Revision 2208461 of "Gebruiker:Charlielv55/sandput/Die geboorte van Jesus Christus in kuns" on afwiki

[[File:L'adoration des bergers (La Tour).jpg|thumb|300px|[[Georges de La Tour]] c. 1644]]
[[File:Meister von Hohenfurth 002.jpg|thumb|300px|[[Master of Vyšší Brod]], a [[Bohemia]]n master, c. 1350. The influence of Italian Byzantine painting was strong in the court of [[Charles IV, Holy Roman Emperor|Charles IV]].]]

The [[Nativity of Jesus]] has been a major subject of [[Christian art]] since the 4th century.

The artistic depictions of the ''Nativity'' or birth of [[Jesus]], celebrated at [[Christmas]], are based on the narratives in the Bible, in the [[Gospel]]s of [[Matthew the Evangelist|Matthew]] and [[Luke the Evangelist|Luke]], and further elaborated by written, oral and artistic tradition. Christian art includes a great many representations of the [[Virgin Mary]] and the [[Child Jesus|Christ Child]]. Such works are generally referred to as the "[[Madonna (art)|Madonna and Child]]" or "Virgin and Child". They are not usually representations of the ''Nativity'' specifically, but are often devotional objects representing a particular aspect or attribute of the Virgin Mary, or Jesus. ''Nativity'' pictures, on the other hand, are specifically illustrative, and include many narrative details; they are a normal component of the sequences illustrating both the [[Life of Christ in art|Life of Christ]] and the [[Life of the Virgin]].

The Nativity has been depicted in many different media, both pictorial and sculptural. Pictorial forms include murals, [[panel painting]]s, [[manuscript illumination]]s, [[stained glass]] windows and [[oil painting]]s. The subject of the Nativity is often used for [[altarpiece]]s, many of these combining both painted and sculptural elements. Other sculptural representations of the Nativity include ivory miniatures, carved stone sarcophagi, architectural features such as capitals and door lintels, and free standing sculptures.

Free-standing sculptures may be grouped into a [[Nativity scene]] (crib, ''creche'' or ''presepe'') within or outside a church, home, public place or natural setting. The scale of the figures may range from miniature to life-sized. These Nativity scenes probably derived from acted ''[[tableau vivant]]s'' in Rome, although Saint [[Francis of Assisi]] gave the tradition a great boost. This tradition continues to this day, with small versions made of [[porcelain]], plaster, plastic or cardboard sold for display in the home. The acted scenes evolved into the [[Nativity play]].

== The wider Nativity story in art ==
[[File:Spišské Podhradie Narodenie (1490).jpg|thumb|The stable is just outside the city walls, with the shepherds on the hill behind; Slovakia, c. 1490]]
The scope of the subject matter which relates to the Nativity story begins with the [[genealogy of Jesus]] as listed in the Gospels of both Matthew and Luke. This lineage, or [[family tree]] is often depicted visually with a [[Tree of Jesse]], springing from the side of [[Jesse]], the father of [[King David]].

The Gospels go on to relate that a virgin, Mary, was betrothed to a man [[Saint Joseph|Joseph]], but before she became fully his wife, an [[angel]] appeared to her, announcing that she would give birth to a baby who would be the [[Son of God]]. This incident, referred to as the [[Annunciation]] is often depicted in art. Matthew's Gospel relates that an angel dispelled Joseph's distress at discovering Mary's pregnancy, and instructed him to name the child Jesus (meaning "God saves").<ref>Matthew:1:21. The name Jesus is the Biblical Greek form of the Hebrew name Joshua meaning "God, our salvation".</ref> This scene is depicted only occasionally.

In Luke's Gospel, Joseph and Mary travelled to [[Bethlehem]], the family of Joseph's ancestors, to be listed in a tax census; the Journey to Bethlehem is a very rare subject in the West, but shown in some large Byzantine cycles.<ref>Schiller:58</ref> While there, Mary gave birth to the infant, in a stable, because there was no room available in the inns. At this time, an angel appeared to shepherds on a hillside, telling them that the "Saviour, Christ the Lord" was born. The shepherds went to the stable and found the baby, wrapped in swaddling clothes and lying in the feed trough, or "manger", as the angel had described.

In the liturgical calendar, the Nativity is followed by the [[Circumcision of Christ]] on January 1, which is mentioned only in passing in the Gospels,<ref>Luke 2:21</ref> and which is assumed to have taken place according to Jewish law and custom, and the [[Presentation of Jesus at the Temple]] (or "Candlemas"), celebrated on February 2, and described by Luke.<ref>The dates vary slightly between churches and calendars – see the respective articles. In particular, the [[Eastern Orthodox]] churches celebrate the visit of the Magi, as well as the Nativity, on December 25th of their [[Julian calendar|liturgical calendar]], which is January 7th of the usual [[Gregorian calendar]].</ref> Both have iconographic traditions, not covered here.

