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The figure in black and white, behind the Magi and holding a falcon, may be a portrait of Piero de' Medici. There were several other important images of the Magi made for the Medici, apart from these and those in the palace chapel. The 1492 inventory lists four paintings, three probably from the period of Cosimo.
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Orthodox images more often contained inscriptions with the names of saints, so the Eastern repertoire of attributes is generally smaller than the Western. [c] Many of the most prominent saints, like Saint Peter and Saint John the Evangelist can also be recognised by a distinctive facial type.
Kneeling and resting the buttocks on the heels (similar to seiza or kiza style posture) [1] [2] Resting the buttocks on the left heel while kneeling, with the right heel propped up (the ball of the foot touching the floor and toes flexed forward) [1] [2]
A Prayer for Surrender in God. Father, I abandon myself into your hands. Do with me whatever you will. Whatever you may do, I thank you. I am ready for all, I accept all.
The knight is seen kneeling in a prayer in front a tomb, beneath a window. The interior of the chapel is very dark and devoided of any significant decoration. Amother knight is seen, at the right, by the door, possibly his squire. He holds the knight's helmet at his hands, while his shield can be seen at his left, leaning at the wall.
It explained that kneeling was an expression of "humble and grateful acknowledging of the benefits of Christ, given unto the worthy receiver" and did not imply any adoration of the bread and wine or of the real and essential presence of Christ's natural flesh and blood. [3] Historians have asked about whose victory the Black Rubric represents.
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