Master of the Life of the Virgin, The Presentation in the Temple

This scene is based on a passage in the Gospel of Luke (2:22-40), which describes Mary and Joseph’s visit to the temple in Jerusalem for the rituals of Mary’s purification and of the infant Christ’s presentation to God. In conformity with Jewish law, all women had to be ritually purified forty days after giving birth, while first-born sons were to be presented and redeemed by an offering to God. The priest, Simeon, is shown receiving the infant from Mary in front of an elaborate altar. The two turtle doves held by a woman at the left were brought as the sacrificial offering to secure Christ’s redemption.

Simeon was the first to recognise Christ’s divinity after the latter’s birth. Upon seeing the child, the priest said: ‘Lord, now lettest thou thy servant depart in peace, according to thy word: For mine eyes have seen thy salvation’ (Luke 2: 29–30). The Old Testament scenes visible on the carved stone altarpiece and on the back of Simeon’s embroidered cope underscore the theological significance of the event, as they were deemed to foreshadow Christ’s Passion. The altarpiece shows Cain slaying his brother Abel, the sacrifice of Isaac, and the drunkenness of Noah, while the embroidery of Simeon’s cope depicts the Roman Emperor Augustus’s vision of the Virgin and Child during which he – a pagan – recognised that their spiritual power was greater than his. The small boys cast in bronze who hold up the altar may be references to pagan art, and reinforce the message of the cope by illustrating that paganism was surpassed by Judaism and Christianity.

The painting once formed part of an altarpiece made for the church of Saint Ursula in Cologne, consisting of scenes of the life of the Virgin Mary. Seven other panels are today in the collection of the Alte Pinakothek in Munich. The work was commissioned by Johann von Hirtz, an alderman and mayor of the city.

The centre panel of the altarpiece consisted of four scenes arranged in a square grid – The Presentation in the Temple appeared in the lower right. It was once thought that the altarpiece took the form of a triptych (a painting composed of three parts) but recent technical analysis has raised the possibility that the panels may have been shown individually or in a different formation to that of a triptych.