Africans in Medieval & Renaissance Art: The Three Kings
'The Adoration of the Magi', stained glass panels by the Master of the Holy Kindred, Germany, about 1500. Museum no. C.74 & 75-1919
Leaf from the Giltlingen Missal (detail), Conrad Wagner, about 1485-1489. Museum no. 274.2
These objects all show the Adoration of the Magi, or the visit of the three wise men or kings to Bethlehem to pay homage to the infant Jesus. They depict one of the kings as a black African.
The earliest known example of a black king may be represented in a wall painting of about 1360 in the Emmaus monastery in Prague. It is certain that by the beginning of the 15th century some European artists had begun to depict one of the kings as black rather than white. The Magi had become representatives of the three continents of the Old World - Europe, Asia and Africa (America only became known to Europeans in 1492). The Magi can also represent the three ages of life - youth, maturity and old age.
The black Magus was instantly recognisable by his black skin but he was also often distinguished from the others by his flamboyant dress. Instead of a crown, artists sometimes gave him a turban, white bandeau and earring. This reflects the influence of heraldic moors' head devices, or the jewellery and clothing worn by African domestic slaves and servants in wealthy European households. The 'Africanness' of the king was sometimes further emphasised by the fact that he carried an oliphant, a decorative horn carved from ivory.
Although the appearance of the black king may have been partly inspired by real Africans living in Europe, his look was mainly a mixture of European ideas of the exotic. The black king gave artists an opportunity to depict a lavishly dressed figure in a religious scene, a role that probably ensured his continued popularity in European art.
The African king is usually depicted as the beardless, youthful king furthest from the Virgin and Child, sometimes being shown the way by the middle king, Melchior. His position and age reflected European notions of Africa as the youngest of the three civilisations in their search for Christianity.
The black king also symbolised the idea that Christianity appealed to all humanity, even the most foreign and remote people. The blackness of his skin showed that he was from a distant land, although even there people had accepted the truth of Christ's message.
Although the black king was fairly common in Northern European art by the end of the 15th century, it was less frequent in Florentine Renaissance art. Central Italian artists were among the last to adopt the image, though black attendants are sometimes included in the retinue of three white Magi.
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