Tempation
in the Wilderness
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After his baptism Christ fasted in the wilderness for forty days, and at the end of that time was thrice tempted by the devil. "If you are the Son of God tell these stones to become bread," Christ was told. Then setting him on a parapet of the Temple in Jerusalem Satan invited him to cast himself down to see if angels would save him. Lastly the Savior was taken to the top of a mountain overlooking the kingdoms of the world. "All these I will give you, if you will only fall down and do me homage." Each time Christ repudiated Satan with quotations from the Scriptures. When the Devil had gone angels appeared and waited on Christ. Temptation in one form or another commonly lay in wait for those who retired to the desert which, to the ancients, was the traditional abode of demons - see for example Anthony the Great; Jerome. Of Christ's three temptations artists have preferred the episode of the stones, the easiest to interpret visually. The scene is usually a rocky place where Christ is confronted by Satan, who may appear in several guises. In Romanesque and Gothic art he is the typical demon of the period with horns, a scaly body, wings, and claws for hands and feet. The Italian Renaissance portrayed him as the "fallen angel" or, in another convention, to illustrate his cunning, as an old man in a monk's habit. The latter generally betrays himself by revealing a cloven hoof or claw under his garments. He points to the stones on the ground or, more often, offers one in his outstretched hand. The scene on the mountain top shows Christ accompanied by angels, while Satan is falling headlong. Angels ministering
to Christ in the wilderness. In a green oasis in the desert Christ is
surrounded by angels who are bringing water for him to wash his hands,
dishes of food and baskets of fruit. He may be seated at a table under
a tree. In the hands of Italian baroque painters the idea of adoration
predominates: angels like putti are floating down or kissing the Savior's
feet. James Hall, Dictionary of Subjects and Symbols in Art, New York: Harper & Row, rev. ed. 1979 |