Laying down the law

Guasparre dal Lama is said to gave commissioned the Adoration of the Magi painting by Sandro Botticelli, the version now housed in the Uffizi, Florence. The altarpiece was intended for the patron’s funerary chapel in the Florentine church of Santa Maria Novella.

Detail from Botticeelli’s Uffizi version of the Adoration of the Magi. Verrocchio is the man in blue.

Art historians generally single out Guasparre dal Lama as the grey-haired figure in blue, placed among the group of men on the right side of the painting, probably because the index figure of his right hand appears to be pointing to himself, and because he is looking at the viewer. The latter feature is often understood as an indication of patronage.

Ronald Lightbrown (Botticelli: Life and Work) goes with the general opinion that the grey-haired man in blue is Dal Lama, but states that he pointing to the man on his left and not to himself. So why would Dal Lama point to this man, partly concealed by other figures? And why would Botticelli keep him “under wraps” in this way and at the same time portray the person in a vivid amber gown that stands out like a beacon in the lineup? Guasparre is a version of the name Caspar, one the three Magi, and is associated with bringing the gift of myrrh to the nativity scene. The amber colour of Guasparre’s garment represents myrrh. Tradition also associates Caspar in the role of a treasurer, a trusted keeper of riches. Of the three gifts laid before the Infant Jesus, gold represents the child’s regal status, frankincense his divinity, and myrrh his humanity.

In a previous post I proposed that the grey-haired man in blue was the artist and sculptor Andrea del Verrocchio, and the man he is pointing to in the amber gown, Gausparre dal Lama. The two men are also paired in one of the Sistine Chapel frescos (Temptation of Christ) painted by Botticelli before he returned to Florence to complete the altarpiece commissioned by Dal Lama who had died the previous year in April 1481.

Guasparre dal Lama was a licensed exchange broker, successful up to a point in time – January 1476 – when he was charged and found guilty of falsifying an account of one of his business transactions some years earlier. He was fined and expelled from the guild of bankers and money-changers. Overnight he became a man not to be trusted in financial affairs – a ‘leper’ to be avoided and shunned.

Andrea del Verrocchio points to the ‘leprous’ fingers of Guasparre dal Lama.

It is interesting to note that Botticelli has depicted the man standing on his left as having turned away or turned his back on Dal Lama. Notice also the two stump-like fingers on Dal Lama’s ‘leprous’ hand, pointing towards Verrocchio. This is reminiscent of Verrocchio’s hand sign in the Sisitine Chapel fresco. Does this suggest that Verrocchio may have had a role in the completition of the Adoration of the Magi altarpiece after Dal Lama’s death, perhaps even paying Botticelli for the work?

That Dal Lama features in the Temptation of Christ fresco also points to a similar theme in this section of the Adoration painting, the temptation Dal Lama succumbed to in falsifying his accounts, and the passages about virtue and temptation presented in Matthew’s Gospel (5 : 20-48). Eye for an eye, tooth for tooth and offering the other cheek are all referenced in the three figures to the left of the painting’s patron. Just as Christ in his humanity was not beyond the reach of temptation, so also were Guasparre and those portrayed alongside him.

It is said that Guasparre dal Lama wanted to be portrayed as a man of influence and connections, especially to the Medici family. In reality he wasn’t on that level in Florentine society, but it explains why the Medici members figure prominently in the Botticelli painting. Botticelli was an artist of great insight and even humour, a commentator and observer of the society he lived in, subtle and clever in the way he would imbed subtext into his paintings which could be understood by some of his contemporaries, especially by other artists.

One particular example of how Botticelli has linked Dal Lama to the Medici family is the contrast in focus on the new-born Saviour shown by Dal Lama and Giuliano de’ Medici seen in the corner of the opposite side of the painting. Guasparre’s head is turned towards the Infant. Giuliano’s head is not. His eyes are cast downwards. Both men were dead when the painting was completed. A month after Giuliano’s murder, Fioretta Gironi gave birth to his child Giulio. Shortly after the death of Guasparre his second wife gave birth to his only child, a daughter named Francesca. Guasparre had changed his will with the news of his wife’s pregnancy to provide for the child. Seemingly Giuliano did not provide for his illegitimate son who later went on to become Pope Clement VII. Giulio was placed in the care of his godfather Antonio da Sangallo (the Elder) for the first seven years of his life until Lorenzo de’ Medici, Giuliano’s brother brought him into the Medici family.

For the Medici the blood line took importance above any other consideration. This is why Botticelli has shown Cosimo Medici staring down at the feet of the Infant Jesus (aka Giulio de’ Medici). He is checking if the child is truly a blood descendant of the Medici, especially of Cosimo himself who suffered, as did his close descendants, with severe forms of rheumatoid arthritis. From this we can see the connection Botticelli has made to Dal Lama’s leprous hand.

There is another hereditary connection Botticelli makes and that is the figure of Joseph, the foster father of Jesus. The man portrayed as Joseph is Giulio’s godfather mentioned earlier, Antonio da Sangallo. He started out as a carpenter and sculptor before developing as an architect and building fortifications. Some of his carving work still survives, most notably the large crucifix he created with his brother Giuliano in 1481. It was recently restored and is housed at the Basilica della Santissima Annunziata in Florence. The Sangallo family were prolific carvers of crucifixes.

This detail shows the nailed feet of the crucified Christ and the displaced large toe of the left foot seemingly caused by the nail driven through the feet. This can be likened to the pain and joint displacement of the big toe caused by gout. Extant crucifixes made later by the Sangallo family also show this feature.

The Sangallo crucifix connection also shows up in the Sistine Chapel fresco, Testimony and Death of Moses, confirming the Sangallo reference in Botticelli’s Adoration of the Magi and that the young woman representing the Virgin Mary is Fioretta Gorini, the same woman that art historians refer to as Ginevra de Benci as the sitter for one of the earliest portraits painted by Leonardo.

More on this in a future post…

‘Christos fanciullo’ – a new connection to Leonardo da Vinci

Christo fanciullo (Young Christ), terracotta, Eredi Gallandte collection

This terracotta head of a young man is known as “Christo fanciulllo”. It came to light in 1931 after it was discovered in a convent at Ascoi Piceno. As to the sculptor, Leonardo da Vinci is considered a candidate. His name is linked to a claim made in 1584 by the Italian artist Gian Paolo Lomazzo who wrote: “I have also a little terracotta head of Christ when he was a boy, sculpted by Leonardo Vinci’s own hand…”

However, there is an earlier reference which also links to the terracotta Christo fanciullo (Christ as a young man). It appears in the Monforte Altarpiece painted by Hugo van der Goes. Although its current attribution is c1470, the painting has references which date the work to a later period, probably to sometime in 1482, the year that Van der Goes is said to have died.

