So who did produce the Mantuan Roundel, the Renaissance artefactwhich the UK has placed a temporary export ban on?
Stuart Lochead, a member of the RCEWA which recommended the ban, has posited the names of two Italian artists: Andrea Mantegna (1431-1506) and Donatello (1386-1466).
My money is on Mantegna as the bronze roundel can be linked specifically to two paintings mentioned elsewhere on this blog, and the death of Donatello is prior to the paintings.
In 1488 Mantegna, the court painter at Mantua at the time, was invited by Pope Innocent VIII to paint frescoes at the Villa Belvedere in Rome which overlooked the old St Peter’s Basilica. He returned to Mantua two years later in 1490.
During his stay in Rome he would have had ample time to take in and study the work of other artists displayed in the Vatican, particularly the frescoes in the Sistine Chapel. The North and South walls of the ‘Great Chapel’ were decorated with scenes from the lives of Moses and Jesus, painted by a team of Renaissance artists that included Sandro Botticelli and Domenico Ghirlandaio. Completion was in 1482.
One scene in particular, the Testament and Death of Moses, attributed to Luca Signorelli, provides the link to the Mantuan roundel. The central section shows a naked man seated on a tree trunk. He represents Leonardo da Vinci, and is the basis for the seated figure of Mars in the Mantuan roundel.
Mantegna extended the roundel connection to a later work he produced for Isabella d’Este, the painting known as Parnassus in which the Mars, Venus, Cupid and Vulcan are included along with other mythological figures. Leonardo, an acomplished musician ‘particularly good at playing the lyre’ is also represented in the painting as one of the identities given to the figure of Orpheus sat on a tree stump. This motif is a direct reference to the Leonardo figure in the Sistine Chapel fresco and perhaps Mantegna making a caustic comment by punning on the word lyre.
However, the heads of the three main figures in the roundel are not direct representations of Lenardo, but rather his assistant Salaì, seemingly adapted from drawings that appear in Leonardo’s notebooks. Leonardo also made mention in his notebooks that Salaì was a liar and a thief, and it is probably in this connection why Mantegna utilised the likenesses of Salaì for the roundel and in the Parnassus painting.
Leonardo’s drawing shown here of the Heads of an Old Man and Youth can be likened to the head of Leonardo and the bald-headed man looking down on him as seen in the Sistine Chapel fresco. Even the ‘wing’ collar of the old man is mirrored on the fresco. The wing motif also shows up at the head of the caduceus tucked behind the head of Mars in the roundel. The snake-entwined wing of the caduceus is also echoed in the figure of Orpheus – the lyre resting on the shoulder being the wing, while the musician’s left foot and big toe is shaped to represent the serpent’s head about to bite the ankle of Eurydice and send her to Hades.
This brief presentation is simply to point to a connection between Mantegna and the Mantuan Roundel. There are more references in the work which lend to links with Leonardo and Mantegna’s Parnassus painting.
This large tondo-format Nativity scene (without its frame) is four feet in diameter! Titled Adoration of the Christ Child, it is one of many Nativity paintings produced by Sandro Botticelli and his workshop. This particular version is dated c.1500 and housed in the Museum of Fine Arts, Houston, Texas.
“At once narrative and symbolic, this elegant painting by Sandro Botticelli expands the conventional theme of the Adoration of the Christ Child. In the central scene, the gracefully arched bodies of Mary and Joseph echo the contours of the round picture format.
“The Virgin Mary kneels in veneration before the Christ Child, while Joseph sleeps. The infant lies stiffly on Mary’s cloak, parallel to the picture plane and presented to the devout viewer for adoration. Two shepherds at right approach to offer Christ a sacrificial lamb, and the Holy Family’s subsequent Flight into Egypt is depicted in the background at left.
“Botticelli oversaw an active workshop, producing hundreds of paintings—especially devotional images of the Virgin and Child—over the course of his career. Very few of Botticelli’s paintings are signed or dated, and it is often difficult to determine his authorship. Some scholars attribute this work entirely to Botticelli, but it may have been executed in part by his assistants.”
What the museum doesn’t point out is the male figures also represent four artists: Sandro Botticelli as the Christ Child, Andrea del Verrocchio as Joseph, Domenico Ghirlandaio as one of the shepherds carrying the lamb, and Leonardo da Vinci as the other shepherd.
