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The recent post about Orvieto’s gorgeous Gothic cathedral gave plenty of attention to the outside of the building, but I failed to illustrate the wonders which are housed within. Today therefore, we venture into the splendid Christian church in order to look at a magnificent fresco of…the Antichrist?
Here is Sermon and Deeds of the Antichrist, a large fresco by Luca Signorelli, the fifteenth-century Tuscan master of foreshortening. In fact Signorelli (and his school of apprentices, assistants, and students) painted a whole series of large frescoes about the apocalypse and the end of earthly existence within the Chapel of the Madonna di San Brizio (a fifteenth century addition to Orvieto Cathedral). The disquieting series of eschatological paintings is considered to be Signorelli’s greatest achievement–his magnum opus. For today, let’s just look at The Sermon and Deeds of the Antichrist, which was the first work in the series (and which pleased the Cathedral board so well that they commissioned the rest).
Signorelli began the work in 1499, a mere year after the execution of Giralamo Savonarola in Florence in 1498 (Savonarola was burned at the stake for the heresy of denouncing church corruption corruption, despotic cruelty, and the exploitation of the poor: he was a sort of ur-Luther). Death, political tumult, and questions of true righteousness were much upon people’s minds.
In the work, the Antichrist (center bottom) preaches to a great crowd. Although he has the features of Jesus, we recognize that the Antichrist is not the savior thanks to the pile of gold and treasure heaped at his feet by deluded followers. These so-called Christians are stupidly unable to discern the teachings of Jesus from the self-serving slander, calumny, and lies of the vile (yet sumptuously attired) puppet on the pedestal. We art lovers however can clearly see that the Antichrist’s true lord is right there behind him, whispering the words of the sermon into his ear.
In the background, the Antichrist’s vile shocktroops (dressed in tactical black like ninjas) seize control of the church and the state. In the foreground his coistrels and operatives slit the throats of the righteous. Various scenes of depravity show a woman selling herself to a stupendously rich merchant as the Antichrist performs false miracles of healing and resurrection.
However the center left shows the Antichrist’s fall (figurative and literal). The archangel Michael smites the foul false messiah with the sword of divine Justice. Golden fire spills from heaven, laying low the Antichrist’s evil and benighted followers who die writhing in anguish.
It is a stunning work. Signorelli knew it was his masterpiece and painted himself in black in the left corner watching events transpire (indeed, also mixed into the crowd are young Raphael, Dante, Columbus (maybe), Boccaccio, Petrarch, Cesare Borgia, and Fra Angelico in his Dominican garb), and yet it is a deeply strange and confusing painting. The righteous and unrighteous are all jumbled together in weird intersecting groups which are hard to distinguish. There is a great empty hole in the center of the composition and the final victory of the angel is in the mid-distance on the left (which is not where it should be in terms of classical composition). The gentle Signorelli was perhaps troubled by the Orvieto of 1500 (which was filled with squabbling mercenaries fighting between two factions of wealthy nobles). Also, as he was painting the work, the plague was in the 8000 person city and two or three people died every day!
It is almost as though the pious Signorelli is warning the viewer about brutal leaders who crush the peasantry for personal gain and sanctimonious “Christians” who pretend to believe in Jesus while truly serving the Devil. The work is ostensibly about end-times but it shows Signorelli’s contemporary society coming apart from fighting, misinformation, plague, and greed. It is wonderful to look at art, but thank goodness this is a work about the distant past. It would be truly disturbing if it offered timeless lessons about the never-ending strife, greed, and fear in the human heart or how susceptible we all are to impostors who are the exact opposite of everything Christ stood for.
the Rod of Asclepius
The rod of Asclepius—a serpent coiled around a staff–is a symbol from ancient Greek mythology which represents the physician’s art. Asclepius was a demigod who surpassed all other gods and mortals at the practice of medicine. Because his skills blurred the distinction between mortality and godhood, Asclepius was destroyed by Zeus (an exciting & troubling story which you can find here).
Asclepius
There are several proposed reasons that a staff wrapped by a snake is the symbol of the god of medicine. In some myths, Asclepius received his medical skills from the whispering of serpents (who knew the secrets of healing and revitalization because of their ability to shed their skin and emerge bigger and healthier). Some classicists believe the snake represents the duality of medicine—which can heal or harm depending on the dosage and the circumstance. Yet others see the serpent as an auger from the gods. Whatever the case, the rod of Asclepius is a lovely and distinctive symbol of medicine and has been since ancient times. Temples to Asclepius were constructed across the Greco-Roman world and served as hospitals of a sort. The serpent-twined rod of the great doctor was displayed at these institutions and became a symbol for western doctors who followed.
Logo of the British Medical Association
However there is a painfully apt misunderstanding between the rod of Asclepius and a similar symbol.
Greek mythology featured a separate and entirely distinct symbolic rod wrapped with snakes, the caduceus—which has two snakes and is winged. The caduceus was carried by Hermes/Mercury, the god of merchants, thieves, messengers, and tricksters. Hermes used the rod to beguile mortals or to touch the eyes of the dead and lead them to the underworld.
Hermes holding the Caduceus
In the United States the two rods have become confused because of a military mix-up in the early twentieth century (when a stubborn medical officer refused to listen to his subordinates and ordered the caduceus to be adopted as the symbol of the U.S. Medical Corps). Since then the caduceus has been extensively used by healthcare organizations in the United States and has come to replace the staff of Asclepius in the majority of uses. Commercial and for-profit medical organizations are particularly inclined to use the caduceus instead of the rod of Asclepius as the former is more visually arresting (although academic and professional medical organizations tend to use the staff of Asclepius).
The Caduceus
To recap: the caduceus, which symbolizes profit-seeking, theft, and death, has replaced the staff of Asclepius, an ancient symbol of healing, throughout the United States. Of course it is up to the reader to decide whether this is a painful misunderstanding, or a wholly appropriate representation of the actual nature of the broken American healthcare system. HMOs, insurance companies, and hospitals, however have started to take note and are moving towards crosses and random computer generated bric-brac for their logos, leaving both ancient symbols behind.
ferrebeekeeper 