In a previous post, we discussed Degrain’s depiction of Queen Baddo in his painting “Conversión de Recaredo” (1888). Today, we will look at another depiction of the “gloriosa regina” in a 19th-century painting, “Concilio III de Toledo” by José Martí y Monsó (1862).
In his exhibition, this painting was accompanied by the following text
(Cruzada Villaamil, 1865, p. XXIX).
The translation would be: “Wishing to solemnise the change of religion that had taken place in his kingdom, Reccared convened a national council in Toledo, the third to be held in that city. The King appeared before the venerable Assembly and, briefly recounting his conversion, urged them to follow his example, offering them a document signed by himself and Queen Bada, in which he declared his preference for the Catholic faith and his renunciation of the Arian heresy. He was received by the Fathers with great applause, and some nobles subscribed to the dogma.” (Cruzada Villaamil, 1865, p. XXIX).
What interests us here is precisely the representation of Queen Baddo (or Bada), who once again appears as one of the main protagonists of the Third Council of Toledo, alongside the council proceedings.
We can appreciate the impact that Baddo’s participation had on the Third Council of Toledo and, consequently, on the conversion of the Visigothic kingdom to Catholicism.
The obligation to represent this queen in the council alongside Reccared or Bishop Saint Leander in these great works of the 19th century attests to this.
Follow us to learn more about the wonderful world of the Visigoths, late antiquity, historiography and, of course, AI. #baddo #visigoths #artificialintelligence #baddoproyecto
Alfonso García Sánchez
