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Pharaoh Had the Hebrew Boy Babies Thrown Into the Nile River

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The Finding of Moses, sometimes called Moses in the Bullrushes, Moses Saved from the Waters,[1] or other variants, is the story in chapter two of the Book of Exodus in the Hebrew Bible of the finding in the River Nile of Moses as a baby past the daughter of Pharaoh. The story became a mutual subject field in fine art, especially from the Renaissance onwards.

Depictions in Jewish and Islamic art are much less frequent, simply some Christian depictions testify details derived from actress-biblical Jewish texts. The earliest surviving delineation in art is a fresco in the Dura-Europos synagogue, datable to around 244 AD, whose motif of a "naked princess" bathing in the river has been related to much later art. A contrasting tradition, first in the Renaissance, gave great attention to the rich costumes of the princess and her retinue.

Moses was a fundamental figure in Jewish tradition, and was given a multifariousness of different significances in Christian idea. He was regarded as a typological precursor of Christ, simply could at times besides be regarded equally a forerunner or allegorical representation of things every bit diverse as the pope, Venice, the Dutch Republic, or Louis Xiv. The subject also represented a case of a foundling or abased kid, a significant social issue into modernistic times.

Biblical business relationship [edit]

Chapter 1:15–22 of the Book of Exodus recounts how during the captivity in Egypt of the Jewish people, the Pharaoh ordered: "Every Hebrew male child that is built-in you must throw into the Nile, but allow every daughter live." Affiliate 2 begins with the birth of Moses, and continues:

When she [Moses' mother] saw that he was a fine child, she hid him for 3 months. 3 But when she could hide him no longer, she got a papyrus handbasket for him and coated it with tar and pitch. Then she placed the child in it and put it amid the reeds along the bank of the Nile. 4 His sister [Miriam] stood at a distance to see what would happen to him.

five So Pharaoh'south girl went down to the Nile to bathe, and her attendants were walking forth the riverbank. She saw the basket among the reeds and sent her female slave to go it. half-dozen She opened it and saw the baby. He was crying, and she felt sad for him. "This is one of the Hebrew babies", she said. 7 Then his sis asked Pharaoh's girl, "Shall I go and go one of the Hebrew women to nurse the baby for you?"

8 "Aye, go," she answered. And then the daughter went and got the baby's mother. 9 Pharaoh's daughter said to her, "Have this baby and nurse him for me, and I will pay you lot." So the adult female took the infant and nursed him. 10 When the child grew older, she took him to Pharaoh's girl and he became her son. She named him Moses, proverb, "I drew him out of the water."[2]

Visualizing the biblical business relationship [edit]

The biblical account allows for a diverseness of compositions. There are several different moments in the story, which are quite oft compressed or combined in depictions, and the moment shown, and even the identity of the figures, is often unclear. In detail, Miriam and Moses'south female parent, traditionally given the name Jochabed, may be thought to be included in the grouping around the princess.[3]

The Hebrew word ordinarily translated as "basket" in verse 3 can also mean "ark", or pocket-size boat.[4] Both vessels appear in art, the ark in fact represented as though made of stiff sheets like solid forest,[5] rather than the ark of bulrushes preferred in contempo religious traditions. The handbasket, usually with a rounded shape, is more common in Christian fine art (at to the lowest degree in the Western Church), and the ark more so in Jewish and Byzantine art; it is also used in the Islamic miniature described below.[6] In all traditions most depictions show a stretch of open up river with few reeds, and the vessel is sometimes seen drifting along in the menstruation. Exceptions are many 19th-century depictions, and some in late medieval manuscripts of the Bible Moralisée type.

The Exposition of Moses, every bit his mother casts him off. The princess's political party is further downwards the bank. Nicolas Poussin

The less common preceding scene of Moses being left in the reeds is formally called The Exposition of Moses .[7] In some depictions this is shown in the distance as a subsidiary scene, and some cycles, mostly illustrating books, evidence both scenes. In some cases it may be hard to distinguish between the ii; unremarkably the Exposition includes Moses' mother and sis, and sometimes his male parent and other figures.

