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| Miracle of the Palm Tree Spanish, c.1490-1510 New York, Metropolitan Museum of Art |
“And it came to pass
on the third day of their journey, while they were walking, that the blessed
Mary was fatigued by the excessive heat of the sun in the desert; and seeing a
palm tree, she said to Joseph: Let me rest a little under the shade of this tree.
Joseph therefore made haste, and led her to the palm, and made her come down
from her beast.
And as the blessed
Mary was sitting there, she looked up to the foliage of the palm, and saw it
full of fruit, and said to Joseph: I wish it were possible to get some of the
fruit of this palm. And Joseph said to her: I wonder that you say this, when
you see how high the palm tree is; and that you think of eating of its fruit. I
am thinking more of the want of water, because the skins are now empty, and we
have none wherewith to refresh ourselves and our cattle.
Then the child Jesus,
with a joyful countenance, reposing in the bosom of His mother, said to the
palm: O tree, bend your branches, and refresh my mother with your fruit. And
immediately at these words the palm bent its top down to the very feet of the
blessed Mary; and they gathered from it fruit, with which they were all
refreshed. And after they had gathered all its fruit, it remained bent down,
waiting the order to rise from Him who had commanded it to stoop. Then Jesus
said to it: Raise yourself, O palm tree, and be strong, and be the companion of
my trees, which are in the paradise of my Father; and open from your roots a
vein of water which has been hid in the earth, and let the waters flow, so that
we may be satisfied from you.
And it rose up
immediately, and at its root there began to come forth a spring of water
exceedingly clear and cool and sparkling. And when they saw the spring of
water, they rejoiced with great joy, and were satisfied, themselves and all
their cattle and their beasts. Wherefore they gave thanks to God.”
The “Gospel” of Pseudo-Matthew 1
In two earlier articles I have discussed the iconography of
the Flight into Egypt. 2 In
this article I will begin to discuss the iconography of the related subject of
The Rest on the Flight into Egypt. While
the Flight has its basis in the Gospel of Matthew (Matthew 2:13-15), the text
dealing with the Rest on the Flight comes from an extra-Biblical source, the
apocryphal writing known as the “Gospel” of Pseudo-Matthew, part of which is
quoted above.
Presumably the trip from
Judea to Egypt would have required several days of walking to complete, so the
necessity for several rest periods is implicit in the Gospel text. The apocryphal writers simply embroidered the
simple idea that a rest or rests would have been needed in order to complement
the Gospel account.
The open-endedness of the subject, due to the
extra-Biblical character of the source material, far less binding than would
have been required for a Biblical account, left artists free to invent details
and explore some of the implications of the Incarnation at the beginning of
Jesus’ life.
 |
| Pier Francesco, Mola, Rest on the Flight into Egypt Italian, 1635-1637 New York, Metropolitan Museum of Art |
What is also interesting,
however, is that there is a considerable amount of material related in Pseudo-Matthew about the journey of the Holy Family into Egypt that was not chosen for illustration by
artists. Among these are, Jesus’ defeat
of several fierce dragons who were initially menacing, but who, on recognizing
Jesus, bowed down and adored him and left the little party alone
(Pseudo-Matthew, Chapter 18); their “bodyguard” of lions and panthers, subdued
by Jesus, who accompanied them and protected the ox cart carrying their food
(Pseudo-Matthew, Chapter 19).3 Apparently, certain parts of the story
captured the interest of artists and their patrons and certain parts did not.
There are probably thousands of works of art called “Rest on
the Flight into Egypt”. I have often
been amused, as well as amazed, to see how times the subject appears in the
oeuvre of artists from the later Middle Ages to the present. After an extensive, but by no means
exhaustive, search for images of the subject I found dozens and dozens of
pictures imagining the embroidered tales of the Rest. They appear to fall into several general
categories, depending on what approach the artist has taken to the
subject. Each is slightly different, of
course, and many use combinations of the subject treatments that I have
established. However, I present them
here with the proviso that there are undoubtedly many, many more that I have
not yet seen and which may also present differing details.
