St. Joseph and the Christ Child
Carlo Francesco Nuvolone (attributed to)
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Toggle Pins
Bronze
Egyptian, 1648-1540 BC (15th Dynasty)
The Egyptian Pharaohs of the Middle Kingdom (ca. 2030–1650 B.C.) began uniting their country after years of civil war and turmoil. The Middle Kingdom brought increased prosperity and public projects which benefited all the people, not just the ruling class. History shows a variety of people groups took residence in Egypt: prisoners of war, traders, craftsmen, diplomats and more from bordering countries.
However, around 1650 BC, one of the well-established foreign groups of people, known as the Hyksos, rose to power as the 15th Dynasty. These rulers continued to maintain the Egyptian traditions and way of life, which Rosalie David explains in Handbook to Life in Ancient Egypt, “Foreign influence was minimal in the formative years of the society, allowing the distinctive Egyptian traditions to become firmly established. The culture was so all-embracing and pervasive that, when it finally encountered foreign ideas and customs, these were either readily absorbed and Egyptianized or had little or no impact on the mainstream culture.”
Egyptians focused a great deal on their outward appearance. All men, women and children wore some type of make-up both for beautification and protection from the sun. Egyptians emphasized cleanliness often bathing multiple times per day. To discourage lice, both men and women shaved their heads and wore wigs. Egyptian dress even indicated status and social class. Generally, draped and tied pieces of fabric in square or rectangular shapes formed the basic component of Egyptian garments. The most common textile was linen, which was made from flax, spun and woven by women. The linen was a natural, creamy white color or bleached pure white.
At first glance, these simple metal sticks seem insignificant. However, toggle pins served an important function in ancient civilizations. Ancient peoples used toggle pins to fasten garments closed especially cloaks and mantles much like we use buttons, zippers and other fasteners. They were often used to attach fabric at the shoulders, chest and waist. If needed, more than one could be used for added security. The array of foreigners in Egypt explains the presence of toggle pins in Egyptian excavations. The Egyptians most likely imported toggle pins or aimed their production toward Canaanite residents in Egypt since such pins were associated with Canaanite dress.
Toggle Pin (ca. 17th–16th century B.C.) from the Metropolitan Museum of Art
Bronze toggle pins were most common; however, the wealthy could opt for pins made of gold and silver. On occasion, pins would be formed from bone and ivory. The earliest forms were simple pins with no apparent head, but they evolved into various types such as the nail head, knob head and melon head pins. Some toggle pins contained a hole either for a string to help secure the garment or as a place to hang other decorative objects. Vere Gordon Childe in The Bronze Age: Typology describes how a pin and string were used: “To keep the pin in position a thread was passed through or tied on to its head, looped round the fold of the stuff to be fastened, and the end wound round the shaft again.”
Frank and Barbara Bowen
These Toggle Pins are part of M&G’s Bowen Collection of Antiquities. Collectors Frank and Barbara Bowen took an interest in archaeology believing objects from the Holy Land could illuminate their study of the Bible. They completed five trips to the Holy Land in the 1930s-1940s collecting artifacts. They studied and researched at the American School of Oriental Research in Palestine where they met Sir Flinders Petrie, the famous English Archaeologist and Egyptologist. He became not just their teacher but also their friend, and after Petrie’s death, his wife Hilda (an active archaeologist herself) donated a number of Egyptian antiquities to the Bowens’ collection. After completing their travels, the Bowens actively sought a home for their collection eventually donating it entirely to Bob Jones College in Cleveland, Tennessee for a museum. They stayed with the collection as curators. When Bob Jones College became Bob Jones University and moved to Greenville, South Carolina, the Bowens moved as well and continued as curators and docents. Today, these Toggle Pins along with many other artifacts continue to fulfill the Bowens’ goal of “making the Bible come alive” through studying the objects used in the everyday lives of ancient peoples.
Frank and Barbara Bowen teaching a class of children in the Bowen Museum
Rebekah Cobb, Registrar
Published in 2020
Madonna and Child
Carlo Dolci
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The Wedding Feast at Cana
Oil on canvas
Giovanni Domenico Piastrini
Roman, 1678-1740
This magnificent 18th-century Roman work may be a rare one by Giovanni Domenico Piastrini and betrays a strong connection to his teacher Benedetto Luti. Piastrini was arguably his best pupil, though very little survives to document his life or oeuvre. Some experts believe that certain passages (for example, the handling of the male figure at the left forefront of the table, the woman at the far right of the table, and the brushwork in the kneeling figure at the extreme right) are painted as if by Luti himself. Other portions, such as the bride and groom, betray a strong connection to the early work of Luti’s other student, Placido Constanzi. While Piastrini’s style is clearly dependent on that of his teacher and his fellow student, other elements of the painting are clearly of his own derivation.
