Florence, late 15th century. An anonymous painter composes a scene of moving intimacy: the Adoration of the Christ Child, where the sacred and humanity intertwine.
A Tempera of a Thousand Details
The tempera on panel reveals its delicacy in every brushstroke. The circular format, called a tondo, concentrates all gazes toward the Christ Child at the center. The Virgin in red and gold robes leans forward with infinite tenderness. Saint Joseph, his face marked, holds his staff with dignity. The young Saint John the Baptist, standing, holds the Christ in adoration. Two shepherds appear on the right: one carries a lamb on his shoulders. Beyond the rudimentary hut, an abundant mountainous landscape extends, populated with tiny figures. Joseph’s Nordic features contrast with Mary’s Florentine softness.
A Florentine Artistic Mystery
This work bears the name of an unknown artist: the Master of the Borghese Tondo. Scholars today lean toward Jacopo del Tedesco, a pupil of Domenico Ghirlandaio, active in Florence around 1503. The attribution has long oscillated between Pollaiolo and Girolamo di Benvenuto. The tempera testifies to the artistic effervescence of Florentine Quattrocento. Northern influences blend with Tuscan grace, creating a fascinating hybrid style.
Master of the Borghese Tondo
The Master of the Borghese Tondo, active in Florence between the late 15th and early 16th century, draws from Ghirlandaio his manner of painting female faces. His personal style marries Florentine rigor and Flemish realism. This work preserved at the Galleria Borghese perfectly illustrates his art.
A Question for You
💭 And you, what do you think of Renaissance artists who chose to paint the Nativity not as a triumphant celebration, but as this fragile moment in a stable?
About This Work
- Adoration of the Child
- Master of the Borghese Tondo
- late 15th century
- Tempera on panel
- diameter 78 cm
- Galleria Borghese, Rome
- https://www.collezionegalleriaborghese.it/opere/adorazione-del-bambino-3
