Brush with Faith: The Nativity

When Mary was pregnant, Caesar Augustus ordered a census of the population. Each man was to be counted in the city of his birth. Because Joseph was descended from the line of David, he and Mary travelled to Bethlehem.

“And Joseph also went up from Galilee, from the city of Nazareth, to Judea, to the city of David, which is called Bethlehem, because he was of the house and lineage of David, to be enrolled with Mary his betrothed, who was with child.”  (Luke 2: 4-5).

There is no more powerful image in art, than that of the Saviour of the world, as a little baby, wrapped in swaddling cloths and laying in a humble manger. We call this image, the Nativity, from the Latin verb nāscī, which means “to be born.”

There have been many versions of the Nativity in art throughout the ages. As well as the Holy Family, a Nativity typically includes shepherds, sheep, a donkey and ox, even the Magi, despite the fact that according to the Gospels the Wise Men arrived on the scene much later. The setting for the nativity can be a stable, or even a cave.

This Nativity scene was painted in tempura on wood by Lorenzo Monaco (Lawrence the Monk) in circa 1406-10. It is a testament to his status as the last great champion of late Gothic art, characterised by the brilliant gold-leaf background, luminous colour and graceful line work. Christ and the angel glow with blinding supernatural light, while Mary and Joseph are crowned in gilded halos.

Lorenzo (born, Piero di Giovanni) apprenticed in Florence where he created illuminated manuscripts, frescos and panel paintings.

He and entered the Camaldolese monastery in 1391, and painted four altarpieces for his Order.