Though so little is definitively known about the painting, the one surety is the subject. Piastrini illustrates the first of Jesus Christ’s miracles (though not a public one) at the wedding feast of a friend of the family. John’s Gospel (2:1-11) clearly says that Mary was present, and that Jesus and His disciples were invited. The distinction is subtle, but important to the story.
Mary seems to be especially close to the hosts, close enough to be concerned that the wine was gone, unlike a mere guest. So Mary goes to her Son with only a statement of the need; she sees no reason to spell out her request. She knows her son. Jesus’ calling His mother, “Woman,” may seem cold, but He addresses her the same way from the cross as He directs John to care for her, a tender act under horrific conditions. The question “What have I to do with thee?” may possibly be a rebuke, but only a very gentle one considering that He resolves her concern. He was here on earth to show that He was the Messiah, not to solve a banquet shortage. However, His relationship with His mother is such that she has utmost confidence in His compassion, even in situations of social crisis. Trustingly, she issues instruction to the servants, “Whatsoever He saith unto you, do it” (v. 5). Again, only a close friend would give another’s servants an order, especially of such an open-ended nature. Jesus may not have an obligation to solve the problem, but Mary apparently feels a responsibility to save her friends from embarrassment. And Jesus is touched with compassion for her.
Piastrini places Mary next to an older woman, probably the mother of the groom who is clearly enthralled with his bride. (And, she is apparently appreciative of her wedding necklace!) Mary’s eyes are downcast submissively (remember her submissive answer to Gabriel’s surprising news?), and her hands are in the classic pose of prayer. Perhaps Piastrini reflects the Catholic tradition of Mary as the intercessor to Christ for those on earth. She has certainly interceded for the hosts, but not in any way remotely connected to eternal salvation. It is doubtful that the artist’s rendering depicts the moment she asks her Son for help since the servants are posed to pour out the water-into-wine for the governor of the feast, according to Christ’s instruction.
The governor of the feast (in the green) is clearly discussing the matter of the empty wine vessel (made of fine silver to show the importance of the occasion). The servant on the left side reassures him that there is more wine ready to serve. No one else seems to be concerned, not even Mary—now. Presumably the stone water jars which now hold wine are too heavy to pour from, so the servant in the right foreground uses a smaller silver vessel to pour the beverage into the larger silver urn from which the serving pitcher can be filled.
John carefully relates that no one knows where the latest—and best—wine has come from. Except the servants. Christ has not revealed Himself to the general public for His “hour had not yet come.” But He did reveal Himself to the common man, as He always did in His ministry, finding in them a willingness to believe in His deity that the religious leaders of the day did not. Piastrini composes his work so that the common man and the miracle itself are in the foreground of the painting and thus, in the forefront of the viewer’s mind. Christ’s upraised hand in the iconic pose of blessing shows He not only blesses the feast with His provision, but also the marriage with His presence.
Whether by a single artist or as a collaboration, The Wedding Feast at Cana celebrates the early 18th-century Roman style. The brilliant coloration of fabrics, the monumental size (almost 6×12 feet!), the gestured poses of multiple figures, and the classical architecture serving as backdrop for the staged event all contribute to a masterful late Roman interpretation of this biblical banquet scene.
Karen Rowe Jones, M&G board member
Published in 2020
Imperial Red Cross Easter Egg, 1915
Peter Carl Fabergé (Russian, 1846-1920), Henrik Wigström (Russian, 1862-1923, House of Fabergé (Russian, 1842-1918)
Gold, silver, enamel, glass, ivory; overall: 8.6 x 6.4 cm (3 3/8 x 2 1/2 in.)
The Cleveland Museum of Art, The India Early Minshall Collection 1963.673
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Christ on the Cross
Oil on panel, c. 1610, branded on reverse with the seal of Antwerp Guild of St. Luke
Peter Paul Rubens
Flemish, 1577–1640
So they took Jesus, and He went out, bearing His own cross, to the place called The Place of the Skull, which in Aramaic is called Golgotha. There they crucified Him, and with Him two others, one on either side, and Jesus between them. John 19:17,18
Christ on the Cross is one of M&G’s better-known paintings, due in part to the great master who created it. Peter Paul Rubens was born in Seigen, Germany and reared Roman Catholic. At age 12, his family returned to Antwerp, where he received a classical education, typical of the influence of Renaissance Humanism. In the Netherlands, he more than likely apprenticed under the leading artists of the day including Tobias Verhaect, Adam van Noort, and Otto van Veen. By 1598, he obtained the status of a master painter and entered the Antwerp Guild of Saint Luke, similar to a union for artists.