The Rest Featuring
Fruit and Flowers
The earliest pictures of the “Rest on the Flight into Egypt”
that I have found come from the fourteenth century and are based directly on
the passage from the Pseudo-Matthew story that is quoted at the top of this
article. In these images, Mary, who is
either seated on the ground or still seated on the donkey, has expressed her
wish for some of the dates from the palm tree.
Jesus has already issued his command to the tree, which is usually seen
already bowed down, while St. Joseph harvests the dates. He is sometimes assisted by angels, who are
visualized as the means by which the tree bowed.
 |
| Master of the Roman de Fauvel, Miracle of the Palm Tree from Speculum historiale of Vincentius Bellovacensis French (Paris), 1333-1334 Paris, Bibliotheque nationale de France MS Francais 316, fol. 307 |
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| Miracle of the Palm Tree from Speculum historiale of Vincentius Bellovacensis French (Paris), c.1370-1380 Paris, Bibliotheque nationale de France MS Nouvelle acquisition francaise 15940, fol. 28v |
Over time the bending of the tree ceased and it became
angels alone who harvested the dates and brought them to the Child.
 |
| Ludwig Juppe, Miracle of the Palm Tree German, 1510-1520 Steinau (Main), Uerzell, Schloss Uerzeller, Chapel |
Also over time the fruits changed from dates to other kinds
of fruit. Most prominent among the early
pictures and continuing for centuries thereafter were grapes. Grapes have a special significance in
Christian iconography. They are
references to the Eucharistic wine which is transformed during the Mass to the
Blood of Christ, thus bringing a tone of sadness to the scene as it reminds the
observant and aware viewer of the reason behind this unusual Baby’s birth which
is the sacrificial death of Jesus for the redemption of humanity from the
inclination to sin brought on by Adam’s disobedience in the garden of Eden. 4
 |
| Lucas Cranach the Elder, Rest on Flight into Egypt German, 1504 Berlin, Staatliche Museen |
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| Gerard David, Rest on the Flight into Egypt Flemish, c.1510 Washington, National Gallery of Art |
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| Ippolito Andreasi, Rest on the Flight into Egypt Italian, c.1600 Paris, Musee du Louvre |
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| Corrado Giaquinto, Rest on the Flight into Egypt Italian, c.1740-1742 Paris, Musee du Louvre |
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| Jacques Stella, Rest on the Flight into Egypt French, 1652 Madrid, Museo del Prado |
In conjunction with the reminder of the Passion and
Redemption and Eucharistic Presence triggered by the appearance of grapes in
the fruits offered to the Christ Child, the Fall itself is included in the Rest
on the Flight when apples are among the fruit offerings.5
 |
| Gerard David, Rest on the Flight into Egypt Flemish, c.1512-1515 New York, Metropolitan Museum of Art |
 |
| Pieter Lastman, Rest on the Flight into Egypt Dutch, 1620 London, National Gallery |
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| Abraham Bloemaert, Rest on the Flight into Egypt Dutch, 1632 Amsterdam, Rijksmuseum |
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| Pietro da Cortona, Rest on the Flight into Egypt Italian, c.1643 Munich, Alte Pinakothek |
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| Jan Baptist Weenix, Rest on the Flight into Egypt Dutch, c.1647-1650 Philadelphia, Museum of Art |
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| Cosmas Damian Asam, Rest on Flight into Egypt German, 1725-1726 Kladruby, Monastery Church of the Assumption |
Also frequently appearing are cherries and pears. Unlike grapes and apples these fruits are
traditionally joyful symbols of heavenly bliss and of the love of God for
humankind.
 |
| Quentin Massys, Rest on the Flight into Egypt Flemish, 1509-1513 Worcester (MA), Worcester Art Museum |
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| Federico Barocci, Rest on the Flight into Egypt Italian, 1570 Vatican, Pinacoteca |
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| Francesco Albani, Rest on Flight into Egypt Italain, c.1630-1637 Fontainebleau, Musee national du chateau de Fontainebleau |
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| Claude Lorrain, Landscape with the Rest on Flight into Egypt (Noon) French, 1661 St. Petersburg, State Hermitage Museum |
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| Adriaen van der Werff, Rest on the Flight into Egypt Dutch, 1714 Amsterdam, Amstelkring Museum |
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| Francesco Mancini, Rest on the Flight into Egypt Italian, c.1730 Vatican, Pinacoteca |
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| Jacques Stella, Rest on the Flight into Egypt French, c.1640 Glasgow, Hunterian Art Gallery, University of Glasgow |
Combinations of several types of fruit became increasingly
frequent in paintings of the subject.
