Benedetto Bonfigli – The Adoration of the Kings, and Christ on the Cross Part 1 National Gallery UK

The composition presents a striking juxtaposition of two distinct scenes, united within a single frame. On the left, we observe a stable-like structure, bathed in a warm, golden light emanating from above. Within this space, a seated figure, presumably Mary, holds an infant child – likely intended to represent Christ – while flanked by three figures identified as Magi or Kings. Each of these royal visitors is adorned with elaborate crowns and richly colored garments, holding ceremonial objects that suggest reverence and offering. A bearded male figure, possibly Joseph, sits adjacent to Mary, his posture conveying a sense of quiet contemplation. The stable itself incorporates traditional symbols associated with the Nativity: an ox and an ass are visible within the enclosure.
The right side of the painting dramatically shifts in tone and subject matter. Here, a depiction of Christ’s crucifixion is presented against a backdrop of a muted landscape under a dark sky. The figure on the cross displays signs of suffering, his body rendered with a degree of realism that contrasts with the more stylized figures on the left. A halo encircles his head, marking him as divine.
The artists choice to combine these two narratives – the Adoration and the Crucifixion – is significant. The juxtaposition creates a visual dialogue between the joyous birth of Christ and the sorrowful event that would mark his death. This pairing suggests a contemplation on the cyclical nature of faith, encompassing both celebration and sacrifice.
The use of halos around several figures is consistent with artistic conventions of the period, signifying their sanctity or divine connection. The color palette is similarly characteristic: warm earth tones dominate the left side, while cooler blues and browns define the scene of the Crucifixion. This contrast reinforces the emotional distance between the two events.
The spatial arrangement also warrants attention. The division of the canvas into these distinct zones creates a sense of separation, yet the shared light source subtly binds them together. It is possible to interpret this as an allegory for the journey of faith – from humble beginnings and joyous recognition to ultimate suffering and redemption.