Witness to Slaughter

Matteo di Giovanni is of particular interest in the present series of posts (see links below) as his reputation as a significant Renaissance artist is based on his being the author of four monumental versions of the Massacre of the Innocents. The detail above is from the version painted for the Sant’Agostino Chapel in Siena. The foreground of this image (see the full image below) is filled with figures, entangled in the violence of the massacre. There are anguished mothers, resisting mothers; there are babies, both dead and dying; there are the soldiers, thrusting and slashing their way to fulfilling Herod’s sinister decree.

In the selected detail, which, judging from the lighting, is a focal point of the composition, a soldier is shown thrusting his sword into a baby’s mouth, its point exiting out the infant’s skull. As the soldier concentrates on his action, his expression and stance suggest that he recognizes the disproportionality of his weapon to his task. The baby is shown, with blank eyes, in the throes of a horrific death. The anguished mother looks at us in mute resignation. Behind the mother, is an odd figure who may or may not be attached to one of the disembodied weapon-wielding arms glimpsed through the mass of writhing humanity, stares out at the viewer, engaging with us in a manner that is not uncommon in the Rennaisance Istoria (History painting). He communicates with us as if to say, “you see” or perhaps, “you are a witness”, or even “you are complicit.”

In the contemporary massacre that is ongoing in the land of the very Book referenced in this image, the number of Palestinian children slaughtered in Gaza stands at 8,663 (UpdatedDecember 19), and we are all witnesses to this slaughter of innocents, as it happens on our screens.

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