This detail is from a fresco in the Sistine Chapel titled Testimony and Death of Moses. It shows Moses seated and preaching to a group of people, women and children on the left, men on the right. At his feet is the Ark of the Covenant. It is strategically placed at the side of two of the women with a babe in arms, one standing the other seated on the ground. They represent the Madonna and Child, a repeated subject of Sandro Botticelli’s paintings.
There are two angels standing behind the seated Madonna. The angel in the forefront, wrapped in prayer beads, is modelled on Giuliano de’ Medici who was assassinated in 1478, some three years before the fresco was completed. Giuliano is portrayed as a guardian angel, keeping watch over the seated Madonna and Child who are modelled on Fioretta Gorini and her son Giulio. There are three versions of Fioretta. The second is the figure standing immediately behind the seated woman, also with a child in arms, and the third depiction is the head behind the head of the standing woman.
Let’s take a closer look at the last mentioned. She is closely matched to Leonardo’s portrait of Ginevra de Benci – aka Fioretta Gorini (right). Her hair is tied with a simple scarf, without decoration. Her eyes are looking to the right. Someone has caught her attention. It is Leonardo (not in the frame), the artist who painted her portrait. The fierce-looking woman on Fioretta’s shoulder is her protectress, a Gorgon feature, with a reputation of turning anyone who looked at her into stone.
The stone refererence is a reminder of the marble sculpture Verrocchio made of Fioretta – Lady with a Bouquet – and his terracotta bust of Giuliano de’ Medici that shows a Gorgon feature on the breastplate depicting Leonardo as an angel. Fioretta’s father was a cuirasser who made protective armour. The breastplates would likely feature a Gorgon symbol.
The Giuliano and Leonardo ‘double-head’ also links to the appearance of a ‘double-head’ on the Fioretta figure in the fresco. This in turn provides another connection to Fioretta’s identity and Leonardo – a drawing made by the artist that is now housed in the British Museum. It depicts the Virgin and Infant Christ holding a cat. The Virgin is portrayed with a ‘double-head’ and it is this feature that the fresco artist has adopted and coalesced with the head of Fioretta in Leonardo’s painting known as Ginevra de’ Benci.
This combination and reference to Leonardo’s drawing also reveals that the woman in the sketch is Fioretta Gorini. The sketch and, more notably, a similar drawing in reverse and on the recto side of the sheet were prelimany drawings for the painting attributed to Leonardo and known as the Benoir Madonna. More on this in a future post.
The double-head feature in the fresco is meant to portray Fioretta at two stages in life, or two paths open to her. One that leads to death, the other to new life. She takes the path of transfiguration or religious conversion. Death, in the guise of the gorgon and representing her lover Giuliano de’ Medici, is at her side, after which she gives birth to her son.
Over her gold-decorated dress she puts on a purple cloak of ‘mourning’ and repentance, turning her head to the ‘Joseph’ figure opposite who is gazing adoringly at Fioretta’s child. In this instance the man is portrayed as Giuliano da Sangallo, brother of Antonio, the man who took charge of Fioretta’s son for the first seven years of his life. Giuliano is depicted instead of Antonio to link to the name of Giuliano de’ Medici and identify Fioretta’s son who was named Giulio.
The third stage in the transformation of Fioretta’s life shows her seated on the ground (an act of humility), simply dressed and holding her child. Her blue and gold garments are matched in colour to those seen in the Benoir Madonna. Her blue cap with its gold wings is similar to the cap and colours seen on the Moses figure and also in the figure of his successor Joshua shown elsewhere in the painting. The blue cap and gold ‘wings’ represent an anointing by the Holy Spirit.
In my previous post I suggested that Fioretta had joined a religious community of Carmelites. I mentioned also her connection to the Sangallo family and that one of the attributes of Saint Gallo was a bear carrying a piece of wood. Another attribute of the saint is a hermit’s tau staff and in the Sistine Chapel fresco we see Giuliano Sangallo leaning on a such a staff. Its end is placed at the bare feet of Fioretta. This is another pointer to Fioretta’s hermitic life, her removal from the world and discalced status, and also a reference back to Leonardo’s portrait of Fioretta that art historians have mistakenly identified as Ginervra de’ Benci.
Fioretta’s ‘three-in-one” transformation connects to the transfiguration of Moses who was seen in a new light by the people when he descended from Mount Sinai after conversing with God. The first figure in the line of men on the right of the fresco is Elijah who, along with Moses, featured in the transfiguration of Jesus when he ascended a mountain in the company of three of his disciples. His face shone like the sun and God the Father’s voice was heard to say: This is my beloved son, with who I am well pleased; listen to him,” repeating the same words he spoke when Jesus was baptised by John in the wilderness. (Mark 1:11, 9:7)
Historians record Giuliano de’ Medici as the father of Fioretta’s son. Following the assassination of Giulio, his brother Lorenzo de’ Medici was informed by Antonio da Sangallo of the child’s birth and that Giuliano was its father. But was he?
So whatever happened to Fioretta Gorini after she gave birth to her child Giulio, said to have been the illegitimate son of Giuliano de’ Medici? For the first seven years of his life Giulio was raised by Antonio da Sangallo (the Elder) and then brought up in the Medici household. His uncle Lorenzo de Medici became Giulio’s guardian.