The narrative is taken up in the Gospel of Matthew, and relates that "wise men" from the east saw a [[Star of Bethlehem|star]], and followed it, believing it would lead them to a new-born king. On arriving in Jerusalem they proceed to the palace where a king might be found, and enquire from the resident despot, King Herod. Herod is worried about being supplanted, but he sends them out, asking them return when they have found the child. They follow the star to Bethlehem, where they give the child gifts of gold, frankincense and myrrh. The men are then warned in a dream that Herod wished to kill the child, and so return to their country another way. Although the gospel mentions neither the number nor the status of the wise men, known as "the [[Biblical Magi|Magi]]", tradition has extrapolated that since there were three gifts, there were three wise men, who are generally also given the rank of king, and so they are also called the "Three Kings". It is as kings that they are almost always depicted in art after about 900.<ref>Schiller:105</ref> There are a number of subjects but the [[Adoration of the Magi]], when they present their gifts, and, in Christian tradition, worship Jesus, has always been much the most popular.

Either the [[Annunciation to the Shepherds]] by the angel, or the [[Adoration of the Shepherds]], which shows the shepherds worshipping the infant Christ, have often been combined with the Nativity proper, and the visit of the Magi, since very early times. The former represented the spreading of the message of Christ to the Jewish people, and the latter to the heathen peoples.<ref>Schiller:60</ref>

<gallery>
File:Magi (1).jpg|[[Sant’Apollinare Nuovo]], [[Ravenna]], the Magi presenting their gifts ([[mosaic]] detail), late 6th century, wearing [[Culture of Iran|Persian]] dress, and [[Phrygian cap]]
File:Sassetta 004.jpg|[[Sassetta]], the Journey of the Magi
File:Magi Herod MNMA Cl23532.jpg|The Magi before Herod, French 15th-century stained glass
File:Albrecht Altdorfer - The Adoration of the Magi - Städel.jpg|[[Albrecht Altdorfer]], c. 1530, the ''Adoration of the Magi
</gallery>
[[File:Kerald (Meister des Codex Egberti) 001.jpg|thumb|[[Massacre of the Innocents]], [[Egbert, Archbishop of Trier|Codex Egberti]], late 10th century.]]

There are also many detailed series of artworks, ranging from stained glass to carved capitals to fresco cycles that depict every aspect of the story, which formed part of both of the two most popular subjects for cycles: the ''[[Life of Christ in art|Life of Christ]]'' and the ''[[Life of the Virgin]]''. It is also one of the [[Twelve Great Feasts]] of [[Eastern Orthodoxy]], a popular cycle in [[Byzantine art]].

The story continues with [[Herod the Great|King Herod]] asking his advisers about ancient prophesies describing the birth of such a child. As a result of their advice, he sends soldiers to kill every boy child under the age of two in the city of Bethlehem. But Joseph has been warned in a dream, and flees to Egypt with Mary and the baby, Jesus. The gruesome scene of the [[Massacre of the Innocents]], as the murder of the babies is generally referred, was particularly depicted by Early Renaissance and [[Baroque]] painters. The [[Flight into Egypt]] was another popular subject, showing Mary with the baby on a donkey, led by Joseph (borrowing the older iconography of the rare Byzantine ''Journey to Bethlehem'').

[[File:Toppling of the Pagan Idols (Bedford Master).jpg|thumb|left|Gothic toppling idol on the flight]]

From the [[Early Netherlandish painting|15th century in the Netherlands]] onwards, it was more usual to show the non-Biblical subject of the [[Holy Family]] resting on the journey, the ''Rest on the Flight to Egypt'', often accompanied by angels, and in earlier images sometimes an older boy who may represent, [[James the Brother of the Lord]], interpreted as a son of Joseph, by a previous marriage.<ref>The subject only emerges in the second half of the 14th century. Schiller:124. In some Orthodox traditions the older boy is the one who protects Joseph from the "shepherd-tempter" in the main Nativity scene.</ref> The background to these scenes usually (until the [[Council of Trent]] tightened up on such additions to scripture) includes a number of apocryphal [[miracle]]s, and gives an opportunity for the emerging genre of [[landscape painting]]. In the ''Miracle of the Corn'' the pursuing soldiers interrogate peasants, asking when the Holy Family passed by. The peasants truthfully say it was when they were sowing their [[wheat]] seed; however the wheat has miraculously grown to full height. In the ''Miracle of the Idol'' a pagan statue falls from its plinth as the infant Jesus passes by, and a spring gushes up from the desert (originally separate, these are often combined). In further, less commonly seen, legends a group of robbers abandon their plan to rob the travellers, and a [[date palm]] tree bends down to allow them to pluck the fruit.<ref>Schiller:117–123. The date palm incident is also in the [[Quran]]. There are two different falling statue legends, one related to the arrival of the family at the Egyptian city of Sotina, and the other usually shown in open country. Sometimes both are shown.</ref>

