The Adoration of the Kings

Paolo Veronese, or Paolo Caliari, painted the Adoration of the Kings, a piece that is also known as The Adoration of the Magi, in the early 1570s for the Scuola de San Giuseppe for the Church of San Silvestro [1]. In this piece, Veronese’s distinct style, which had been influenced by his contemporaries, Titian and Tintoretto, [2] of creating a distinctly fluid and harmonious style while utilizing exquisite detailing and vivid coloring can be seen in his depiction of the birth of Jesus. [3] In this particular biblical scene, the three kings, or the three magi, have come to visit the Virgin Mary and the child Jesus to pay their respects to these important, divine figures.

 Though there is an abundance of color and detail in this piece, the viewer cannot help but be drawn to the figure of the Virgin Mary. Veronese utilizes line in conjunction with color to create an emphasis on the Virgin. From the top left corner diagonally to the Virgin, a bright, golden light emanates from the heavens to illuminate the Virgin’s face. This detail works in hand with the contrast of light and dark in this piece to emphasize the Virgin. Particularly, there is a brightness and illumination on the Virgin and Child Jesus when compared to the surrounding figures, such as the three kings and the other individuals around her. These factors combine to create an emphasis on the Virgin Mary and Jesus and place them as the key and central figures of this piece. Further contributing to the importance of the central figures in this scene, is the positioning of the Virgin Mary and the child Jesus she holds in her arms. She is placed above the visiting magicians in a manner that elevates her above them both in a physical manner and in a divine manner. Her elevation above them bolsters the portrayal of her divinity and marks her as a conduit of God’s protection and connection to the natural and profane world. This allusion paired with her gaze, down towards the three kings, can extend to show her as a divine figure looking down towards the visiting kings in approval. Beyond the individual details surrounding the Virgin Mary and child, there is an abundance of detail and color in the piece as a whole. The patterning on the clothes of the magi and the grandiose roman arches in concord with the deep blue of the sky and the shining greens and reds of the fabric coalesce to signify to viewers, both of the time and contemporary, of the importance of the scene.

Veronese has created a fitting piece for such a central biblical event. His manipulation of light, color, line, and position not only create an emphasis on the Virgin Mary and child as important figures but does so in a manner that celebrates their divinity and emphasizes their divine connection to the natural world of Venice.

[1] Irene Brook, "Veronese," Renaissance Studies 30, no. 3 (2015): 457.

[2] “Paolo Veronese,” The National Gallery, accessed October 5, 2020, https://www.nationalgallery.org.uk/artists/paolo-veronese.

[3] Diana, Gisolfi, "Veronese [Caliari], Paolo" Grove Art Online, (October 2011): 1. 

• Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online, (October 2011). https://doi.org/10.1093/gao/9781884446054.article.T089003
• The National Gallery, London.“Paolo Veronese.” accessed October 5, 2020. https://www.nationalgallery.org.uk/artists/paolo-veronese.
• Brook, Irene. "Veronese," Renaissance Studies 30, no. 3 (2015): 457. 
• Cocke, Richard. Veronese. London: Chaucer Press, 2005.
• Salomon, Xavier. Veronese. London: National Gallery Company, 2014.