This detail is from a painting by Domenico Ghirlandaio. It depicts the Infant Jesus with his mother Mary. On the left are Pope Clement I and St Peter; on the right, St Sebastian and St Paul.
The altarpiece was painted in 1479 and is displayed in San Martino Cathedral in Lucca, Italy
The model for St Sebastian is another artist, Sandro Botticelli (right). The Virgin is portrayed by Fioretta Gorini, said to be the mistress of Giuliano de’ Medici who was assassinated by members of the Pazzi family on Easter Sunday, 1478. Fioretta gave birth to a son a month after Giuliano’s death.
The boy was named Giulio and later adopted by the Medici family. He went on to become a cardinal in the Catholic Church and eventually Pope, taking the name Clement (VII) in honour of St Clement.
This is another painting that links to Botticelli’s Primavera which I will explain in future post.
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 Giuliano 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 using a triangular ‘pyramid’ – symbolic of Giuliano’s recent death. 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
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.
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.
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.
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.
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.