Adoration of the Magi

The magi had come from the east, following a star, to seek the king of the Jews, and were directed by Herod's officials to go to Bethlehem. Herod told them to report back to him, ostensibly that he might then pay homage himself, but really because he feared usurpation. Historically the magi were astrologers of the Persian court, the priests of the cult of Mithras, which became widespread in the Roman empire in the early Christian era. In the wall-paintings of the Roman catacombs and in some Byzantine mosaics the magi may wear Mithraic robes and the typical "Phrygian cap", a kind of pointed hat having the top folded forward. The Christian writer Tertullian (c. 160–230) was the first to redefine them as kings. Their names may have originated in a 9th century pontifical at Ravenna. In earlier Renaissance painting they are dressed in the court fashions of the day. One or other may be drawn in the likeness of the artist's patron, as a mark of his devotion to Christianity. As a prelude to the adoration proper the magi are occasionally depicted meetings on their journey or traveling together, with their retinues, led by the star. They are represented thus in late medieval frescoes and sculpture, and in illuminated mss. The adoration itself shows Caspar, or Jasper, the oldest, kneeling before the infant Christ in the Virgin's lap, offering his gift of gold. Behind him stands Balthazar, a Negro, and Melchior, the youngest. Their retinues often show unmistakable signs of their eastern origin: the turban, camels, leopards, or perhaps the star and crescent of the Saracen. Joseph is usually present. In the background may often be seen the annunciation to the shepherds. In some later examples, especially of the 17th century, the Virgin is represented standing. The receptacles for their gifts, in particular in the 16th century, are often elaborate examples of goldsmiths' work. Matthew does not mention the number of the magi though three is inferred from the number of their gifts. (In early Christian art there may be two or four or, occasionally, six.) According to Bede (c. 673–735) the symbolism of their gifts was: gold, homage to Christ's kingship; frankincense, homage to his divinity; myrrh, used in embalming, a foreshadowing of his death. In the later Middle Ages the magi came to personify the three parts of the known world (Europe, Africa and Asia) paying homage to Christ, hence the traditional portrayal of Balthazar (Africa) as a Negro. But the theme was also used to symbolize the submission of the temporal powers to the authority of the Church, hence its continuing importance in Christian art. The feast of the Epiphany (6 January) celebrates certain manifestations of Christ to mankind, in particular that of the Adoration of the Magi.