Rivka Ulmer identifies recurrent "bug" in the iconography of the subject area:[8]

  1. Is Moses in an ark or handbasket?
  2. The blazon of hand gesture of Pharaoh's girl;
  3. Who enters the Nile to fetch Moses?
  4. The number and the gender of the "handmaids";
  5. What role, if any, is assigned to the River Nile?
  6. The presence or absenteeism of Egyptian artifacts.

Christian art [edit]

Medieval [edit]

Medieval depictions are sometimes establish in illuminated manuscripts and other media. The incident was regarded as a typological precursor of the Annunciation, and sometimes paired with it. This probably accounts for it being represented as a faded fresco on the rear wall in the Announcement by January van Eyck in the National Gallery of Art, Washington.[9] It might also be regarded as prefiguring "the reception of Christ by the community of the faithful",[10] the Resurrection of Jesus, and the escape from the Massacre of the Innocents past the Flight into Egypt.[11] The princess was often seen allegorically every bit representing the Church, or earlier the Gentile Church.[12] Alternatively, Moses might exist a type for Saint Peter, then past extension the Pope or Papacy.[thirteen]

Cycles with the life of Moses were non common, only where they exist they may begin with this subject if they have more about four scenes.[fourteen] The fourth-century Brescia Catafalque includes it amidst its 4 or five relief scenes from the Life of Moses, and there is thought to have been a depiction (now lost) in the mosaics of Santa Maria Maggiore. There is a 12th-century bicycle in stained glass in the Basilica of Saint-Denis which includes it. Cycles are near ofttimes paired with i of the Life of Christ, equally subsequently in the Sistine Chapel, where the scheme of paired cycles was intended to evoke the oldest Christian art.[fifteen] In that location are several short cycles in luxury manuscripts of the Bible Moralisée and related types, some of which give the story more than one image.[16]

The depiction in the 12th-century English Eadwine Psalter has a naked female swimmer in the water, holding the empty ark with one paw, while a clothed female person with her feet in the water holds out the baby to the princess, who reclines on a bed or litter. This is part of some 11 scenes of the life of Moses.[17] This may chronicle to the Jewish visual traditions covered beneath.[18]

The artist of a French Romanesque capital has enjoyed himself showing the baby Moses threatened by crocodiles and perhaps hippos, as often shown in classical depictions of the Nile mural. This very rare handling in fact anticipates modern Biblical criticism: "The cameo of the nascence of Moses does not fit the reality of the Nile, where crocodiles would make it dangerous to send a babe in a handbasket onto the h2o or even to bathe by the shore: even if the poor were forced to have the hazard, no princess would".[19]

  • Moses being "exposed", very much in an "ark", 15th-century miniature

  • The casting-off in the foreground, combined with the finding at rear, 15th-century.

Renaissance onwards [edit]

The walls of the Sistine Chapel had facing paired cycles of the lives of Christ and Moses in large frescos, and a Finding by Pietro Perugino began the Moses sequence on the altar wall until it was destroyed in the 1530s to make infinite for The Last Judgment by Michelangelo, along with a Nativity of Jesus. Perugino'due south Moses Leaving for Egypt now begins the cycle.[20]

Independent pictures of the subject became increasingly popular in the Renaissance and Baroque periods, when the combination of several elegantly dressed and svelte ladies with a waterside mural or classical architectural background made it bonny to artists and patrons.[21] For Venice the story had a special resonance with the early history of the city.[22] These paintings were for homes and palaces, sometimes for foundling hospitals.

In improver, child abandonment remained a significant social issue in the period, with foundling hospitals, orphanages specifically for abandoned children, a mutual focus of charitable activity by the rich.[23] The seal of the London Foundling Infirmary showed the scene, and the artist Francis Hayman gave them his painting of the subject, where it hung next to William Hogarth'due south painting of a slightly subsequently episode of the young Moses and the princess.[24] We know a delineation by Charles de La Fosse was one of a pair of biblical subjects commissioned in 1701 for the billiards room at the Palace of Versailles, paired with Eliezer and Rebecca;[25] possibly the idea was to encourage those winning bets on the game to requite their winnings to clemency.

