Category Archives: Piero di Lorenzo de Medici

Leonardo in the Wilderness

Posted on by

In my previous post I revealed that St Jerome is one of the identities given to the figure in the forefront of the Panel of the Relic. Hugo van der Goes links this version to an unfinished painting by Leonardo da Vinci known as St Jerome in the Wilderness, which is housed in the Vatican Museums.

It’s generally accepted that Leonardo’s rendering was produced in 1480, shortly before he was commissioned in March 1481 to paint the Adoration of the Magi. This work also remained unfinished, probably because Leonardo left Florence in 1482 and moved to Milan.

That Hugo van der Goes has referenced Leonardo’s Jerome in specific ways in the Panel of the Relic not only helps date the St Vincent Panels but also calls into question the date that Hugo supposedly died, put at 1482.

There is also a questionable claim that Leonardo’s Jerome was cut down into five pieces after his death in 1519 (and reassembled centuries later). Hugo van der Goes provides evidence that the painting was sectioned during his lifetime. One of the pieces – the head – is also a clue to the identity of the Relic.

For details about St Jerome’s attributes and legends, go to this page.

Several of Jerome’s attributes can be identified in Leonardo’s painting. The brimmed Cardinal’s hat or galero is shaped from the rock at the top of the frame, the pointed mount represents the tassels that hang from the hat. Combined with the smaller mount alongside, the two pointed rock shapes also represent the donkey’s ears and those of the rabbit or hare. The rabbit usually symbolises the sexual temptations of the saint. Like the lion in the forefront, both donkey and hare are lying down. The curved shape in front of the sketch of the church is the back end of the monastery donkey, while the shape of the back of the hare is silhouetted above Jerome’s right arm wih the stone in his hand used to beat his chest with. To the right of the monastery is a profile sketch of a crucifix.

Jerome also claims that he saw himself in a dream being scourged in heaven, and when he awoke he could see the scourge marks on his shoulder. Leonardo portrays this in a rather unusual way. The well-formed deltoid muscle area on Jerome’s right shoulder is shaped to form a human face looking upwards at the galero’s knotted tassels and the sharp-shaped stones doubling up to represent a scourge.

But before I post on some of these details in the Panel of the Relic, it’s worth noting that another artist utilised the St Jerome in the Desert painting to reference an event in the life of Leonardo da Vinci.

The painting by Luca Signorelli is titled Testament and Death of Moses and is one of six frescos completed by various artists depicting the Life of Moses on the South Wall in the Vatican’s Sistine Chapel.

Seated on a tree stump in the centre section is an almost naked Leonardo da Vinci, surrounded by a group of Florentine society’s hierarchy that includes Lorenzo de’ Medici and two of his sons, Piero and Giovanni. Placed in front of Piero and the man looking down on Leonardo is the Medici banker Francesco Sassetti. Next to Sassetti with his back to the viewer is the painter Luca Signorelli. There is a reason for his prominent placing. Firstly, his name Signorelli is a play on the word Signoria, Florence’s Town Council. Secondly, he depicts himself as a rather flamboyant figure representing Sodomy, a charge which Leonardo was annoymously accused of and brought before the Signoria to answer. The accusation against Lenardo and three other men was later dropped because of lack of evidence and possibly because one of the men, Lorenzo Tornabuoni, had a family connection to the Medici.

The figure can also be identified as Lorenzo Tornabuoni via the family’s coat of arms, a rampant lion, its colours predominately pale blue (or green) and gold. The knotted armband represents the shield and its cross attached to the lion’s shoulder. The golden eagle featured in two corners of the stemma is echoed in the coat of the man standing behind the seated Leonardo, probably Angelo Poliziano, the classical scholar and poet who tutored Lorenzo’s Medici’s children. Luca Signoreli has constructed a separate narrative which relates to the combined figures of Leonardo, Poliziano, Sassetti and Tornabuoini but is not connected to the Jerome painting and therefore best left to present at another time.

The iconography which does connect to Leonardo’s Jerome in the Wilderness is fairly straightforward: The rear view of Tornabuoni represents the rear view of the lion, the red rbbons a humorous take on Jerome’s scourging. The encircling lion’s tail is the sweeping arched veil behind the crouching Leonardo (another ‘lion’). The gaunt appearance of Jerome is mirrored in the face of Francesco Sassetti, and probably a clue as to who commissioned the painting. However, the suffering Leonardo is also reflected in the upward gaze of Jerome, his head resting on a dark background, both in the painting and the shoulder of Sassetti, echoing the face feature depicted in the right shoulder of Jerome. Standing behind Sassetti is Piero, son of Lorenzo de’ Medici. Observe the triangular shape of his right shoulder, mirroring both the pointed mountain in the Jerome painting and the shape of the hanging tassels of the cardinal’s hat mentioned earlier. Sassetti’s gold collar mirrors Jerome’s pronounced collarbone.

