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Bible Story About Finding a Baby on the River

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The Finding of Moses, sometimes called Moses in the Bullrushes, Moses Saved from the Waters,[1] or other variants, is the story in chapter ii of the Book of Exodus in the Hebrew Bible of the finding in the River Nile of Moses as a baby by the daughter of Pharaoh. The story became a common subject in art, peculiarly from the Renaissance onwards.

Depictions in Jewish and Islamic art are much less frequent, but some Christian depictions evidence details derived from extra-biblical Jewish texts. The earliest surviving depiction in art is a fresco in the Dura-Europos synagogue, datable to around 244 Advertizement, whose motif of a "naked princess" bathing in the river has been related to much afterward fine art. A contrasting tradition, beginning in the Renaissance, gave corking attending to the rich costumes of the princess and her retinue.

Moses was a key figure in Jewish tradition, and was given a multifariousness of dissimilar significances in Christian thought. He was regarded equally a typological forerunner of Christ, but could at times also be regarded as a precursor or emblematic representation of things as various as the pope, Venice, the Dutch Republic, or Louis Fourteen. The discipline also represented a case of a foundling or abandoned kid, a significant social issue into modern times.

Biblical business relationship [edit]

Chapter i:15–22 of the Book of Exodus recounts how during the captivity in Egypt of the Jewish people, the Pharaoh ordered: "Every Hebrew boy that is born you must throw into the Nile, simply allow every girl live." Affiliate 2 begins with the birth of Moses, and continues:

When she [Moses' female parent] saw that he was a fine kid, she hid him for iii months. iii But when she could hide him no longer, she got a papyrus handbasket for him and coated it with tar and pitch. Then she placed the child in it and put it among the reeds along the banking company of the Nile. 4 His sis [Miriam] stood at a altitude to see what would happen to him.

5 And then Pharaoh's daughter went down to the Nile to bathe, and her attendants were walking along the riverbank. She saw the basket amidst the reeds and sent her female slave to get it. 6 She opened information technology and saw the infant. He was crying, and she felt sorry for him. "This is one of the Hebrew babies", she said. 7 And then his sis asked Pharaoh's daughter, "Shall I go and become one of the Hebrew women to nurse the infant for yous?"

viii "Yes, go," she answered. So the daughter went and got the baby's mother. ix Pharaoh'south girl said to her, "Take this baby and nurse him for me, and I will pay yous." So the woman took the baby and nursed him. x When the child grew older, she took him to Pharaoh's daughter and he became her son. She named him Moses, maxim, "I drew him out of the water."[2]

Visualizing the biblical account [edit]

The biblical business relationship allows for a variety of compositions. There are several different moments in the story, which are quite often compressed or combined in depictions, and the moment shown, and even the identity of the figures, is frequently unclear. In particular, Miriam and Moses'south mother, traditionally given the proper name Jochabed, may be thought to be included in the group around the princess.[3]

The Hebrew word usually translated as "handbasket" in verse iii can likewise mean "ark", or minor boat.[4] Both vessels appear in art, the ark in fact represented every bit though made of stiff sheets like solid woods,[v] rather than the ark of bulrushes preferred in recent religious traditions. The handbasket, usually with a rounded shape, is more than common in Christian fine art (at least in the Western Church), and the ark more than so in Jewish and Byzantine fine art; it is also used in the Islamic miniature described beneath.[6] In all traditions nearly depictions show a stretch of open river with few reeds, and the vessel is sometimes seen globe-trotting forth in the period. Exceptions are many 19th-century depictions, and some in belatedly medieval manuscripts of the Bible Moralisée type.

The Exposition of Moses, as his mother casts him off. The princess's party is further down the bank. Nicolas Poussin

The less common preceding scene of Moses being left in the reeds is formally called The Exposition of Moses .[vii] In some depictions this is shown in the altitude equally a subsidiary scene, and some cycles, mostly illustrating books, show both scenes. In some cases it may be hard to distinguish betwixt the two; usually the Exposition includes Moses' female parent and sister, and sometimes his father and other figures.

Rivka Ulmer identifies recurrent "issues" in the iconography of the discipline:[viii]

  1. Is Moses in an ark or basket?
  2. The type of hand gesture of Pharaoh's daughter;
  3. Who enters the Nile to fetch Moses?
  4. The number and the gender of the "handmaids";
  5. What part, if any, is assigned to the River Nile?
  6. The presence or absence of Egyptian artifacts.