Another subject is the meeting of the infant Jesus with his cousin, the infant [[John the Baptist]], who, according to legend was rescued from Bethlehem before the massacre by the [[Archangel Uriel]], and joined the Holy Family in Egypt. This meeting of the two Holy Children was to be painted many artists during the Renaissance period, after being popularized by [[Leonardo da Vinci]] and then [[Raphael]].<ref>See, for example, Leonardo's [[Virgin of the Rocks]]</ref>

== History of the Depiction ==

=== Early Christianity ===
[[File:Adoration magi Pio Christiano Inv31459.jpg|thumb|Magi bearing gifts, 4th-century sarcophagus, Rome]]
The earliest pictorial representations of Jesus' Nativity come from [[sarcophagus|sarcophagi]] in [[Rome]] and [[Gallia Narbonensis|Southern Gaul]] of around this date.<ref>Schiller:59</ref> They are later than the first scenes of the [[Adoration of the Magi]], which appears in the [[catacombs of Rome]], where [[Early Christian]]s buried their dead, often decorating the walls of the underground passages and vaults with paintings. Many of these predate the legalisation of Christian worship by the [[Emperor Constantine]] in the early 4th century. Typically the Magi move in step together, holding their gifts in front of them, towards a seated Virgin with Christ on her lap. They closely resemble the motif of [[tribute]]-bearers which is common in the art of most Mediterranean and Middle-Eastern cultures, and goes back at least two millennia earlier in the case of Egypt; in contemporary Roman art defeated barbarians carry golden wreaths towards an enthroned Emperor.<ref>Schiller:100</ref>

[[File:9821 - Milano - Sant'Ambrogio - Sarcofago di Stilicone - Foto Giovanni Dall'Orto 25-Apr-2007.jpg|thumb|left|4th-century sarcophagus, [[Milan]]; one of the earliest Nativity images]]
The earliest representations of the Nativity itself are very simple, just showing the infant, tightly wrapped, lying near the ground in a trough or [[wicker]] basket. The [[ox]] and [[donkey|ass]] are always present, even when Mary or any other human is not. Although they are not mentioned in the Gospel accounts they were regarded as confirmed by scripture from some [[Old Testament]] verses, such as [[Isaiah]] 1,3:"The ox knoweth his owner, and the ass his master's crib" and [[Habakkuk]] 3,2: "in the midst of the two beasts wilt thou be known", and their presence was never questioned by theologians.<ref>Schiller:60. In fact this sense of the Habakkuk is found in the Hebrew and Greek Bibles, but [[Jerome]]'s Latin [[Vulgate]], followed by the [[Authorised Version]], translates differently:"O Lord, revive thy work in the midst of the years, in the midst of the years make known" in the AV</ref> They were regarded by [[Augustine of Hippo|Augustine]], [[Ambrose]] and others as representing the [[Jewish]] people, weighed down by the Law (the ox), and the pagan peoples, carrying the sin of idolatry (the ass). Christ was arrived to free both from their burdens. Mary is only shown when the scene is the ''Adoration of the Magi'', but often one of the shepherds, or a [[prophet]] with a [[scroll]], is present. From the end of the 5th century (following the [[First Council of Ephesus|Council of Ephesus]]), Mary becomes a fixture in the scene; then as later Joseph is a more variable element. Where a building is shown, it is usually a ''tugurium'', a simple tiled roof supported by posts.<ref>Schiller:59–62</ref>

=== Byzantine image ===
[[File:Mural - Birth of Christ.jpg|thumb|Modern Greek Orthodox mural in [[Jordan]], using a depiction little changed in over a millennium.]]

A new form of the image, which from the rare early versions seems to have been formulated in 6th-century [[Palestine (region)|Palestine]], was to set the essential form of [[Eastern Orthodox]] images down to the present day. The setting is now a cave – or rather the specific Cave of the Nativity in Bethlehem, already underneath the [[Church of the Nativity]], and well-established as a place of [[pilgrimage]], with the approval of the Church. Above the opening a mountain, represented in miniature, rises up.<ref>The mountain follows Scriptural verses such as Habakkuk 3.3 "God [came] from Mount Paran", and the title of Mary as "Holy mountain". Schiller:63</ref> Mary now lies recovering on a large stuffed cushion or couch ("kline" in Greek) beside the infant, who is on a raised structure,<ref>partly reflecting the arrangement in the Church of the Nativity, where pilgrims already peered under an altar into the actual cave (now the altar is much higher). The actual altar is sometimes shown. Schiller:63</ref> whilst Joseph rests his head on his hand.<ref>Schiller:62-3</ref> He is often part of a separate scene in the foreground, where Jesus is being bathed by midwives (Jesus is therefore shown twice). Despite the less than ideal conditions, Mary is [[lying-in]], the term for the period of enforced [[bed rest]] in the [[postpartum period]] after [[childbirth]] that was prescribed until modern times.  The midwife or midwives come from early apocryphal sources; the main one is usually called [[Salome (disciple)|Salome]], and has her own ''miracle of the withered hand'', although this is rare in art. They featured in most medieval dramas and [[mystery play]]s of the Nativity, which often influenced painted depictions. Several apocryphal accounts speak of a great light illuminating the scene, also taken to be the [[Star of Bethlehem#Eastern Orthodoxy|star]] of the [[Biblical Magi|Magi]], and this is indicated by a circular disc at the top of the scene, with a band coming straight down from it – both are often dark in colour.<ref>Schiller:62–63</ref>

