New identifications of prominent but overlooked black figures in two major works by Filippino Lippi enrich our understanding of how Africans were seen in late Quattrocento Florence. The African in the Adoration of the Magi, neither king nor attendant, represents the first gentiles who accepted Christ, as discussed in St Augustine’s Epiphany sermons. The black man in the Miracle of St Philip fresco, in the Strozzi Chapel of Santa Maria Novella, represents (or alludes to) the Ethiopian eunuch baptised by St Philip. These and other Florentine paintings from the 1490s, by various artists, shows black Africans as recent or future Christian converts. This hitherto unnoticed phenomenon reflects an increased awareness of Ethiopian Christians, who visited Italy repeatedly in the Quattrocento. Many Italians saw these African coreligionists as different from themselves: both insiders and outsiders. Filippino used various visual strategies to express both inclusion and alterity. Specifically, he depicts both black figures on the margins, both literally and symbolically: they stand at the edge of the miracle scenes.

中文翻译：

---

边缘的埃塞俄比亚基督徒：菲利皮诺·利皮（Pilip Lipino）对圣菲利普的贤士和奇迹的崇拜中的象征性黑

菲利皮诺·利皮（Filippino Lippi）的两部主要作品中对著名但被忽视的黑人人物的新鉴定，加深了我们对在Quattrocento佛罗伦萨后期如何看待非洲人的理解。正如圣奥古斯丁顿悟节讲道所讨论的，贤士崇拜中的非洲人，既不是国王，也不是随之而来的，是最早接受基督的外邦人。《圣菲利普奇迹》中的黑人在新圣母玛利亚的斯特罗兹教堂中的壁画代表（或暗示）圣菲利普受洗的埃塞俄比亚太监。这些和其他画家于1490年代创作的佛罗伦萨画作显示，非洲黑人是最近或将来的基督徒convert依者。迄今为止尚未引起人们注意的现象反映了埃塞俄比亚基督徒的意识增强，他们在Quattrocento多次访问了意大利。许多意大利人认为这些非洲核心主义者与自己不同：内部人士和外部人士。菲律宾人使用各种视觉策略来表达包容性和变更性。具体来说，他在文字和符号上都在边缘上描绘了两个黑色的人物：它们站在奇迹般的场景边缘。