Christian fine art [edit]

Medieval [edit]

Medieval depictions are sometimes constitute in illuminated manuscripts and other media. The incident was regarded every bit a typological precursor of the Annunciation, and sometimes paired with information technology. This probably accounts for it existence represented equally a faded fresco on the rear wall in the Annunciation by Jan van Eyck in the National Gallery of Art, Washington.[ix] It might also exist regarded as prefiguring "the reception of Christ by the community of the faithful",[ten] the Resurrection of Jesus, and the escape from the Massacre of the Innocents by the Flight into Egypt.[xi] The princess was often seen allegorically equally representing the Church, or earlier the Gentile Church.[12] Alternatively, Moses might exist a type for Saint Peter, and and then by extension the Pope or Papacy.[thirteen]

Cycles with the life of Moses were not mutual, but where they exist they may begin with this subject if they have more than about four scenes.[14] The fourth-century Brescia Casket includes information technology amongst its 4 or 5 relief scenes from the Life of Moses, and there is thought to have been a delineation (at present lost) in the mosaics of Santa Maria Maggiore. There is a 12th-century cycle in stained glass in the Basilica of Saint-Denis which includes information technology. Cycles are well-nigh frequently paired with i of the Life of Christ, equally later in the Sistine Chapel, where the scheme of paired cycles was intended to evoke the oldest Christian art.[15] At that place are several short cycles in luxury manuscripts of the Bible Moralisée and related types, some of which give the story more 1 image.[16]

The depiction in the 12th-century English Eadwine Psalter has a naked female person swimmer in the h2o, holding the empty ark with one mitt, while a clothed female with her feet in the water holds out the baby to the princess, who reclines on a bed or litter. This is role of some xi scenes of the life of Moses.[17] This may relate to the Jewish visual traditions covered beneath.[eighteen]

The artist of a French Romanesque uppercase has enjoyed himself showing the baby Moses threatened by crocodiles and perhaps hippos, as frequently shown in classical depictions of the Nile landscape. This very rare treatment in fact anticipates modern Biblical criticism: "The cameo of the birth of Moses does not fit the reality of the Nile, where crocodiles would brand information technology unsafe to send a babe in a basket onto the h2o or even to breast-stroke by the shore: fifty-fifty if the poor were forced to take the risk, no princess would".[19]

  • Moses being "exposed", very much in an "ark", 15th-century miniature

  • The casting-off in the foreground, combined with the finding at rear, 15th-century.

Renaissance onwards [edit]

The walls of the Sistine Chapel had facing paired cycles of the lives of Christ and Moses in big frescos, and a Finding by Pietro Perugino began the Moses sequence on the chantry wall until it was destroyed in the 1530s to make space for The Terminal Judgment past Michelangelo, along with a Nativity of Jesus. Perugino's Moses Leaving for Egypt at present begins the wheel.[20]

Independent pictures of the subject became increasingly popular in the Renaissance and Baroque periods, when the combination of several elegantly dressed and graceful ladies with a waterside mural or classical architectural groundwork fabricated it attractive to artists and patrons.[21] For Venice the story had a special resonance with the early history of the city.[22] These paintings were for homes and palaces, sometimes for foundling hospitals.

In addition, kid abandonment remained a significant social event in the menstruation, with foundling hospitals, orphanages specifically for abandoned children, a common focus of charitable activeness by the rich.[23] The seal of the London Foundling Infirmary showed the scene, and the creative person Francis Hayman gave them his painting of the discipline, where it hung next to William Hogarth'due south painting of a slightly later episode of the young Moses and the princess.[24] Nosotros know a depiction by Charles de La Fosse was 1 of a pair of biblical subjects commissioned in 1701 for the billiards room at the Palace of Versailles, paired with Eliezer and Rebecca;[25] perhaps the idea was to encourage those winning bets on the game to give their winnings to charity.

