31 - Flemish School. 16th - 17th centuries.

Flemish School. 16th - 17th centuries. ”Natus ad moriendum” Oil on marble or stone. Accompanied by a 20th century frame made of carved, gilded, polychromed and screen printed wood, referring to the iconography depicted. 54 x 50 cm. It has some faults. A magnificent work on panel that perfectly encapsulates one of the most profound theological and artistic currents in European Christian art, which became firmly established through Flemish and Dutch prints of the sixteenth and seventeenth centuries. This “Natus ad moriendum”, or “Born to Die”, moves beyond a purely idyllic vision of the Nativity of Jesus to introduce the prefiguration of his Passion from the very cradle. Our work is associated with engravings by Hieronymus Wierix, Hendrik Goltzius and the Sadeler brothers, with a few minor variations and artistic liberties. These prints became an ideal vehicle for disseminating this doctrinal message, which was strongly promoted following the Council of Trent as a means of countering the Protestant Reformation. In this “Natus ad moriendum”, the birth, or Incarnation, and the death, or Redemption, of Christ are inseparably united in a single scene. In a bedchamber with a chequered floor and a canopied bed positioned against the wall at the back on the right, a celestial light breaks into the room. Three angels, symbolising the Trinity, carry a cross and present it to the Child as an offering. Seated on his Mother's lap in the pose known as Sedes Sapientiae, or Seat of Wisdom, the Child opens his arms to embrace it, while his Mother prepares to breastfeed him. To his right, serving as a manger, there is a square basket containing a cushion and the fabrics that kept the Child warm. In early Byzantine Nativity iconography and in medieval Eastern art, the cradle is not depicted as a wooden bed but instead takes the precise form of a tomb or sarcophagus. This cradle tomb thus becomes an integral part of the theology of the Nativity. Its meaning is straightforward: from the very first moment of his birth, Christ assumes human flesh for the sole purpose of surrendering it. The cradle is already the altar of the ultimate sacrifice. Similarly, the swaddling clothes that tightly envelop the Christ Child visually resemble the burial wrappings or shroud in which he will be laid after the Crucifixion. The descending angels carry the principal attribute of the Passion, the Cross, the central and most prominent element among the Arma Christi, or Instruments of the Passion. The Child's peaceful stretching towards it symbolises his acceptance of the tragic destiny that accompanies him from infancy. Death is not an accident in his life but a voluntary submission to his fate. From a theological perspective, this iconography challenges the separation of Christian feasts. It reminds the viewer that the mystery of Christmas cannot be detached from Easter. God becomes fragile and limited in the form of a baby, not to remain in the manger, but to acquire a physical body through which he can die and redeem humanity. It is the visual representation of the words in Hebrews 10:5: “A body hast thou prepared me. Lo, I come to do thy will.” The gazes of the figures are significant. The angels direct their eyes towards the Cross, Mary and the Child, drawing them all into the scene as they descend from the celestial realm. The Child, who does not usually look towards his Mother in this particular representation, fixes his gaze on the Cross, accepting his destiny. The Virgin Mary lowers her eyes towards her breast, her face expressing profound melancholy or cogitatio, a state of sorrowful meditation, fully conscious of the sword that would pierce her soul. The present carved frame surrounding the painting is particularly well chosen. Gilded, polychromed and screen printed, it bears the inscription “IESU, TIBI SIT GLORIA, QUI NATUS EST DE VIRGINE”, meaning “Jesus, glory be to you, who were born of the Virgin”. This verse belongs to the final stanza of several traditional liturgical hymns of the Catholic Church, including “O Gloriosa Virginum”, as well as Christmas hymns and hymns from the Liturgy of the Hours, which praise the Incarnation of Christ. Without a doubt, this is an intimate and devotional work of very fine craftsmanship, one that will amply fulfil the expectations and bring great pleasure to any discerning collector.