The main panel of the Monforte Altarpiece depicts the Adoration of the Magi. Like Bottcelli’s Uffizi version it has underlying narratives and picks up on Botticelli’s references to Leonardo, his pointers to other artists and the assasination of Giuliano de’ Medici. Hugo is depicted in the Botticelli altarpiece and returns the compliment by featuring Botticelli in the Monforte painting.

A section of the Monforter Altarpiece by Hugo van der Goes

The head sculpted by Leonardo or even of the artist as a young man, can be matched with the kneeling figure, whose left hand supports a golden chalice.

The Van der Goes painting is another work that assigns multiple identities to most of the figures. Hugo’s influence for this was likely Jan van Eyck who did the same – four for each figure – in the Just Judges panel of the Ghent Altarpiece.

At surface level the golden-haired figure is presented as a servant to the second magus in the group. At another level he represents Maximilian I, Archduke of Austria, and son of the Holy Roman Emperor Frederick III. A third identity is Matthias Corvinus, king of Hungary, Croatia and Bohemia.

A fourth identity is Leonardo da Vinci, and in his role as an artist, he is positioned receiving a golden chalice from the dying Hugo van der Goes, symbolising a rite of passage. This can be interpreted in more than one way. The most obvious is Leonardo leaving Florence to start a new chapter in his life and career at the Milanese court. Next to the kneeling Leonardo is the figure of Ludovic Sforza, Regent of Milan, known as Il Moro – the Moor – because of his dark complexion, and who Leonardo served as court artist from 1482 until 1499.

The figure also represents St Augustine of Hippo, one of the four Doctors of the Church depicted in the painting. A third identity for this figure is Michael Szilágyi, uncle and guardian (regent of Hungary) to the young king Matthias. The regency role is matched to the identity of Ludovic Sforza, uncle and guardian to the young duke of Milan, the boy holding the sceptre and portrayed at suface level as a servant to the third magus. When the figure is identified as St Augustine, then the boy is recognised as his son Adeodatus who died in adolesence.

The rite of passage theme also connects to Botticelli’s Uffizi version of the Adoration of the Magi and to one of the frescos in the Sistine Chapel which shows Moses commissioning Joshua to lead the Isralites. The Testimony and Death of Moses was the last fresco completed in the series depicting the lives of Moses and Jesus. It was probably finished in 1483 and is attributed to Luca Signorelli and Bartolomea Gatta.

A section of the Testimony and Death of Moses, fresco, Sistine Chapel

Joshua, the man shown kneeling in front of the ageing Moses, is represented by Leonardo da Vinci. The man standing immediately behind him is presented as his father Piero da Vinci, while Moses is represented by Leonardo’s grandfather and guardian, Antonio da Vinci.

Van der Goes repeats a similar motif in his painting, the bearded magus handing down the chalice to the young man kneeling alongside. While there is far more depth of meaning and significance in this motif and the composition of figures, the purpose of this presentation is to link Leonardo to the painting and back to the terracotta head.

Botticelli’s Uffizi Adoration also shows a similar hand-over composition where Leonardo is depicted stooping with his right hand over the left hand of the man wearing a black coat, Lorenzo de’ Medici’s assassinated brother Giuliano. Notice also the handing over of the chalice to Lorenzo wearing the white gown by his father Piero di Cosimo de’ Medici.

A section of the Adoration of the Magi by Sandro Botticelli, Uffizi gallery

So now we have three paintings with symbolism representing a rite of passage, a passing over, of life to death to new life, that includes Leonardo da Vinci.

Christ as a Young Man came of age around the time he was twelve years old. Luke’s Gospel mentions “the child grew to maturity, and he was filled with wisdom.” For Maximillian I the rite of passage at a young age was at 18 when he married Mary of Burgundy. Matthias Corvinius was just 14 when elected king of Hungary. Leonardo was also 14 years old when his family moved to Florence and he was placed as an apprentice in Andrea del Verrocchio’s studio.

So in age representation the head of “Christ as a Young Man” can be applied to all three identities. Van der Goes, it appears, had sight of the terracotta head, made a drawing or drawings of it, and included it in his painting to link Leonardo to the Botticelli and Signorelli/Gatta fresco. This would also suggest that Hugo van der Goes had sight of the relevant artworks both in Florence and Rome.

Professor Martin Kemp, a leading authority on the life and works of Leonardo wrote:

“Of the exant sculptures assigned to him [Leonardo] on grounds of style, none has decisively entered the accepted canon. Given the unlikelihood of any existing sculpture ever proving to be incontestably by Leonardo on the grounds of documentation and cast-iron provenance, any attribution must necessarily rest on less secure foundation of comparisons with his works in other media and with related sculpture of masters with whom he was closely associated, especially Verrocchio and Rustici.”

(‘Cristo Fanciullo’, Achademia Leonardi Vinci, IV, 1991, PP. 171-6)

Included in professor Kemp’s paper is a profile image (right) of the sculpture. The copy I have doesn’t show much detail but it is the profile itself that is of interest. When flipped, rotated and simply superimposed over the profile in the Van der Goes painting, the fit is an impressive match. Couple this with the deliberate references and connections Van der Goes has made to Leonardo in Botticelli’s Adoration of the Magi and the Sistine Chapel fresco, it would be reasonable to suggest that the “Christos fanciullo” head is the model for Hugo van der Goes adopted for the head of the kneeling servant in the Monforte Altarpiece.

Monforte Altrapiece… Leonardo profile superimposed with profile of Christos Fanciullo

Dr Leonardo, I presume…

Left: Leonardo da Vinci. right: Domenico Ghirlandaio.

In my previous post I proposed that the artist Domenico Ghirlandaio was the person who sent the anonymous letter to the Florentine authorities accusing Leonardo da Vinci and three other men of sodomy.

I mentioned five paintings in which this event is alluded to, three by Botticelli, one by Andrea Mantegana and another by Verrocchio with the help of Leonardo himself.

I can now point to another work that makes mention of the incident – a confession of a kind – by Domenico Ghirlandaio. It’s one in a series of frescos he and his workshop produced for the Tournabuoni Chapel in the church of Santa Maria Novella on the lives of the Virgin Mary and John the Baptist, patron saints of Florence.

Baptism of Christ, 1485-1489, Domenico Ghirlandaio and workshop,
Tournabuoni Chapel, Santa Maria Novella, Florence

The particular fresco is the Baptism of Christ, and it is not without coincidence that several of its features are adopted from a similar work painted by Andrea del Verrocchio, assisted by Leonardo.

Leonardo also shows up in the Tournabuoni version. He is placed at the extreme left of the fresco, wearing a green gown and amber hat. His right hand is pointing to the dominant figure standing in front of him waiting to be baptised and whose nakedness symbolises his sin. He is no longer in hiding, although an angel’s wing – a gold leaf – covers his modesty.

He is Domenico Ghirlandaio.

