo de’ Medici. He is also in a dream-like state and focused on the face of the Child Jesus. This particular feature is a defining link to Deiric Bouts’ painting of the Last Supper from which Botticelli has adapted features to include in his Uffizi Adoration. Bouts also included Thutmose IV and the Dream Stele and linked the pharaoh to the apostle Jude Thaddeus and the Image of Edessa, the so-called Mandylion. Botticelli makes the connection to the Last Supper painting and the raising of the Host (the time during the Mass when Giuliano de’ Medici was assassinated in the Duomo) by identifying Lorenzo with Jude Thaddeus who is said to have brought the Mandylion (the cloth miraculously imprinted with the face of Jesus) to king Abdar of Edessa.
In icons of St Jude, one of his attributes is a flame around his head to indicate his presence at Pentecost. This is shown as a ‘tongues of fire’ symbol on the top of Lorenzo’s hat. Lorenzo is also draped in a cloak meant to represent the Shroud of Jesus on which the covered face of Christ is depicted. Notice also the features of the face and beard of the turbaned man to the left of Lorenzo’s hat, intended to match the profile of Jude in the Bouts painting. The fold on Jude’s left arm represents the head of the Sphinx while there is also a suggestion of the shrouded face of Christ on his back, similar to that shown on Lorenzo.
The stone carving of Leonardo is shaped as a double head. It may represent two aspects of Leonardo as well as the double-headed eagle, facing East and West, and perhaps a pointer to Leonardo’s flight frrom Florence to Milan as well as the flight of the Holy Family into Egypt. It’s just possible to make out the shape of an angel (above Cosimo’s head). This winged angel is also likely a reference to the ‘winged’ shape of a nemes crown, the striped extended head cloth worn by pharaohs. The left side head of the rock is formed from the other wing of the nemes.
Another link to Leonardo being portrayed as a sphinx was his fondness for composing riddles. The mythical Greek sphinx that guarded the city of Thebes would devour any traveller unable to answer its riddle. It was classed as female with the wings of an eagle and considered malevolent, while the Egyptian sphinx was portrayed with a man’s head and seen as benevolent.
The main profile of the sculpture shows Leonardo facing two figures connected with the East, the drooped head of Bernardo Bandini del Baroncelli who escaped to Constantinople after assassinating Giuliano de’ Medici, only to be brought back to Florence and hanged while still dressed as a Turk. The other figure is the turbaned man alongside Leonardo, representing both King Agbar of Edessa and Mehmed II, Sultan of the Ottaman Empire, who sanctioned the extradition of Baroncelli back to Florence. He also represents Epicurus, the Greek philosopher. More about him and his connection to the painting in a future post.
My next post will deal with how Leonardo and this particular section of Botticelli’s painting links to the Parnassus painting produced about 12 years later by Andrea Mantegna, and how it shows evidence which points to Bianca Giovanna Sforza as La Bella Principessa in the painting said to be by Leonardo da Vinci.