Girolamo da Treviso, 'The Adoration of the Kings', about 1523-4
About the work
Overview
A great throng of retainers and animals accompany the Three Kings to pay homage to the infant Christ (Matthew 2: 2–12). Reclining among angels in the heavens, God the Father blesses all those below. The Virgin Mary holds the Christ Child, who blesses the eldest king prostrated before him and receives the gold he offers. The next king has taken off his crown and kneels in respect. The third, dark-skinned king takes from an attendant the large golden urn of myrrh he will present to Christ.
Fragments of a ruined classical building – perhaps a city gate or triumphal arch – are scattered in the foreground. Ruined classical architecture is often included in Renaissance paintings of the Nativity to symbolise the end of the old pagan world and the dawn of the new Christian era.
This painting by Girolamo da Treviso is based on a drawing Baldassare Peruzzi made in 1522, which in turn was derived from a tapestry design by Raphael’s workshop.
Key facts
Details
- Full title
- The Adoration of the Kings
- Artist
- Girolamo da Treviso
- Artist dates
- about 1497/8 - 1544
- Date made
- about 1523-4
- Medium and support
- oil on wood
- Dimensions
- 144.2 × 125.7 cm
- Acquisition credit
- Presented by Edmund Higginson, 1849
- Inventory number
- NG218
- Location
- Not on display
- Collection
- Main Collection
- Previous owners
- Frame
- 19th-century English Frame
Provenance
Additional information
Text extracted from the ‘Provenance’ section of the catalogue entry in Giorgia Mancini and Nicholas Penny, ‘National Gallery Catalogues: The Sixteenth Century Italian Paintings’, vol. 3, ‘Bologna and Ferrara’, London 2016; for further information, see the full catalogue entry.
Exhibition history
-
2014Building the Picture: Architecture in Italian Renaissance PaintingThe National Gallery (London)30 April 2014 - 21 September 2014
Bibliography
-
1959Gould, Cecil, National Gallery Catalogues: The Sixteenth Century Venetian School, London 1959
-
1987Gould, Cecil, National Gallery Catalogues: The Sixteenth Century Italian Schools, London 1987
-
2001
C. Baker and T. Henry, The National Gallery: Complete Illustrated Catalogue, London 2001
-
2016Mancini, Giorgia, and Nicholas Penny, National Gallery Catalogues: The Sixteenth Century Italian Paintings, 3, Bologna and Ferrara, London 2016
Frame
This nineteenth-century English oil-gilt frame, crafted from pinewood, embodies the iconic Watts frieze, named after the artist George Frederic Watts. Most of Watts’s frames feature a wide oak frieze with gold leaf directly applied to the wood, allowing the oak grain to serve as visible texture, as seen here. This frame includes the classic egg-and-dart motif, and triple bead-and-reel pattern, as well as a twisted-ribbon-and-flower motif along the sight edge, all made from composition.
The frame underwent restoration in the late twentieth century, including the glazing door.
About this record
If you know more about this painting or have spotted an error, please contact us. Please note that exhibition histories are listed from 2009 onwards. Bibliographies may not be complete; more comprehensive information is available in the National Gallery Library.