The 17th century saw the height of popularity for the subject, with Poussin painting it at least three times,[26] every bit well as a number of versions of The Exposition of Moses.[27] It has been suggested that the nativity in 1638 of the future Louis Xiv, whose parents had been childless for 23 years, may have been a factor in the involvement of French artists. The poet Antoine Girard de Saint-Amant wrote an epic poem, Moyse sauvé between about 1638 and 1653.[28]

As well as the Catholic countries, there were also a number of versions in Dutch Aureate Historic period painting, where the Erstwhile Testament subject field was considered unobjectionable, orphanages were run past boards of "regents" drawn from the local wealthy, and the story of Moses was as well given gimmicky political significance.[29] A painting of the subject area shown on the wall behind The Astronomer by Vermeer may stand for knowledge and science, equally Moses was "learned in all the wisdom of the Egyptians".[30]

A painting by Bonifazio de' Pitati of 1545 was perhaps the first big and elaborate handling of the subject field to concentrate on a larger courtly grouping, entirely using advisedly depicted contemporary costumes; he painted at least i smaller similar version of the field of study.[31] Bonifazio painted a number of biblical subjects every bit "modern aristocratic reality", which was already an established pictorial mode in Venice.[32] This is essentially a large aristocratic picnic, complete with musicians, dwarves, many dogs and a monkey, and strolling lovers, where the infant represents an object of polite curiosity.[33] A Niccolò dell'Abbate from c. 1570, at present in the Louvre, represents a more classical treatment, with the same "classical" costumes and atmosphere as his mythological subjects. This is closely followed by a number of compositions by Veronese, using the modern dress of his day.[34]

The paintings of Veronese and others, especially Venetians,[v] offered some of the attractions of subjects from pagan mythology, simply with a bailiwick with a Christian context. Veronese had been called before the Inquisition in 1573 for his indecorous depiction of the Concluding Supper as an extravagant festivity mainly in modern clothes, in what he renamed The Feast in the House of Levi. Since the Finding certainly called for a political party of lavishly dressed courtroom ladies and their attendants, it avoided such objections.[35]

Veronese'south costumes, contemporary when he painted them in the 1570s and 1580s, became established as a sort of standard, and were copied and repeated in new compositions by a number of Venetian painters in the 18th century, during a "Veronese revival".[36] The famous painting by Giovanni Battista Tiepolo in the National Gallery of Scotland dates from the 1730s or 1740s, but avoids the way of that period and bases its costumes on a Veronese at present in Dresden, only in Venice until 1747;[37] some other Tiepolo now in the National Gallery of Victoria uses the style of Veronese fifty-fifty more thoroughly.[38]

Nicolas Poussin was attracted both to subjects from the life of Moses and history subjects with an Egyptian setting.[39] His figures wore the 17th-century idea of aboriginal dress, and the cityscapes in the distant background include pyramids and obelisks, where previously nigh artists, for case, Veronese, had not attempted to represent a specifically Egyptian setting.[40] An exception is Niccolò dell'Abbate, whose broadly painted cityscape include several prominent triangular elements, although some might be gable-ends. Palm trees are likewise sometimes seen; European artists, even in the north, had been used to depicting these from painting the "Miracle of the Palm" on the Flight into Egypt in item.

For good measure the master three versions by Poussin all include a Roman-style Nilus, the god or personification of the Nile, reclining with a cornucopia, in ii of them in company with a sphinx,[41] which follows a specific classical statue in the Vatican.[42] His 1647 version for the banker Pointel (now Louvre) includes a hippopotamus hunt on the river in the groundwork, adapted from the Roman Nile mosaic of Palestrina.[43] In a word at the Académie royale de peinture et de sculpture in 1688, the painting was criticised for ii breaches of artistic decorum: the princess' peel was too dark, and the pagan god was inappropriate in a biblical discipline. Both details were corrected in a version in tapestry, though the sphinx survived.[44] Poussin's treatments show awareness of much of the scholarly involvement in Moses in terms of what nosotros now telephone call comparative organized religion.[45]

Thereafter attempts at an accurate Egyptian setting were spasmodic, until the commencement of the 19th century, with the advent of modernistic Egyptology, and in art the development of Orientalism. By the late 19th-century exotic decor was oft dominant, and several depictions concentrated on the ladies of the courtroom, naked but for carefully researched jewellery. The reed beds in the Bible are often given prominence.[46] The all-encompassing history of the scene in the cinema began in 1905, the year after Sir Lawrence Alma-Tadema finished his painting, with the Finding the opening scene in a v-minute biographical film by the French visitor Pathé.[47]

