Punishment of Korea, Dathan and Aviron, Sandro Botticelli

Botticelli combines ancient and modern realities, for example, the robes of Moses and those characters who are dressed up in the fashion of the 15th century, and the high priest Aaron is represented in the papal tiara. The artist transferred the action to Rome, capturing in the background in the center the arch of Constantine, symbolizing here the triumph of the highest, divine law. On the right are the ancient ruins, which should remind of the crush of the rebellious.
The events depicted here are described in the Old Testament book of Numbers and talk about how the “leaders of society”, two hundred and fifty eminent men who were led by Korea, Dathan and Aviron, they decided to ask Moses, who set them free at the command of God from Egyptian slavery, why he and his brother Aaron were placed above all the people of Israel.

In the center of the composition, the artist depicted how the rebels were punished by God for their insolence – the censers that they brought “before the Lord” scatter, and those who dare to fall in horror fall to the ground. On the left, the home of the instigators, along with them and their households, fall through the ground, and on the right are those two hundred and fifty people who also went against the divine will and are about to be destroyed.

Description of the picture:

The punishment of Korea, Dathan and Aviron is Sandro Botticelli. 1481-1482. Fresco. 348.5×570 To the plot on which this fresco was created Botticelli turned the first of the Renaissance artists.

The composition divided into three scenes looks like one. This is facilitated not only by a single landscape in which the entire image is placed, but also by an emotional wave. She runs from the left edge of the fresco through the center and goes out a little in the group of people on the right, but, being caught up by Moses with the seal of righteous anger on the forehead, uplifting her hands, she flashes again. The complex rhythm, to which the mood of the picture is subordinate, becoming stronger or weaker, is one of the features that distinguish Botticelli’s painting.