Sassetti is also holding the thumb of his right hand – a possible reference to Leonardo’s finger marks evident on the Jerome panel as well as the thumbscrew torture used by investigators to extract information. Another form of torture was the strappado where “the victim’s hands are tied behind their back and suspended by a rope attached to the wrists, typically resulting in dislocated shoulders”, perhaps indicated by the action of the sweeping veil behind Leonardo’s back.

The Moses Testament and Death fresco is said to have been completed in 1482, a couple of years on from the 1480 date attributed to Leonardo’s Jerome in the Desert.

• My next post will deal with how Hugo van der Goes transferred some of the iconography from the St Jerome panel to the Relic sction of the St Vincent Panels.

In search of Piero… part 3

Posted on by

In yesterday’s post I mentioned that the original Marzocco probably depicted a wolf pinned down by the lion, indicating Florence’s historic rivalry with Siena. Evidence of this is shown in at least three paintings: Mantegna’s Parnassus, Botticelli’s Adoration of the Magi (Uffizi version), and also the portrait being auctioned today at Sotheby’s, New York – Young Man Holding a Roundel.

Mantegna took his lead on representing the original and replacement version of the Marzocco from Botticelli’s Adoration of the Magi. Botticelli depicts the orginal version as the backdrop to the Mary and Joseph figures, while the new version is shaped from the brick wall to the right of the Virgin.

Beneath the chin of the old lion is a carpet of earth covering a “rock face” (Leonardo da Vinci). This also represents the flat cap associated with Leonardo. The peak of the cap is shaped as a wolf’s head, a wolf being the symbol of Sienna. Siena earth is produces a pigment known as raw sienna which is yellowish-brown in its natural state. It turns to a reddish-brown when heated and then called burnt sienna.

In the Parnassus painting Mantegna’s fox head is indicated by the joined hands of the two dancers at the end of the line of nine muses pointing towards the crumbling Marzocco (another depiction of Leonardo).

A similar motif is formed by Botticelli in the Young Man Holding a Roundel. Three fingers on Piero’s left hand form the wolf’s open mouth and ear underneath the roundel, symbolic of submission under the weight of the “Medici ball” and Piero’s right hand shaped to resemble the paw or claws of the Marzocco lion (Piero himself).

Notice also the dark colour of the roundel frame – burnt sienna! Another border and another colour Botticelli has connected with the Marzocco is the window frame. This is the colour of the stone known as pietra serena used by Donatello to sculpt his version of the Marzocco. It comes out of the ground as a blue-grey colour and was widely used in Renaissance Florence.

• The final part of this analysis – my next post – will focus on the mystery of the roundel and who its saintly figure represents.

• UPDATE… The Young Man Holding a Roundel painting was sold at Sotheby’s this afternoon (15:40) for eight million US dollars.

In search of Piero… part 2

Posted on by

Continuing the connection between Piero di Lorenzo de Medici, Lord of Florence from 1492 until he was exiled in 1494, and the portrait known as A Young Man Holding a Roundel, attributed to Sandro Botticelli…

From Wikipedia: “The Marzocco is the heraldic lion that is a symbol of Florence, and was apparently the first piece of public secular sculpture commissioned by the Republic of Florence, in the late 14th century. It stood at the heart of the city in the Piazza della Signoria at the end of the platform attached to the Palazzo Vecchio called the ringhiera, from which speakers traditionally harangued the crowd. This is now lost, having weathered with time to an unrecognizable mass of stone.”

The “unreconizable mass of stone” features in the Parnassus painting by Andrea Mantegna. It is the “lion” embedded into the left side of the platform that supports Mars and Venus. The name ‘Marzocco’ is derived from Mars, the Roman god of war.

Before the Lion was adopted as the Florentine symbol, the people looked to a statue of Mars as protector of the people and the State. That was until the sculpture was swept into the Arno river and lost forever during the great flood which devastated Florence in 1333.

The Marzocco Lion later became its replacement. There is evidence to suggest that a wolf was pinned underneath the lion, suggesting that Florence had supremacy over its rival Siena, the wolf being its symbol as well as that of Rome. The reference to Siena points to the Battle of Montaperti in September, 1260, between Florence and Siena as part of the conflict between the Guelphs and Ghibellines. An act of betrayal resulted in the Florentines being routed and suffering thousands of casualties.

A replacement for the crumbling heraldic Marzocco was sculpted by Donatello between 1418-20 without any reference to the Siena wolf. Instead, the lion cradles a shield bearing the “stemma”, the Florentine coat of arms.

This new version is also shown in Mantegna’s Parnassus painting, embedded into the right side of the platform support. It’s appearance is in profile, whereas the old Marzocco is face on. There is a reason why Mantegna has done this – to reflect Donatello’s skill at humanizing the creature. Michelangelo is reported to have said that he had never seen anyone who looked more like an honest man than Donatello’s Marzocco.

By contrasting the two lions supporting the platform in the Parnassus, Mantegna is pointing to Leonardo da Vinci as being past his sell-by date and that there is a new kid in town wowing the Florentine people – Michelangelo. The two men became bitter rivals.