Baptism of Christ, 1476, Andrea del Verrocchio and Leonardo da Vinci, Uffizi, Florence

In Verrochio’s version Ghirlandaio is the model for John the Baptist. It is not without reason why the angel painted by Leonardo and representing himself has his eyes fixed on the Baptist figure, “staring hard at him” and not at Christ, with a questioning look that asks “Are you the one…?” One of his own, a painter, a ‘Hebrew’, echoing the fable of the eagle wounded by an arrow vaned with its own feathers, and a reference to Leonardo’s shoulder injury. The shoulder injury is depicted in Leonardo’s angel and Ghirlandaio’s fresco.

In the Verrocchio painting, Leonardo’s angel’s right arm, his wing, is feathered and dark. He carries the cloth that will cover Christ, shaped as a wing but also meant to represent a shroud that will eventually wrap around the body of Christ. The garment turns to gold and forms a sling around Leonardo’s shoulder to support and partially cover his injury wound – a red, wing-shaped arrow to suggest a damaged shoulder blade or “winged scapular”.

Lorenzo de’ Medici, Adoration of the Magi, 1482, Sandro Botticelli, Uffizi, Florence

The damaged right shoulder shows up on Ghirlandaio. Note the dark bruising and the emphasis on the shoulder blade. Leonardo confirms the problem by pointing to Ghirlandaio’s other shoulder. More likely he is presenting a prognosis of the injury, or disorder, to the bearded man alongside. His pointed hat is modelled on the hat worn by Lorenzo de’ Medici in Botticelli’s Uffizi version of the Adoration of the Magi. Magi = Medici = medical doctors.

Is this the man who anonymously ‘outed’ Leonardo da Vinci?

Domenico Ghirlandaio, Adoration of the Magi, Ospedale degli Innocenti, Florence

Domenico Ghirlandaio (1448–1494) was an Italian Renaissance painter born in Florence. He was four years older than Leonardo da Vinci who in 1476 was arrested and brought to the Florentine court on a charge of sodomy after an anonymous denunciation was lodged at the Palazzo della Signoria, the city’s town hall, on April 9, 1476.

Leonardo was accused with four others but because the report had been made secretly and wasn’t signed, the charges against all the men were dropped. A similar accusation was lodged two months later but again dismissed.

Although the letter condeming Leonardo and the other men was left unsigned, it’s unlikely the author was unknown at the time. Gossip and speculation would surely have followed Leonardo’s arrest and potential suspects and motives considered.

One man who did know whose hand wrote the letter to the authorities was Sandro Botticelli. He identified the person in at least three of his works and may even have been party to the posting. The first was the portrayal of the two fighting Hebrews in the Sistine Chapel fresco depicting the Trials of Moses (1482). Next was the Uffizi version of the Adoration of the Magi completed in 1482 after Botticelli had returned to Florence following his stint at the Vatican. The third reference shows up in The Calumny of Apelles (1494-95) after Ghirlaindaio had died of pestitential fever in January 1494 at the early age of 44.

Ghirlandaio is also included in the frame of suspects by Andrea Mantegna in his version of Parnassus (1497-98).

Finally, Leonardo himself points to his ‘outing’ in Andrea del Verrochio’s Baptism of Christ, in which he painted one of the ‘grounded’ angels. This would place the painting’s completion after the charge made against Leonardo was dropped in June 1476.

More details on this in a future post.

Leonardo’s stone-cold portrait

BBC presenter Fiona Bruce with a copy of Leonardo’s Salvator Mundi. © BBC

I watched a BBC documentary yesterday – Da Vinci: The Lost Treasure. It was presented by Fiona Bruce. A brief section of the programme focused on the painting known as Ginevra de’ Benci, an early portrait painted by Leonardo between 1474 and 1478.

Commenting on the painting kept in Washington’s National Gallery of Art, Bruce said: “I must say, I don’t warm to this young lady. She looks decidedly frosty. So why was she so admired?”

Portrait of Ginevra de’ Benci painted by Leonardo da Vinci 1474 and 1478.
National Gallery of Art, Washington DC

Luke Syson, a curator working at the time for London’s National Gallery, responded: “The portrait of Ginevra de’ Benci is curiously unlovable. She really stares at us with a quite chilly, menacing gaze. I think what Leonardo was trying to do was to make her very remotely beautiful, was to raise her beauty above a kind of ordinary human level to something that was poetic and almost other-worldly.”

Then Syson, who has since become a director of the Fitzwilliam Museum in Cambridge, added a very interesting observation: “I think she comes over as if she is carved from marble, rather than like a living, breathing human being…”

Lady with a Bouquet, marble bust by Andrea del Verrocchio, 1475-80, Bargello Museum

It has long been thought that Leonardo’s Ginevra de’ Benci is the same woman portrayed in Andrea del Verrocchio’s marble bust, known as the Lady with a Bouquet, now housed in Florence’s Bargello Museum. What may not have been considered is that Leonardo’s painting is based on Verrocchio’s sculpture “carved from marble, rather than a living, breathing human being.”

There is also another version of of the marble bust, except that it is made of plaster with a stucco surface. Known as The Lady with the Primroses, it is attributed to Verrocchio’s workshop and displayed at the Met Museum in Washington. There is also a marble bust attributed to Leonardo in The Frick Collection museum located in Manhattan. This is also said to resemble the sitter in the Ginevra de’ Benci painting.

But is the portrait really that of Ginevra de’ Benci? Some historians have suggested that the woman is Fioretta Gorini, mistress of Giuliiano de’ Medici and mother of his son Giulio who later became Pope Clement VII.

My preference is for Fioretta (meaning ‘little flower’), and I’ll explain why in a future post.

Niche work

Artist, goldsmith and sculptor Andrea del Verroccio, self portrait, c 1468-70, Uffizi, Florence

Andrea del Verroccio is probably better known for his work as a sculptor than a painter. Even the two principal figures in his Baptism of Christ painting appear rigid as if placed on pedestals. Both Christ and John the Baptist are shown standing on the bedrock of the shallow river Jordan with their feet submerged in water. The weight of each man is placed on his right leg and balanced by the left. The feet are the ‘footings’ or ‘founds’ supporting the whole body which in this scenario can be understood as Christ’s body representing the Church he founded.

I mentioned in a previous post how the river is depicted as both water and blood and is connected to the Massacre of the Innocents carried out by King Herod, and also the later beheading of John the Baptist. But there are also two other events which link to the blood and water theme: (1) the rite of Baptism in the Christian Church, seen as participation in the death and resurrection of Christ; and (2) when Jesus was pierced with a lance at his crucifixion and the wound was seen to pour out blood and water.

His pierced side was later witnessed by Thomas, one of the disciples who had doubted Christ’s resurrection. When Jesus later appeared to him he invited Thomas to touch the wounds in his hands and feet and telling him, “Give me you hand; put it into my side. Doubt no longer but believe.”