 |
| Hans Baldung Grien, Rest on Flight into Egypt German, c.1514 Nuremberg, Germanisches Nationalmuseum
An apple and a basket of cherries lie on the ground at
Mary's feet.
|
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| Master of the Female Half-Lengths, Rest on the Flight into Egypt Flemish, c.1540 London, National Gallery
Saint Joseph holds a bowl of mixed fruit, which includes
cherries, a pear, grapes and two round fruits that may be
apples or pomegranates.
|
 |
| Pieter Coecke van Aelst, Rest on the Flight into Egypt Flemish, c.1540 Private Collection
Not only does St. Joseph offer a bowl of fruit which
contains grapes, pears and cherries but Mary is seated
in front of a ledge on which are a book, a knife, four
cherries, a pear, a round fruit that may be an apple or
possibly a quince and what looks like an apple slice
and half an orange.
|
 |
| Sisto Badalocchio, Rest on the Flight into Egypt Italian, c.1610 Hartford, Wadsworth Atheneum
Here Mary and Joseph lean on a square cut block of
stone. Between them is a basket filled with grapes, pears
dates and apples.
|
 |
| Jan Brueghel the Younger, Rest on Flight into Egypt Flemish, after 1526 Vienna_Kunsthistorisches Museum
In this painting Mary sits at the base of an apple tree with Jesus on her lap. He holds a grape in his hand. At her feet are a
basket of flowers and several pieces of fruit. The fruit includes grapes, cherries, a quince, an apple and a pomegranate cut in half. The basket of flowers includes roses, irises, columbine and lily of the valley. Many of the same flowers lie on the ground at her feet or are growing nearby. The plants surrounding her include carnations, strawberries and artichokes in addition to some of the same flowers contained in the basket. All the references are to purity and to the suffering which the Christ Child and his mother will have to endure.
|
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| Filippo Lauri, Rest on the Flight into Egypt Italian, 1651 Vienna, Kunsthistorisches Museum
In this charming picture the Holy Family is just preparing to stop. St. Joseph is putting down a sack which may be their
possessions. Meanwhile, baby angels bring palm branches to the Christ Child, while more mature angels gather grapes and
prepare a basket of apples. Additional baby angels strew the ground with roses.
|
 |
| Charles Francois Poerson, Rest on the Flight into Egypt French, 1656-1660 Cologne, Wallraf-Richartz-Museum
Here the Holy Family are seen resting amid the ruins of a classical structure (a reference to the pagan world that was swept away by the coming of Christ). The posture of the sleeping Child and the white cloth held by Mary are reminders of the Pieta and the entombment which will cause her great pain in the future. At the right baby angels have led the donkey to water, while at the left adult angels kneel as they offer a bowl of fruit which includes grapes, pomegranates and what may be plums. Behind them another mature angel holds a second basket of the same fruits and above another baby angel flies in with an additional basket of grapes and apples.
|
Sometimes, it is flowers that take the place of fruits in being presented to the Christ Child.
 |
| Charles Poerson, Rest on the Flight into Egypt French, c.1640 Cleveland, Cleveland Museum of Art
The angel offers Jesus a basket of flowers that includes
pansies, daisies, columbines and carnations.
|
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| Ciro Ferri, Rest on the Flight into Egypt Italian, c.1659-1665 Liverpool, Walker Art Gallery
The angel offers a basket of flowers which includes
columbine, lily, roses and daisies.
|
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| Adriaen van der Werff, Rest on the Flight into Egypt Dutch, 1706 London, National Gallery
In a pose reminiscent of the future Pieta, Mary holds the sleeping Christ Child. In His hand He holds a small bouquet of flowers which include a rose, lily of the valley, carnation and columbine.
