Perspective

When Tyler Cowen posted this painting on his economics blog with no comments other than "National Gallery, London" and "15th through the 17th centuries", I blew past it. It was just a depiction of Jesus from the period, paling before well-known works by Michelangelo, Da Vinci, and El Greco.

I went back an hour later. Obviously the theme is Jesus being baptized, the figure to the right pouring water is John the Baptist, and the white bird directly above Jesus is the Holy Spirit.

To the right a second baptismal candidate is prepping himself, and to the left are three angels, the wings a clue to their identity. All parties are barefoot--even the bottom of the tree resembles a human foot. And how come so big a tree didn't have roots that bulged the ground, and why did the Jordan River look like a man-made ditch?

Well, enough wondering, ruminating, and teasing out the artist's intentions. The Internet is the death of figuring things out for oneself; it's too easy to just look up the answer.

In less than a minute the painting was identified as as the 15th century Baptism of Christ by Piero della Francesca. I had discerned the basics but certainly didn't know the following:

The original triptych frame may have included a roundel above the dove showing God the Father, which with Christ and the dove representing the Holy Spirit would complete the Holy Trinity. The figure of Christ, John's hand and the bowl, and the bird, form an axis which divides the painting in two symmetrical parts.

A second division is created by the walnut tree on the left, with white bark that echoes the white skin of Christ, which divides the painting according to the golden ratio.

Balancing the figure of John to the right, but separated from Jesus by the tree's trunk, are three angels on the left who are wearing different clothing. In a break from traditional iconography, the angels are not supporting Christ's garments, but are holding each other's hands. This could be an allusion to the contemporary Council of Florence (1431–45), whose goal was the unification of the Western and Eastern Churches. The Camaldolese monk and theologian, Saint Ambrose Traversari (+1439), who had been Prior General of the Camaladolese congregation, had been a strong supporter of the union. Such symbolism is also suggested by the presence, behind the neophyte on the right, of figures dressed in an oriental fashion, usually interpreted as Byzantine dignitaries. Alternatively, the three angels could also represent the three aspects of the Holy Trinity.

Piero della Francesca was renowned in his times as an authority on perspective and geometry: his attention to the theme is shown by John's arm and leg, which form two angles of the same size.

The backdrop of the entire painting is not the surroundings of the real Jordan River but Piero della Francesca's native Tuscany.

The Renaissance artist had embraced the period's fascination with geometry, and how perspective and symmetry enhance the beauty of the piece.

The weird white walnut tree frames Jesus on the left and balances John the Baptist to the right. I still don't know why the artist chose a tree to make his painting symmetrical nor why it is featured so prominently. In my dotage I've accepted that there are some questions I'll never know the answer to.