FEMALE NARRATOR:
The gilded altarpiece facing this audio point was made in Germany in about 1500 – 1520. It is slightly more than a metre, or three feet, in width and height and depicts three kings offering gifts of gold, frankincense and myrrh to the infant Christ. The panel once had two side wings attached, but they’re now lost. Above the main scene is a delicately carved curved band of ornate foliage.

In the centre sits the Virgin Mary, holding the naked Christ Child in her lap. Her long hair curls onto her shoulders and she wears a white veil on her head. The Virgin’s expression is serene. The skin of her face is painted a pale pink and her cheeks are rosy. The infant is similarly delicately painted. The Virgin and Child are sitting in the shelter of a dilapidated stable. Parts of the straw roof are missing and an archway behind them is broken. This broken building symbolises the old order that Christ will supplant. The Virgin and Child are flanked by the three kings and Saint Joseph. The eldest king, Caspar, kneels to the left of the Virgin. His head is bowed and his hands are pressed together in prayer as the Child blesses him. Caspar is balding and his beard hangs down to his chest. He wears a gilded robe with the side pinned up by a jewelled clasp, displaying one heavy boot. Originally his boots would have been silver but they’ve become black through oxidisation. Saint Joseph stands to the left of Caspar holding a casket in his right hand. He’s also bearded and balding, although a small forelock remains above his brows.

On the right-hand side, Balthasar, the middle-aged king, kneels to present his offering. He holds a decorative cup in his left hand. He has a full head of wavy hair reaching to his shoulders and his beard is thick and black. His gilded robe has double sleeves with one hanging down by his side, a sign of high status. Balthasar also has a satchel over his shoulder decorated with two scallop shells, symbols of pilgrimage.

To his right stands the third king, identified as Melchior by the letters MELCH inscribed into his left sleeve. Melchior is black with short curling black hair and a youthful face. He wears a gold earring and a gold chain around his neck. He’s dressed in a gilded knee-length gown. A sword hangs from his belt.

The story of the kings is recorded briefly in the gospel of St Matthew. By 1300 the kings usually represented the Three Ages of Man – Youth, Middle Age and Old Age – as well as the known world of the time, Europe, Africa and Asia. These depictions were a sign to worshippers that all of humanity would recognise Christ’s authority.

MALE NARRATOR:
This piece, Puer natus in Bethleem, or A Boy is Born in Bethlehem, was one of the traditional Christmas songs popular in Northern Europe around 1500. These songs were well known and sung in much the same way as today’s Christmas carols. The lyrics tell of the joyful birth of Christ, with everyone from angels to shepherds rejoicing. Three kings arrive, with their gifts of gold, incense and myrrh — gifts symbolising Christ’s kingship, divinity, and humanity.

This version of the song is sung in Latin, the language of the Catholic Church across Europe at the time. But song’s like this one were also performed in local languages and included in songbooks people could use at home. The text, in English, is on the screen of this audio point.

MUSIC BEGINS.

Translation

A boy is born in Bethlehem,
for this all Jerusalem rejoices.
Love, love, love,
how sweet is love!
Like a bridegroom from the bridal chamber
he proceeded from his mother’s womb.
The ox and the ass knew
that this child was the Lord.
The angel choir rejoices,
the shepards too are joyful.
The kings come from Sheba,
they offer gold, incense and myrrh.
Let us bless the Lord,
the one, the three-fold, the eternal.
Let us then with the angels
forever give thanks to God.

MALE NARRATOR:
In one of the cases in front of this audio point, there is a small reddish wax model showing the contorted figure of a male nude. It was made by Michelangelo, arguably the greatest artist of the sixteenth century. It was made as a study for a figure of a slave — one of 40 large marble statues that were planned to decorate the tomb of Pope Julius II. But Michelangelo, who received the commission in 1505, was kept so busy by the Pope and his succesors that he never completed the tomb.

Many of the objects in this part of the gallery are models, rather than finished works of art. They show the early stages in the creative process when an artist is exploring and developing ideas. Models helped a sculptor to finalise a design before carving in marble or other expensive materials. Wax was an ideal material to make quick sketches as it becomes supple when warm and can be shaped and re-worked as an idea changes.

Michelangelo destroyed many of his preparatory models. But his fame — as well as a growing interest in the creative process — led collectors to acquire and preserve some of his drawings and models. Thanks to generations of collectors who treasured this fragile wax model, it has survived for more than 500 years.