The Adoration of the shepherds by
Simone de Magistris
Simone De Magistris-(1538-1613)
apparently symmetric and balanced composition fully expresses the
Mannerist taste of the Caldarola artist.
Holy Family is the core of the entire composition. San Nicola Da Tolentino
is depicted assisting and taking part to the coral prayer. The Infant
seems to be living an independent life while San Giuseppe is attentive in
creating a royal leaning back for Jesus and Holy Mary hugs him
protectively: he shows himself to the world with confident and sustained
motions. He is fearless and looks at those who admire the depiction with a
work was painted by courtesy of the character that is situated bottom right
of the painting. He belonged to a fraternal order. He suggests to watch
attentively the scene and to look for the proud look of the Salvator
mundi. The behaviour we are
asked to participate to the event is given by one of the two shepherds
bottom left, that intimates to the other to be silent.
straightforward Mannerist method has made us passive actors of this Nativity.
screen that has been chosen for the event is an unstable building set in an
unwelcome nature The depiction of ruins in this kind of iconography reminds
to the state of the world after the coming of Christ: ancient time and
history have collapsed because a new epoch began where the all universe is
landscape is not really comforting. It is characterized by hamlets of ruined
homes, sights of bare land and leafless trees replaced here and there by
more flourishing bushes: The birth of the Infant has revealed the frailness
of the human beings and of the earth compared to the immortality of God that
gracious and decorative angels in the sky hold the paper where the hymn of
praise and glory "to God in the
height of the skies and peace on earth to good willing men” is written.
the ruins there is an ox under a yoke that reminds of the real reason why
the Son of God has come among men: The yoke that Jesus will have to carry is
death to redeem men’s sins.
left the Magi are getting closer to the devotion place, where the Infant is
ready to welcome any one who may want to pay their respects to his divine
colours De Magistris uses for the characters are acid and honey-like, they
shape the cornered and squared figures that are full of life but far away at
the same time as if part of a dream of real memory.
by Guendalina Santini
2007Liberation Ventures Ltd.