|
Saint Joseph as
Provider
Saint Joseph’s role as provider for and protector of Jesus
and Mary is frequently depicted in the scenes of the Rest on the Flight. He can be seen in the background of many of
the earlier works of art, gathering fruit from the trees or bringing containers
of water from a stream or well.
 |
| Hans Memling, Rest on the Flight into Egypt German, c1.470 Paris, Musee du Louvre |
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| Master of the Ango Hours Rest on the Flight from the Ango Hours French (Rouen), c.1515 Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 392, fol. 70 |
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| Joachim Patinir, Rest on the Flight into Egypt Flemish, c.1518-1520 Madrid, Museo del Prado |
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| Master of the Female Half-Lengths, Rest on the Flight into Egypt Flemish, c.1550 Vienna, Kunsthistorisches Museum |
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| Cavaliere d'Arpino (Giuseppe Cesari), Rest on the Flight into Egypt Italian, 1590-1600 Boston, Museum of Fine Arts |
The Holy Family Accompanied by
Members of Their Extended Family
One strain of images brings members of the extended Holy
Family into the scene of the Rest. The
family member most frequently included is Saint John the Baptist. He may be alone or he may be accompanied by
one or both of his parents, Saints Elizabeth and Zechariah. Also present may be Mary’s mother, Saint
Anne. One may wonder how so many people
came to be included in the urgent Flight, but on this even the Pseudo-Matthew
is silent. The baby Saint John may offer
his cousin various objects, prominent among them a small cross, a reminder of
the coming Passion. Saint John may also
assume a pose of adoration before his little cousin. The baby Jesus may bless His cousin. Or the two babies may simple play together.
 |
| Francesco Granacci, Rest on the Flight into Egypt with the Infant St. John the Baptist Italian, c.1494 Dublin, National Gallery of Ireland |
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| Denys Calvaert, Rest on the Flight into Egypt with the Child St. John the Baptist in a Landscape Flemish, 1590s Edinburgh, National Galleries of Scotland
A lot is going on here. While the Holy Family rests and Jesus
gives a blessing to his cousin, angels are collecting fruit,
flowers and water to assist them on earth. Meanwhile, in the
heavens other angels hold the instruments of the Passion.
|
 |
| Adam Elsheimer, Rest on the Flight into Egypt with the Infant St. John the Baptist German, c.1599 Berlin, Staatliche Museen
A lot is happening in this picture too. While the
Christ Child embraces His cousin, John, who is
accompanied by the lamb which is his symbol, a
chain of small angels spirals down from heaven and
a mature angel sprinkles flowers. The archangel
Gabriel, wearing his traditional dalmatic, sits by
Mary's side and watches the two holy infants.
|
 |
| Giovanni Battista Paggi, Rest on the Flight into Egypt with the Child St. John the Baptist Italian, c.1600 Edinburgh, National Galleries of Scotland Here it is St. Joseph who assumes the most important adult role. Mary is seen in the background washing a cloth in a pool of water. The Baby Jesus and the Child St. John (who is already wearing his goatskin garment) exchange a branch to which two pears are attached. Pears are symbols of the love of Christ for mankind. |
 |
| Domenichino, Rest on the Flight into Egypt with the Infant St. John the Baptist and St. Elizabeth Italian, c.1605 Riom, Musee Francisque-Mandet
Here the two babies exchange a round object, which may be an apple, while Mary holds a small bowl to collect water from
a spring. Behind her St. Joseph tends to the donkey. At the far left, an older woman with a halo approaches the group. It is most likely that she is St. Elizabeth, Mary's older cousin and mother of St. John the Baptist.
|
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| Nicolas Poussin, Rest on the Flight into Egypt with the Infant St. John the Baptist French, c.1627 New York, Metropolitan Museum of Art
This charming early Poussin shows the child St. John the Baptist reaching out to his squirmy baby
Cousin Mary watches the antics of the baby angels who are collecting fruit and flowers, offering laden
baskets and playing with St. John's lamb. St. Joseph reads quietly in the background.