It wasn’t until 1513 that Fioretta’s name surfaced again when the newly elected Pope Leo X wanted to make his cousin Giulio a cardinal. Problem for the Church was that Giulio’s illegitimacy stood in the way. This was rectified when apparently Fioretta’s brother, supported by some monks, testified that his sister and Giuliano de’ Medici had married secretly. Giulio’s birth was legitimised and he was made Cardinal on September 23, 1513 when he was 35 years old. Ten years later he became Pope Clement Vll. His birth is given as May 26, 1478, exactly a month after Giuliano de’ Medici’s assassination on April 26. If Giulio was aware that Giuliano and Fioretta had married, then why did it take a man in his influential position, or the Medici family, so long to pursue his legitimacy? Or was this claim of marriage simply one of convenience to clear the path for Giulio to join the ranks of the cardinalate?
That it was Fioretta’s brother who was said to have confirmed the marriage, and not his sister, would suggest she was no longer alive at the time. Neither has any record come to light as to when Fioretta died, but presumably it was prior to 1513.
If Fioretta had been married to Giuliano then why would she not declare her marriage and her son to the Medici family? Why was it left to Antonio da Sangallo, the child’s godfaather, to inform Lorenezo de’ Medici of the birth and then to take the boy into his own house for the first seven years of his life? And was there a reason why Fioretta’s own family did not not take charge or support her child?
Leonardo da Vinci and Sandro Botticelli provide clues in their paintings about Fioretta’s circumstances following Giuliano’s murder and the birth of her son. They both suggest that Fioretta entered cloistered life, which may explain why she was not on hand to raise her child. Leonardo points to the Carmelite Order while Botticelli implies she may even have an become an anchorite, walled into her cell. Was her exile from the world self-imposed, perhaps the result of a religious conversion of epiphany experience, or was pressure applied on Fioretta to ‘disappear’ in this way?
There are two other paintings that point to Fioretta’s circumstances before and after Giuliano’s death. Of its time, around 1481, is a fresco in the Sistine Chapel titled Testament and Death of Moses, attributed to Luca Signorelli and Bartolomeo della Gatta. The other painting is titled Parnassus and was produced by Andrea Mantegna twenty years after the assassination of Giulio de Medici. It is now housed in the Louvre, Paris. Mantegna’s painting combines the references to Fioretta in Leonardo’s portrait known as Ginevra de’ Benci (NGA, Washington) and also those in Botticelli’s Madonna with Child and the Infant Saint John the Baptist (Barber Institute, Birmingham). The reference to Fioretta in the Sistine Chapel fresco points to her ‘new life’ or ‘transfiguration’.
Leonardo’s Carmelite reference is the bearded head of the prophet Elijah placed among the juniper and above Fioretta’s right shoulder. Carmelites follow an ideal of life as witnessed and experienced by Elijah. Already mentioned in a previous post is the juniper was the tree that Elijah sat under in the wilderness, when he wished he was dead and asked God to take his life (1 Kings 19:4).
The water feature at Fioretta’s left shoulder represents ‘Elisha’s Spring’. Elisha was the ‘adopted’ son of Elijah. At the time the prophet was taken up into heaven, Elisha requested and received a double share of Elijah’s spirit. Soon afterward Elisha performed his first miracle by purifying Jericho’s water supply which was considered the cause of many miscarriages. The ‘adopted son of Elijah’ can be understood as Fioretta’s son Giulio being first ‘adopted’ by his godfather Antonio da Sangallo (the Elder), a notable Florentine woodworker (and later an architect), and so another identity Leonardo has applied to the ‘head’ in the trees – placed at the shoulder in support of Fioretta, as he would have been when the child was baptised. It was near to Jericho that John the Baptist is said to have baptised Jesus in the river Jordan. Notice also the young, golden tree that rises from the waterside and merges with the juniper – symbolic of a tree of life and the safe delivery of Fioretta’s son Giulio.
Further confirmation that the shape above the Fioretta’s right shoulder is a pointer to Antonio da Sangallo is the the name Sangallo, Italian for Saint Gaul. One of the saint’s artistic attributes is a bear bringing him piece of wood, as seen below in the right hand image. The image on the left represents an ‘upright’ bear carrying a forked branch. Leonardo points to this with the triangular flesh symbol. The branch is shaped as the letter Y or the Greek upsilon. Its symbolism did not go unnoticed by Pythagorus and the Roman writer Persius commented: “…the letter which spreads out into Pythagorean branches has pointed out to you the steep path which rises on the right.” Isidore of Seville later wrote: “Pythagorus of Samos formed the letter Y as an example of human life; its lower branch signifies the first stage, obviously because one is still uncertain and at this stage submits oneself either to the vices or the virtues. The fork in the road begins with adolescence. Its right path is arduous, but conducts to the blessed life; the left one is easier but leads to pernicious death.” Leonardo has depicted Fioretta as taking the narrow, arduous path.
The scapular, though black and not brown, is symbolic of the one presented by the Virgin Mary in the 13th century to Simon Stock, prior general of the Carmelite Order, with the promise of salvation for those who wear it. The scapular formed part of the brown habit worn by Carmelites and also became a symbol of consecration to Our Lady of Carmel. That Fioretta’s scapular is black and not brown is because she is in mourning for Giuliano de’ Medici.