Before he painted the Baptism of Christ, Verrocchio was commissioned in 1467 by the Merchant’s Guild in Florence to produce a bronze sculpture depicting Christ and St Thomas. This bronze and the niche it was placed in on an exterior wall of the Orsanmichel was the main source of inspiration for Verrocchio when he came to outlining his composition for the Baptism painting completed in 1475. Work on the bronze sculpture very ikely took a back seat at times as it was not unveiled and in situ until 1483.

Christ and St Thomas, 1467-83, Andrea del Verrocchio, Orsanmichele, Florence
© photo courtesy of Ron Reznick, digital-images.net
Donatello’s gilded bronze of St Louis of Toulouse

The niche, or tabernacle, where Christ and St Thomas was displayed (it still is, but a copy), was previously occupied by Donatello’s gilded bronze sculpture of St Louis of Toulouse, completed in 1425. However, in 1459 the niche was sold to the Merchant’s Guild and Verrochio was commissioned to fill the gap with his bronze. The niche itself is said to have been sculpted by Donatello. Verrochio paid tribute to his former master by referencing some its features for his Baptism of Christ, as well as linking his painting to a legend attributed to St Louis.

The stance of Christ and St Thomas in the bronze commissioned by the Merchant’s Guild echoes the two standing figures in the Baptism painting. Donatello’s predella supporting the tabenacle area features two winged-angels carrying a wreath crown. These are the two ‘angels’ portrayed by Verrocchio. One carrying Christ’s garments and kneeling on the rock shelf by the waterside.

Donatello’s tabernacle showing the pediment and the frieze, montaged with the predella.
© photo courtesy of Ron Reznick, digital-images.net

The two heads looking out at the ends of the predella, facing right and left, are the two heads in the rock outcrop in the painting – one is King Herod, the other Goliath. It’s likely the heads featured on the predalla may refer to Greek or Roman philosophers.

The Trinity represented in Verrocchio’s Baptism of Christ.

Centred on Donatello’s triangular pediment are three heads encircled within a winged olive crown. They represent the Trinity, Father, Son and Holy Spirit. The Trinity is also referenced in Verrochio’s painting and is an integral part of the Baptism of Christ account in John’s Gospel. The Father’s two hands are seen extending from Heaven, while the Spirit is coming down from heaven like a dove to rest on Jesus.

The frieze below the pediment is a twist bracelet of four winged-cherubs. The four heads represent four identities Verrocchio has linked to the face of the baptised Christ.

The spiralled columns inside the tabernacle and their Ionic capitals are the inspiration for the palm tree and its crown on the left of the painting, matched on the other side by the Baptist’s shaft crowned with a golden cross.

The scalloped ceiling inside the dome of the tabenacle is represented by the dish used by the Baptist to pour water over Christ’s head. The patterned scallop is echoed by the arrowed rays emanating from Heaven.

Either side of the dome are two angels with an arm reaching out along the arch, in a manner similar to the portrayal of John the Baptist reaching out over the head of Jesus. This is also reflected in the actual sculpture with Jesus’ right hand outstretched over Thomas and blessing the doubting disciple.

Doubting Thomas reaches into the side of Christ and the wound made by a soldier’s lance
Leonardo’s angel bearing Christ’s baptismal gown

As far as matching Thomas touching the side wound of Jesus, this is shown in the kneeling figure of the angel said to have been painted by Leonardo da Vinci. Here Leonardo is drawing attention to the shoulder wound he apparently carried throughout his life (represented by him carrying the robe worn by Jesus – or even a shroud – and so referring to the death and resurrection aspect of baptism). The cloth can also be related to as a wing, and therefore pointing again to Leonardo’s damaged shoulder and his fascination for birds and for flying. This is another feature referenced in Botticelli’s Adoration of the Magi where Lorenzo de Medici is seen carrying the wrap of his light blue gown over his right forearm. It was this that protected him from a more serious injury during the attack in the Duomo on himself and his brother Giuliano who was not so fortunate and died during the assassination attempt.

Then there is the mystery of the halos in the Baptism of Christ painting… but more on this in my next post.

Angels of light?

Two ‘angels’ from the Baptism of Christ, by Andrea del Verrocchio and Leonardo da Vinci, Uffizi

The two young boys featured in Verrocchio’s Baptism of Christ are usually described as angels – but in this instance are shown without wings. They have halos, so are they angels or saints? The halos over the two other figures in the painting, Christ and John the Baptist, differ in colour, and the Saviour’s halo is marked with a cross.

Botticelli’s Madonna of the Magnificat (1481) also features angels without wings. Two of his ‘angels’ are arranged to mirror those in the Verrocchio painting. He repeated the motif in his Uffizi version of the Adoration of the Magi.

Giuliano de’ Medici (left), Leonardo da Vinco (right)
Adoration of the Magi, 1482?, Sandro Botticelli, Uffizi, Florence

Is there a connection between the three groups? Probably, and likely to be Leonardo da Vinci. It is said to he painted the angel on the left in Verrocchio’s panel produced in 1475 for the Vallomvrosan monastery of St Salvi in Florence.

A section from Botticelli’s Madonna of the Magnificat (1482), Uffizi, Florence

In the Magnificat, some historians have suggested that the two angels are meant to represent the Medici brothers, Lorenzo and Giuliano, while in the Adoration scene the two men placed left and right of the group are Giuliano de’ Medici and Leonardo.

The Baptism painting also connects to Florence Cathedral, Santa Maria del Fiore, where Giuliano de’ Medici was murdered in April 1478. Botticelli makes reference to both the assassination and Verrocchio’s painting in the Uffizi Adoration. The gold-brimmed hat (right) refers to the halo theme and its iconography in the Baptism of Christ.

More on this and the secret of the halos in a future post.

There stands a man among you, uknown to you…

Baptism of Christ, 1472-75, Andrea del Verrocchio and Leonardo da Vinci, Uffizi, Florence

The Baptism of Christ is attributed to Andrea del Verrocchio and partly to a young Leonardo da Vinci who worked in Verrecchio’s studio at the time when the painting was produced around 1475. It depicts Jesus being baptised in the Jordan by John the Baptist. Two young angels kneel on the bank of the river, one holding Christ’s garments. It was said by Francesco Alberti in a guidebook published in 1510 that this figure was painted by Leonardo. Some art historians suggest that he had a hand in other parts of the painting, notably the background scene and perhaps even the figure of Christ

According to the art historian, painter and architect Georgio Vasari: “Leonardo painted an angel who was holding some garments; and despite his youth, he executed it in such a manner that his angel was far better than the figures painted by Verrocchio. This was the reason why Andrea would never touch colours again, he was so ashamed that a boy understood their use better than he did.”

Perhaps an exaggeration by Vasari who was born in 1511, forty years after the painting was completed and never spoke with Verrochio who died in 1488.