The 17th century saw the height of popularity for the subject, with Poussin painting information technology at least iii times,[26] also as a number of versions of The Exposition of Moses.[27] Information technology has been suggested that the birth in 1638 of the future Louis XIV, whose parents had been childless for 23 years, may have been a gene in the interest of French artists. The poet Antoine Girard de Saint-Amant wrote an epic poem, Moyse sauvé between almost 1638 and 1653.[28]

Every bit well every bit the Catholic countries, there were also a number of versions in Dutch Golden Historic period painting, where the Sometime Testament subject was considered unobjectionable, orphanages were run by boards of "regents" drawn from the local wealthy, and the story of Moses was also given contemporary political significance.[29] A painting of the subject shown on the wall behind The Astronomer past Vermeer may represent cognition and scientific discipline, as Moses was "learned in all the wisdom of the Egyptians".[30]

A painting by Bonifazio de' Pitati of 1545 was perhaps the offset large and elaborate handling of the bailiwick to concentrate on a larger courtly group, entirely using carefully depicted contemporary costumes; he painted at to the lowest degree ane smaller similar version of the subject.[31] Bonifazio painted a number of biblical subjects as "modern aristocratic reality", which was already an established pictorial mode in Venice.[32] This is essentially a large aloof picnic, complete with musicians, dwarves, many dogs and a monkey, and strolling lovers, where the infant represents an object of polite marvel.[33] A Niccolò dell'Abbate from c. 1570, at present in the Louvre, represents a more than classical treatment, with the same "classical" costumes and temper equally his mythological subjects. This is closely followed by a number of compositions by Veronese, using the modern clothes of his day.[34]

The paintings of Veronese and others, especially Venetians,[5] offered some of the attractions of subjects from pagan mythology, merely with a subject area with a Christian context. Veronese had been called before the Inquisition in 1573 for his indecorous depiction of the Last Supper as an extravagant festivity mainly in modern dress, in what he renamed The Banquet in the House of Levi. Since the Finding certainly chosen for a party of lavishly dressed court ladies and their attendants, it avoided such objections.[35]

Veronese's costumes, contemporary when he painted them in the 1570s and 1580s, became established as a sort of standard, and were copied and repeated in new compositions by a number of Venetian painters in the 18th century, during a "Veronese revival".[36] The famous painting by Giovanni Battista Tiepolo in the National Gallery of Scotland dates from the 1730s or 1740s, but avoids the manner of that menses and bases its costumes on a Veronese at present in Dresden, but in Venice until 1747;[37] another Tiepolo at present in the National Gallery of Victoria uses the mode of Veronese even more than thoroughly.[38]

Nicolas Poussin was attracted both to subjects from the life of Moses and history subjects with an Egyptian setting.[39] His figures wore the 17th-century thought of ancient dress, and the cityscapes in the distant background include pyramids and obelisks, where previously near artists, for example, Veronese, had not attempted to represent a specifically Egyptian setting.[xl] An exception is Niccolò dell'Abbate, whose broadly painted cityscape include several prominent triangular elements, although some might be gable-ends. Palm trees are also sometimes seen; European artists, even in the north, had been used to depicting these from painting the "Miracle of the Palm" on the Flight into Egypt in particular.

For adept mensurate the main 3 versions by Poussin all include a Roman-manner Nilus, the god or personification of the Nile, reclining with a cornucopia, in two of them in company with a sphinx,[41] which follows a specific classical statue in the Vatican.[42] His 1647 version for the banker Pointel (now Louvre) includes a hippopotamus hunt on the river in the background, adapted from the Roman Nile mosaic of Palestrina.[43] In a give-and-take at the Académie royale de peinture et de sculpture in 1688, the painting was criticised for two breaches of artistic decorum: the princess' skin was also dark, and the pagan god was inappropriate in a biblical subject. Both details were corrected in a version in tapestry, though the sphinx survived.[44] Poussin's treatments show sensation of much of the scholarly interest in Moses in terms of what nosotros now call comparative religion.[45]

Thereafter attempts at an authentic Egyptian setting were spasmodic, until the start of the 19th century, with the appearance of modern Egyptology, and in art the development of Orientalism. By the late 19th-century exotic decor was often ascendant, and several depictions concentrated on the ladies of the court, naked but for carefully researched jewellery. The reed beds in the Bible are frequently given prominence.[46] The all-encompassing history of the scene in the movie theater began in 1905, the year later Sir Lawrence Alma-Tadema finished his painting, with the Finding the opening scene in a five-minute biographical flick by the French visitor Pathé.[47]