The four artists are also depicted in Verrocchio’s painting, the Baptism of Christ, produced a quarter of a century earlier, around 1475, in which Leonardo is said to have painted one of the angels.
Another painting linked to Botticelli’s Adoration of the Christ Child is Andrea Mantegna’s Parnassus (Louvre), dated at 1497, although there are elements in the work to suggest it may not have been completed until 1498.
Masterpieces by Botticelli could be taken out of storage at the Uffizi Galleries and shown at the Villa of Careggi in the hills outside Florence as part of a new initiative that will turn Tuscany into a giant museum.Details at The Art Newspaper
Sotheby’s online magazine describes the roundel featured in Botticelli’s Portrait of a Young Man with a Roundel as follows:
The [….] painting differs from any other portrait of the time in the fascinating way in which Botticelli has shown his sitter holding a small roundel in his hand depicting a saint. This roundel is an original 14th-century work attributed to the Sienese painter Bartolommeo Bulgarini, which was inserted into the panel on which Botticelli painted his portrait. The significance of this striking visual device remains to be decoded, but must relate in some way to the identity of the handsome young nobleman who shows it off so proudly.
Further information is included in Sotheby’s auction catalogue:
The grain of the wood and the truncated punchwork of the background confirm it as a fragment—one not always round in shape, but rather cut out of a larger, vertical panel. While some of the gilding around the curved edges has been repaired, the figure of the saint has survived, like the rest of this painting, in very good condition. He is depicted half-length with a long grey beard, balding head and wearing a grey mantle atop an orange robe. Set against a gilded background, he is surrounded by a network of geometric punchwork that serves to frame his figure in a manner not unlike the painted architectural setting behind the young man. The saint lacks any identiable iconographic attributes, and only his right hand is visible, raised in an apparent gesture of blessing.
Botticelli’s portrait of the Young Man Holding a Roundel is referred to by the Italian painter Andrea Mantegna in his painting known as Parnassus, and identifies the sitter as Piero di Lorenzo de’ Medici. Mantegna also makes reference to the roundel and links its inclusion to Siena, as Bottcelli intended.
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.
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.
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.
I’m looking foward with interest to the outcome of the auction of the Botticelli painting titled: Young Man Holding a Roundel. The auction is part of Sotheby’s Old Master sales series scheduled for January 28 in New York, and the painting is expected to sell for around £60 million. It was previously auctioned at Christie’s London in 1982 and bought for £810,000.
There’s a mystery about the subject. No one knows who the young man is or the name of the saint featured in the roundel. I have my own ideas and intend to post on this before the Sotheby’s auction sale at the end of the month.
The image alongside is by Giovanni Bellini. Titled Portrait of a Boy, it is dated at 1475 and housed at the Barber Institute in Birmingham.
The subject is said to be a son of Angelo Probi who died in 1474 and was ambassador to Venice for the KIng of Naples. Like the Botticelli portrait, the boy’s name is unknown.
There are similarities between the two paintings, perhaps enough to suggest that the Bellini portrait could be viewed as a younger version of the youth painted by Botticelli.
Sotheby’s has published an interesting online catalogue to accompany the sale which can be viewed at its website.
Here’s more information about the Panel of the Friars, the first of six sections that make up the polyptych known as the St Vincent Panels and now housed at the National Museum of Antique Art in Lisbon Portugal.
As explained in earlier posts, each of the six figures have been given mutliple identities, seemingly four. This is a clue to the artist Hugo van der Goes’ emulating a similar method of construction used by Jan van Eyck when he applied four indentities to each of the ten riders in the Just Judges panel of the Ghent Altarpice.
Aside from any other suggested identities provided previously, the three men standing on the back row can be identified as the group known as the Three Crowns, major writers associated with the early Italian Renaissance: Francesco Petrarch, Dante Alighieri and Giovanni Boccaccio. The latter is probably best known for his collection of tales known as The Decameron, and subtitled Prince Galehaut.
Boccaccio is ‘twinned’ or paired with Dante Alighieri for the reason that it was Boccaccio who dubbed Dante’s Comedy“Divine”, so prompting The Decameron to be nicknamed “the Human Comedy”.
Another clue to Boccaccio’s identity is the translation of his name as “big mouth”, depicted by the rim of the hat worn by the man placed in front of him, on which is a fiery sun symbol. In this instance the symbol refers to the location where The Decameron tales take place – Fiesole (fire sun) –“twin hills” that overlook Florence in Italy.
