THE CHRISTMAS CANVAS: ‘The Procession of the Magi’ by Benozzo Gozzoli (1459 – 1460)

 Michelangelo, Leonardo Da Vinci, Galileo, Fra Angelico, Gozzoli and Botticelli: all these master artists had a single thing in common. They were linked to one great powerful family: the MEDICIS. The Medicis were the Masters of Florence and the Godfathers of the Renaissance. Theirs is a story of political schemes, power hungry individuals, passion, betrayal, murder and art. They didn’t just collect art works; they patronised and protected it, unleashing its true nature that changed the world.

Through today’s painting we will explore how the Medicis made their way into the Christmas story through the grandeur of a single canvas: The Procession of the Magi by Benozzo Gozzoli (1459).

Renaissance Florence cherished its beloved processions. The dazzling lavishness and prodigious publicity was considered a perfect get-away from the everyday hassles of life. These processions were organized by guilds. One such guild was the ‘Compagnia de’Magi’ (The Company of Magi) who organized a spectacular yearly march through the streets of Florence on the feast of the Epiphany.

Now the Medici’s were the members of the Compagnia de’ Magi. Gozzoli therefore took inspiration from this parade inorder to conceive a decorative scheme for the Medici private Chapel. Thus begins the grand procession as Gozzoli lets the magnificent Medicis wind their way through the three walls of the Chapel. It is a dramatic display, not a spiritual pilgrimage!

The Wise men, as seen in the painting, are accompanied by a huge entourage of men, women, children and animals. They are brilliantly dressed with not a speck of desert dirt on them. They are guided not by a star but by their august ambition. They seem to be journeying not to a poor Palestinian village but to a hailing city. Let’s join the procession as we minutely digest the details and experience the grandeur.

We begin by paying our respect to the members of the Medici family. They ride in the foreground at our left. This group is led by the young Lorenzo il Magnificio on a white horse. He is backed by his father Piero de Medici and his grandfather Cosimo de Medici (the family founder). Accompanying them are the Lords of Rimini and Milan, guests of the Medici in Florence. Tagging along are also the illustrious Florentines, humanists, members of the art guilds and the painter himself! Gozzoli can be recognized by the scroll on his red hat that reads ‘Opus Benotti’.

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THE CHRISTMAS CANVAS: ‘The Annunciation to the Shepherds’ by Joachim Wtewael

The first Noel, the angels did say

Was to certain poor shepherds in fields as they lay

In fields where they lay a keeping their sheep

On a cold winter’s night that was so deep

Noel, Noel, Noel, Noel, Born is the King of Israel!

The beautiful lyrics of this Christmas carol breathe life and colour through today’s Christmas Canvas.

As night dawned hundreds of sheep that grazed the hilly slopes of Bethlehem fell quiet, except for an occasional bleat. The stars twinkled brightly in the sky.  The shepherds lay down as usual taking turns to watch their flock. A few, tired at the hustle of the day, instantly fell asleep. The shepherdess talked faintly to each other. A little boy held his beloved lamb close to his heart, his soft voice soothing the animal. The cow soon dozed off. The watch dogs in alertness and faithfulness attempted to keep awake. It was a night like every other night for the Shepherds of Bethlehem.

As they tugged their heavy cloaks to protect themselves from the whistling wind, they realised that the air was getting gusty. The fire soon died out but their eyes were prepared for darkness. As the little boy scanned the hills for wolves and thieves, he thought he heard a melodious sound. He brushed it off imagining it to be a mid-night dream. But his dream got real. That night he lived his dream.

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THE CHRISTMAS CANVAS: ‘The Mystic Nativity’ by Sandro Botticelli

“Look, the Virgin shall conceive and bear a son and they shall name him Emmanuel which means ‘God with us’.”

The Nativity is a revelation of the extra-ordinary love of God. It has popularly featured in cultural art since ages. Among the hundreds of depictions of the Nativity, Botticelli’s ‘Mystic Nativity’ emerges as a tough nut to crack thanks to its complexity of structure and symbolism.