There is one more reference in Leonardo’s painting that links to Elijah and the ‘new life’ of Fioretta after Giuliano de’ Medici was slaughtered and stabbed 19 times by assassins during Mass in the Duomo of Florence, Santa Maria Fiore. It relates to the time Elijah challenged the prophets of Baal to call on their god to light a fire for their animal sacrifice (1 Kings 18:20-40). Despite their prayers, their chants and dancing around the altar, the wood on which the bull was laid did not catch fire. Even when the priests gashed themselves with swords and knives, as was their custom, and the blood flowed down them, their god remained silent and the fire unlit. The bloodletting and slaughter is the reference Leonardo has used to link his painting to the slaughter and stabbings in the Duomo.
Then Elijah prepared another altar and “took twelve stones, corresponding to the number of tribes of the sons of Jacob, to whom the word of Yaweh had come.” The reference to stone and the word of the Lord is Leonardo’s pointer to the stone appearance of Fioretta and Verrocchio’s marble sculpture which he may have used to base his portrait on, while “to whom the word of Yaweh had come” is applied to Fioretta’s religious conversion and decision to join the Carmelite Order.
Elijah doused his sacrifice in water (mixed with the blood of the bull) and then called on God to win back the hearts of the people. “Then the fire of Yaweh fell and consumed the holocaust and wood and licked up the water in the trench. When the people saw this they fell on their faces. ‘Yaweh is God’ they cried ‘Yaweh is God’.” (1 Kings 18:38-39). It was at this moment during the Mass in the Duomo, following the Eucharistic prayer offered by the priest, and when the consecrated Host was raised and heads bowed, that was the signal for the attack on the Medici brothers.
• My next post deals with the reference to Fioretta as she appears in one of the Sistine Chapel’s frescoes… More on Fioretta Gorini
The portrait below is attributed to Leonardo da Vinci and said to have been painted sometime between 1474 and 1478. Art historians consider the sitter to be Ginevra de’ Benci, the daughter of a Florentine banker and admired for her intellect and beauty. However, there is evidence to suggest the portrait is of Fioretta Gorini, mother to the illegitimate son of Giuliano de’ Medici who was assassinated in Florence Cathedral on April 26, 1478. As to when Fioretti gave birth to her child, there are two versions: he was born a month after his father’s death, or a year before Giuliano was killed.
The black scapular worn by Fioretta – a symbol of mourning – would suggest the painting was completed after Giuliano’s assassination. Neither is she wearing any jewellery. This is the same woman portrayed by Botticelli in his painting The Madonna and Child with the Infant John the Baptist; the same woman Leonardo depicted as the Mother of Jesus in his unfinished painting of the Adoration of the Magi; the same woman sculpted in marble by Leonardo’s master Andrea del Verrocchio –Lady with a Bouquet. (Could it be that Leonardo’s portrait of Fioretta was based on Verrocchio’s sculpture and not from life?)
Some time after completion, for whatever reason, the Leonardo painting of Fioretta / Ginevra was shortened at its base, and if the painting was copied from Verrocchio’s sculpture then the arms, hands and bouquet disappeared with the reduction in size.
The painting is now housed at the National Gallery of Art in Washington DC. The gallery’s website explains that “The reverse side of Ginevra de’ Benci depicts a wreath of laurel and palm encircling a sprig of juniper with a scroll bearing the Latin motto “Beauty Adorns Virtue.” Infrared reflectography revealed beneath the surface another motto – “Virtue and honor” – that of Bernardo Bembo.”
It is this link to Bembo, together with the painting’s juniper tree backdrop, which art historians present as main evidence for the woman being Ginevra de’ Benci. However, there is another interpretation that can be applied to these two features and one which Botticelli has incorporated within his painting of The Madonna and Child with the Infant John the Baptist, the version housed at the Barber Institute of Fine Arts in Birmingham.
Let’s start with the motif that appears on the reverse side of the NGA painting Ginevra de’ Benci. It’s incomplete because of the reduction made to the size of the panel, but there is enough of the emblem remaining to be able to make a judgement. The branches are laurel, palm and juniper. The laurel and palm entwine to encircle the smaller juniper branch. The emblem as a whole symbolizes protection. The two Medici brothers Lorenzo (laurel) and the assassinated Giuliano (martyr’s palm) are the covering branches, while the juniper represents the woman in the portrait, Fioretta Gorini, presumed to have been the mistress of Giuliano and mother of his son Giulio.
Very little is known about Fioretta. Possibly a courtesan, she was the daughter of Antonio Gorini, a cuirass maker. A cuirass is a piece of armour consisting of breastplate and backplate fastened together, and it is this protective reference that Leonardo has taken for his motif on the back of the portrait painting, fastening together two sections or two branches to protect the juniper sprig. The sprig is also a metaphor for the child in Fioretta’s womb. As to the original motto Virtus et Honor (Virtue and Honour), the laurel and the palm represent virtue while the juniper represents honour.
The juniper tree as a symbol of protection also has a biblical connection. It was the fearful Elijah, fleeing from Jezebel, who sheltered under a juniper (furze) bush in the wilderness, wishing he was dead. After falling asleep he was woken by an angel who then ministered to him. There is also the legend of the Holy Family fleeing with their donkey from the wrath of Herod seeking to slaughter all the new-born boys. The family and the donkey hid under the boughs of a large juniper tree, completely out of sight of the soldiers in pursuit.
