© Jeannette D’Souza 2025
Welcome back to this edition – part 2 of my blog, it continues the story ‘In the trace of Christ’, moving with themes after the birth of Christ and the visit of the 3 kings….
My sincere thanks to The National Gallery of London for letting me explore their exquisite collection and enabling me to express the spiritual side of art in faith.
Wishing all visitors to my website a blessed Year filled with God’s love, joy and peace!🌟💫🌟
Connecting us from blog 1 into 2 my theme in this blog focuses on the infant Jesus, the Virgin Mary and the Holy Family.

‘Shepherds, lowly shepherds, sitting upon a hill, watching and waiting, their flocks a tending in the night’s chill’.
The angels appeared to shepherds first announcing Christ’s birth!. Such an exceptional honour and blessing to receive this news and to be the first to see the Infant King. These shepherds would be the first evangelists who would speak of the messiah after witnessing the little baby Jesus lying in a manger, for they believed what the angels told them and so they went about proclaiming the good news!
I loved the expressions of baby Jesus clinging to His mother who surrounds Him with complete affection. St Joseph tenderly supports his baby with his right hand and projects protection with his staff held on his left, while not the least an expression of utter devotion from the shepherd. In the far distance to the right an angel is shown appearing to shepherds along their flocks on the hill…
Drawing from comparison of how shepherds were considered lowly and Jesus the Lord of Lords being born in a stable; both sides speak of a life of poverty, humility and hardships to be borne…. and for me personally the painting speaks of God’s love for all the most marginalised and vulnerable of the world, and that His incarnation into a vulnerable infant was to feel the pain of this world.
The subtle yet meaningful expressions, the bold mesmerising colours and the narration all marry well in this exquisite composition. I stood there for awhile reflecting, understanding the endearing offering – of God becoming man to save man!
A devotional portrayal of the Holy family by Titian, its blissful moment depicted brings peace, it remains in faith’s niche to venerate!.
Paintings of this nature of setting holy subjects in a landscape were popular in early 16th century in Venice.

Soon after the departure of the three kings…, the Angel of the Lord appeared to Joseph in a dream.( Matthew 2:13–23) The angel asked Joseph to take the infant Jesus and Mary and flee into Egypt because King Herod sought to kill the Christ child. Thus Isaiah’s prophecy came to be fulfilled – ‘Behold, the LORD is riding on a swift cloud and comes to Egypt; and the idols of Egypt will tremble at his presence, and the heart of the Egyptians will melt within them’..
What must it feel like to escape with no belongings, no shelter warm nor any comfortable conveyance, yet the holy family took it all in their stride and travelled far to a foreign land and survived there. A tough journey to undertake, yet how trusting they were of God’s faithful providence!
A few sects within Christian denominations (also from various eastern and western sources and the apocryphal gospels) have further accounts of the Holy family’s life in Egypt and how Joseph provided for the family by practicing carpentry.
The holy family lived and moved around in Egypt anything from 1-4 years (as per the sources), migrating through Egypt and settling where they felt they could. In the Coptic church-traditions it is believed that to this day there is a place which was converted into a church (within a monastery in Egypt well preserved) where the holy family stayed for 6 months, and it still has an altar stone on which the infant Jesus was laid.
There have been many artistic narrations on the holy family’s flight into Egypt. I specially liked the simplicity in portrayal of the Holy Family(in the foreground) depicted by Pierre Patel. Mary rests her limbs while engaging with the holy Infant’s playfulness and St Joseph reads intently, such a keen description of family roles.
A relaxed approach with certain additional features is given to the foreground such as a basin full of clothes and the tired ass feeding on hay. The grand French classical landscape in the background with the passer-bys in conversation together with a dog resting provide further interest into the scene.