The Magi may be shown approaching at the top left on horseback, wearing strange pillbox-like headgear, and the shepherds at the right of the cave. Angels usually surround the scene if there is room, including the top of the cave; often one is telling the shepherds the good news of Christ's birth. The figure of an old man, often dressed in animal skins, who begins as one of the shepherds in early depictions, but later sometimes addresses Joseph, is usually interpreted as the Prophet [[Isaiah]], or a hermit repeating his prophecy, though in later Orthodox depictions he sometimes came to be regarded as the "Tempter" (the "shepherd-tempter"), an Orthodox term for [[Satan]], who is encouraging Joseph to doubt the Virgin Birth.<ref>Schiller:66. In late  works a young man may fend the tempter off. See: Léonid Ouspensky, ''The Meaning of Icons'', p. 160, 1982, [[St Vladimir's Seminary]], {{ISBN|0-913836-99-0}}. In pp.157–160 there is a full account of the later Orthodox iconography of the Nativity.</ref>

The Orthodox icon of the Nativity uses certain imagery parallel to that on the [[epitaphios (liturgy)|epitaphios]] ([[burial shroud]] of Jesus) and other icons depicting the [[burial of Jesus]] on [[Good Friday]].  This is done intentionally to illustrate the [[theology|theological]] point that the purpose of the [[Incarnation of Christ]] was to make possible the [[Crucifixion of Jesus|Crucifixion]] and [[Resurrection of Jesus|Resurrection]]. The [[icon]] of the Nativity depicts the [[Christ Child]] wrapped in [[swaddling clothes]] reminiscent of his burial wrappings. The child is often shown lying on a stone, representing the [[Holy Sepulchre|Tomb of Christ]], rather than a [[manger]]. The Cave of the Nativity is also a reminder of the cave in which Jesus was buried. Some icons of the Nativity show the Virgin Mary kneeling rather than reclining, indicating the tradition that the [[Theotokos]] gave birth to Christ without pain (to contradict the perceived [[heresy]] in [[Nestorianism]]).<ref>{{Citation
  | last = Ouspensky
  | first = Leonid
  | author-link = Leonid Ouspensky
  | last2 = Lossky
  | first2 = Vladimir
  | author2-link = Vladimir Lossky
  | title = The Meaning of Icons
  | place = Crestwood NY
  | publisher = [[Saint Vladimir's Seminary]] Press
  | year = 1999
  | edition = 5th
  | isbn = 0-913836-99-0
  | page = 159}}</ref>

==== Byzantine and Orthodox tradition ====
<gallery>
File:Life Christ Louvre OA5004.jpg|Scenes from the life of Jesus Christ, [[triptych]]. Constantinople, late 10th century, ivory. [[Musée du Louvre]]
File:Meister der Peribleptos-Kirche in Mistra 001.jpg|Byzantine [[fresco]] from [[Mistra]], Greece, mid-14th century
File:RozdestvoHristovo RublevBlagSoborMK.jpg|[[Andrey Rublev]], 1405, in the [[Moscow Kremlin]].
File:Iconnativity.jpg|Modern [[Romania]]n [[icon]], with very similar iconography to Rublev, but a few Western elements, like the kneeling Virgin.

</gallery>

==== Late Byzantine tradition in Western Europe ====
<gallery>
File:'The Virgin and Child in Majesty and the Adoration of the Maji', Romanesque fresco by the Master of Pedret from the apse of the Church of Saint Joan at Tredos, Lleida, Spain, c. 1100.jpg|[[Master of Pedret]], ''The Virgin and Child in Majesty and the Adoration of the Magi'', [[Romanesque art|Romanesque]] fresco, Spain, c. 1100
File:Meister der Palastkapelle in Palermo 001.jpg|Mosaic in Byzantine style, [[Palermo]], 1150
File:San.Maria.Trastevere.jpg|Medieval mosaics of [[Santa Maria in Trastevere]], Rome, are more classicising in style.
File:Maesta3.jpg|Nativity from [[Duccio]]’s [[Maestà (Duccio)|Maestá]], 13th century, a compromise shed-within-a-cave