So if the woman is not Ginevra de’ Benci then why would Leonardo want to place Fioretta under the protection of a prominent juniper tree? The connection goes back to Elijah and the time an angel of God came to minister and encourage him to continue his journey to Horeb, the mountain of God (1 Kings 19:1-8). The “thin space”, the gap between the juniper trees above Fioretta’s right shoulder represents the head of Elijah, the prophet who was to return to earth before the coming of the Messiah, the prophet Jesus claimed went unrecognised in the guise of John the Baptist (Matt 11:14), the prophet Botticelli sometimes portrays in his paintings as Leonardo da Vinci. Juniper was also used as a deterrent against evil and hung over doorways. However, its berries signified honour or the birth of a boy.
Very little is known about Fioretta as the daughter of a cuirass maker. There is no doubt she gave birth to a child. The boy was taken care of for the first seven years of his life in the house of his godfather Antonio da Sangallo (the Elder), and then afterwards Lorenzo de’ Medici became his guardian.
The mention of Fioretta being the daughter of a manufacturer of armour also links Leonardo and Giuliano de’ Medici to the terracotta bust made by Andrea del Verrocchio. Whie the bust is of Giuliano, the ‘gorgon’ feature on the breastplate is of a screaming, winged Leonardo da Vinci, and perhaps a reference to his attempt at flight, or even as a protector or guardian angel.
So where was Fioretta, the child’s mother, in all of this? There is no record of her raising the boy. Leonardo’s portrait of Fioretta provides some clues, Botticelli’s painting even more. I shall present these in my next post: Whatever happened to Fioretta Gorini?
In my previous post I mentioned that the Infant Baptist figure in the Botticelli painting displayed in the Barber Institute is also a representation of Leonardo da Vinci. Botticelli refers to Leonardo in this guise in several of his paintings. He was not the first to do so. The connection stems from the Baptism of Christ painting attributed to Andrea Verocchio in which Leonardo is said to have had a hand in as well, painting one on the angels (himself). The other angel gazing in admiration is Sandro Botticelli. The Christ figure is Verocchio who has portrayed Leonardo as John the Baptist.
Notice the the similarity in the Baptist’s stance, the placement of feet and the raised right arm above the head of Christ, compared with the infant Baptist in the Botticelli painting. It’s tempting to say that the Christ child could even be Botticelli – but it’s not. Compare also the similar placing of the Madonna’s feet with those of the baptised Christ, and with Leonardo’s under-drawing of the Virgin’s ‘pointy’ toes in his abandoned painting of the Adoration of the Magi.
Another pointer to Leonardo is the shape of the red cloak draped over the Baptist’s clothes made of camel hair. This relates to Leonardo’s first memory as a child in his cradle. In later years, while making notes about the flight pattern of birds and the fork-tailed red kite (milvus vulgaris), he wrote: “Writing like this so particularly about the kite seems to be my destiny, since the first memory of my childhood is that it seemed to me, when I was in my cradle, that a kite came to me, and opened my mouth with its tail, and struck me several times with its tail inside my lips.” Although the notebook entry is thought to be have been made around 1505, it is possible that the incident was related orally to others at earlier stages in Leonardo’s life.
The fork-tailed red cape also relates to another type of kite – one that Leonardo constructed in his quest to fly. Although there is no written evidence that Leonardo ever did get off the ground in this way, Botticelli included a similar reference in the Uffizi version of the Adoration of the Magi. In making the attempt Leonardo may have possibly sustained a permanent injury to his right shoulder. This could explain his preference for writing and painting with his left hand, despite recent claims by researchers that he was ambidextrous.
• My next post will deal with some of the features from Leonardo’s Portrait of Ginevra de’ Benci which Botticelli has cleverly adapted to conceptualise his painting of The Madonna and Child with the Infant John the Baptist.
Some years ago there was a UK vehicle manufacturer that traded under the name of LDV (Leyland DAF Vans). The company was based in Birmingham and for a brief time sponsored Aston Villa, one of the local football clubs. The team’s shirts were emblazoned with the LDV logo and the sponsorship ran for a couple of seasons, from 1998 to 2000.
Last weekend I came across another logo made up from the letters L, D, and V. It has a strong and long connection with Birmingham, as far back as 1943, although the logo itself is considerably older and was designed over 600 years ago by the polymath Leonardo da Vinci.
A logo or signature represents a mark of identity or attribution. It is used to authenticate and to indicate ownership, a sign of endorsement or sealing, a symbol of recognition.
Leonardo da Vinci signed his name in various ways, sometimes abbreviating it to three intials and merging them to create monograms as shown below.
A variation of Leonardo’s monogram or logo appears in a painting housed in the Green Gallery of the Barber Institute of Fine Arts located on the campus of the University of Birmingham. The painting is by the Florentine artist Sandro Botticelli – a contemporary of Leonardo – and titled: The Madonna and Child with the Infant Saint John the Baptist. There is a copy or another version of this work housed at the Galleria Palatina in Florence with some variations, notably the mirrored figures.
The logo is not the only Leonardo reference in the painting. There are others. The child Baptist figure is a depiction of Leonardo. The Madonna references two of Leonardo’s works: The Adoration of the Magi and the painting titled Portrait of Ginevra de’ Benci – a misnomer as the woman is Fioretta Gorini, said to have been the mistress of Giuliano de’ Medici and mother of his son given the name Giulio. He later became Pope Clement Vll.