The sun motif also connects to Dante’s Divine Comedy and the Fourth Sphere of Paradise, the so-called sphere of the sun where Dante and Beatrice meet the teachers of Wisdom, Saint Thomas Aquinas being one of them, and who is another identity shared with the figure of Dante.
In my previous post I mentioned that the likeness of Aquinas was sourced from a painting by the Italian artist Sandro Botticelli. Hugo van der Goes makes another connection to Botticelli through the Dante figure. The Florentine artist also produced a series of illustrations – 92 still survive – to be included in a manuscript of the Divine Comedy. Another connection is the vast influence the work of Aquinas had on Dante.
In my previous post I stated that a section of Botticelli’s Uffizi version of the Adoration of the Magi was the inspiraton behind the composition Hugo van der Goes applied to the Panel of the Friars in the St Vincent polyptych.
For example, the figure in the top left corner and the figure of the friar beneath it are based on two-heads in the Botticelli painting that depict Bernardo Bandini Baronelli, one of the assassins in the Pazzi Conspiracy who cleaved the head of Giulianio de’ Medici, and the Italian poet and scholar Angelo Ambrogini, better known as Poliziano, who later wrote a commentary about the dramatic event. He is seen with his head turned looking directly at the viewer in a similar fashion to the friar in the Panel of the Friars.
The friar with the full head of wavy hair has multiple identities, one being João Álvares, a Portuguese chronicler held captive for several years alongside the royal prince Ferdinand who died in captivity at Fez. Five years after Ferdinand’s death, Álvares was succesfully ransomed, returned to Portugal and then commissioned by Ferdinand’s brother Henry (the Navigator) to chronicle his younger sibling’s life and deeds. This account was a source Hugo likely utilised for producing one of the themes in the St Vincent Panels, just as Botticelli used Poliziano’s account as a basis for his painting.
There are two references in Botticelli’s painting to Bernardo Bandini – eventually captured in Constantinople after his flight from Florence and brought back in chains by Antonio de Medici. He was hanged on December 29, 1479. Present at the time of Bandini’s execution was Leonardo da VInci who made a drawing of the hanged man. Part of this drawing is represented by the head of Bandini tucked behind Poliziano. This is to make clear that the account of Baldini’s execution was not part of Poiliziano’s report written soon after the attack on the Medici brothers. But Leonardo was still in town and recorded the event in one of his notebooks. Observe the reference to the rope, a vertical line which has been emphasised as part of the column in the background.
So how does this hanging man image connect to Pontius Pilate. There is a visual likeness – the red skull cap – and so a pointer to Golgotha, the place of the skull where Jesus was crucified or hung from a tree. The bark on the lower part of the tree behind the head of Bandini has been stripped, as Christ was stripped of his clothes, and above this area are the dangling legs of a man depicting the Crucifixion. Hugo van der Goes has matched this by depicting Pilate’s right ear as the lower half of Christ crucified.
There is another component that links to Baldini, the line that joins the two halves of Pilate’s tunic and falls in behind the head of Àlveres. This echoes the line that represents the rope seen behind the head of the assassin in the Botticeli painting. It’s a device applied by Hugo van der Goes to introduce another identity given to the friar and which, in turn, will eventualy lead back again to Botticelli’s Adoration of the Magi. The new identity appears in one of the cycle of frescoes known as the Legend of the True Cross, attributed to Piero della Francesca, and located in the San Francesco church in Arezzo, Italy.
The particular fresco, attributed to Piero’s assistant Giovanni da Piamonte, is the sixth in a series of thirteen and referred to as The Torture of Judas the Jew. Judas is seen being lowered into a well with a rope tied around his waist, although at first glance it appears the rope is attached to his neck. This is done in an effort make Judas reveal the location of the Cross on which Jesus was crucified. After seven days of torture Judas relents and reveals the location in Jerusalem where the True Cross is buried.
Judas’ curled hair is similar in style to the curls applied to Álvarez. To make any further connections between the two men, we now have to focus on one of the identities given to the second figure in the back row, Thomas Aquinas, and his portrait painted by Sandro Botticelli which I pointed out in a previous post.
After Aquinas had died on March 7, 1274, an Enquiry into Canonisation was held at Naples between July and September 1319. One of the witnesses, an elderly priest known as Peter of Montesangiovanni, was asked if he knew of any miracles worked by Thomas in life or death or after death.
