AARON.

Aaron was the older brother of *Moses and the first appointed in the dominant line of
Jewish priests. He assisted Moses during the journey of the Israelites out of Egypt and in their
battles with the Amalekites (e.g., in holding up Moses’ arm to ensure victory, Exodus 17:8–13,
interpreted by Christian theologians as a prefiguration of the *Crucifixion), but later angered
*God and Moses by constructing a golden calf for the Israelites to worship, as per their
request. (See: *Worship of the Golden Calf.) Several challenges to his authority took place
(Numbers 16, 17); those disputing his right to offer incense were swallowed up by the ground;
on another occasion Aaron’s staff flowered and produced ripe almonds, signifying the
leadership of his tribe (Levi). In medieval Christian interpretation, this sign prefigured the
flowering staff of *Joseph, when he was chosen to wed the Virgin *Mary. (See: *Marriage of
the Virgin.) An elaborate description of Aaron’s priestly robes is found in Exodus 28. He often
accompanies Moses in art or appears in the narratives mentioned above. His attributes are a
censer and/or flowering rod. Example: Deuteronomy initial with Moses and Aaron, Lobbes
Bible, 1084, Tournai, BS, MS 1, f. 77. (Cahn, fig. 81) ABEL. See CAIN AND ABEL. ABRAHAM.
Abraham was the first Hebrew *patriarch; his life is described in Genesis chapters 11–25.
Scenes from his life most often represented in early Christian and medieval art include his
parting company with his nephew *Lot, his blessing by *Melchizedek, the visit he received
from three *angels who announced that his barren wife *Sarah would bear a son, and *God’s
testing of his faith by ordering him to sacrifice his son *Isaac (this deed prevented by angelic
intervention at the last moment). All of these scenes are found in early Christian mosaics and
in various media throughout the Middle Ages. Abraham’s 2 ABSALOM obedience to the will of
God was emphasized by Christian writers, in particular, his willingness to sacrifice his son was
typologically understood as a prefiguration of the sacrifice of Jesus. In art, Abraham is
generally shown with white hair and a beard and often carries a knife (in reference to the
sacrifice of Isaac). He also appears, especially in Romanesque and Gothic portal sculpture, as a
seated or standing figure holding small people (representing *souls) in the drapery folds of his
lap; this is in reference to the passage in *Luke 16:22 where Jesus describes the beggar Lazarus
(see: *Dives and Lazarus) being carried by angels into Abraham’s bosom. Example: Feast of
Abraham, c.432–440, mosaic, Rome, Santa Maria Maggiore. (Synder, cp. 3)