You have already read your free article for this month. Please join the BAS Library or become an All Access member of BAS to gain full access to this article and so much more.
Already a library member? Log in here.
Institution user? Log in with your IP address or Username
Footnotes
See David R. Cartlidge, “The Christian Apocrypha: Preserved in Art,” BR 13:03; Cartlidge and J. Keith Elliott, Art and the Christian Apocrypha (New York: Routledge, 2001); and “The Favored One,” BR 17:03, by Ronald F. Hock with captions by David R. Cartlidge.
In the original Hebrew, Isaiah’s prophecy does not mention a “virgin.” But when the text was translated into Greek in the third century B.C., the Hebrew term almah (young woman) was replaced with Greek parthenos, which does mean virgin. See J. Edward Barrett, “Can Scholars Take the Virgin Birth Seriously?” BR 04:05.
Endnotes
For a translation of the infancy gospel, see J. Keith Elliott, The Apocryphal New Testament (Oxford: Clarendon Press, 1993).
For a different interpretation of this painting, see Leo Steinberg, “‘How Shall This Be?’ Reflections on Filippo Lippi’s Annunciation in London, Part I,” Artibus et Historiae 16 (1987), pp. 25–44.