</gallery>

=== Western image ===
[[File:Geertgen tot Sint Jans, The Nativity at Night, c 1490.jpg|thumb|''[[Nativity at Night (Geertgen tot Sint Jans)|Nativity at Night]]'' by [[Geertgen tot Sint Jans]], c. 1490, after a composition by [[Hugo van der Goes]] of c. 1470, influenced by the visions of [[Saint Bridget of Sweden]]. Sources of light are the infant Jesus, the shepherds' fire on the hill behind, and the angel who appears to them.]]
The West adopted many of the Byzantine iconographic elements, but preferred the stable rather than the cave, though [[Duccio]]'s Byzantine-influenced [[Maestà (Duccio)|Maestà]] version tries to have both. The midwives gradually dropped out from Western depictions, as Latin theologians disapproved of these legends; sometimes the bath remains, either being got ready or with Mary bathing Jesus. The midwives are still seen where Byzantine influence is strong, especially in Italy; as in [[Giotto]], one may hand Jesus over to his mother. During the Gothic period, in the North earlier than in Italy, increasing closeness between mother and child develops, and Mary begins to hold her baby, or he looks over to her. Suckling is very unusual, but is sometimes shown.<ref>Schiller:74</ref>

The image in later medieval Northern Europe was often influenced by the vision of the Nativity of Saint [[Bridget of Sweden]] (1303–1373), a very popular mystic. Shortly before her death, she described a vision of the infant Jesus as lying on the ground, and emitting light himself, and describes the Virgin as blond-haired; many depictions reduced other light sources in the scene to emphasize this effect, and the Nativity remained very commonly treated with [[chiaroscuro]] through to the Baroque. Other details such as a single candle "attached to the wall", and the presence of [[God the Father]] above, also come from Bridget's vision:
<blockquote>...the virgin knelt down with great veneration in an attitude of prayer, and her back was turned to the manger.... And while she was standing thus in prayer, I saw the child in her womb move and suddenly in a moment she gave birth to her son, from whom radiated such an ineffable light and splendour, that the sun was not comparable to it, nor did the candle that St. Joseph had put there, give any light at all, the divine light totally annihilating the material light of the candle.... I saw the glorious infant lying on the ground naked and shining. His body was pure from any kind of soil and impurity. Then I heard also the singing of the angels, which was of miraculous sweetness and great beauty...<ref>Quoted Schiller:78</ref></blockquote> After this the Virgin kneels to pray to her child, to be joined by Saint Joseph, and this (technically known as the "Adoration of Christ" or "of the Child") becomes one of the commonest depictions in the 15th century, largely replacing the reclining Virgin in the West. Versions of this depiction occur as early as 1300, well before Bridget's vision, and have a [[Franciscan]] origin.<ref>Schiller:76-8</ref>

[[File:Pierre Bladelin Triptych central panel WGA.jpg|thumb|left|250px|This Nativity by [[Rogier van der Weyden]], part of the [[Bladelin Altarpiece]], follows Bridget's vision, with [[donor portrait]] and Romanesque ruins]]

[[Saint Joseph]], traditionally regarded as an old man, is often shown asleep in Nativities, and became a somewhat comical figure in some depictions, untidily dressed, and unable to help with proceedings. In some depictions, mostly German, he wears a [[Jewish hat]].<ref>For example Schiller, figs. 173 & 175, both from [[Lower Saxony]] between 1170 and 1235, & fig. 183, 14th century German.</ref>  In medieval [[mystery play]]s, he was usually a comic figure, amiable but somewhat incapable, although he is sometimes showing cutting up his [[hose (clothing)|hose]] to make the swaddling-cloth for the child,<ref>from about 1400; apparently this detail comes from popular songs. Schiller:80</ref> or lighting a fire. 

Saint Joseph's cult was increasingly promoted in the late Middle Ages in the West, by the [[Franciscan]]s and others. His feast was added to the Roman [[Breviary]] in 1479. By the 15th century he is often more dignified, and this improvement continued through the [[Renaissance]] and [[Baroque]], until a resurgence of Marian emphasis in the 17th century again often leaves him stranded on the margins of Nativity compositions. The candle lit by Saint Joseph in Bridget's vision becomes an attribute, which he is often shown holding, lit or unlit, in broad daylight.