Orientalist depictions

  • A painting by Paul Delaroche, earlier 1857, was much reproduced in prints and book illustrations

Jewish fine art and traditions [edit]

The earliest visual depiction of the Finding is a fresco in the Dura-Europos synagogue, datable to around 244, a unique large-scale survival of what may take been a large body of figurative Jewish religious art in the Hellenized Roman imperial period.[48] This part of a composite paradigm shows several episodes from the childhood of Moses (simply the left cease illustrated here) and displays both Midrashic details in the narrative and visual borrowings from the iconography of classical paganism.[49] Six of the 26 frescos in the synagogue have Moses every bit their main subject.[l] There are a few illustrations in much later medieval Jewish illuminated manuscripts, mostly of the Haggadah, some of which seem to share an iconographical tradition going dorsum to Belatedly Antiquity.[51]

Jewish textual traditions elaborate on the text in Exodus in various ways, and information technology has been argued that some of these details tin can be detected in Christian as well every bit Jewish art. One Jewish tradition was that Pharaoh'due south daughter, identified as Bithiah, was a leper, who was bathing in the river to cleanse herself, seen as a ritual purification for which she would exist naked. Every bit at Dura-Europos, Jewish depictions ofttimes include her, and sometimes other women, standing naked in the river.[52] Co-ordinate to Rabbinic tradition, as presently as the princess touched the ark carrying Moses she was healed.[53]

The earliest surviving Christian delineation is a fresco of the quaternary century in the Catacomb of Via Latina, Rome. 4 figures are on the bank, with Moses still in the h2o; the largest is the princess, who stretches out her arms, which the babe also does. This gesture may derive from a textual variation establish in Midrashic sources and the Aramaic translation of the Bible. In these "she ... sent her female slave" is changed to "she stretched out her arm".[54] Though the context is Christian, many of the images hither are of Quondam Testament subjects,[55] and very likely reverberate models adopted from an initially Jewish visual tradition, perhaps painted by artisans with sets of models for all religious requirements. In the play Exagōgē by Ezekiel the Tragedian (3rd century BC), Moses recounts his finding, saying of the princess "And straightway seeing me, she took me up", which may be reflected both in the New Testament Acts 7:twenty, and in artistic depictions where the princess is manifestly kickoff to grasp the ark.[56]

The motif of the naked princess standing in the water, sometimes accompanied by naked maids, reappears in Jewish manuscript illuminations from Spanish workshops in the belatedly Centre Ages, along with some other details of iconography found in the Dura-Europos synagogue.[57] In the 14th-century Gold Haggadah at that place are 3, while Moses' sister Miriam sits on the bank watching them.[58] Other works include the and then-called "Sister of the Aureate Haggadah" manuscript, and the (Christian) Pamplona Bibles.[59] By dissimilarity, the 18th-century Venice Haggadah has been influenced by local Christian depictions, and shows a clothed princess on land.[60]

A dissimilar tradition is first found in Josephus, who was read by Poussin and influenced his treatment of this and other biblical scenes. His account of the finding has the princess "playing by the river bank" and spotting Moses existence "borne downwards the stream". She "sent off some swimmers" to fetch him. Thus in Poussin's 1638 Finding in the Louvre a burly male person emerges from the water with the child and handbasket, a detail sometimes copied past other painters.[61] This is followed in Sebastian Bourdon's painting of 1650, with two male person swimmers.[62] Italian paintings more oft show female swimmers, or at least females who accept landed and are drying themselves after handing the baby to the princess, as in Sebastiano Ricci, Salvator Rosa, Giovanni Francesco Romanelli, as well as a painting in the Rijksmuseum by Paulus Bor and Cornelis Hendriksz Vroom from the 1630s, and Poussin's 1651 composition. The but painting of the discipline from Rembrandt's studio shows several naked women who have apparently just come out of the water, bringing the basket.[63]

Islamic art [edit]

In that location is an unusual depiction in the Edinburgh Academy Library manuscript of the Jami' al-tawarikh, an ambitious world history written in Persia at the showtime of the 14th century. In the Qur'an and Islamic tradition, it is Pharaoh's wife, Asiya, who rescues the baby, not his girl. Here the infant Moses remains in his "ark", which is carried along a river with crimper Chinese-style waves towards the women.[64]

