Bust
of Christ
Andrea del Verrocchio (1435-1488)
Florentine, after 1483
Gessoed, painted, and gilded terra cotta
This life sized bust is modeled after the statue of Christ in Verrochios
Christ and Saint Thomas, dating to 1483 located on the façade
of Orsanmichele in Florence. The iconographic type represented here
takes its cues from the Lentulus Letter allegedly written by a Lentulus,
a Roman official in the century. The letter is famous for the description
of Jesus appearance it contains. The letter as it appears
in a thirteenth-century text reads:
In these days there appeared, and there still is, a man of great
power named Jesus Christ, who is called by the Gentiles the prophet
of truth, whom his disciples call the Son of God, raising the dead
and healing diseases- a man in stature middling tall, and comely,
having a reverend countenance, which those who look upon may love
and fear; having hair the hue of an unripe hazel-nut and smooth
almost down to his ears, but from the ears in curling locks somewhat
darker and more shining, flowing over his shoulders; having a parting
at the middle of the head according to the fashion of the Nazarenes;
a brow smooth and very calm, with a face without wrinkle or any
blemish, which a moderate red color makes beautiful; with the nose
and mouth no fault at all can be found; having a full beard the
color of his hair, not long, but a little forked at the chin; having
an expression simple and mature, the eyes gray, flashing, and clear;
in rebuke terrible, in admonition kind and lovable, cheerful yet
keeping gravity; sometimes he has wept, but never laughed; in stature
of body tall and straight, with hands and arms fair to look upon;
in talk grave, reserved and modest, fairer than the children of
men.
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True Likeness of Christ with Saints Jerome and
Francis
North Italian, early 16th century
Walnut
The profile of Jesus carved in the roundel at the
center of this triptych is believed to have been carved after
a bronze medal by Niccolo Fiorentino. Seven angels, five of whom
hold the arma christi, the instruments of the passion, support
the roundel at its frame. Saints Jerome and Francis are carved
on the flanking triptych wings. On the left St. Jerome is depicted
in a typical scene: kneeling before a crucifix, a tame lion by
his side. On the right, St. Francis is illustrated receiving the
stigmata. The two saints may have been included in the composition
because they were the name saints of the patron.
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Portrait
of Christ
English, reign of Henry VII (r. 1485-1509)
Prepared oak panel
This depiction of Jesus in profile is derived from an image found
on the emerald vernicle. Like Veronicas veil and the mandylion
of Edessa, the emerald vernicle, though not miraculous, was accepted
as a portrait of Jesus. Around 1429 Sultan Bazajet II of Constantinople
gave the emerald, carved with the profile of Jesus, to Pope Innocent
VIII. Bajazet II proffered the emerald insure that his brother would
remain in papal custody thus securing his own ascension to the throne.
The inscription underneath the portrait relays this story although
the painter has changed the intention behind the gift. The inscription
reads: This present figure if the similitude of our Lord Jesus
our savior imprinted in emerald by the predecessors of the great
Turk and sent to Pope Innocent the VIII for a token to redeem his
brother that was taken prisoner.
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