Material : Fresco
| TEMPTATIO IESU CHRISTI LATORIS EVANGELICAE LEGIS
Item 22 on 28
Indoor Architecture
Fresco (Wall fresco)
Vitrine : 7
Area related
Le Vatican (Le Vatican)
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| Description |  |
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The title over the fresco ("TEMPTATIO IESU CHRISTI LATORIS EVANGELICAE LEGIS") refers to the Temptations of Christ described in the Gospel of Matthew (Matthew 4:1-11), even if these are placed in the background, where they are shown in three successive scenes. On the upper left Christ meets the devil, in the form of a hermit, who asks him for a miracle in order to tempt him. In the centre Satan on top of the pediment of a temple which recalls the Santo Spirito Hospital (near the Vatican), the construction of which was promoted by Sixtus IV, challenges Jesus to throw himself off. Lastly, on the right, Jesus makes the devil fall from a cliff. A sacrificial rite is shown in a prominent position, in the foreground. This is usually interpreted as that offered by the leper after he was healed by Christ (Matthew 8: 1-4; Mark 1: 40-45; Luke 5: 12-16). Some also see a symbolic value in this scene and they identify the high priest with Moses and the youth with Christ, who will redeem mankind with the sacrifice of his own blood.
The fresco which Botticelli began in July 1481, is the third scene within the Christ cycle and depicts the Temptation of Christ. Christ's threefold temptation by the Devil, as described in the Gospel according to Matthew, can be seen in the background of the picture, with the devil disguised as a hermit. At top left, up on the mountain, he is challenging Christ to turn stones into bread; in the centre, we see the two standing on a temple, with the Devil attempting to persuade Christ to cast himself down; on the right-hand side, finally, he is showing the Son of God the splendour of the world's riches, over which he is offering to make Him master. However, Christ drives away the Devil, who ultimately reveals his true devilish form.
On the right in the background, three angels have prepared a table for the celebration of the Eucharist, a scene which only becomes comprehensible when seen in conjunction with the event in the foreground of the fresco. The unity of these two events from the point of view of content is clarified by the reappearance of Christ with three angels in the middle ground on the left of the picture, where he is apparently explaining the incident occurring in the foreground to the heavenly messengers. We are concerned here with the celebration of a Jewish sacrifice, conducted daily before the Temple in accordance with ancient custom. The high priest is receiving the blood-filled sacrificial bowl, while several people are bringing animals and wood as offerings.
At first sight, the inclusion of this Jewish sacrificial scene in the Christ cycle would appear extremely puzzling; however, its explanation may be found in the typological interpretation. The Jewish sacrifice portrayed here refers to the crucifixion of Christ, who through His death offered of His flesh and blood for the redemption of mankind. Christ's sacrifice is reconstructed in the celebration of the Eucharist, alluded to here by the gift table prepared by the angels.
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