Orientalist depictions

  • A painting by Paul Delaroche, earlier 1857, was much reproduced in prints and book illustrations

Jewish art and traditions [edit]

The primeval visual depiction of the Finding is a fresco in the Dura-Europos synagogue, datable to effectually 244, a unique big-scale survival of what may have been a large torso of figurative Jewish religious fine art in the Hellenized Roman purple period.[48] This part of a composite image shows several episodes from the childhood of Moses (only the left finish illustrated here) and displays both Midrashic details in the narrative and visual borrowings from the iconography of classical paganism.[49] Six of the 26 frescos in the synagogue take Moses equally their main field of study.[l] There are a few illustrations in much subsequently medieval Jewish illuminated manuscripts, mostly of the Haggadah, some of which seem to share an iconographical tradition going back to Belatedly Antiquity.[51]

Jewish textual traditions elaborate on the text in Exodus in various ways, and it has been argued that some of these details tin can exist detected in Christian every bit well as Jewish art. One Jewish tradition was that Pharaoh'south daughter, identified as Bithiah, was a leper, who was bathing in the river to cleanse herself, seen as a ritual purification for which she would be naked. As at Dura-Europos, Jewish depictions oftentimes include her, and sometimes other women, continuing naked in the river.[52] According to Rabbinic tradition, as soon as the princess touched the ark carrying Moses she was healed.[53]

The primeval surviving Christian depiction is a fresco of the fourth century in the Crypt of Via Latina, Rome. Four figures are on the bank, with Moses still in the water; the largest is the princess, who stretches out her arms, which the baby likewise does. This gesture may derive from a textual variation found in Midrashic sources and the Aramaic translation of the Bible. In these "she ... sent her female person slave" is changed to "she stretched out her arm".[54] Though the context is Christian, many of the images hither are of One-time Testament subjects,[55] and very likely reflect models adopted from an initially Jewish visual tradition, perhaps painted by artisans with sets of models for all religious requirements. In the play Exagōgē by Ezekiel the Tragedian (tertiary century BC), Moses recounts his finding, saying of the princess "And straightway seeing me, she took me upwardly", which may be reflected both in the New Attestation Acts 7:20, and in artistic depictions where the princess is patently first to grasp the ark.[56]

The motif of the naked princess continuing in the h2o, sometimes accompanied by naked maids, reappears in Jewish manuscript illuminations from Spanish workshops in the late Middle Ages, along with some other details of iconography constitute in the Dura-Europos synagogue.[57] In the 14th-century Gold Haggadah there are iii, while Moses' sister Miriam sits on the bank watching them.[58] Other works include the so-called "Sis of the Aureate Haggadah" manuscript, and the (Christian) Pamplona Bibles.[59] By contrast, the 18th-century Venice Haggadah has been influenced by local Christian depictions, and shows a clothed princess on land.[threescore]

A different tradition is start found in Josephus, who was read by Poussin and influenced his treatment of this and other biblical scenes. His business relationship of the finding has the princess "playing by the river bank" and spotting Moses being "borne down the stream". She "sent off some swimmers" to fetch him. Thus in Poussin'due south 1638 Finding in the Louvre a burly male emerges from the h2o with the child and basket, a detail sometimes copied by other painters.[61] This is followed in Sebastian Bourdon'south painting of 1650, with two male swimmers.[62] Italian paintings more often show female swimmers, or at least females who accept landed and are drying themselves after handing the baby to the princess, as in Sebastiano Ricci, Salvator Rosa, Giovanni Francesco Romanelli, as well as a painting in the Rijksmuseum by Paulus Bor and Cornelis Hendriksz Vroom from the 1630s, and Poussin'due south 1651 limerick. The simply painting of the subject from Rembrandt's studio shows several naked women who have apparently only come out of the water, bringing the basket.[63]

Islamic art [edit]

There is an unusual depiction in the Edinburgh Academy Library manuscript of the Jami' al-tawarikh, an ambitious world history written in Persia at the start of the 14th century. In the Qur'an and Islamic tradition, it is Pharaoh's wife, Asiya, who rescues the infant, not his daughter. Here the baby Moses remains in his "ark", which is carried along a river with curling Chinese-style waves towards the women.[64]

