The Song of Songs

Bright robes, bulky bodies, and stage-like composition give this scene a theatrical energy. In the seventeenth century, disputes arose over whether icon painters should follow models from Byzantine images—often by tracing existing icons—or adopt designs from Western European prints. Matteo da Chio, the unknown painter of these vivid panels, enthusiastically embraced Western European examples and carefully adapted engravings by Dutch printmaker Johannes Sadeler (1550-1600) after works by Maerten de Vos (1532-1603).

The wise King Solomon lifts his gaze to the heavens. Surrounded by his court, he presents his great work, the Song of Songs. Despite the pageantry of the scene, the text he presents is one of profound intimacy. At the top of the page we read, “Two became one flesh” (Gen. 2:24). The song begins, “Let him kiss me with the kisses of his mouth.” (Song 1:2) While the song certainly could refer to the eros of mortal lovers, on this panel, however, with his eyes lifted heavenward, the monarch looks not to any earthly bride, but to God, his heavenly bridegroom.