Offshoots of the Little Flower

A couple of months ago I posted on the early Leonardo da Vinci painting known as Ginevra de’ Benci and mentioned that some historians identify the woman instead as Fioretta Gorini, the mistress of Giuliano de’ Medici and mother of his son Giulio who later became Pope Clement VII.

Little is known about Fioretta. Her real name was Antonia and she was the daughter of Antonio Gorini, a curaisser who lived on the Borgo Pinti in Florence. Fioretta supposedly gave birth to her son on May 26, 1478, just a month after the assassination of the child’s father on April 26, although it is also claimed that the boy named Giulio was born a year earlier. Nothing else is known about the mother except speculation that she conceived her child when she was fourteen years old and that Fioretta may have died soon after giving birth.

The Virin Mary, aka Fioretta Gorini, in Botticelli’s Adoration of the Magi.

However, there are paintings other than the one produced by Leonardo that possibly feature Fioretta and hint that she entered convent life soon after the death of Giuliano de’ Medici. It is known that the child was placed into the care of his godfather Antonio da Sangallo until the age of seven before his adoption by the Medici family.

The only woman featured among the thirty or so men in Botticelli’s Uffizi version of the Adoration of the Magi is the Virgin Mary, but what Botticelli is really trying to tell the world is that the woman portrayed as Mary is in fact Fioretta Gorini. More on this at another time.

Meanwhile, other images of Fioretta featured in the composite above are: (A) Leonardo’s portrait known as Ginevra de’ Benci – National Gallery of Art, Washington. (B) The woman portrayed as Ignorance in Botticelli’s Calumny of Apelles – Uffizi, Florence. (C) Another painting by Botticelli: The Virgin Adoring the Child. National Gallery of Art, Washington. (D) The Banquet in the Forest by Botticelli – Prado, Madrid. (E) Testament and Death of Moses, by Luca Signorelli or Bartolomeo della Gatta – Sistine Chapel. (F) Mariage of Nastagio degli Onesti by Botticelli – Palazzo Pucci, Florence.

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.