The queen is in the river with an attendant, both at to the lowest degree clothed in undergarments (more than clothes seem to be hanging from a tree branch), and an older servant, or Moses' mother, on the banking concern. The ark appears enclosed and solid; it looks rather like an elongated bury, perchance because the artist was unfamiliar with the bailiwick. In that location are few comparable Islamic world histories, and like other scenes in the Jami' al-tawarikh, this may be all but unique in Islamic miniatures. The limerick may be derived from Byzantine depictions.[65]

This manuscript has vii miniatures of the life of Moses, an unprecedented number perhaps suggesting a special identification with Moses by the author Rashid-al-Din Hamadani, a convert from Judaism who became primary minister of Persia.[66]

Leading depictions [edit]

  • The Finding of Moses by Gianbattista Tiepolo, in Edinburgh; a different composition in Melbourne.
  • The Finding of Moses by Orazio Gentileschi, versions in the Prado, Madrid and National Gallery, London
  • The Finding of Moses by Nicolas Poussin; there are iii different compositions, 2 in the Louvre, Paris, the other National Gallery, London
  • The Finding of Moses by Paolo Veronese, various compositions, in the Prado, Dresden, Dijon and elsewhere
  • The Finding of Moses by Lawrence Alma-Tadema, 1904, sold at sale in 2010 for nearly US$36 1000000. Individual collection.

See also [edit]

  • "The Finding of Moses" (poem), a poem by the Irish gaelic street poet Zozimus (b. circa 1794 – d. 1846)

Notes [edit]