This was another painting that I loved with the same theme of ‘flight from Bethlehem into Egypt’, yet a close up with full focus for reflections upon the Holy family.
The scene is entirely amazing suggesting that the holy family travelling for awhile toward Egypt are now seeking a little rest after journeying for many hours. Mary is depicted in such breathtaking expressions kneeling- her eyes filled with a fixed amazement and wonder of Jesus, a weary St Joseph rests his limbs and sets his gaze on the infant with drawn expressions. The Infant reclines on a bundle over Mary’s blue mantle, His reflective eyes gaze upwards with hands in gesture, they hold fingers in the ‘peace’ stance. It resonates wonderfully with the words the angels sang “Glory to God in the highest heaven!, peace on earth and goodwill toward men”!
While in Egypt toward the end of their stay, another divine message was given to St Joseph in a dream to return back to Israel as king Herod had died… St Mathew reiterates Prophet Hosea’s prophecy ‘Out of Egypt I called my son’ – however this was to be fulfilled on the Holy Family’s return back to Israel after the death of king Herod.
Fra Bartolommeo was an artist and a Dominican friar, he worked in Florence where St John the Baptist was and remains the patron Saint of the city, and in the painting St John is seen in the distant right background. St John known as San Giovanni Battista in Italian holds the cross- a reminder that he is only the messenger, therefore the cross is symbolical of Christ’s birth and death.
Fra Bartolommeo used primary and bold contrasting colours with deep shadow and brilliant light effects to bring about such powerful imagery, it instantly draws the viewers into deep spiritual reflections!

A beautiful portrayal of mother and son captured in sunlight, it signifies the warmth of God’s love, His presence and protection over His people!
The virgin mother Mary watches over her sleeping infant, her countenance and poise signify a foreshadowing of Christ’s death and her mourning. There is something very somber about her expressions and yet a sereneness that pervades her aura!
The infant Jesus rests deep in sleep; the lyrics of an ancient Carol ‘Sweet was the song the virgin sang’ came to mind-
Lula, lula, lula, lullaby, sweet Babe, sung she,
My Son, and eke a Saviour born,
Who hast vouchsafed from on high
To visit us that were forlorn;
Lalula, lalula, lalulaby, sweet babe, sang she,
And rockt Him sweetly on her knee.🎶
The artist Bellini portrayed the solemn belonging of a mother and her sacred son in a quiet reflective way. He brought the warmth of the day in mellow tones and juxtaposed them over with dynamic colours in the foreground – reds that symbolise self sacrifice, and blues to depict God’s yearning to connect with us! The landscape wonderfully spread in the background draw inward the viewer’s eye to capture details; the workers watch over their cattle resting and take that minute’s rest too, it maybe suggesting a life’s contemplation while simultaneously reflecting that of Mary…
There are colours laid horizontally within the landscape from attractive warm browns and greens that get cooler as they recede. A mesmerising painting that one could gaze over for hours.
There is also an interesting hidden feature that seems like a face carved on a parapet to the right besides the figure in white, perhaps it must be a private person’s profile engraving.
It is thought that paintings of this size were meant for private settings.

The infant Jesus is held tenderly by his mother while he is lovingly suckled; with such complete affection Mary holds her son doting all her love upon him. There is a sadness too on Mary’s countenance as she is aware of her son’s great sacrifice down the years, so she cherishes this precious bond closely with her infant son.
Perhaps the words of Simeon keep echoing in her heart (Luke 2; 29- 32) – This child is destined to cause the falling and rising of many in Israel, and to be a sign that will be spoken against, so that the thoughts of many hearts will be revealed. And a sword will pierce your own soul too…
For the first few years of Jesus’ life his mum would be the closest source of affection, she would be an inspiration to Him, she would comfort Him, guide Him and provide for Him… this thought might even have been an incitement to many artists in portraying similar sacred images.
The artist Titian has subtly captured a doting moment, brushing in blurred forms and using loose paint applications, it is thought to be a typical expressive freedom of Titian’s late style. The mother and child form the singular focus on the canvas with the absence of any landscapes or additional characters. The palette colours are soft and subdued, it shows the development of Venetian sacred paintings of the Virgin and Child at the time.