So what about the monogram or ‘logos’? It’s formed by the rather contrived scarf or symbolic knotwork of the Madonna’s headcover. In the Barber version it reads left to right. However, the Palatina version the letters are mirrored, acknowledging Leonardo’s tendency for mirror-writing predominant in his notebooks.
I mentioned earlier that a monogram or ‘logos’ as a type of seal or endorsement. Notice the Baptist’s right thumb playing or pressing on the lobe of the Christ child’s ear – a play on the greek words lobos (lobe) and logos (word, speech). It is not unknown for Leonardo to have left a thumb or finger print (a unique identifier) when picking up his work, as shown in the drawing below. This is echoed by the Madonna’s left hand lifting her mantle.
Both hands of the Madonna also echo those of the same figure drawn by Leonardo for his painting of the Adoration of the Magi. The so-called ‘pointy toes’ that are a prominent feature of the Madonna in the Adoration painting are also replicated by Botticelli on his Madonna.
But why would Botticelli want to drape Leonardo’s monogram around the Madonna’s neck and shoulders. Was he implying that there was some kind of attachment by Leonardo to the Virgin – or even the model Fioretta Gorini? For sure there is the primary overlay of religious meaning to the painting but could there also be an underlyng and a more secular narrative that Botticelli has embedded in the work? It was not unknown for Botticelli, for whatever reason, to target and refer to Leonardo in many of his paintings.
There is a key that Pol Limbourg has devised to lock and unlock the composition and its features in the January folio of the Très Riche Heures calendar section, also referred to as “labours of the month”.
Here’s a visual clue. It shows the facing page to the feasting illustration, a list of holy days, or saints’ days, for the month of January, some of which were considered more important than others. At least five of the feast days are referred to in the banquet illustration. There may be others:
Jan 1 New Years Day and the Circumcision of the Lord Jan 6 The Epiphany of the Lord Jan 18 St Peter’s Chair, Rome Jan 21 St Agnes, virgin and martyr Jan 25 Conversion of St Paul
The calendar is not the only list Pol has used to construct his illustration. There are two others, plus references to ‘list’ as a word in itself. The more important of these lists helps identify some of the figures and their placement in the painting. It is a legal document held at the National Archives and provides a list of magnates and their roles in the proceedings at Richard II’s coronation on June 23, 1377. A second list, or inventory, compiled for John duke of Berry, was also utilised by Pol Limbourg. There are three extant inventories covering 1400 to 1416 which list the duke’s possessions during that period. Richard II also produced a ‘treasure roll’ describing the jewels and plate in his possession. It is made up of 40 sheets of parchment and when laid out measures around 28 metres. From this we can see the significance of the tablecloth laden with plate in the Limbourg miniature.
Pol Limbourg fuses the lists of Richard and John to create another meaning to ‘lists’ – that of the boundary or partition associated with the sport of jousting, the Middle English word ‘liste’ meaning stripe or strip (of land) on which the knights would compete. He takes the meaning of stripe of strip and applies it another way, almost like a book or page marker. The spine edge of the illustration is a vertical strip or list placed beside the calendar list.
At the top of the strip is a set of lances and two distinct flags which I am unable to identify, but they probably represent the coming together of two families, possibly in marriage. There is also a steep hill in the background and, combined with the lances, may represent an emerald coloured stone to mount thorns taken from Christ’s crown of thorns, bought by the French king Louis lX in 1238, similar to the thorn mounted on a blue sapphire given to John duke of Berry, mentioned in a previous post.
Next item down is the man wearing a black chaperon, seemingly warming his hands at the fireplace. This is Michael de la Pole, 1st earl of Suffolk. He served as a trusted adviser to Richard II and was once tasked to arrange a marriage for the king. His waving hands are a pointer to his own marriage and wife Katherine Wingfield. A feature of the Wingfield coat of arms are three winged birds, inverted or ‘conjoined in lure’, meaning the tip of the wings point downwards. In this instance the hands or finger tips point upwards, and for two specific reasons.
The wings are symbolic of the Holy Spirit and the Light of God descending or hovering over Pol Limbourg. It represents a moment of conversion, from darkness to light. Whether Limbourg is implying a conversion experience in his own life, I can’t be sure, but what he is referring to is the Conversion of St Paul on his way to Damascus. St Paul’s feast day is celebrated on January 29 and is listed on the calendar.
Notice also the relaxed pose of Pol Limbourg as he leans forward on the back of the seat in front of him. Observe also that the fabric on the back of the seat is striped. Pol is a spectator or observer in the unfurling events happening before him. He is listless – not a participant. The striped fabric that extends past the end of the table represents the barrier or list between the jousting guests, not for any favours from the absent ladies but from the boy king Richard II and John duke of Berry. Richard’s coronation list provides evidence of competitiveness between high-ranking individuals seeking to be honoured and affirmed.
The distinct red scarf around Pol’s neck is a reference to the Welsh dragon and relates to another theme in the minature which I will explain in a future post. But it also connects to the next item on the list, the gold, boat-shaped ‘nef’ used as a container for tableware. The boat could be said to be listing, weighed down by its cargo of riches. However, it is kept buoyant and afloat by the saltcellar underneath. The bear and the swan are devices of John duke of Berry. Here the resting Pol Limbourg is referring to the passage from Matthew’s gospel where Jesus invites all who labour and are overburdened to come to him and find rest for the soul as his yoke is easy and his burden light (11:28-30). The ploughing analogy is echoed in the March folio of the Très Riche Heures.