  1. ^ This is rarely used in English language, but standard in the Latin languages, eg Moïse sauvé des eaux is the normal title in French.
  2. ^ Exodus 2, New International Version (NIV); Yavneh, 53–56, analyses the passage and after interpretations of it at length.
  3. ^ Wine, 370–371, on the London Poussin; Yavneh, 61, on the Prado Veronese, both disagreeing with other art historians on who figures represent in detail depictions.
  4. ^ Note to text as quoted to a higher place
  5. ^ a b Hall, 213
  6. ^ Natif, xviii, for Byzantine and Islamic examples
  7. ^ Again, a rare title in English language, but normal in the Latin languages. Nicolas Poussin painted both scenes more than than once, and his compositions are described in Blunt, Anthony, "Poussin Studies 4: Ii Rediscovered Late Works", The Burlington Mag, vol. 92, no. 563, 1950, pp. 39–52., JSTOR
  8. ^ Ulmer, 297
  9. ^ Manus p.80; Purtle, 1999, pp 5–half-dozen
  10. ^ Schiller, l quoted; Vino, 374, notation 31
  11. ^ Hall, 213; Vino, 369
  12. ^ Yavneh, 60; Sistine, 51
  13. ^ Hall, 213; Sistine, 52–56
  14. ^ Sistine, 43; Hall, 213–216 lists 13 potential scenes.
  15. ^ Sistine, 40–41, 50–75 analyze the paired cycles.
  16. ^ "WI-ID Subject Tree". iconographic.warburg.sas.ac.uk.
  17. ^ One of the single sheets at present in the Morgan Library, MS M.0724r.
  18. ^ Mann, 169–170
  19. ^ Barmash, Pamela, 2, in Exodus in the Jewish Feel: Echoes and Reverberations, Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books, ISBN 1498502938, 9781498502931, google books; for Poussin'southward hippo-hunt see below
  20. ^ Sistine, 43, 46–47, 51
  21. ^ Yavneh, 51; Robertson, 100
  22. ^ 'Paul, Benjamin (2012). Nuns and Reform Art in Early Modern Venice: The Architecture of Santi Cosma due east Damiano. p. 244. ISBN9781409411864.
  23. ^ Yavneh, 53, 58–59
  24. ^ Bowers, 7–ten; both still belong to the London Foundling Infirmary; the Hogarth image
  25. ^ "Spider web Gallery of Fine art, searchable fine arts image database". world wide web.wga.hu.
  26. ^ Wine, 366, 369
  27. ^ Poussin's various compositions are described in Blunt, Anthony, "Poussin Studies Iv: Two Rediscovered Late Works", The Burlington Magazine, vol. 92, no. 563, 1950, pp. 39–52., JSTOR
  28. ^ Vino, 374, notation 29
  29. ^ DeWitt
  30. ^ Acts 7:22; Welu, James. "Vermeer's Astronomer: Observations on an Open Volume", 266, The Art Bulletin, vol. 68, no. 2, 1986, pp. 263–267., JSTOR
  31. ^ "The finding of Moses: Moses brought earlier Pharoah's girl by Bonifazio de' Pitati". world wide web.artgallery.nsw.gov.au.
  32. ^ Freedburg, 535–536
  33. ^ Huse, Norbert; Wolters, Wolfgang (1993-x-thirty). The Art of Renaissance Venice: Compages, Sculpture, and Painting, 1460–1590. p. 270. ISBN978-0226361093.
  34. ^ Willis, note 7, lists 4, plus 3 from his workshop; Yavneh, 51–53; Robertson, 100
  35. ^ Yavneh, 51
  36. ^ Willis, quoted; Robertson, 99–100; The Finding of Moses, afterwards 1740, Probably by Francesco Zugno National Gallery
  37. ^ Brigstocke, 160; Robertson, 100; the Dresden Veronese
  38. ^ Willis
  39. ^ Altogether he painted virtually nineteen works set in Egypt, some 10% of his output
  40. ^ Wine, 369–370
  41. ^ Vino, 369, 374–375, notes 32, 37, 39
  42. ^ Bull, 540–541
  43. ^ Jaffé, David, "Two Bronzes in Poussin's Studies of Antiquities", in The J. Paul Getty Museum Journal: Volume 17, 1989, 45–46, note 18, 1990, Getty Publications, ISBN 0892361573, 9780892361571, google books
  44. ^ Tapestry in the Bizarre: New Aspects of Production and Patronage, Metropolitan Museum of Fine art symposia, Editors Thomas Patrick Campbell, Elizabeth A. H. Cleland, 96, 2010, Metropolitan Museum of Art, ISBN 030015514X, 9780300155143, google books
  45. ^ Bull, throughout; Wine, 369
  46. ^ Thompson, Jason, Wonderful Things: A History of Egyptology i: From Antiquity to 1881, 255, 2015, The American University in Cairo Press, ISBN 9774165993, 9789774165993, google books
  47. ^ Tollerton, David, ed., Biblical Reception, 4: A New Hollywood Moses: On the Spectacle and Reception of Exodus: Gods and Kings, 75–77, 2016, Bloomsbury Publishing, 2016, ISBN 0567672336, 9780567672339, google books
  48. ^ Langston, 47
  49. ^ Weitzmann, 366–369, 374; Ulmer, 298–304; Mann, 169–170; Langston, 47
  50. ^ Ulmer, 299
  51. ^ Mann, 169–172, 183; Ulner, 297 and throughout. For a sceptical view of the links, run across Guttmann, 25–26
  52. ^ Ulmer, 305
  53. ^ Ulner, 311
  54. ^ Ulmer, 305; AGK Images
  55. ^ "Alcestis and Hercules in the Catacomb of via Latina", Beverly Berg, Vigiliae Christianae, Vol. 48, No. 3 (Sep., 1994), pp. 219–234, Brill, DOI: 10.2307/1584095, JSTOR
  56. ^ Ulmer, 304–305
  57. ^ Mann, 169–172, 183; Ulmer, 303 has a listing in notation 26.
  58. ^ Ulmer, 307; f. 9r, British Library, MS add together. 27210, image
  59. ^ Mann, 170; Ulmer's listing, 303, note 26
  60. ^ Ulner, 322
  61. ^ Ulner, 312–314
  62. ^ Ulmer, 215
  63. ^ DeWitt, fig. 2 and text
  64. ^ Natif, 17–xviii; "The infant Musa (Moses) found past women of Pharaoh's household", Edinburgh Academy
  65. ^ Natif, 17–eighteen
  66. ^ Natif, 15

References [edit]