The queen is in the river with an attendant, both at to the lowest degree clothed in undergarments (more wearing apparel seem to be hanging from a tree co-operative), and an older retainer, or Moses' mother, on the bank. The ark appears enclosed and solid; it looks rather like an elongated coffin, perhaps considering the artist was unfamiliar with the field of study. There are few comparable Islamic world histories, and like other scenes in the Jami' al-tawarikh, this may exist all but unique in Islamic miniatures. The composition may be derived from Byzantine depictions.[65]

This manuscript has vii miniatures of the life of Moses, an unprecedented number perhaps suggesting a special identification with Moses by the author Rashid-al-Din Hamadani, a convert from Judaism who became chief minister of Persia.[66]

Leading depictions [edit]

  • The Finding of Moses past Gianbattista Tiepolo, in Edinburgh; a different composition in Melbourne.
  • The Finding of Moses by Orazio Gentileschi, versions in the Prado, Madrid and National Gallery, London
  • The Finding of Moses by Nicolas Poussin; there are three unlike compositions, two in the Louvre, Paris, the other National Gallery, London
  • The Finding of Moses past Paolo Veronese, diverse compositions, in the Prado, Dresden, Dijon and elsewhere
  • The Finding of Moses by Lawrence Alma-Tadema, 1904, sold at auction in 2010 for nearly US$36 meg. Private collection.

Run across too [edit]

  • "The Finding of Moses" (verse form), a poem by the Irish street poet Zozimus (b. circa 1794 – d. 1846)

Notes [edit]