In a fully illuminated [[Book of hours]] it was normal to include pages illustrating all four of the ''Nativity'', the ''Announcement to the Shepherds'', the ''Adoration of the Magi'' and the ''Flight into Egypt'' (and/or the ''Massacre of the Innocents'') as part of the eight images in the sequence of the [[Hours of the Virgin]].<ref>Harthan, John, ''The Book of Hours'',p.28 , 1977, Thomas Y Crowell Company, New York, {{ISBN|0-690-01654-9}}</ref> Nativity images became increasing popular in panel paintings in the 15th century, although on [[altarpiece]]s the [[Holy Family]] often had to share the picture space with [[donor portrait]]s. In [[Early Netherlandish painting]] the usual simple shed, little changed from Late Antiquity, developed into an elaborate ruined temple, initially [[Romanesque architecture|Romanesque]] in style, which represented the dilapidated state of the [[Covenant (biblical)|Old Covenant]] of the [[Jewish law]]. The use of Romanesque architecture to identify Jewish rather than Christian settings is a regular feature of the paintings of [[Jan van Eyck]] and his followers.<ref>Schiller, pp. 49–50. Purtle, Carol J, ''Van Eyck's Washington 'Annunciation': narrative time and metaphoric tradition'', p.4 and notes 9–14, ''Art Bulletin'', March, 1999. Page references are to online version. [http://findarticles.com/p/articles/mi_m0422/is_1_81/ai_54517312 online text]. Also see [http://www.tau.ac.il/arts/projects/PUB/assaph-art/assaph2/articles_assaph2/09Pinson.pdf ''The Iconography of the Temple in Northern Renaissance Art'' by Yona Pinson] {{webarchive|url=https://web.archive.org/web/20090326170616/http://www.tau.ac.il/arts/projects/PUB/assaph-art/assaph2/articles_assaph2/09Pinson.pdf |date=2009-03-26 }}</ref> In Italian works the architecture of such temples became classical, reflecting the growing interest in the ancient world.<ref>Schiller:91-82</ref> An additional reference made by these temples was to the legend, reported in the popular compilation of the [[Golden Legend]], that on the night of Christ's birth the [[Basilica of Maxentius]] in Rome, supposed to house a statue of [[Romulus]], had partly tumbled to the ground, leaving the impressive ruins that survive today.<ref>[[Christopher Lloyd|Lloyd, Christopher]], ''The Queen's Pictures, Royal Collectors through the centuries'', p.226, National Gallery Publications, 1991, {{ISBN|0-947645-89-6}}. In fact the Basilica was built in the 4th century. Some later painters used the remains as a basis for their depictions.</ref>

=== Medieval ===

==== Early Medieval Western images ====
{{Clear}} <!-- clear, technical, leave it, please-->
<gallery>
File:KellsFol007vMadonnaChild.jpg|The earliest Western [[Madonna and Child]], from the [[Book of Kells]], at the beginning of the Gospel of Matthew. c. 800
File:BambergApocalypse07NativityAnnucToShepherds.JPG|Nativity and ''[[Annunciation to the Shepherds]]'' from the [[Bamberg Apocalypse]] 1000–20, Ottonian
File:NOR1419Kapitell IV.jpg|[[Romanesque architecture|Romanesque]] capital from Saint-Pierre, [[Chauvigny]], 12th century.
File:Codex Bruchsal 1 11r.jpg|German [[illuminated manuscript]] with two scenes of the Magi, c. 1220
File:Nativity 01.jpg|Depicted in an early English [[Missal]] c.1310-1320
</gallery>

==== Gothic ====
<gallery>
File:France Paris St-Denis Basilica Nativity.jpg|12th-century glass from [[Basilica of Saint Denis]], Paris, with a proper bed for Mary
File:Canterbury Cathedral 021 Poor mans Bible window upper half.JPG|13th-century French glass at [[Canterbury Cathedral]] with the full story of the Magi and typologically related scenes.
File:Nativity alabaster MNMA Cl23755.jpg|[[Nottingham alabaster|English alabaster]] with Mary in a bed, attended by a midwife.
File:Ivory tabernacle Louvre OA2587.jpg|14th-century French ivory triptych showing the Annunciation, Visitation, Nativity with, unusually, Joseph holding the baby, while Mary sleeps; Presentation and Magi.
</gallery>

==== International Gothic ====
<gallery>
File:Melchior Broederlam 003.jpg|''[[Presentation at the Temple]]'' and Flight, with legends of the idol and spring, [[Melchior Broederlam]], [[Burgundy (region)|Burgundy]], c. 1400
File:Folio 57r - The Flight into Egypt.jpg|The miracles of the palm tree and corn on the Flight into Egypt, from a [[book of hours]], c. 1400
File:Conrad von Soest 004.jpg|In this 1403 panel by [[Conrad von Soest]] Saint Joseph cooks a meal as Mary cares for Jesus.
File:Mittelrheinischer Meister um 1420 001.jpg|A greater degree of sentimental elaboration is in this German miniature of 1420.

