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• 1 2024-03-28T13:30:32-07:00 The Adoration of the Kings (1920.2) 21 plain 1504865 2024-10-22T16:36:45-07:00 42.951, 12.701
  
  The Adoration of the Kings (1920.2) is located in the European Gallery (210).
  
  The artist Ottaviano, called Nelli, packed the foreground with the historic scene of the three kings, known as the three Magi, delivering their gifts to the baby Jesus and his parents, the Virgin Mary and Joseph. The three Magi are dressed splendidly in gold and colored silk lined with furs. In the background, a variety of onlookers, from heavenly angels to shepherds and their sheep, witness the scene. Their serious gazes and submissive postures suggest great reverence for the Holy Family. Note how two of the magi have their heads bowed in reverence to the newborn Jesus, while the third looks up at Christ, honoring him with his gift. Joseph and Mary’s heads are lowered while looking towards their son; the language of these figures exemplifies the importance of Christ’s birth. Even the angels are bearing witness to this scene, looking down on the scene and Jesus.
  
  The three kings have apparently arrived on three horses, just behind them, and bring with them a parade of wealth carried by camels. The camels bear loads beautifully-wrapped in red cloth, and are guided by the man wearing red livery.  Camels were not a common sight in central Italy – indeed, neither the artist nor his patrons would probably ever have seen a real camel.  Yet the inclusion of painted camels in this scene suggests the exotic east, where camels lived, and the source of holy incense and rich gifts, including the magi’s gifts of gold, frankincense and myrrh.  Behind the camels lie buildings, perhaps towns – suggesting the continent-crossing trade routes of the middle ages, in which travelers and their camels and horses stayed at purpose-built hostels.  These magi have traveled a long way, with their camels suggesting journeys across dusty deserts, to see the newly born Jesus.The artist Nelli distinguished himself early in his career by creating frescoes and panel paintings for the public buildings and churches of his native town of Gubbio in central Italy. While the classically informed Renaissance style was popular farther north in Florence, Nelli chose to paint in the ornate International Gothic Style, as in this painted panel.
  
  
  Ryan Carter, Class of 2025, College of the Holy Cross