But the real point Mantegna was making was in reference to Botticelli being considered ‘old-school’ or past his best by Isabella d’Este in her efforts to commission the most fashionable artists of the time to contribute to her studiola. Her demanding pursuit of Leonardo came to nothing in the end but for a profile sketch he made of Isabella when he visited Mantua. The drawing was later given away by her husband Francesco.

Mantegna’s humanizing of the two lions is also in recognition of two similar achievements intended by Botticelli when he painted the Young Man Holding a Roundel and the earlier portrait of Piero’s uncle Giuliano de Medici who was assassinated in April 1478. Both men are profiled specifically to represent the Marzocco lion.

• More on this in my next post.

In search of Piero… part 1

Posted on by

So just who is the young man holding a roundel in the Sandro Botticelli painting set to be auctioned at Sotheby’s New York on January 28 and expected to sell for around £60 million?

The Sotheby’s auction catalogue suggests his identity is lost to history but likely to be a member of the Medici banking family and Florentine political dynasty. True on the second assumption but his identity is not lost to history. He is Piero di Lorenzo de’ Medici, nicknamed “Piero the Unfortunate”, and Lord of Florence for a short time, from 1492 until he was exiled in November 1494.

There are extant works of art that feature Piero, notably another portrait – attributed to Gherardo di Giovanni del Fora (1445-1497) – and a terracotta bust sculpted by Andrea Verocchio (1435-1488).

Although these two works are an aid to recognising Piero as the young man holding the roundel, there is another painting that I would suggest is the “clincher” when it comes to identification as well as providing the underlying narrative to the portrait, and that is the Parnassus by the Italian Renaissance artist Andrea Mantegna (c1431-1506), now housed at the Louvre Museum in Paris.

The date attribution for the Parnassus is 1497, but this is open to question as there is an historical reference in the painting (echoed from Botticelli’s roundel) to suggest the work was not completed until at least the latter quarter of 1498.

The two figures standing on the bridge represent Mars and Venus. In reality they portray Isabella d’Este, marchioness of Mantua, and Piero di Lorenzo de Medici (not Isabella’s husband Francesco II Gonzaga, as some art historians suggest).

Piero is portrayed as a Roman soldier, similar to the prominent soldier that appears in Mantegna’s Bearers of Trophies and Bullion, one of a series of nine paintings based on the Triumphs of Caesar and part of the Royal Collection at Hampton Court, England.

Mantegna has made the connection for a reason. The helmet worn by Piero is a pointer to the Battle of Fornovo between French forces that had invaded Italy and a coalition of armies gathered in support of the Republic of Venice. The battle took place southwest of Parma on July 6, 1495. The outcome was never really decided. Both sides claimed victory, although the Leaague of Venice forces suffered tremendous losses compared with those of the French.

However, the French king Charles VIII did manage to lose the spoils of war, treasures of all kinds collected during his invasion of Italy, hence Mantegna’s reference to his Trophies and Bullion painting. One special trophy that had been in possession of the French king was said to be his personal, jewelled helmet and a gilded sword. Another was a book illustrating the French ruler’s amourous conquests during the invasion of Italy. Both were eventually returned to Charles by Francesco II Gonzaga.

It’s one of the reasons why Mantegna has portrayed Isabella as a companion to Piero de Medici, who sided with the French and had earlier caved in to the French king’s demands when his soldiers threatened Florence. The outcome was Piero’s expulsion from the city and exile for the rest of his life. The naked Isabella is a reference to Charles’ album of Italian conquests. The golden rod in Isabella’s right hand refers to the gilded sword. It also represents the stemma that appears between the lily leaves featured on the Florentine coat of arms.

Another reference to the love-life of Isabella are the French colours of red and blue worn by Piero and draped over the wooden seat. The wooden seat is portrayed as a horse and a reference to the Trojan Horse used by the Greeks to penetrate the city of Troy. Close inspection reveals the knotted outline of Leonardo da Vinci hitched to the bedpost!

These references are symbolic of betrayal, and one of the narratives disguised in Botticelli’s Young Man Holding a Roundel. In fact Botticelli is featured as the humerous winged protector on Piero’s breastplate, echoing his own painting of Mars and Venus where he portrays himself as a mischievous chubby satyr. The depiction of the sleeping figure of Mars for the earlier Botticelli version is matched to the likeness of Leonardo da Vinci, hence the reason why Mantegna has indicated that Piero was not the first in line for Venus’ favours!

The topiary hedge screen is shaped to represent Rubino (Ruby), Isabella’s treasured lapdog, symbolic of protecting the Medici hedge fund seen growing on the bush.

These are just a few of the pointers to Piero the Unfortunate that Mantegna has made in the Parnassus painting. I will explain more in my next post and how they specifically relate to Botticelli’s Young Man Holding a Roundel.

Mantegna also pastiched the work of other Renaissance artists in the Parnussus painting, notably by Leonardo da Vinci. Whether Isabella d’Este, who commissioned the work, was ever truly aware of what Mantuan court painter was up to “is lost to history”. If she did, then her good humour is to be applauded.