To continue his training, he moved to Italy two years later, where exposure to masterworks by artists like da Vinci, Michelangelo, Titian, and Caravaggio further influenced his developing style. During his eight years on the peninsula, he completed commissions for nobility and churches in both Italy and Spain, spending much of his time serving the Duke of Mantua. By the time he returned to Antwerp in 1609 his renown as an artist preceded him. In his lifetime he filled hundreds of commissions, served as a court painter (in Italy and the Netherlands), diplomat, and ambassador.
As the head of a large studio, he employed as many as three hundred assistants to help him meet the commissions he received from European kings and aristocracy. His workshop included artists who specialized in certain parts of a painting’s composition such as animals, flowers, or physical features. Although, Rubens most likely often painted the hands, feet, or faces of individuals. One of his best-known students is Anthony van Dyck, also represented in M&G’s collection. Rubens’ pageant-like paintings represent the apex of the High Baroque style. He stands as one of the greatest, if not the greatest, baroque artists of the Golden Age.
According to several specialists, M&G’s painting is recognized as one of Ruben’s better works. Likely, this work was a modello or prototype that would be referenced by an assistant to copy and complete a larger, commissioned version, which may explain some of the unfinished elements such as the absence of the crown of thorns and writing above Christ’s head.
Additionally, some stylistic features are distinctive to this specific painting including the single cross instead of three and a nail for each appendage. However, Christ’s position with his arms spread upward instead of outward represents a turning point in Christian iconography. In an exhibition catalog, former North Carolina Curator David Steel, explains Rubens’ novel depiction: “Rubens’ Christ suffers heroically, his muscles tense, his fingers clenched, and his arms raised almost straight above his head, thrusting his torso outward. This image emphasizes the physical sacrifice which Christ suffered on behalf of mankind, yet his upward straining, restated in the staves below, suggests his ultimate triumph.”
Of the three crosses on Golgotha, Christ was in the middle, the place reserved for the most notorious of lawbreakers. Rubens presents Christ, the perfect Son of God, as the singular focus of punishment and suffering, which the Apostle Paul emphasizes in II Corinthians 5:21, “He hath made Him to be sin for us, who knew no sin; that we might be made the righteousness of God in Him.” Meditate and marvel at the wonder of God’s crucified and resurrected Son during this Easter season!
John Good, Security Manager and Docent
Published in 2020
The Resurrection
Vasiliy Fedotovich Il’in and D. Tverskoy
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The Mocking of Christ
Oil on canvas
David de Haen
Dutch, c. 1597-1622
And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand: and they bowed the knee before him and mocked him, saying, Hail, King of the Jews!
Matthew 27:29
Artist David de Haen is the creator of this interesting canvas, which is called a lunette due to its half-moon shape. The painting is a variant copy painted by the artist of the original subject (and same shape) created for the Pietà Chapel in San Pietro de Montorio in Rome. The original lunette was designed to hang above the large altarpiece depicting Christ on The Way to Calvary. The church has multiple small chapels decorated by various prominent Italian painters from the sixteenth and seventeenth centuries; however, two seventeenth-century Dutch painters are also represented, and de Haen is one of them.
De Haen was born in Amsterdam sometime around 1597 and lived very briefly—just 25 years—with much of his time spent in Rome. Before his death in 1622, he created some notable works including the Entombment, which was destroyed in Berlin during World War II. The commission for the Pieta Chapel was shared with Dirck van Baburen, an artist also represented in M&G’s collection with St. Sebastian Aided by St. Irene. Both de Haen and Baburen were influenced by Caravaggio’s dramatic style. After his time in Rome, Baburen returned home to Utrecht, where he is credited as a key influencer of the Utrecht Caravaggisti—a group of artists following Caravaggio’s well-known trademarks of realistic representations of people and stark contrast of brilliantly lit scenes against darkly shadowed settings.
Dr. Jones Jr., M&G’s founder, acquired the painting for the Collection in 1986 and explained his fortuitous find, “It came up in an auction at Christie’s, and I noticed in the catalog that, when I measured it and checked the proportions, they exactly fit the end of the room (Gallery 5); so I bought it and put it here, although it is later than the other pictures in th[at] small gallery.”
