Where is adoration of the magi

The Virgin Mary and Child are depicted in the foreground and form a triangular shape with the Magi kneeling in adoration. Behind them is a semicircle of accompanying figures, including what may be a self-portrait of the young Leonardo on the far right. In the background on the left is the ruin of a pagan building, on which workmen can be seen, apparently repairing it. On the right are men on horseback fighting, and a sketch of a rocky landscape.

The ruins are a possible reference to the Basilica of Maxentius, which, according to Medieval legend, the Romans claimed would stand until a virgin gave birth. It is supposed to have collapsed on the night of Christ's birth in fact it was not even built until a later date. The ruins dominate a preparatory perspective drawing by Leonardo, which also includes the fighting horsemen. The palm tree in the center has associations with the Virgin Mary, partly due to the phrase 'You are stately as a palm tree' from the Song of Solomon, which is believed to prefigure her.

Another aspect of the palm tree can be the usage of the palm tree as a symbol of victory for ancient Rome, whereas in Christianity it is a representation of martyrdom triumph over death so in conclusion, we can say that the palm, in general, represents triumph. The other tree in the painting is from the carob family, the seeds from the tree are used as a unit of measurement.

They measure valuable stones and jewels. This tree and its seeds are associated with crowns suggesting Christ as the king of kings or the Virgin as the future Queen of heaven, also that this is nature's gift to the new born Christ. The king at the center of the miniature points to the unseen star that guided their journey.

Below, an elderly king presents a chalice to the baby Jesus. The chalice and the round object the Virgin Mary holds may allude to the wine and wafer of the Eucharist. In that sacrament, Jesus' blood and body are understood to be present in the wine and bread that are consecrated and shared.

Rather than representing the Virgin and Child in the modest surroundings described in the Gospels, the artist emphasized the majesty of these holy figures. The Virgin is regally enthroned, crowned, and richly attired, while Jesus already has the features of a grown man and extends his right hand in blessing.

The stylized draperies with their intricate folds and the strong lines defining the figures' faces suggest some Byzantine influence. Field Projects Dept. Science Dept. Cipriani, Renata. Tutta la pittura del Mantegna. Milan: Rizzoli Editore, October , pp. Milan: Rizzoli Editore, June , pp. Paccagnini, Giovanni. All the Paintings of Mantegna. New York: Hawthorn Books, Inc.

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