What Vasari failed to record and may not have noticed about the painting is that the Baptist figure is modelled on Leonardo, and whose angel rendition is another image of himself. Verrichio knew this but seemingly not Vasari.

Verrocchio also knew the painting was linked to another artist, the sculptor Donatello and the two statues he made of the biblical David, one in marble and the other bronze. Verrocchio also produced a bronze of David which links to this painting as well as his bronze of Christ and Thomas.

Bottecilli also refers to the Baptism of Christ painting in his Uffizi version of the Adoration of the Magi. He also recognised the ‘hidden’ hand of Leonardo in Verrochio’s Baptism of Christ – and the shoulder injury he sustained probably in childhood – a ‘fallen angel’, so to speak, nursing a broken wing and uncertain if he would ever resurrect and ‘fly’ to rise above the earth again.

More on this in my next post.

A naked man of many guises

Vulcan, from Parnassus, Andrea Mantegna, 1497, Louvre, Paris

This naked figure traditionally identified as Vulcan, the Greek god of fire, features in the Parnassus painting by Andrea Mantegna. Its attribution date is 1497. In mythology Vulcan was the husband of Venus and this depiction shows him raging against her because of her presumed infidelity with Mars.

Although naked, Mantegna has applied other guises to the figure, notably Francesco II Gonzaga, husband of Isabella d’Este (in the guise of Venus), and the Domincan preacher Girolamo Savonarola. The figure also references three artists: Leonardo da Vinci, Sandro Botticelli and Antonio Pollaiuola.

Battle of the Naked Men, 1470-90, Antonio Pollaiuolo, Met Museum, New York

It was Pollaiuolo who produced the engraving known as the Battle of the Naked Men in which Leonardo is depicted fighting with himself in the centre. Mantegna has borrowed the naked man to portray Vulcan. The identity transition is a deliberate smoke-and-mirrors technique by Mantegna to reference Leonardo’s sfumato painting style and mirror writing. The Mantua court artist also makes and mirrors other pointers to Leonardo in a counterpoising manner.

Jerome in the Wilderness, c 1480, Leonardo da Vinci, Vatican Museums

For example: the naked man is a pointer to Leonardo’s unfinished painting of Jerome in the Wilderness. Mategna has portrayed his figure with the left arm outstretched whereas the right arm is extended in Leonardo’s Jerome. It also grips a stone. Close inspection of Mantegna’s version reveals the left hand has some of its fingers bent to form the shape of a skull, and so another reference to Leonardo’s Jerome and his skull symbolising a ‘memento mori’. The ‘memento mori’ theme links to the identity of the fiery friar Girolamo Savonrola who set Florence alight with his end-time preaching and prophecies during a four-year period that ended in his own execution and burning in May 1498. His moral campaign encouraged the people to burn and destroy their secular art, books and other objects considered as “occasions of sin”. These public events became known as “bonfires of vanities” and Botticelli was an artist said to have taken heed and destroyed some of his work in this way.

A representation of the Dominican friar Girolamo Savonarola and a ‘bonfire of vanities’

The red cloak tied around the neck of the naked man also ties to other meanings. Not only does it represent a flame of fire stemming from a hot-head, it is also shaped to represent a dog. This is matched in three ways, first to the facial features as that of a werewolf and therefore connected to a hellhound. This then links to Botticelli and his Adoration painting that features the Twelve labours of Hercules, one being his descent into the underworld to combat the dog Cerberus that guards Hades. The third match is to the epithet applied to Savonrola’s Domican Order, Domini canes, meaning ‘dogs of the Lord’.

Mantegna also presents the red cloak as a wing, and the probable inspiration for this is a passage from one of Leonardo’s notebooks on the flight of birds: Leonardo writes: “The centrepiece of the shoulder of the bird is the part turned by pectoral and dorsal muscles. These muscles control whether the elbow is raised or lowered, according to the will and needs of the animal that is moving.” This note is accompanied by a wing illustration similar to the shape of the red cloak. A later note observes: “Always in the raising of the hand the elbow is lowered and presses the air down, whereas in the descent of the hand the elbow is raised and remains sideways on in order not to impede the movement in the air compressed within the wing.”

Leonardo’s observations about lowering and raising are adapted by Mantegna to refer back to Savonarola who was tortured before he was hanged and his body set alight. The method of torture used on the preacher was the strappado. The victim’s arms and legs are tied behind his back. He is suspended by a rope tied to his wrists and then dropped at intervals from a great height. The outcome usually results in a dislocated shoulder and permanent damage. Mantegna alludes to the drop process by showing water cascading from three levels of the high ground behind the naked man. Notice how the right arm hangs as if his shoulder is dislocated. Is Mantegna also alluding to the damaged right shoulder Leonardo is said have suffered with? And was this also caused by a fall, perhaps from a great height? How similar is the shape of the crouched, bird-like figure of Jerome in Leonardo’s painting, to the bound figure suspended in the Jacques Callot drawing of the strappado. It is said that Leonardo bought caged birds in the marketplace just to set them free.

The strands of wire gripped in Vulcan’s right hand refer to the fine net he made to throw over Mars and Venus (similar to how birds on the ground are captured). The wires also represent the strands of a spider’s web stemming from the lopped tree root. Alongside are bunches of grapes. The combination represents the fable of the spider and the grapes that Leonardo recorded in one of his notebooks.

Another feature that connects Leonardo to this section of Mantegna’s painting is Vulcan’s furnace. Its flames represent a “bonfire of vanities” and its red and blue flames are possibly the predominant colours favoured by Botticelli in the paintings he assigned to the fire. Vulcan’s left foot points to a recess in the furnace where ashes can be removed. A close inspection reveals a ‘charcoal’ representation of Leonardo. It connects to the head of one of the dancers. She is Isabella d’Este who Leonardo drew a portrait of – in charcoal – when he once visited Mantua.

Leonardo amongst the charcoal remains of the ‘bonfire of vanities’

The charcoal reference to Leonardo disguised in the stone furnace has two other links: First to his representation as the head of the sphinx in Botticelli’s Uffiz Adoration and its associated reference to preparing ink for writing; and the second to an early painting – The Baptism of Christ – attributed to Andrea del Verrocchio in which Leonardo is said to have had a hand in painting one of the angels.

Between the figures of Christ and the Baptist is a rock outcrop with a recess at water level. It depicts the helmeted head of herod, the king who later ordered the beading of John the Baptist. Herod also ordered the killing of all Jewish boys under the age of two, hoping that among them would be Jesus the new-born king.

The face of King Herod amidst a bloodbath at ‘Herod’s Gate

This prompted the Holy Family to flee to Egypt and so provides a link to another painting by Leonardo, the Virgin of the Rocks. According to legend, the Holy Family was met on the road by an angel escorting John to Egypt to escape Herod’s wrath. Herod’s bloodbath became known as the Massacre of the Innocents, indicated in the painting above by the blood-red water at ‘Herod’s Gate’. The slaughter of innocents, or even innocence, is represented in other parts of Mantegna’s Parnaussus painting.