The three plates are a reference to the tablecloth (a treasure roll) that is another theme Pol has woven into the painting and which I will explain at another time. Likewise the two small cats that represent a play on two words, catalyst and catastrophe.
So now we arrive at the last item on the list, the young man who has moved from the place of honour to a servant’s role of feeding the white greyhound. As explained in the previous post the placement represents the deposition of Richard ll who was ten years old when crowned king of England, hence the small figure compared to others in the illustration. The white greyhound belongs to the ‘usurper” Henry Bolingbroke, later Henry IV, who coerced Richard into giving up his throne in 1399. The dog at this stage is portrayed in a submissive, begging role, eagerly waiting to be fed by the hand of Richard. The roles later became reversed. Richard’s emblem was a white hart wearing a crown collar. Now it is Bolingbroke’s dog – a hunter – who wears the jewelled collar. It is said that Richard ll starved himself to death after he was captured and later imprisoned in Pontefract Castle. But notice also the black scarf around Richard’s neck. Is this Limbourg suggesting that the king may have been strangled and not starved, or is he referring to the earlier death of one of his enemies, Thomas of Woodstock, who is said to have been murdered while held prisoner at Calais on Richard’s orders? A manuscript of the time depicts Thomas being stangled by his own scarf.
Richard can also be linked to the calendar list. He was born on January 6, Feast of the Epiphany. A failed rebellion against Henry lV to to reinstate Richard ll as king was planned to take place on this feast day in 1400 and resulted in Richard’s capture and eventual death in February that year. It’s at this stage that the black chevron seen on the yellow flag at the top of the list, coupled with the inverted wings above Limbourg’s, head can be recognised as symbolic of hierarchical change. Limbourg has switched the visual references to the order of feasts. Pol, or St Paul, has been raised after falling frorm his horse, while Richard has fallen from grace and occupies the last place. St Paul’s ‘epiphany’ has taken presidence over Richard’s association with the Ephiphany. Richard was a firm believer in the divine right of kings to rule, but here Limbourg demonstrates that divine will is not always “done on earth as it is in heaven”. This links to another aspect of the ‘inverted’ symbols which I shall post on at another time.
Here’s more on Pol Limbourg’s January illustration from the Très Riche Heures produced for John duke of Berry. .
Apart from the battle scene depiction in the background, said to be a reference to the Trojan Wars, the main action of the painting centres on and around the banquet table.
The ‘pole’ position at the table is taken up by the host, John duke of Berry, wearing a blue gown. He is turned to isten to what the “man of the cloth” at the end of the table has to say. But notice the gap on the seat between the two men, seemingly guarded by the chamberlain stood behind the space. It’s a place reseved for a very special guest to sit at the right hand of the host. But who is he? Could he be one the group of men in a line approaching the chamberlain? No, they are there for other reasons. and not just to warm their hands at the fire.
Artist Pol Limbourg has purposely displaced the duke of Berry’s honoured guest and positioned him elsewhere in the frame, almost out of the picture! In fact, he is not even seen in the cropped image above. To discover him and the reason for Pol Limbourg’s inventive design the folio needs to be viewed in its entirety.
The ‘servant’ feeding the greyhound in the bottom right corner of the frame is the man who has given up his seat at the table, not that he has been asked to by the host. He is placed as a corner stone on which the main theme of the January folio is built upon.
There’s a new book by art historian Simon Hewitt due out in October – Leonardo da Vinci and the Book of Doom. The publisher’s blurb on Amazon describes the work as “an in-depth investigation into the art, politics and muderous cynicism of Renaissance Milan and an academic detective story sketched out with erudition and journalistic panache.”
A more sensational approach was adopted by the publisher when informing various media channels. Hence the similar headlines that appeared with the story this week:
“Italians laughed at Leonardo da Vinci, the ginger genius” “Master’s Misery: Leonardo da Vinci was bullied for being ginger and gay… ” “Artists Leonardo da Vinci was the butt of gossipy jokes in Renaissance Milan” “Fellow artists mocked Leonardo da Vinci for his red hair and sexual leanings”
Here’s part of the report behind the headline published by The Guardian:
Far from being admired as an extraordinary genius, Leonardo da Vinci was repeatedly lampooned and teased about his unusual red hair and his unconventional sexuality by other leading artists of his day. Although the work of the great Italian was popular in his time, an extensive new study of the artist to be published this week has outlined evidence that he was the butt of gossipy jokes in Renaissance Milan.
Author Simon Hewitt has unearthed a little-studied image held in Germany, a “comic strip” design made in 1495 to illustrate a poem, that showed how Leonardo was once ridiculed. In one of its colourful images, An Allegory of Justice, a ginger-haired clerk, or court lawyer, is shown seated at a desk, mesmerised by other young men, and represents Leonardo da Vinci. “The identity of Leonardo as the red-headed scribe is totally new,” Hewitt told the Observer ahead of the publication of Leonardo da Vinci and the Book of Doom.
