The Twelve Days of Christmas - Day 4

Title: Christ in Glory
Artist: Unknown
Medium: Tempera on parchment  
Size: tbd.
Date: 17th-century
Location: British Library, London.

On the fourth day of Christmas, my true love gave to me four calling birds...

Four Calling birds represent the Four Gospels of Mark, Matthew, Luke & John. This image, from an illuminated manuscript held at the British Library, London, is of the Christ in Glory, surrounded by traditional images depicting the Four Evangelists. Matthew, the author of the first gospel account is symbolized by a winged man, or angel. Mark, author of the second gospel account is symbolized by a winged lion – a figure of courage and monarchy. Luke, author of the third gospel account (and the Acts of the Apostles) is symbolized by a winged ox or bull – a figure of sacrifice, service and strength. John the Evangelist, author of the fourth gospel is symbolized by an eagle – a figure of the sky, and believed to be able to look straight into the sun.

Arrest of Jesus

Title: Arrest of Jesus

Artist: Unknown

Medium: Tempera on parchment

Size: tbd.

Date: 17th-century

Location: British Library, London.

Mark 14:50-52 Then everyone deserted him and fled.

A young man, wearing nothing but a linen garment, was following Jesus. When they seized him, he fled naked, leaving his garment behind.

This miniature shows the capture of Jesus by two soldiers in the Garden of Gethsemane. His serene expression and crossed wrists eloquently convey his resignation to what must happen, and contrast with the threatening stance of the man with a sword. Jesus is depicted alone, as described in the gospel account "everyone deserted him”.

The young man mentioned in 14:51-52 is an enigma. Scholars lack a consensus as to why Mark would record this odd incident at all. One argument is that the passage reiterates that in the face of adversity even the disciples were so eager to abandon Jesus that one of them was willing to run away naked. Consider, however, that he escapes leaving his linen cloth (sindon in Greek) which is mentioned twice, and later the dead Jesus is wrapped only in a linen cloth (another sindon), which also mentioned twice (15:46), only to “escape” death.

This illustration is from a lavishly illustrated 17th-century manuscript written in a small elegant script with decorative borders and devices. At the time this was produced, Ethiopia was undergoing a religious and artistic revival. The volume is a faithful copy of a 15th-century manuscript, and was probably commissioned by Emperor Iyasu (ruled 1682-1706) for the church of Debra Berhan Selassie, which remains one of Ethiopia's most well-known churches.

Mary and Her Son, and Apostles and Saints George and Theodore

Title: Mary and Her Son, and Apostles and Saints George and Theodore

Artist: (Unknown)

Medium: Tempera on wood

Size: 25 x 40 cm

Date: c. 1480

Location: The Walters Art Museum, Baltimore.

The dominant image of this diptych is that of the Christ Child as he touches his mother's chin, a gesture of affection that was probably inspired by 15th-century Italian paintings then greatly admired at the Ethiopian royal court. Further imagery on the diptych that had great appeal for the upper classes in Ethiopia was the victorious saints on horseback, such as Saints George and Theodore on the right-hand panel. Ethiopian noblemen were well trained in horsemanship and combat, and had as much admiration for these battling saints as the European counterparts.

The origins of Christianity in Ethiopia date back to at least 316 AD, after two survivors of a voyage of exploration along the coast of Africa were taken to the court and given positions of trust by the monarch. They both practiced the Christian faith in private, and soon converted the queen and several other members of the royal court. However, the Ethiopian Church claims its origins from the royal official said to have been baptized by Philip the Evangelist, as recorded in Acts of the Apostles chapter 8:26-40. The Angel of the Lord had sent Philip south from Jerusalem where he encountered an Ethiopian, a eunuch of great authority under the queen of the Ethiopians. Philip helped the Ethiopian interpret a passage he had been reading in Isaiah, and used this passage as a starting point to explain the Good News about Jesus Christ.

The artist is most likely a follower of Fre Seyon, the celebrated 15th-century monk and artist. Seyon is credited with the development of the devotional Marian Icon images and style. He left only one signed work during his career, which may be dated to the period of about 1445-80. Mary became an extremely important figure in the Ethiopian church when Emperor Zar'a Ya'eqob (r. 1434–68) mandated the reading of the Miracles of the Virgin Mary, and that she be honored at most of the thirty feast days in the liturgical year.

Mary with Her Son

Title: Mary with Her Son

Artist: Anonymous (Ethiopian)

Medium: Tempera on wood

Size: 38.1 x 44.44 cm

Date: late 17th century

Location: The Walters Art Museum, Baltimore.

On this triptych the imposing figures of Mary and Her Son dominate the lower scene of Christ teaching the Apostles, who are seated in rows on the central panel and wings. The large, watchful eyes, always powerful in Ethiopian icons, are especially impressive here, as are the fine details of the speckled and jeweled robes.

The side panels of this triptych depict the Resurrection and Saint George, and the Crucifixion and Saint Mercurius. The resurrected Christ, seen at the upper left, holds a small cross as a symbol of victory over death.

Historically, Ethiopia was a Christian kingdom with strong ties in both trade and religion to the cultures located around the Mediterranean. Ethiopia's Christian tradition dates back to the 4th century, when the king of the Aksumite kingdom converted to Christianity; by the 15th century, this African nation had developed a tradition of icon painting that rivaled that of the Orthodox empires of Byzantium and Russia as well as the famed panel paintings of Renaissance Italy. This particular example dates from the late Solomonic Dynasty