Love is the common foundation in how we relate to God, to ourselves and others; it brings us an understanding of the absolute sublimity of Jesus!
The lovable and adorable bond between mother Mary and her son Jesus, their affectionate gazing onto each other seems endless and offers one a spiritual contentment!
Baby Jesus leans on left over His mother, His right forefinger points upwards toward heaven while the Virgin Mary gently supports the Infant and bestows her undivided attention over Him.
Notice the delicate articulation of eyes and fingers, they create a graceful aura and the rich vibrant colours create a stunning impression.
The artist Ghirlandaio worked with such articulate nuances through the painting- especially the highlights over body areas and over Mary and Jesu’s curls, over the detailed embroidered mantle, the veil and silk scarf… they all stand out brilliantly even after the passing of centuries!
The sill on which baby Jesus stands is meticulously decorated bringing in the viewer, and the edge of the painting is treated as a window opening.

‘Hail! full of grace; the Lord is with you’
‘Blessed are you among women, and blessed is the fruit of your womb’ (Luke 1:28, 39..)
Every part of the Hail Mary has biblical roots, the former part communicated by angel Gabriel and the latter by Mary’s cousin Elizabeth, even deeper is its spiritual meaning rooted in praises to God for His magnificent and benevolent love for humankind!
The infant Jesus stands over a sill holding a red rosary, at His feet an opened prayer book reveal inscriptions with passages in Latin from the Psalms. The Virgin Mary protectively supports her son while holding a part of the rosary, she gazes onto the viewer (as from the angle of the painting’s elevation) calling to the viewer’s mind the prayer inscribed on her halo- ‘Hail Mary, full of grace, the Lord (is with thee)’…
Christ’s gold garment signify His kingship, and Mary’s blue and red respectively symbolise God’s yearning to connect with us (through prayer, reflections …) and His sacrifice for us all.
The artist Bergognone delivers a powerful and prayerful stance in the depiction of the Virgin Mary and child Jesus with a rosary, conveying a sense of prayer and praise to the wonderment of Christ’s incarnation!
In the background, Carthusian monks oversee the construction of the Charterhouse at Pavia, for which Bergognone painted many altarpieces.

God did not remain distant from human suffering but embraced humans and became a part of their suffering, and I feel that this is a very comforting reflection – that even through His deep agony he lovingly forgave all!
Elizabeth and her son John the Baptist visit Mary and Jesus, and John presents Jesus with a reed cross and strawberries as emblems of Christ’s future sacrifice. A vulnerable child Jesus holds the reed cross and gazes intently over it, accepting the purpose of His coming down to earth even as He foresees the eventuality of his own sacrifice on the cross… Mary’s tender heart aches as she looks onto her son, her cousin Elizabeth reflects over the scene in sadness.
Jesus’ right hand settles over head holding a floral crown while the child John offers Jesus strawberries, symbolising Christ’s blood that would be shed on the cross for us. St John’s demeanour affirms the holy kingship of Jesus- as the Son of God and Saviour of the world!
Through their lives Mary and her cousin Elizabeth shared their rapturous joy when both conceived, and further on might have laughed and cried together when they met on several occasions to spend time with their children. They would devote their time lovingly and achingly over their only sons, both of whom would die early in life.
The artist Bronzino made a poignant theme come alive, it might be that it was his thought of suffering and the conviction through faith that his brushes laden with colours speak thus.
The royal blues speak of God’s everlasting love for us in that endless connection, the purple signify the kingship and ancestry of Jesus, and the deep reds signify Jesus as the sacrificial lamb and a high priest of the order of Melchizedek who offered not a sacrifice but, Himself!

God has done it all! He sent Christ to make peace between himself and us, and he has given us the work of making peace between himself and others( 2 Corinthians 5; 18-20)
A meaningful representation and a prayerful one as delivered by the artist Mantegna; the infant John the Baptist points with his right hand toward Jesus, it alludes to the scene in later days of their lives when John baptises Jesus saying – ‘Here is the Lamb of God who takes away the sins of the world! He is the one I told you about when I said, Someone else will come who is greater than I am, because He was alive before I was born’.
The infant Jesus holds an olive branch in His right hand symbolising peace, and an orb in His left hand which represents His kingdom on earth where Christ Himself is the Saviour of the world!
The Infants are standing over a curved structure like a parapet in an orchard, it surrounds the Virgin Mary who is sewing, and on the rear right stands St Joseph in thoughts gazing away.
The artist Mantegna might have actually painted this piece with additional features that seem to have been cut away. Nevertheless the painting offers an immense measure of serene and meditative bearing, something to be gazed on for hours. It possibly might have stood in a venerated prayer area or a private chapel.