The key passage in Hewitt’s book identifies the painter through a series of clues in the precious illustration. He is shown as a “left-handed clerk … with a wooden lyre at his feet: evidently a caricature of Leonardo da Vinci”. The lyre was Leonardo’s instrument and his father, Ser Piero, who is depicted resting his right arm on his shoulder, “is brandishing a sheet of paper that surely represents the anonymous document denouncing Leonardo for sodomy, deposited in a Florence tamburo in April 1476”.
Close study of the illuminated manuscript copy of Gaspare Visconti’s epic poem Paolo e Daria, revealed to Hewitt that Leonardo da Vinci is also likely to be the object of ridicule because of the absent-minded way he is shown to be drawing on the tablecloth, rather than on his sketch notebooks, and by his apparent fascination with a half-naked young man who is clutching “a rocket-like, Leo-invented contraption”.
“Further evidence of Leonardo’s identity, and homosexual leanings, is provided by the group of eight strapping figures alongside,” argues Hewitt, who has conducted five years of research into Leonardo and his circle in search of the truth about a controversial portrait, La Bella Principessa…”
This is the illustration Simon Hewitt refers to that appears in Gaspare Visconti’s Romanazo e Diana.
I don’t have a problem with Leonardo being identified as the seated figure with his father Piero standing behind him. It’s a good spot by Hewitt. So also the left hand, but is the claim that Leonardo had ginger hair really valid? Compare the colour of his hair with the colour of the hair on the figures on the right. Haven’t they all got ‘ginger’ hair? If so, why has Hewitt placed the emphasis on Leonardo? There are depictions of Leonardo by other artists of his time which would dispute Hewitt’s claim.
But let’s assent to Hewitt’s opinion on the ginger hair and instead consider if there was a sound reason why the illustrator not only portrayed Leonardo with ginger hair – it may even be classed as ‘red’ or even ‘golden’ – but also the group of figures on the right of the frame.
For sure this is a painting mostly about Leonardo da Vinci. Hewitt states that it points to Leonardo’s sexuality and the time he was charged with sodomy before he left Florence to work for Ludovicp Sforza, duke of Milan, seen sitting in judgement and conversing with Piero, Leonardo’s father, who was a notary by profession. Hewitt also points out the note in Piero’s right hand, suggesting it is the unsigned report posted to the Florentine authorities accusing Leonardo and others of sodomy. Yes, it is, and it isn’t. Leonardo was brought to court in Florence, not Milan, but the artist Birago is resurrecting this incident to confirm Leonardo’s identity in the picture.
Hewitt also points out another identifier to Leonardo, the broken lyre on the floor in front of the desk. Leonardo was a notable musician. He even presented a silver lyre in the shape of a horse-head as a gift to the duke when he arrived in Milan. So could the broken lyre be a metaphor for Leonardo’s brokenness – not referring to his sexuality – but to a damaged shoulder, the one on which his father’s right hand rests, as an outward sign of confirmation that not only is Leonardo his son in whom he is well pleased with, but also that the injury would be a cross to bear in life. It may also explain Leonardo’s tendency to write with his left hand. Whether this injury occured early in his life, it cannot be certain, but there are specific references to Leonardo’s shoulder in paintings by his contemporaries.
It is said that Leonardo once built a flying machine and launched himself into flight from the side of a hill. Again, paintings that depict Leonardo suggest the injury occured before he moved to Milan. Could it have been the result of his attempt at flying, a dislocated shoulder or a broken collar-bone,perhaps, as a result of a bumpy and uncontrolled landing?
Simon Hewitt also makes a point in his published comments that Leonardo is apparently fascinated with a half-naked young man who is apparently clutching “a rocket-like, Leo-invented contraption”. In reality the ‘contraption’ is the broken neck and strings of the lyre. It also serves to represent the flying machine Leonardo is said to have taken into the air, now broken in two after crash-landing. Notice the bird shape wings and its long neck – a reference to one of Leonardo’s paintings, Leda and the Swan. Notice also the shape of the split between the two pieces –another pointer to the Leda painting and the broken eggs. But can egg shells ever be repaired and put back together in one piece? Seemingly not by human hands. Just look at the fit between the two halves of the instrument. They don’t match. Divine intervention is required.
And so the illustrator takes us a step towards identifying the “half-naked” young man who Leonardo can’t take his eyes off. He does this by placing a ghostly “Manylion” feature or face of Christ as depicted on what is now referred to as the Turin Shroud. It appears just under the neck of the lyre on the thigh of the man in the blue “shroud”.
The figure represents Jesus Christ, – a leader not a Leda – and points to the painting by Andrea Verocchio and which Leonardo had a hand in – The Baptism of Christ. In this work Leonardo is depicted in a blue gown, kneeling and looking up at Jesus being baptised by John. And this explains why the illustrator has depicted Leonardo seated at his desk looking up at the ‘half-naked’ man. In the Baptism painting, Jesus is shown ‘half-naked”. The model for Jesus (the head, certainly) is Andrea del Verocchio, Leonardo’s tutor and master during his apprenticeship in Florence – an adopted father, after his family sent him to train as an artist in Verocchio’s studio where he remained until he moved to MIlan. See the similarity in the two portraits representing Jesus; the plumpness in the face and the heavy eyes and there is even a suggestion of a light beard in both. See also the highlighted right collar bone and another pointer to Leonardo’s injury.
