Christ Is a Stone: On Filippo Lippi’s Adoration of the Child in Spoleto Cyril Gerbron, Université Lumière Lyon 2 MINERALS—PEBBLES, CUT OR ROUGH STONES strewn over a rocky soil, grottoes, buildings set in the rock, rocks in the shape of buildings, marbles, por- phyry, slabs with polychrome and marvelous stains or patterns, pearls and gems— are obsessively present in religious Italian quattrocento painting. The phenome- non has diverse causes, but Christology certainly plays an important role. In the first epistle to the Corinthians, St. Paul assimilates the rock from which Moses made the water flow to the Savior: “Christ was the stone,” he writes (10:4).1 This formula is often taken out of context in exegesis, so that it becomes valid for any kind of stone; as we will see, many other biblical passages relate Christ to stones. This article primarily deals with humble minerals, common gray stones, which are of great importance in Filippo Lippi’s Adoration of the Child in Spoleto. The image is part of a large fresco painted in the apse of the Umbrian city’s cathedral between 1467 and 1469 (figs. 1 and 2).2 One of its major elements is a motif that Contact Cyril Gerbron at Université Lumière Lyon 2 (
[email protected]). This article was written in the enchanted world of Villa I Tatti; my deepest gratitude goes to all the tattiani and members of the staff for their constant benevolence, and especially to Jane Tylus and Jessica Goethals for their helpful comments and thorough rereading of this essay.