A closer study of M&G’s painting reveals two men mocking Christ; both are dressed in period clothing of de Haen’s day. Two, less obvious individuals are seen in the background and could possibly represent Pilate and Herod or Caiaphas and his father-in-law Annas. The bench on which Christ is seated may allude to the stone slab that will ultimately entomb Him. The stone’s sculptural relief is similar to carvings found on Roman marble and limestone sarcophagi, which sometimes depicted narratives from the person’s life.
As you enter this Easter season, consider these words written by one of His closest followers, the apostle Peter: “For Christ also hath once suffered for sins, the just for the unjust, that He might bring us to God, being put to death in the flesh, but quickened by the Spirit” (I Peter 3:18).
John Good, Security Manager and Docent
For Further Study:
Podcast about David de Haen by Dutch expert Dr. Wayne E. Franits
About the artist himself
Published in 2020
Sir Henry Irving as Richard III, Duke of Gloucester
Edwin Long, R. A.
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Savonarola Chair
Walnut
Florentine, early 16th century
For a mundane piece of furniture with such a simplistic design as to be easily transportable, this folding chair bears the name of a big personality and has allowed countless VIPs to rest and rule simultaneously.
Girolamo Savonarola was a monk and religious reformer in Florence, Italy. He came to the Medici’s city in 1481 to serve at the Dominican monastery and church of San Marco (St. Mark). He proved to be honest and sincere, and he studied and memorized Scripture, which he applied practically to everyday living for himself and in his teaching. His preaching was passionate and dramatic, and he spoke against corruption in the church and papacy. His influence for morality and reform held popular support for a while, even garnering respect from Lorenzo, the Magnificent. Eventually, however, Savonarola was bitterly opposed by Rome. The pope enforced excommunication, suspension of the sacraments from the faithful, and a ban of trade, which affected Florence’s prosperous economy. Ultimately, the Florentines turned on him too, and Savonarola was sentenced to death. He was hanged and his body burned in the town square in 1498—just seventeen years after his arrival.
Shaped in the frame of an X, this Italian Renaissance Savonarola Chair is one of a few in M&G’s collection. The chair is constructed of walnut and is considered “unusual” by furniture expert Joseph Aronson because it only has five pairs of the thick, pivoted S-shaped strips of wood to hold the hinged seat. Normally, a chair like this might have six, eight, or even twelve pairs. However, these five rung pairs are each held together at the floor with a trestle for sturdiness, and the pairs are joined at the top by heavy arms with carved rosettes. The back of the chair is a modest board, which is attached loosely—easily removed when the chair needs to be folded.
The chair style has had many names through the centuries and geographical regions including the X-chair, curule, faldstool, scissors chair, Dante chair, and Luther chair. Because of its unique design, the chair traces its roots and practical service back to antiquity. A visual record exists of Egyptian Pharoah Tut’ankhamun sitting in the chair. Roman senators and consuls used a backless version of these portable seats, and in Romanesque and Gothic illuminations the kings of France are perched on it.
With Italy’s interest in Greek and Roman culture and thought, the Renaissance also revived awareness in the architecture and design from antiquity including furniture. One writer explains the era as “an exhibition of emancipated modern genius fired and illuminated by the masterpieces of the past.” During the awakening, the chair’s status of power continues in the pictorial records of seated bishops, emperors, and popes. Artists also rendered respected religious individuals in the chair such as St. Ambrose and Christ’s mother Mary.
The Museum of San Marco preserves and features the fifteenth-century Dominican monastery where Fra Angelico was Prior and who decorated many of the monk’s cells and interior spaces with beautiful frescoes. Girolamo Savonarola became the monastery’s Prior in 1491 and occupied three cells that today still display a few of his personal items, including a folding X-chair in his study and similar chairs in other parts of the museum.
However, it wasn’t until nearly 400 years after his torturous death that the chair became associated with Savonarola specifically. In 1878, Florentine sculptor Giovanni Biggi created for the church at San Marco a bronze statue of the monk sitting pensively in an X-shaped chair.
Erin R. Jones, Executive Director
Additional Reading:
Furniture of the Italian Renaissance, Walter A. Dyer
Michelangelo and Seats of Power, Eric Denker and William E. Wallace
Faith of Our Fathers: Scenes from Church History, edited by Mark Sidwell
Anatomy of A Design Classic: The Savonarola Chair
Published in 2020
