Miraculous Baby King

(details from Cimabue, Enthroned Madonna and Child, c 1285, Galleria degli Uffizi, Florence) and Unknown, c appx 2000, Knox South Side Fire House)

Cenni di pepo, called Cimabue by art historians was also called Oxhead by his friends. Oxhead because if he detected any imperfection in his painting or received criticism of a painting, he would destroy it. So when I look at the detail of the baby Jesus from a great altarpiece for the church of Santa Trinta’ in Florence, Italy I wonder that the painting survived. There is something seriously wrong about the infant Jesus. For one his head is way too small. Babies have heads much bigger that that. Furthermore his wise stare, upright posture, hands, feet, and gesture all seems adult. He seems to have an adult intelligence. Note the scroll in his left hand. http://www.virtualuffizi.com/uffizi/img/8343.jpg

Oxhead didn’t destroy this painting because it looked exactly the way he intended. Art historians call this portrayal, “Christ, the miraculous baby king”. The artist represents the wondrous attributes of Christ in this expressive manner. The worshipers in the 13th century would look up at the altar and contemplate this huge painting (over 12 feet tall). The message was that this was no ordinary child, but a miraculous child king.

The fireman exhibits obvious distress. The artist shows the aftermath of a close encounter with death. The fireman’s eyes and gasping breathing and tight facial muscles show the rush of adrenalin and fear. The rescue must be at the point where the fireman has just escaped the burning building. We sense that in the next second his fear will turn to joy and he will be grinning ear to ear as he celebrates the rescue and his comrades cheer. There is a hint of that change as his hands have already begun to relax what must have been a desperate grasp.

But what is the nature of this child? As in Cimabue the proportions of the child are adult-like. The child’s response to the life-threatening situation is uncanny. He shows no fear. His hand does not grasp at the mask or garment of the firefighter, as we would expect. His facial expression is unimpassioned. He is not relaxed nor is he struggling. He searches not for his mother, but seems to be looking resolutely outwards towards his future destiny. He had no expectation or fear of death. This no ordinary child, but it is a new sort of miraculous child king. I take this sculptural group as a symbolic expression of the NYPD saving American Capitalism at 9/11. This child king is American business looking resolutely forward to the task at hand, saving our economic system. We are the firemen, scared and shaken. The child is Capitalism reborn; miraculously ready to lead the way to new prosperity. He is already pushing the fireman away and ready to stand, and proceed towards the goal so firmly etched in his facial expression.