‘Each of you should give what you have decided in your heart to give, not reluctantly or under compulsion, for God loves a cheerful giver. And God is able to bless you abundantly, so that in all things at all times, having all that you need, you will abound in every good work’ (2 Corinthians 9; 7-8)
A devotional painting that seemed very symbolical, it causes the viewer to reflect inwardly. It depicts the Virgin Mary supporting baby Jesus over her lap while an unknown saint adores Jesus by tenderly holding Him. St John the Baptist holds out his offerings of flowers and fruits for Jesus which Mary gently picks from…. I could not help but peer on St John and his sheer offering of utmost dedication and devotion, because personally to me the painting spoke of making yet our best offerings to God.
The background is reminiscent of the artist Titian’s home region around Cadore in the Dolomites. As rain falls over the rich landscape of mountains and meadows, shepherds tending their flock witness an angel in the clouds.
The gentleness of expressions woven within a sequence of movements and the use of dramatic colours with the dance of light and shadow make it a wholesome piece.
This painting held such tranquil bearing that I sat down to soak in its calming aura…

‘Verily I say unto you, among them that are born of women there hath not risen a greater than John the Baptist: notwithstanding he that is least in the kingdom of heaven is greater than he’ ( Mathew 11; 11)
The Infant Jesus is supported by an angel while He blesses St John the Baptist, the Virgin Mary is shown kneeling and holding St John while her left hand gestures in reverence and protection over her son Jesus. The somber setting within rocky caves gives it the name ‘The Virgin of the Rocks’.
The artist Leonardo has beautifully married rich contrasts of colours and movements, the dark setting conveys a mysterious mood, it makes viewers focus on the bright foreground comprising of silhouettes. In the background the luminous lights give it a calming effect being brighter and open.
The rocky setting may be symbolical and interpreted in different ways. To some it refers to the world at the dawn of time, or to the desert in which Christ lived after His flight into Egypt or both.
My personal interpretation ; looking over Christ’s life and His temptations and the harder road that He chose… yet, at the end of this tempestuous journey He emerged triumphant!
Notes that follow in italics as displayed in the National gallery with my sincere thanks- In 1483, Leonardo and two Milanese painters were asked to gild and paint an altarpiece for the chapel of the Confraternity of the Immaculate Conception in San Francesco, Milan, and to provide its main panel. Financial disputes with the confraternity caused Leonardo’s first version of the composition (now in the Louvre, Paris) to be sold elsewhere and significantly delayed completion of this second version. Still unfinished in places, it was finally installed and paid for in 1508.

Yes, He was fully man, but He was also fully God (Colossians 2:9)
Jesus came down to reconcile man to God, He took a human form to undergo suffering and death to bring us salvation, and by dying on the cross the atonement for sins was made thus reuniting us back to God!, and, granting us eternal life!
The Heavenly Trinity meet the counterpart of Earthly Trinities where Jesus Christ’s two natures are revealed – as both God and man! The Holy family is at the forefront in the painting as the central focus, both the Virgin Mary and St Joseph hold Jesus with their right hands symbolising the earth to heaven connection, the higher focus shows God the Father and the Holy Spirit watching over tenderly from heaven.
The artist Murillo has conveyed a complex and mysterious theological theme with great thought, skill and an elevated astuteness. The beautiful colours in golds and browns, blues and reds and pinks merging with neutrals all appeal strongly to the visual senses. Besides the complicated theme the expressions, colours and graceful movements through the painting keep the composition attractively balanced lending it a distinct nature in parallel to the theme!
I end this edition of my blog 2 here. It was a profound learning experience filled with elation to learn about these world renowned works of art, they truly bring out a spiritual side of perceiving art with a deeper hope, aspiration and fulfilment. I hope you enjoy the blog and the paintings, thank you. 🙏🏼
My sincere thanks to The National Gallery of London for letting me explore their exquisite collection and enabling me to express the spiritual side of art in faith.
4th February 2025
@Jeannette D’Souza 2025