The Virgin of the Rocks, 1495-1508, Leonardo da Vinci, National Gallery, London

There are two versions of the Virgin on the Rocks, both attributed to Leonardo, and in both paintings the infant John is shown with the Virgin’s right hand placed on the child’s right shoulder. Another pointer, perhaps, to Leonardo’s shoulder injury?

Leonardo’s ‘claw’… there’s more…

Last week, the world’s media reported on the diagnosis made by two Italian doctors which suggested Leonardo da Vinci suffered with ulnar palsy, or what is known as “claw hand”. The claim was first presented in the Journal of the Royal Society of Medicine on May 3, 2019, by Davide Lazzeri and Carlo Rossi.

That Leonardo was inflicted with a paralysis in his right hand is not unknown to historians. Antonio de Beatis, secretary to Cardinal Luigi d’Aragona, wrote in his travel diary about a visit to Leonardo in 1517. “One cannot indeed expect any more good work from him as a certain paralysis has crippled his right hand.”

Drs Davide Lazzeri and Carlo Rossi base their diagnosis on two portraits of Leonardo, a red-chalk drawing attributed to Giovanni Ambrogio Figino (1540-1608), and the other to an engraving made in 1505 by Marcantonio Raimondo (ca 1480-1527)

A section of the engraving of Orpheus made by Marcantonio Raimondo in 1505 which is said to resemble Leonardo da Vinci. Cleveland Museum of Art.

The engraving purports to show Leonardo playing a lira da braccio, suggesting therefore he may still had use of his right hand to enable to bow the instrument. The red-chalk drawing depicts Leonardo with his right hand cradled in the folds of his gown as if supporting an injured arm.

A section of the red-chalk drawing of Leonardo da Vinci by Giovanni Ambrogio Figino.

Historians generally attribute Leonardo’s paralysis to have manifested late in his life, but there is evidence to suggest the polymath bore his affliction even earlier and to the period he was living in Florence before moving to Milan in1482. The evidence is provided by three of his contemporaries, Andrea del Verriccio, Sandro Botticelli and Domenico Perugino. Even Leonardo himself produced work that hinted at his disability.

Dr Lazzeri suggests that an acute upper limb trauma, possibly from a fall, could have resulted in ulner palsy. He eplains, “The ulnar nerve runs from the shoulder to the little finger and manages almost all the hand muscles that allow fine motor movement.” Perhaps in the light of the this new analysis by Drs Lazzeri and Rossi, it can now be better understood just why Leonardo did not always complete his paintings or was at least slow to do so.

In 1479 a group of Florentine artists were commissioned to fresco the walls of the Sistine Chapel. It was considered a reconciliation initiative between Pope Sixtus IV and Lorenzo de’ Medici following the murder of Lorenzo’s brother Giuliano by conspirators supported by Sixtus. The four principal artists were Sandro Botticelli, Pietro Perugini, Domenico Ghirlandaio and Cosimo Rosselli. Surprisingly Leonardo da Vinci was not among the group. Could one of the reasons for his absence have been some kind of incapacity at the time, perhaps the result of an injury to his right arm?

In 1481, Leonardo was commissioned to paint an altarpiece depicting the Adoration of the Magi. It was never completed. Prior to that he started to paint St Jerome in the Wilderness. This work also remained unfinished and is now housed in the Vatican Museums.

A section of Jerome in the Wilderness by Leonardo, now housed in the Vatican Museums.

Revisitng this work it is clear to see the emphasis placed on the suffering of St Jerome in the process of beating his breast with the rock held in his right hand. What is now particularly obvious in the light of last week’s report is the prominence and detail given to the right shoulder, the collar bone and afflicted expression on Jerome’s face. Outstretching his arm is seemingly a most painful process, enough to make him grimace and turn his head away. Could this be Leonardo recording the pain of his own injury in some way? Notice the claw-shaped grip around the stone held in the right hand.

Another painting that throws light on Leonardo’s claw-hand is Andrea de Verrocchio’s version of Tobias and the Angel (1470-65). For the angel Raphael read Verrocchio and for Tobias, Leonardo – the master instructing his apprentice. Close inspection of the linked arms clearly shows deformity in the young man’s right hand, particularly the little finger. Some art experts suggest Leonardo may have painted the fish that Tobias is carrying in his left hand.

A section from The Angel and Tobias by Andrea del Verrocchio, 1470-75, National Gallery.

Although Leonardo wasn’t part of the Florentine team sent to Rome to fresco the walls of the Sistine Chapel, he does feature in one of its paintings – The Trials of Moses – attributed to Botticelli. Leonardo is presented as the Egyptian being put to the sword by Moses and later buried. Both hands of the Egyptian, aka Leonardo, are formed as claws!

A section from the fresco depicting the Trials of Moses, 1482, Sandro Botticelli, Sistine Chapel

Returning to Florence in 1482 Botticelli went onto complete an earlier commission before he was called away to Rome, the Adoration of the Magi, the adaption now housed with Leonardo’s version in the Uffizi, Florence. The earlier mention of Leonardo being buried is alluded to again by Botticelli. The stone head to the left of the Holy Family group is Leonardo shown as the half buried Great Sphinx of Giza in Egypt. But this is not the only reference to Leonardo in the painting. In fact, there are are several, one of which points to the claw feature in Verrocchio’s Tobias and the Angel but is also given another meaning by Botticelli as part of one of several themes in the painting.

Adoration of the Magi, 1482, Sandro Botticelli, Uffizi, Florence

Leonardo is the figure wearing the pink cape crouching in front of Botticelli who is positioned in the right corner of the frame. The fingers of Leonardo’ right hand claw into the back of the hand of Giuliano de’ Medici. As to the reason for this, that’s another story.

Leonardo’s right hand is shown as clawing into the back Giuliano de’ Medici’s left hand.

Domenico Ghirlandaio, positioned next to Botticelli and wearing a feathered hat, was one of the artists who shared the workload in frescoing the walls of the Sistine Chapel. He also returned to Florence afterwards to complete a commisison he was given earlier to fresco the Sassetti Chapel in the Santa Trinita basilica. He produced five frescos on the life of St Francis. One of these, the last in the cycle, depicts the Death of St Francis seen surrounded by fellow friars and Florentine notables. The central figure hovering above the dead saint is meant to represent a knight named Jerome who doubted the authenticity and claims of the stigmata associated with Francis during his saintly life. When Francis died, Jerome examined the manifested wounds of Christ on the body of the holy man and was convinced they were genuine and so convereted his life.

A section of the fresco, Death of Francis, 1483-86, Domenico Ghirlandaio, Sassetti Chapel.