</gallery>

==== Proto-Renaissance in Italy ====

<gallery>
File:Pisa.Baptistery.pulpit02.jpg|Pulpit [[Relief]] from the [[Pisa]] [[Baptistry (Pisa)|Baptistry]] by [[Nicola Pisano]], 1260, is based in style on the reliefs of Roman sarcophagi.
File:Birth of Jesus - Capella dei Scrovegni - Padua 2016.jpg|The Nativity in the [[Scrovegni Chapel]] by [[Giotto]] is very close in composition and style to the sculpture at Pisa.
File:Bernardo Daddi 001.jpg|[[Bernardo Daddi]] was influenced towards realism by the paintings of Giotto.
File:Gaddi Taddeo Announcement.jpg|[[Taddeo Gaddi]] painted the first large night scene in this ''[[Annunciation to the Shepherds]]''.
</gallery>

=== Renaissance and after ===
From the 15th century onwards, the [[Adoration of the Magi]] increasingly became a more common depiction than the Nativity proper, partly as the subject lent itself to many pictorial details and rich colouration, and partly as paintings became larger, with more space for the more crowded subject. The scene is increasingly conflated with the ''Adoration of the Shepherds'' from the late Middle Ages onwards, though they have been shown combined on occasions since [[Late Antiquity]]. In the West the Magi developed large exotically-dressed retinues, which sometimes threaten to take over the composition by the time of the Renaissance; there is undoubtedly a loss of concentration on the religious meaning of the scenes in some examples, especially in 15th-century [[Florence]], where large secular paintings were still a considerable novelty. The large and famous wall-painting of the ''Procession of the Magi'' in the [[Magi Chapel]] of the [[Palazzo Medici]] there, painted by [[Benozzo Gozzoli]] in 1459–1461 and full of portraits of the family, only reveals its religious subject by its location in a chapel, and its declared title. There are virtually no indications that this is the subject contained in the work itself, although the altarpiece for the chapel was the ''[[Adoration in the Forest (Lippi)|Adoration in the Forest]]'' by [[Filippo Lippi]] (now Berlin).

[[File:Magi St Andrews.JPG|thumb|250px|''The Magi'', stained glass by John Hardman and Co in [[St. Andrew's Cathedral, Sydney]]]]

From the 16th century plain Nativities with just the Holy Family, become a clear minority, though [[Caravaggio]] led a return to a more realistic treatment of the ''Adoration of the Shepherds''. The compositions, as with most religious scenes, becomes more varied as artistic originality becomes more highly regarded than iconographic tradition; the works illustrated by [[Gerard van Honthorst]], [[Georges de La Tour]], and [[Charles Le Brun]] of the ''Adoration of the Shepherds'' all show different poses and actions by Mary, none quite the same as the traditional ones. The subject becomes surprisingly uncommon in the artistic mainstream after the 18th century, even given the general decline in religious painting. [[William Blake's illustrations of On the Morning of Christ's Nativity|William Blake's illustrations of ''On the Morning of Christ's Nativity'']] are a typically esoteric treatment in [[watercolour]].  [[Edward Burne-Jones]], working with [[Morris & Co.]], produced major works on the theme, with a set of stained glass windows at [[Trinity Church, Boston]] (1882), a tapestry of the [[Adoration of the Magi (tapestry)|''Adoration of the Magi'']] (ten copies, from 1890) and a [[Star of Bethlehem (painting)|painting of the same subject]] (1887). Popular religious depictions have continued to flourish, despite the competition from secular Christmas imagery.

==== Early Renaissance ====
<!---Fra Angelico, Filippo Lippi, Girlandaio--->
<gallery>
File:Fra Angelico, Fra Filippo Lippi, The Adoration of the Magi.jpg|''[[Adoration of the Magi]]'' by [[Fra Angelico]] and Fra [[Filippo Lippi]]
File:Piero della Francesca 041.jpg|[[Piero della Francesca]] (unfinished)
File:Anbetung der Hirten.jpg|[[Domenico Ghirlandaio]], with classical ruins
File:AdorationMagi.jpg|[[Botticelli]]; his patrons, the [[Medici]] family, are depicted as the Magi and their retinue.
</gallery>

==== High Renaissance ====
<gallery>
File:LaVerna SantaMaria3.jpg|This terracotta relief by [[Giovanni della Robbia]] shows the Christ Child as part of the [[Holy Trinity]], adored by Mary, Joseph and Franciscan saints.
File:Leonardo da Vinci - Adorazione dei Magi - Google Art Project.jpg|This complex ''[[Adoration of the Magi]]'' by [[Leonardo da Vinci]] was never completed.
File:Tondo Doni, por Miguel Ángel.jpg|The [[Doni Tondo]] represents the Holy Family resting on the way to Egypt; [[Michelangelo]].
File:Raffael 030.jpg|The meeting of the Infant Christ and John the Baptist was a popular subject of [[Raphael]].