  1. ^ This is rarely used in English, but standard in the Latin languages, eg Moïse sauvé des eaux is the normal title in French.
  2. ^ Exodus ii, New International Version (NIV); Yavneh, 53–56, analyses the passage and later interpretations of it at length.
  3. ^ Vino, 370–371, on the London Poussin; Yavneh, 61, on the Prado Veronese, both disagreeing with other art historians on who figures represent in particular depictions.
  4. ^ Note to text as quoted to a higher place
  5. ^ a b Hall, 213
  6. ^ Natif, 18, for Byzantine and Islamic examples
  7. ^ Once again, a rare title in English, but normal in the Latin languages. Nicolas Poussin painted both scenes more than once, and his compositions are described in Blunt, Anthony, "Poussin Studies IV: Two Rediscovered Late Works", The Burlington Magazine, vol. 92, no. 563, 1950, pp. 39–52., JSTOR
  8. ^ Ulmer, 297
  9. ^ Paw p.80; Purtle, 1999, pp v–six
  10. ^ Schiller, 50 quoted; Vino, 374, annotation 31
  11. ^ Hall, 213; Vino, 369
  12. ^ Yavneh, 60; Sistine, 51
  13. ^ Hall, 213; Sistine, 52–56
  14. ^ Sistine, 43; Hall, 213–216 lists xiii potential scenes.
  15. ^ Sistine, xl–41, fifty–75 analyze the paired cycles.
  16. ^ "WI-ID Subject Tree". iconographic.warburg.sas.ac.great britain.
  17. ^ I of the single sheets at present in the Morgan Library, MS G.0724r.
  18. ^ Mann, 169–170
  19. ^ Barmash, Pamela, 2, in Exodus in the Jewish Experience: Echoes and Reverberations, Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books, ISBN 1498502938, 9781498502931, google books; for Poussin's hippo-hunt see below
  20. ^ Sistine, 43, 46–47, 51
  21. ^ Yavneh, 51; Robertson, 100
  22. ^ 'Paul, Benjamin (2012). Nuns and Reform Fine art in Early Modern Venice: The Compages of Santi Cosma e Damiano. p. 244. ISBN9781409411864.
  23. ^ Yavneh, 53, 58–59
  24. ^ Bowers, 7–10; both however vest to the London Foundling Hospital; the Hogarth epitome
  25. ^ "Spider web Gallery of Art, searchable fine arts image database". world wide web.wga.hu.
  26. ^ Vino, 366, 369
  27. ^ Poussin's various compositions are described in Blunt, Anthony, "Poussin Studies Four: Two Rediscovered Late Works", The Burlington Magazine, vol. 92, no. 563, 1950, pp. 39–52., JSTOR
  28. ^ Wine, 374, annotation 29
  29. ^ DeWitt
  30. ^ Acts 7:22; Welu, James. "Vermeer'south Astronomer: Observations on an Open Book", 266, The Art Bulletin, vol. 68, no. 2, 1986, pp. 263–267., JSTOR
  31. ^ "The finding of Moses: Moses brought before Pharoah's daughter by Bonifazio de' Pitati". world wide web.artgallery.nsw.gov.au.
  32. ^ Freedburg, 535–536
  33. ^ Huse, Norbert; Wolters, Wolfgang (1993-10-30). The Art of Renaissance Venice: Architecture, Sculpture, and Painting, 1460–1590. p. 270. ISBN978-0226361093.
  34. ^ Willis, note 7, lists 4, plus 3 from his workshop; Yavneh, 51–53; Robertson, 100
  35. ^ Yavneh, 51
  36. ^ Willis, quoted; Robertson, 99–100; The Finding of Moses, later 1740, Probably by Francesco Zugno National Gallery
  37. ^ Brigstocke, 160; Robertson, 100; the Dresden Veronese
  38. ^ Willis
  39. ^ Altogether he painted about 19 works gear up in Egypt, some 10% of his output
  40. ^ Vino, 369–370
  41. ^ Wine, 369, 374–375, notes 32, 37, 39
  42. ^ Bull, 540–541
  43. ^ Jaffé, David, "Two Bronzes in Poussin's Studies of Antiquities", in The J. Paul Getty Museum Journal: Volume 17, 1989, 45–46, note xviii, 1990, Getty Publications, ISBN 0892361573, 9780892361571, google books
  44. ^ Tapestry in the Baroque: New Aspects of Production and Patronage, Metropolitan Museum of Art symposia, Editors Thomas Patrick Campbell, Elizabeth A. H. Cleland, 96, 2010, Metropolitan Museum of Fine art, ISBN 030015514X, 9780300155143, google books
  45. ^ Bull, throughout; Vino, 369
  46. ^ Thompson, Jason, Wonderful Things: A History of Egyptology 1: From Antiquity to 1881, 255, 2015, The American University in Cairo Press, ISBN 9774165993, 9789774165993, google books
  47. ^ Tollerton, David, ed., Biblical Reception, 4: A New Hollywood Moses: On the Spectacle and Reception of Exodus: Gods and Kings, 75–77, 2016, Bloomsbury Publishing, 2016, ISBN 0567672336, 9780567672339, google books
  48. ^ Langston, 47
  49. ^ Weitzmann, 366–369, 374; Ulmer, 298–304; Isle of man, 169–170; Langston, 47
  50. ^ Ulmer, 299
  51. ^ Mann, 169–172, 183; Ulner, 297 and throughout. For a sceptical view of the links, see Guttmann, 25–26
  52. ^ Ulmer, 305
  53. ^ Ulner, 311
  54. ^ Ulmer, 305; AGK Images
  55. ^ "Alcestis and Hercules in the Catacomb of via Latina", Beverly Berg, Vigiliae Christianae, Vol. 48, No. 3 (Sep., 1994), pp. 219–234, Brill, DOI: x.2307/1584095, JSTOR
  56. ^ Ulmer, 304–305
  57. ^ Isle of man, 169–172, 183; Ulmer, 303 has a list in note 26.
  58. ^ Ulmer, 307; f. 9r, British Library, MS add together. 27210, epitome
  59. ^ Mann, 170; Ulmer's listing, 303, notation 26
  60. ^ Ulner, 322
  61. ^ Ulner, 312–314
  62. ^ Ulmer, 215
  63. ^ DeWitt, fig. two and text
  64. ^ Natif, 17–18; "The infant Musa (Moses) found by women of Pharaoh'southward household", Edinburgh University
  65. ^ Natif, 17–18
  66. ^ Natif, xv

References [edit]

