Moses’s Journey into Egypt and the Circumcision of His Son Eliezar by Perugino

Perugino

Moses’s Journey into Egypt and the Circumcision of His Son Eliezar, c.1482, Fresco, 350 x 572 cm, Sistine Chapel, Vatican Palace, Vatican State, Sistine Chapel, Vatican Palace, Vatican State / Scala / Art Resource, NY

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Covenantal Regeneration

Individual Commentary
Commentary by
Devon Abts

Located on the South Wall of the Sistine Chapel, this fresco is the first in a series showing events from the life of Moses; on the opposite wall is a parallel series depicting scenes from the life of Christ. By pairing the circumcision of Moses’s son with the baptism of Christ, the artist highlights a typological link between the Jewish covenantal rite and the Christian sacrament. Just as the Jewish body is sealed with a new covenantal identity in the bloodletting rite of circumcision, so the Christian believer ‘dies’ and is ‘reborn’ a child of God in the Spirit through the waters of baptism.

The artist underscores this correlation through the respective inscriptions above the two frescoes: over the image of the circumcision we find the words: ‘The observation of ancient regeneration by Moses through circumcision’; and above the opposite image: ‘The institution of new regeneration by Christ in baptism’. The idea that Christ ‘institutes’ a ‘new regeneration’ is significant: for by reading the frescoes as a pair, we find that the typological connection suggests that the old covenant has been surpassed and perfected by the new covenant.

This helps us understand the structure of Moses's Return to Egypt. Here, the central event of the scene is the hostile confrontation between Moses and the divine figure. The circumcision of Moses’s son is relegated to the periphery of the image. The dramatic focus is the threat to Moses’s life, rather than the salvific rite. By contrast, in the corresponding fresco opposite, all of the action revolves around the event of Christ’s baptism. Moreover, in the circumcision fresco, it is significant that the artist depicts the divine figure, not as God the Father, but as an Angel of the Lord. Certainly, this is partly owing to the fact that the Septuagint translation identifies Moses’s attacker as ‘the Angel of the Lord’. However, the absence of God the Father is significant, for across the room, the fresco of Christ’s baptism shows the Father hovering over Christ in a posture that suggests approval and blessing. Through these subtle differences, the artist asserts the significance of the Christian rite.