  • Bowers, Toni, The Politics of Maternity: British Writing and Culture, 1680–1760, 1996, Cambridge University Printing, ISBN 0521551749, 9780521551748, google books
  • Brigstocke, Hugh; Italian and Spanish Paintings in the National Gallery of Scotland, 2nd Edn, 1993, National Galleries of Scotland, ISBN 0903598221
  • Freedburg, Sidney J. Painting in Italy, 1500–1600, 3rd edn. 1993, Yale, ISBN 0300055870
  • Bull, Malcolm. "Notes on Poussin's Egypt", The Burlington Magazine, vol. 141, no. 1158, 1999, pp. 537–541., JSTOR
  • DeWitt, Lloyd. "Finding of Moses, (PG-100)", in The Leiden Drove Catalogue, Arthur Grand. Wheelock Jr., Ed., New York, 2017, web page: Finding of Moses, past Pieter de Grebber, Leiden
  • Gutmann, Joseph, The Dura Europos Synagogue Paintings and Their Influence on Later Christian and Jewish Art, Artibus et Historiae, Vol. 9, No. 17 (1988), pp. 25–29, JSTOR, or Gratuitous online
  • Hand, J.O., & Wolff, M., Early Netherlandish Painting (catalogue), National Gallery of Fine art, Washington/Cambridge UP, 1986, ISBN 0-521-34016-0. Entry pp. 75–86, past Hand.
  • Hall, James, Hall's Dictionary of Subjects and Symbols in Art, 1996 (2d edn.), John Murray, ISBN 0719541476
  • Langston, Scott Thou., Exodus Through the Centuries, 2013, John Wiley & Sons, ISBN 111871377X, 9781118713778, google books
  • Isle of man, Vivian B., "Observations on the Biblical Miniatures in Castilian Haggadot", in Exodus in the Jewish Feel: Echoes and Reverberations, Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books, ISBN 1498502938, 9781498502931, google books
  • Natif, Mikah, "Rashid al-Din'due south Alter Ego: The 7 Paintings of Moses in the Jami al-Tawarikh", in Rashid al-Din. Agent and Mediator of Cultural Exchanges in Ilkhanid Islamic republic of iran, 2013, online text, academia.edu
  • Purtle, Carol J, The Art Message, March 1999, "Van Eyck'southward Washington 'Announcement': narrative time and metaphoric tradition", Vol. 81, No. one (Mar., 1999), pp. 117–125. Page references are to online version, no longer available (was hither), JSTOR
  • Robertson, Giles. "Tiepolo'south and Veronese's Finding of Moses", The Burlington Magazine, vol. 91, no. 553, 1949, pp. 99–101., JSTOR
  • Schiller, Gertrude Iconography of Christian Art, Vol. I,1971 (English trans from German), Lund Humphries, London, pp 33–52 & figs 66–124, ISBN 0-85331-270-2
  • "Sistine": Pietrangeli, Carlo, et al., The Sistine Chapel: The Art, the History, and the Restoration, 1986, Harmony Books/Nippon Tv, ISBN 0-517-56274-Ten
  • Ulmer, Rivka, Egyptian Cultural Icons in Midrash, Chapter 10, "The Finding of Moses in Art and Text", 2009, Walter de Gruyter, ISBN 3110223929, 9783110223927, google books
  • Weitzmann, Kurt, ed., Age of spirituality: late antique and early Christian art, third to 7th century, no. 149, 1979, Metropolitan Museum of Art, New York, ISBN 9780870991790; full text available online from The Metropolitan Museum of Fine art Libraries
  • Willis, Zoe, "The Melbourne Finding of Moses: Steps towards a New Attribution", 2008 Art Bulletin of Victoria, No. 48, National Gallery of Victoria (by 2017 this painting was attributed to Tiepolo)
  • Wine, Humphrey, National Gallery Catalogues (new serial): The Seventeenth Century French Paintings, 2001, National Gallery Publications Ltd, ISBN 185709283X
  • Yavneh, Naomi, "Lost and Found; Veronese'due south Finding of Moses", Chapter 3 in Gender and Early Modernistic Constructions of Childhood, 2016, Eds. Naomi J. Miller, Naomi Yavneh, Routledge, ISBN 1351934848, 9781351934848, google books and google books – ebook, with different pages viewable

External links [edit]

  • Media related to Finding of Moses at Wikimedia Commons

adamealugh1955.blogspot.com

Source: https://en.wikipedia.org/wiki/Finding_of_Moses

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