So now we have three ‘father figures’ in the miniature that Leonardo could relate to: his natural father, Piero, standing in support behind him; Ludovico Sforza, who took Leonardo under his wing in MIlan; and Andrea del Verocchio during his training period in Florence.
As to repairing the broken instrument, Leonardo would have been famliar with Scripture and the words of Jesus – “For nothing will be impossible with God” (Luke 1:37). And who is the red-haired woman standing next to Jesus? Could it be the woman caught in adultery by the scribes and the Pharisees. They wanted to stone her as the law of Moses provided for, but Jesus responded by writing on the ground with his finger and saying, “If there is one of you who has not sinned, let him be the first to throw a stone at her” (John 8: 7). Observe also the ‘hook’ feature that represents the swan’s head, yet another scripture reference to include both Leonardo and the adulterous woman. It refers to the period shortly after the baptism of Jesus and when he dealt with temptation in the wilderness. On his return to Galilee Jesus saw the brothers Simon and Andrew casting their net in the lake and called out to them: “Follow me and I will make you fishers of men (Matthew 4: 19).
So this brings the analysis back to Leonardo sitting at the table – scribing, so to speak. Hewitt points out that Leonardo is so distracted by the “half-naked” man that he is absent-mindely drawing on the tablecloth. But this is the illustrator’s method of pointing to Jesus seemingly not paying attention to the scribes and Pharisees by writing on the ground with his finger. It’s also a reference to the Mosaic Law and Moses writing on tablets or tables. Leonardo was considered a ‘Moses’ figure by some, recording the laws of nature in his notebooks and perhaps even for covering up his “crime” as the prophet did when he killed an Egyptian guard and buried him in the sand.
There is other iconography which points to Leonardo, perhaps even issuing a warning to others and recalling the wooden horse of Troy and its associated adage: beware of Greeks bearing gifts. Leonardo had writen and informed Ludovico Sforza that he wanted to produce a horse sculpture as a monument to the duke’s father Francesco Sforza. For reasons I won’t go into here it was started but never completed. The table at which Leonardo sits represents the wooden horse and a likely reference to the scaffolding used to construct the initial clay model. It’s head is formed by the upper part of the wooden lyre. The blue cloth serves as a cover for the work in progress. Beneath the table there is an anomaly. Leonardo is depicted with only one leg, a direct reference by the illustrator to Leonardo’s masculinity hidden under the table or inside the horse.
A less obvious narrative in this miniature again points to Leonardo and one of his paintings. Two notebooks are placed on the table both with pronounced markings, spots, in fact. They refer to the phrase that “a LEOpard never changes its spots”, meaning that Leonardo’s sexuality is as it is, but more importantly they connect to the lyre and represent musical notation by the notary’s son Leonardo and the painting attributed to him: Portrait of a Musician. In the painting the musician is seen holding in his right hand a piece of paper with musical notation written on it; the piece of paper that Piero is passing into Leonardo’s right hand, or perhaps taking from it – not just a piece of paper, but also a piece of music. See how the illustrator has matched the ‘ginger’ and curled-fringe look of Leonardo’s hair with that of the Musician. Could it be that the Musician is a portrait of Leonardo da Vinci? Why else would the illustrator draw attention to the painting in this way? Perhaps also the golden-haired figures grouped at the side of Jesus represent a heavenly choir of angels conducted by Leonardo with a small baton doubling up as a writing tool in his left hand. Leonardo liked his angels.
At this stage it is worth pointing out that the illustration was likely inspired by another source that depicts Leonardo in similar circumstances, where he is accompanied by his father and judgement is passed. It’s one of the frescoes in the Sistine Chapel commissioned by Pope Sixtus IV, and part of a series that illustrates the lives of Moses and Jesus. The particular fresco is titled the Testimony and Death of Moses, part of which shows the prophet passing on the baton to Joshua. The kneeling Joshua is in fact Leonardo sa Vinci. His father Piero, the notary defined by his scrolled hat, stands behind his son, his right hand pointing to Leonardo’s ‘winged’ shoulder. More about this here.
Seated on the judgement seat is Lady Justice with scales and sword. She wears no blindfold, so her impartiality is questionable. The scales of justice are broken as one of the pans is missing. Justice, it seems, will not be applied evenly. Does she favour Leonardo, or not? In his book, Hewitt identifies the woman as Ludovico’s daughter Bianca Sforza. Ludovico, sceptre in hand is the man in the middle, the fulcrum. In his hands is the balance of power – justice according to the duke’s measure. As to the armoured lady, I can’t be certain. She sits alongside Ludovico and therefore possibly his wife Beatrice d’Este who died in childbirth at the age of 21. On the other hand it could be speculated that she represents Ludovico’s daughter Bianca Sforza, heavily disguised in dark armour. Like Beatrice she also died young – just three months earlier when she was only 14 – but in mysterious circumstances. Her peacock-head helmet could be considered symbolic of her resurrection. If it is Beatrice, then she’s there for a reason that connects to Leonardo, possibly because he knew the cause of her death. He hinted at it in the portrait he made of Beatrice which came to light in recent years and was titled La Bella Princepessa by the Leonardo scholar Martin Kemp.
As for who Lady Justice might be, try Lucrezia Tornbuoni, mother of Lorenzo de’ Medici, de facto ruler of Florence at the time of Leonardo’s arrest along with three other men on a charge of sodomy. One of them was named Leonardo Tornabuoni.