</gallery>

==== Renaissance in Northern Italy ====
<gallery>
File:Andrea Mantegna The Adoration of the Shepherds.jpg|''[[Adoration of the Shepherds]]'', Mantegna
File:Giorgione 014.jpg|[[Giorgione]], ''Nativity'', c. 1507
File:Giorgione 010.jpg|[[Giorgione]], ''Adoration of the Magi'', c. 1505
File:Lorenzo Lotto 017.jpg|[[Lorenzo Lotto]], 1523

</gallery>

==== Northern Renaissance ====
<!---van Eyck, Memling, van der Goes, Durer--->
<gallery>
File:Ellhofen Altar links unten 20060914.jpg|Ellhofen Altarpiece, Germany, following Saint Bridget's vision.
File:BruynAltar01.jpg|Bartholomäus Bruyn Altarpiece, Saint Johann Baptist Essen
File:Joachim Patinir 002.jpg|[[Joachim Patinir]], ''Flight into Egypt''. At right the ''miracle of the corn'', at top left the falling idol
File:Anbetung der Könige (Bruegel, 1564) – cropped.jpg|[[Pieter Bruegel the Elder|Pieter Bruegel]]
</gallery>

==== Mannerism ====
<!---Caravaggio--->
<gallery>
File:Worship of the shepherds by bronzino.jpg|''Adoration of the Shepherds'', [[Bronzino]]
File:Dirck Barendsz Drieluik Sint Janskerk Gouda.jpg|[[Dirck Barendsz]], 1565, [[Janskerk (Gouda)]]
File:Jacopo da Ponte 003.jpg|[[Jacopo Bassano]], ''The Adoration of the Magi''.
File:Andrea da Salerno, Natività.jpg|[[Andrea Sabbatini]]
</gallery>

==== Baroque and Rococo ====
<gallery>
File:Adoracion de los Reyes magos1.jpg|[[El Greco]], Baroque ''Adoration of the Shepherds'' lit by the Christ Child
File:Peter Paul Rubens 009.jpg|''Adoration of the Magi'', [[Peter Paul Rubens|Rubens]], 1634
File:Gerard van Honthorst - Adoration of the Shepherds (1622).jpg|[[Gerard van Honthorst]] ''Adoration of the Shepherds'', still influenced by Saint Bridget
File:Charles Le Brun.jpg|''Adoration of the Shepherds'', [[Charles Le Brun]]

</gallery>

==== After 1800 ====
<!---Poussin--->
<gallery>
File:Philipp Otto Runge 004.jpg|Romantic ''Rest on the Flight'' by [[Philipp Otto Runge]], 1806
File:Adrian Ludwig Richter 022.jpg|''Ruhe auf der Flucht'' by [[Adrian Ludwig Richter]], 1873
File:Die Flucht nach Aegypten (Spitzweg).jpg|Flight by [[Carl Spitzweg]], 1875-9
File:Edwin Longsden Long - Anno Domini.jpg|British [[orientalism|Orientalist]] artist [[Edwin Long]], ''Anno Domini'', 1883, shows the arrival in Egypt; the idols seem intact.
File:Koelner Dom - Bayernfenster 10.jpg|Late 19th-century stained glass of The Adoration of the Shepherds and the Magi, [[Cologne Cathedral]].
File:Magi tissot.jpg|''The Journey of the Magi'' by [[James Tissot]], 1894. Like most of his Biblical illustrations, treated largely as [[Orientalism]]
File:Paul Gauguin 061.jpg|[[Paul Gauguin]], 1896, with a [[Tahiti|Tahitan]] setting.
File:Birth of Jesus, mural in Rosary Church.jpg|Mural by Friedrich Stummel in the [[Rosary Basilica (Berlin)]], including the [[Biblical Magi]], 1906
File:Adolf Hölzel Anbetung.jpg|[[Adolf Hölzel]], 1912

</gallery>

==== Popular art ====
[[File:Glasfenster Geburt Christi Arenberg.JPG|thumb|upright|Modern stained glass from the Taufkapelle, Koblenz-Arenberg<!---is Arenberg the artist or part of the place name? A:The place--->]]
<gallery>
File:Kempele Church Paintings 2006 07 24 B.JPG|Folk painting, 17th century, by [[Mikael Toppelius]]
File:8452 - Milano - S. Marco - Londonio - Presepe (ca 1750) - Foto G. Dall'Orto - 14-Apr-2007.jpg|Presepe by Francesco Landonio around 1750
File:The visit of the wise-men.jpg|Bible illustration c. 1900
File:Nativity Egan 2.jpg|A Nativity Creche made by Bill Egan of Florida, 21st century.

</gallery>

== See also ==
* [[Nativity of Jesus in later culture]] for interpretations in other forms of art (music, opera, novels, etc.)
* [[Roman Catholic Marian art]]

== Notes ==
{{reflist|20em}}

== References ==
{{Commons category|Nativity of Jesus Christ}}
G Schiller, ''Iconography of Christian Art, Vol. I'',1971 (English trans from German), Lund Humphries, London, pp.&nbsp;58–124 & figs 140–338, {{ISBN|0-85331-270-2}}

{{Nativity of Jesus}}
{{Life of Jesus in Christian art|state=expanded}}


[[Category:Jesus in art]]
[[Category:Christian iconography]]
[[Category:Iconography of Jesus]]
[[Category:Nativity of Jesus in art| ]]
[[Category:Virgin Mary in art]]