Here Ghirlandaio has borrowed the Leonardo/Egyptian figure from Botticelli’s Sistine Chapel fresco – note the similarity in hair colour and style, and the shade of the red and blue garments. Leonardo is known for dissecting dead bodies in his search for how the human body functions, and his notebooks are filled with drawing and sketches recording his findings. So here we have not only the connection back to Leonardo’s early painting of Jerome in the Wilderness, but also Ghirlandaio linking it to the knight known as Jerome who doubted the stigmata of Francis. Ghirlandaio also confirms Leonardo’s claw hand, not just by the shape of the right hand reaching into the body’s side wound, but also by the claw-shaped ‘praying hands’ of the two figures either side of Leonardo.

Leonardo held a skeptical view about some aspects Christianity, and was even considered a non-believer by some people. Ghirlandaio, it seems, was a believer in ‘miracles’ and in the use and power of relics to obtain physical healing. Perhaps this is why he presented Leonardo before the dead Francis in this final fresco, as an expression of his own personal faith and prayer made visible for others to witness. It is said that Leonardo renconciled with the Catholic Church when he was close to death and paid for Masses to be said for his soul’s salvation after he died.

The claim that Leonardo is represented in the engraving produced by Marcantonio Raimondo in 1505, has some merit. When he left Florence for Milan he brought with him a a silver lyre in the shape of a horse’s head as a gift for the Milanese ruler Ludovico Sforza. In Raimondo’s engraving Leonardo is depicted playing a ‘lira da braccio’ – an arm lyre – for the animals gathered around him. He is presented as Orpheus, “a legendary musician, poet, and prophet in ancient Greek religion and myth”, said to be able to charm all creatures with his music.

Parnnasus, 1497, Andrea Mantegna, Louvre, Paris

Leonardo portrayed as Orpheus may have been inspired by Andrea Mantegna’s famous painting Parnassus, now displayed in the Louvre. This is another work with several references to Leonardo and also Botticelli. In fact, it’s a parody on Botticelli’s Uffizi version of the Adoration of the Magi, which explains why Mantegna embedded the references to Leonardo. In the left corner of the painting is a young man seated on a tree trunk and playing a lyre for the dancing Maneads. The figure is Orpheus but also represents Giuliano de’ Medici. His left hand is claw-shaped to pluck the strings of the lyre. In Botticelli’s Uffizi Adoration Giuliano is also placed in the left corner, alongside a silver-head horse representing Leonardo’s lyre.

Orpheus, but also representing Giuliano Medici and possibly the young musician Atalante Migliorotti who accompanied Leonardo when he moved to Milan.

From these examples it can be seen that Leonardo’s claw-hand was not a late development in life, and that his contemporaries portayed his ailment in their paintings. There are probably more to come to light as the works I have cited are only those I have studied in recent months.

When Leonardo was ‘murdered’ by Moses (and Botticelli) in the Sistine Chapel

Today marks the 500th anniversary of the death of Leonardo da Vinci. The milestone is being acknowledged by special events around the world.

A little further back in time, 37 years to be precise and 1482, Sandro Botticelli recorded the death of Leonardo in a novel way – by portraying him in two roles, both as an Egyptian and a Hebrew slave in a fresco painting on a wall in the Sistine Chapel. The panel depicts the Trials of Moses and was one of several commissioned by Pope Sixtus IV using Botticelli and other Florentine artists.

A section of the Trials of Moses, Sandro Botticelli, 1482, Sistine Chapel.

The section shows Leonardo as the model for the Egyptian slain by Moses, as recorded in Exodus (2 : 11-14). Leonardo is also depicted as the bloodied Hebrew making an exit from captivity in Egypt but in danger of being enslaved by a woman seemingly set on protecting him. The woman is Florentina, the symbol of Florence.

Here Botticelli is referring to Leonardo’s brush with the law when he was one of a group of four men accused of sodomy. The charges were eventually dropped, some say because one of the other men was connected to the powerful Medici family. Had the law been applied in full then the four men could have faced execution. Guilty or innocent, the risk of execution was probably one of the reasons why Leonardo eventually left Florence and moved to Milan.

So here Botticelli expresses Leonardo’s fear of the severity of Florentine law, applied justly or unjustly, as portrayed by Moses who was chosen to present God’s law written in stone but which he had earlier applied unjustly on his own account by killing the Egyptian and hiding his body.

The passage from Exodus also relates what happened after Moses had killed the Egyptian. The following day he came across two Hebrews fighting each other. He said to the man who was in the wrong, “What do you mean by hitting your fellow countryman?” The man retorted, “And who appointed you to be prince over us and judge? Do you intend to kill me as you killed the Egyptian?”

Moses became frightened when he realised his crime had been discovered and fled to the land of Midian. Was Botticelli using this analogy to compare the flight of Moses to the flight of Leonardo to Milan, referring to the fact his “crime” was also uncovered?

Another narrative is that Leonardo was perhaps at odds with himself, battling with his sexuality and experiencing his nature to be in conflict with the law that threatened not only his existence but also his way of life, hence the reason why Botticelli depicted Leonardo as both of the Hebrew men.

The self-conflict motif can also be read into the fighting group of Moses and the Egyptian. In Botticelli’s Uffizi Adoration, Leonardo is painted in similar colours, green and yellow, to Moses in the Sistine Chapel frescos. But there are also other explanations for this match in the Adoration painting which I shall post on at another time.

The facial expression of the Hebrew on the ground is meant to relate to the screaming face of Leonardo that can be seen on the breastplate of Giuliano de’ Medici sculpted by Andrea del Verrocchio. The cuirass is hollowed as a protective piece of armour, similar to a shell. This is why Botticelli has shaped Leonardo’s cloak as a shell. Leonardo collected and made study draiwngs of shells. However, Botticelli is also suggesting that the vunerable point of any creature carrying a shell on its back and hiding underneath it, is its underside and belly region. This point is also made with a similar motif in the Uffizi Adoration painting.

There is another feature that links the face of Leonardo on the breastplate to his face portrayed on the Egyptian, and which connects with Moses. When the prophet came down from Mount Sinai for the second time “the skin on his face was radiant”. Artists generally show this as “horns of light” or what became known as the “horns of Moses”, usually depicted as two horns projecting from his head. They are meant to represent enlightenment or knowledge, as in knowing God’s law. In the fresco, Moses has yet to receive God’s law written on stone tablets.

However, the face of the Egyptian, aka Leonardo, has hair curled in the shape of horns. These are not only meant to represent the snakes associated with the image of the Gorgon Medusa and the pagan worship of the Egyptians of the time, but also suggest the brilliance of Leonardo, as gifted with knowledge and talents. The horns and the enlightened theme is also expressed on the breastpate, referring not only to Leonardo, but also the wearer Giuliano de’ Medici, considered a shining light and chivalrous knight of the Renaissance.