At first glance it is a perfect Christmas image. Mary and Joseph kneel on either side of the Christ Child. They are accompanied by shepherds and kings who in humble devotion adore baby Jesus. The heavenly attendants in divine ardour reveal to the participants the Mystery of the ‘Emmanuel’.

So far, so nativity!

However a closer gaze at the painting would reveal something extra-ordinary. The painting in consideration is remotely a ‘Merry Christmas’ illustration. It presents an unconventional plurality of reality. Let’s then delve deep into the mystery of Botticelli’s ‘Mystic Nativity’.

We are greeted at the top of the painting by a quote that is a mystery in itself: “I, Sandro, made this picture at the conclusion of the year 1500 in the troubles of Italy in the half time after the time according to the 11th chapter of Saint John in the second woe of the Apocalypse during the loosing of the devil.

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THE CHRISTMAS CANVAS: ‘The Census at Bethlehem’ by Pieter Bruegel

 If you are dreaming of a White Christmas, Pieter Bruegel’s deep wintered ‘Census at Bethlehem’ would definitely not fit your list. It is cold but not cheerful; snow glistens still slyly; it’s a white wonderland and yet a blue Christmas. But before we set our eyes onto the painting it is essential to grasp the aura of the artist.

Pieter Bruegel the Elder was born in Breda in 1525. In 1551, in congruence to the other painters of his age, he set off to Italy so as to absorb the air of the Renaissance. However the sensational grandeur of the Italian Masters failed to impress him. He breezed by the brilliant Botticelli, was unmindful of the magnificent Michelangelo and felt lethargic of the luxurious Raphael.

His search for his spark led him to take a detour to the Alps. That struck a chord and had a huge impact on him. Stunned by the snow, he swallowed the flurry landscapes and spat them onto his canvas on his return to the flat Flanders. His journey schooled his eye enhancing his vision of space and his fascination for nature. It is this enchantment that we encounter in today’s Christmas canvas.

Titled ‘The Census at Bethlehem’, Bruegel presents a prologue to the Nativity of Christ. The scene takes inspiration from the Gospel of Luke, chapter 2, verses 1 to 5. ‘In those days a decree went out from Emperor Augustus that all the world should be registered in their own towns. Joseph also went from the town of Nazareth to the city of David called Bethlehem….with Mary with whom he was engaged and who was expecting a child’

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There are moments in your life when your heart just breaks. My heart broke this morning. I knew that the 19 missed calls from Goa meant only one thing, Eustace had gone.

I can’t deal with the pain in my heart so I am doing the next best thing I know, to write. I deeply loved and cared for Eustace and not for a moment did I ever imagine that death was even a possibility. The freak accident that occurred on the fourth of December left him immobilized chest down, yet he decided to fight back for the sake of his family. He lived for his beautiful wife Jackie and his three daughters, their spouses and his grandson.

Coconuts, they say never hurt any one. Imagine then a bunch of coconuts falling on your spine. But then again, Eustace never hurt anyone. So that makes this tragic death even more painful to accept. Yet like Job, the words ring in my head, “Naked I came from my mother’s womb, and naked shall I return; the Lord gave, and the Lord has taken away; blessed be the name of the Lord.”

My memories of my uncle will always be the best no matter what anyone may say. From the many holidays I spent at his home in Goa, to the kindness he showed in repairing the ancestral home in Paetona, Goa, for my parents golden jubilee which will be celebrated in a few days from now; he was kindness personified for he always gave. The words of Erma Bombeck ring true in the life of Eustace, “When I stand before God at the end of my life, I would hope that I would not have a single bit of talent left, and could say, ‘I used everything you gave me.’

At dawn, darkness invaded our family like a thief in the night. The dawn should have brought us light, yet our hearts were plunged in darkness. It feels like midnight at mid day. Yet our faith is our consolation, for Eustace lives with the Lord.

Grief is the price we pay for love.

Fr Warner D’Souza

 

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