|
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| Nicolas Poussin, The Holy Family on the Steps French, 1648 Cleveland, Cleveland Museum of Art
This more mature work of Poussin has a gravity not seen in the earlier one. The playful baby angels are gone, although the basket and vessels of fruits remain. The interplay between the baby St. John and the baby Jesus is much more solemn. John offers an apple to Jesus, the symbol of the sin of Adam from which He came to redeem mankind. St. Elizabeth leans forward to protect and "back up" her boy. Mary's gesture recalls the Hodegetria pose of earlier centuries. St. Joseph, however, still remain reading. Though nearer he is still in the background.
|
 |
the Infant St. John the Baptist
himself in homage before his baby Cousin. Jesus is seated
on a pile of wheat ears which are surrounded by a grape
vine, symbolic of the Eucharist. The trussed up rooster
attached to the donkey's harness may be the family's
dinner, but may also be a reference to the Passion of Christ.
|
 |
| Francois Boucher, Madonna and Child with the Infant St. John the Baptist and Angels French, 1765 New York, Metropolitan Museum of Art
More intimate than the Hermitage picture, this work
still includes some of the same motifs. Here the baby
St. John the Baptist, accompanied by his lamb, joins
his hands in prayer before his Cousin. Behind Mary is a
basket with grapes in front of a rose bush. Above one
baby angel clasps his hands in prayer, while another
a rose.
|
The Rest on the
Flight with Saints
Occasionally one sees pictures of the Rest on the Flight in
which the Holy Family is accompanied with saints who adore the Christ
Child. There is, of course, no Biblical
basis for this, nor is there any such scene in the Pseudo-Matthew. These images are, therefore, the result of
pious projection. Some may be depictions
of saintly meditation and vision. Others
are the desire of a church or commissioning patron for an image that included
their own patron saint or saints.
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| Cima da Conegliano, The Rest on the Flight into Egypt with Saints John the Baptist and Lucy Italian, c.1496-1498 Lisbon, Calouste Gulbenkian Museum |
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| Correggio, Rest on the Flight into Egypt with St. Francis Italian, 1517 Florence, Galleria degli Uffizi |
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| Paris Bordone, Rest on the Flight into Egypt with St. Catherine of Alexandria and Angels Italian, 1527-1530 Private Collection |
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| Lorenzo Lotto, Rest on the Flight into Egypt with St. Justine Italian, 1529-1530 St. Petersburg, State Hermitage Museum |
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| Peter Paul Rubens, The Rest on the Flight into Egypt with Saints George, Catherine of Alexandria and Margaret of Antioch Flemish, 1632-1635 Madrid, Museo del Prado |
These
pictures belong to the tradition of the sacra conversazione, with the
traditional Madonna and Child being replaced with an image specifically taken
from the account of the Flight found in both Matthew’s Gospel and the
apocryphal Pseudo-Matthew.
To Be Continued......
© M. Duffy, 2017
_______________________________________________________________
- Pseudo-Matthew. Translated
by Alexander Walker. From Ante-Nicene Fathers, Vol.
8. Edited by Alexander Roberts, James Donaldson, and A. Cleveland
Coxe. (Buffalo, NY: Christian Literature Publishing
Co., 1886.) Revised and edited for New Advent by Kevin
Knight.
- See http://imaginemdei.blogspot.com/2017/01/the-flight-into-egypt-holy-refugees.html and http://imaginemdei.blogspot.com/2017/01/the-flight-into-egypt-variations-part-2.html
- Pseudo-Matthew, see above.
- See E. James Mundy, “Gerard David's "Rest on the Flight into Egypt": Further Additions to Grape Symbolism”, Simiolus: Netherlands Quarterly for the History of Art, Vol. 12, No. 4 (1981 -1982), pp. 211-222 for the Eucharistic symbolism of the grape. Mundy also suggests an additional interpretation of the use of green grapes as symbols of the Church.
- For this and the significance of other fruits featured in these pictures of the Rest on the Flight see: George Ferguson, Signs and Symbols in Christian Art, New York, Oxford University Press, 1961, which is still the standard work on this subject.
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