  • Bowers, Toni, The Politics of Maternity: British Writing and Civilization, 1680–1760, 1996, Cambridge University Press, ISBN 0521551749, 9780521551748, google books
  • Brigstocke, Hugh; Italian and Spanish Paintings in the National Gallery of Scotland, 2nd Edn, 1993, National Galleries of Scotland, ISBN 0903598221
  • Freedburg, Sidney J. Painting in Italia, 1500–1600, third edn. 1993, Yale, ISBN 0300055870
  • Bull, Malcolm. "Notes on Poussin's Arab republic of egypt", The Burlington Magazine, vol. 141, no. 1158, 1999, pp. 537–541., JSTOR
  • DeWitt, Lloyd. "Finding of Moses, (PG-100)", in The Leiden Collection Catalogue, Arthur K. Wheelock Jr., Ed., New York, 2017, web folio: Finding of Moses, past Pieter de Grebber, Leiden
  • Gutmann, Joseph, The Dura Europos Synagogue Paintings and Their Influence on Subsequently Christian and Jewish Art, Artibus et Historiae, Vol. 9, No. 17 (1988), pp. 25–29, JSTOR, or Free online
  • Hand, J.O., & Wolff, M., Early Netherlandish Painting (catalogue), National Gallery of Art, Washington/Cambridge UP, 1986, ISBN 0-521-34016-0. Entry pp. 75–86, past Paw.
  • Hall, James, Hall'due south Dictionary of Subjects and Symbols in Art, 1996 (2nd edn.), John Murray, ISBN 0719541476
  • Langston, Scott M., Exodus Through the Centuries, 2013, John Wiley & Sons, ISBN 111871377X, 9781118713778, google books
  • Mann, Vivian B., "Observations on the Biblical Miniatures in Spanish Haggadot", in Exodus in the Jewish Experience: Echoes and Reverberations, Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books, ISBN 1498502938, 9781498502931, google books
  • Natif, Mikah, "Rashid al-Din's Alter Ego: The Seven Paintings of Moses in the Jami al-Tawarikh", in Rashid al-Din. Agent and Mediator of Cultural Exchanges in Ilkhanid Iran, 2013, online text, academia.edu
  • Purtle, Ballad J, The Art Bulletin, March 1999, "Van Eyck'south Washington 'Annunciation': narrative time and metaphoric tradition", Vol. 81, No. i (Mar., 1999), pp. 117–125. Folio references are to online version, no longer bachelor (was here), JSTOR
  • Robertson, Giles. "Tiepolo'due south and Veronese's Finding of Moses", The Burlington Mag, vol. 91, no. 553, 1949, pp. 99–101., JSTOR
  • Schiller, Gertrude Iconography of Christian Art, Vol. I,1971 (English trans from German language), Lund Humphries, London, pp 33–52 & figs 66–124, ISBN 0-85331-270-2
  • "Sistine": Pietrangeli, Carlo, et al., The Sistine Chapel: The Art, the History, and the Restoration, 1986, Harmony Books/Nippon Tv, ISBN 0-517-56274-X
  • Ulmer, Rivka, Egyptian Cultural Icons in Midrash, Chapter ten, "The Finding of Moses in Fine art and Text", 2009, Walter de Gruyter, ISBN 3110223929, 9783110223927, google books
  • Weitzmann, Kurt, ed., Age of spirituality: late antique and early on Christian art, tertiary to seventh century, no. 149, 1979, Metropolitan Museum of Art, New York, ISBN 9780870991790; total text available online from The Metropolitan Museum of Fine art Libraries
  • Willis, Zoe, "The Melbourne Finding of Moses: Steps towards a New Attribution", 2008 Art Bulletin of Victoria, No. 48, National Gallery of Victoria (past 2017 this painting was attributed to Tiepolo)
  • Vino, Humphrey, National Gallery Catalogues (new serial): The Seventeenth Century French Paintings, 2001, National Gallery Publications Ltd, ISBN 185709283X
  • Yavneh, Naomi, "Lost and Found; Veronese's Finding of Moses", Affiliate 3 in Gender and Early Modernistic Constructions of Childhood, 2016, Eds. Naomi J. Miller, Naomi Yavneh, Routledge, ISBN 1351934848, 9781351934848, google books and google books – ebook, with unlike pages viewable

External links [edit]

  • Media related to Finding of Moses at Wikimedia Commons

Bible Story About Finding a Baby on the River

Source: https://en.wikipedia.org/wiki/Finding_of_Moses#:~:text=The%20Finding%20of%20Moses%2C%20sometimes,by%20the%20daughter%20of%20Pharaoh.

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