The Adoration of the Three Kings by Gentile da Fabriano is undoubtedly one of the must-see paintings in the Gallery of Statues and Paintings in Florence (Uffizi Gallery). Rich in gold, elegantly dressed characters, exotic animals, and unexpected details, one could spend hours admiring it. Commissioned in 1423 by Palla di Noferi Strozzi, a man of great culture, charm, and beauty.
Palla Strozzi wanted to donate his extensive library collection to the Basilica of Santa Trinita, which would be placed in the sacristy. As a complement to this gift, he asked Gentile da Fabriano for a painting so magnificent that it would showcase his wealth. He must have told him not to spare any expense in the use of gold and lapis lazuli because he would foot the bill. And so Gentile did, completing the painting in May 1423, as indicated at the bottom of the richly gilded wooden frame.
The Journey of the Three Kings unfolds from one side of the painting to the other: in the top left lunette, the Magi are on the mountain where they see the comet star and decide to follow it; in the central lunette, they make their way with a large procession to Herod’s castle, where they are seen entering in the right lunette. Someone must have told them that there is nothing and no one of what they were seeking, so the procession changes direction, and in the foreground to the right, the three Kings are in the presence of Baby Jesus. The eldest of the three, Melchior, removes his crown and kneels before the child, who cannot resist touching his wrinkled forehead with his tiny hand. Baldassarre, the one with dark skin, is about to make the same gesture, while Gaspare, the youngest, has just dismounted his horse, and a servant is removing his spurs. Behind him, the procession is crowded with people and animals: horses with precious harnesses, a greyhound, a lion, a leopard, two monkeys on a camel’s back. And then, men in refined garments, colorful hats, and special footwear. Among them, one stands out, with a scruffy beard and an intense gaze, holding a falcon on his forearm and wearing a blue and gold headpiece. For us, the message is undecipherable unless studied, read, or told; but he is Palla Strozzi, the owner of the painting, who does not want any ambiguity about who paid for such beauty. By his side, the painter, Gentile da Fabriano, is represented with a red turban, the round hat of the time.
Many times, we are amazed by the elegant refinement of Florence and its art, which fills the streets, squares, museums, and we are so fascinated that it’s difficult for us to remember that there were advertising intentions behind it at the time! Just as if today we were to see, in a religious-themed painting, a character dressed in Armani, Valentino, or Dolce & Gabbana, we would immediately understand the intention of the choice. In the past, it was the same, only it’s harder for us to notice because the filter of time allows us, at first glance, to appreciate only the beauty of what we see. Let’s also think, in a room not far from Gentile’s, about the Annunciation by Simone Martini, from 1333. The cloak of the announcing Angel is in Scottish fabric. The painting would have been placed in the Cathedral in Siena, which had commercial agreements with Scotland, making it easy to obtain this type of fabric. In this case too, therefore, art serves to boast and show the wealth and opulence of a place.
