New World, Spanish Colonial, Mexico, ca. 18th century CE. Finely delineated in jewel tone pigments and gold leaf, a massive painting on canvas depicting the Holy Trinity - the Son as Christ Crucified, the Holy Spirit in the form of a dove above, followed by God the Father gently holding the Cross, his triangular halo (a Renaissance form) surrounded by 10 seraphim, an additional 3 seraphim to the left and 4 seraphim to the right of the Cross - all with their eyes directed at Jesus and set amidst billowing clouds symbolizing the celestial realm. Six full-length angels are arranged symmetrically: one at the upper left playing a violin, one at the upper right blowing a horn, two holding the arms of the Cross, and two draped in flowing robes and praying to Christ at the lower corners. Between them and at the base of the Cross is a blue orb with the following inscription, "Santo, santo, santo, dios de los ejercitos/llenos estan los cielos y la tierra de la divina bendicion/Salud, sabiduria, accion de gracias, tambien virtud y empazia." Size: 40.75" W x 66" H (103.5 cm x 167.6 cm)
The inscription translates, "Holy, holy, holy, god of the armies / full are the heavens and the earth of the divine blessing / Health, wisdom, thanksgiving, also virtue and empathy".
The doctrine that God while being of one nature is represented as three - Father, Son, and Holy Ghost - originates in Matthew (28:19) and was told by Augustine of Hippo in the "De Trinitate" (ca. 400 CE). The version of the Trinity presented in this painting was first seen in French and Northern Italian works of the 12th century and became the most popular version in Renaissance and later art. It presents God the Father as an elderly man with a long flowing beard, somewhat patriarchal in his appearance with a triangular halo, positioned behind and above Christ who is on the Cross. He holds each end of the crosspiece or patibulum in his hands. The dove as the Holy Ghost is above Christ's head.
Provenance: private Hawaii, USA collection
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#138250
Condition
Surface wear with some fading and stains to pigment, expected darkening, tears (some repaired) and losses to the peripheries of the canvas, and a few tiny punctures to the interior that are difficult to see upon first glance. The verso of the canvas has darkened with age and shows several patched repairs, staining, and black cloud-like markings. Stretchers are original, show inactive insect holes, losses to peripheries, and the joins where the bars meet at the upper corners have been reglued.