Giuliano de’ Medici by Andrea del Verrocchio, c 1475-78, National Gallery of Art, Washington DC

Wall to wall artists

Painters and patrons… a section from the Sistine Chapel frescoe, The Temptation of Christ, painted by Sandro Botticelli.

Shown above is detail from The Temptation of Christ, one of the frescoes that line the walls of the Sistine Chapel in Rome. This particular panel was painted by Sandro Botticelli. The frescoes were commissioned by Pope Sixtus IV. Botticelli shared the work with three other artists, Cosimo Rosselli, Domenico Ghirlandaio and Pietro Perugino. The three are depicted in the back line while the front row shows Sandro Botticelli, Andrea del Verrocchio and Guasparre dal Lama.

A similar line-up is featured in Botticelli’s Uffizi version of the Adoration of the Magi shown in the clip below: (left to right) Sandro Botticelli, Andrea del Verrocchio, Guasparre dal Lama, Cosimo Rosselli, Pietro Perugino and Domenico Ghirlandaio.

A similar line-up of painters and patrons from Botticelli’s Adoration of the Magi (Uffizi)

Verrocchio’s workshop trained many artists and skilled craftsmen (including Leonardo de Vinci) and was possibly a liaison link between the artists commissioned by Pope Sixtus IV, while Guasparre was the man said to have commissioned Botticelli to paint the the Adoration of the Magi.

But why would Botticelli have placed Guasparre in a frescoe he had no apparent connection with, and in such a prominent position?

On the trail of Leonardo

Leonardo painted by Pollaiuolo as the Angel Raphael, and mirrored in Botticelli’s Uffizi Adoration

I recently pointed out the face of Leonardo da Vinci as one of several references to him made by Botticelli in the Uffizi version of the Adoration of the Magi.

Botticelli, in fact, had mirrored one of the figures in Antonio del Pollaiuolo’s version of Tobias and the Angel (1460). The model for the angel Raphael was Leonardo. You can see Botticelli’s figure of Leonardo points to the ‘wing’ of the man next to him. He has also placed a ‘red-wing’ on Leonardo’s shoulder to reference the ‘red kite’. Then there is the ‘fluted’ folds on the shoulders of the two men standing behind Leonardo to echo the ‘fluted’ wing of the stooped figure on the opposite side of the picture, also meant to represent Leonardo from behind. So we have two depictions of Leonardo – from the front and from behind.

This points to another image produced by Pollaiuolo, an engraving known as the Battle of the Naked Men (c 1370-80). Its two central figures are likely front and back versions of Leonardo da Vinci.

Top left: Antonio del Pollaiulo’s Hercules and Antaeus.
Top right: Possibly Leonardo depicted in Pollaiulo’s engraving of the Battle of the Naked Men.
Above left: Central figures in the same engraving.
Above right: Leonardo depicted on Verrocchio’s terracotta bust of Giuliano de’ Medici

Pollaiuolo may have also featured Leonardo in other works depicting combat between naked men: the panel painting showing Hercules crushing Antaeus (1470-75) and, perhaps, the bronze sculpture he made on the same theme (1470s). Both items are housed at the Museo Nazionale del Bargello, Florence. As to which figure portrays Leonardo, if any, Botticelli may have simply been pointing to the idea that Leonardo not only modelled for Pollaiuolo but also shared Antonio’s interest in disecting bodies to study and portray the human form, particularly of men.

Andrea del Verrocchio noted this interest and connection, hence his portrayal of the screaming angel, aka Leonardo da Vinci, depicted by Pollaiuolo as the angel Raphael and also the screaming and crushed figure of Antaeus.

There is another interpretation that can be applied to the ‘screaming angel’ on Giuliano’s protective breastplate. If we suppose that the portrait does depict Leonardo in distress, then perhaps it was Giuliano who gave his support when he was anonymously acused with four other men of sodomy. The men had to report to the courts two months later and the charges were then dropped. Some historians have speculated it was because of one of the men’s family links to the Medici. Could the Medici ‘saviour’ have been Giuliano?

Shortly after Pollaiuolo had painted Tobias and the Angel, Andrea del Verrocchio produced a similar version. The Raphael figures differ slightly – the angel’s right arm, for instance. Verrocchio’s angel is comparable to the upright figure of Leonardo in Botticelli’s Uffizi Adoration. The right arm is placed across the chest; the left hand holds up his cloak; and the head is inclined slightly and turns to one side with eyes cast downward.

Another feature is the linking of arms, similar in both Pollaiuolo and Verrocchio versions. This is carried through in Botticelli’s painting. Below the chin of the stooped man with the white cap (aka Leonardo and Jacopo Saltarelli) is a pair of hands. First impression is that both hands belong to Giuliano de’Medici. The hand underneath does, but the hand placed on the back belongs to the stooped man. This relationship points to Verrochio’s version of The Angel and Tobias in which, according to Leonardo expert Martin Kemp, Leonardo may have had a hand in some of the work, particularly in painting the fish, and possibly another reason why Verrocchio chose to depict Leonardo with an open mouth on Giuliano’s protective cuirass. Hooked and presented on a breastplate.

The breastplate acting a protective shield is also mirrored by the stooped man’s cap. It represents the discarded shield of Pollaiuolo’s naked man (seen from the back).

Two for the price of one…

Giuliano de’ Medici by Andrea del Verrocchio, National Gallery of Art, Washington DC

This terracotta bust of Giuliano de’ Medici is thought to have been made sometime between 1475 and 1478 by Andrea del Verrocchio, the Florentine, goldsmith, sculptor and painter. The bust is housed at the National Gallery of Art in Washington DC.

Giuliano is wearing a protective cuirass emblazoned on the front with what first appears to be a depiction of the mythological Medusa. Described as a guardian or protectress, the winged Medusa had snakes coming out of her head instead of hair.

But this motif, in fact, represents the head of an angel – a guardian angel with wings enfolded to signify protection.

I doubt if the National Gallery realises it owns a two-for-the price-of-one work of art, for not only does it depict Giuliano de’ Medici but the breastplate portrait is of the Renaissance polymath Leonardo da Vinci.

Giorgio’s Vasari’s Life of Leonardo da Vinci reveals that among Leonardo’s early works was a painting of the head of Medusa, although this is doubted by some art historians, and if the painting did ever exist, it is now lost.

However, Verrocchio’s bust of Giuliano de’ Medici also points to a connection between Medusa and Leonardo, as does Botticelli in his Uffizi version of the Adoration of the Magi. So perhaps Varari’s report on Leonardo’s Medusa may have some merit after all.

A couple of decades later, the Italian painter Andrea Mantegna picked up on this when he painted Parnassus for Isabella d’Este – a pastiche on Botticelli’s Uffizi Adoration. He depicted Piero de’ Medici, eldest son of Lorenzo the Magnificent, as wearing the breastplate and Botticelli as the ‘Medusa’ motif.

More on this in my next post.