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?
• More on this in a future post.