He replied that during his stay at Maenza, Thomas’s health declined and his socius (comrade), seeing his weaakness, begged him to take some food: whereupon Thomas said, ‘Do you think you could get some fresh herrings?’ The socius repied, ‘Oh, yes, across the Alps, in France or in England!’ But just then a fishmonger called Bordonario arrived at the castle from Terracina with his usual delivery of sardines; and the socius (Reginald of Priverno) asked him what fish he had and was told (sardines). But on opening the baskets, the man found one full of fresh herrings. Everyone was delighted, but astonished too, because fresh herrings were unknown in Italy. And while the fishmonger was swearing that he had brought sardines, not herrings, brother Reginald ran off to tell Thomas, crying, ‘God has given you what you wanted – herrings!’ And Thomas said, ‘Where have they come from and who brought them?’ And Reginald said, ‘God has brought them!’
This incident later became known as the “Miracle of the Sardines”. Close inspection of Botticelli’s painting of Thomas Aquinas reveals the cuffs of the saint’s tunic and his collar depicted as herrings. The hood of the Cistercian friar below is also meant to match the herring form.
As for any reference to sardines, look no further than the shape and cut of the friar’s hair seemingly presented seemingly on a head-plate, the latter also a reference to John the Baptist whose head was presented on a plate to Salome. This alludes to the mirror Panel of the Relic where the kneeling cardinal is shown presenting part of a skull shaped as a dish.
Another connection Hugo van der Goes makes is to Botticeli’s Uffizi version of the Adoration of the Magi. Botticelli is depicted standing on the extreme right edge of the panel with his hands covered. To his right stands the bearded Hugo van der Goes. This combination of the two artists is matched in the Panel of the Friars to the bearded friar and the friar crowned with sardines, the latter being another identity given to the figure – Botticelli – a nickname meaning “Little Barrel”. Hugo has playfully returned the jibe directed at him in Sandro’s painting, which inferred he worked at a snail’s pace. Hugo has presented Botticeli as a “little barrel” of sardines.
• More about the Panel of the Friars and its connections in my next post.
In my previous post I presented two paintings which connected to the Panel of the Friars. One was the portrait of St Thomas Aquinas painted by Sandro Botticelli which Hugo van der Goes utilised for his figure of Aquinas (back row, centre). However, Hugo had given Aquinas the eyes of Botticelli. It was his way of directing the viewer to another painting by the Florentine artist – the Uffizi version of the Adoration of the Magi and, in particular, to the group of figures on the left side of the frame as shown below.
Hugo was also inspired by two other artworks in creating his compostion – two frescoes – TheGood and the Bad Judge, still to be seen in the old town hall of Monsaraz, Portugal; and a section of the cycle depicting the Legend of the True Cross in the church of San Francesco, Arezzo, Italy.
• More about the connecting details in the Panel of the Friars in my next post
One of the challenges for anyone attempting to identify the 60 persons contained in the six sections representing the St Vincent Panels, is realising the artist has applied more than one identity to many of them. Very rarely is any figure a stand-alone representation of who they appear to be at surface level.
The artist – and my preference is Hugo van der Goes, not Nuno Gonçalves – took his lead from Jan van Eyck’s Ghent Altarpiece, particularly the Just Judges panel in which four identities are applied to each rider.
Perhaps in this way Hugo not only intended to pay homage to Van Eyck but also echo the emergence of Portugal’s “Age of Discoveries” which began at the start of the 15th century, and so invite the viewer to explore and navigate their way around the altarpiece, panel by panel, increasing their knowledge and understanding of the artist’s mapping and connectivity techniques as they do so.
I have commented about the Panel of the Friars in previous posts and mentioned that one of the identities given to the figure standing extreme left in the back row is Pontius PIlate, the Roman governor who gave up Jesus to the Jews to be crucified.
The figure also represents Pope Boniface VIII. Alongside him is Saint Thomas Aquinas. Not only can these two figures be identified from other paintings but also by the iconography Van der Goes has embedded and connected to the group.
I can’t date the painting of Pope Boniface VIII shown below; neither do I know the name of the artist. But excluding the papal tiara there is a distinct resemblance to the first man on the back row.
Another person who can be added to the mix is St Ambrose of Milan. He is the third identity applied to the first figure in the back row. Like Pilate, Ambrose was also a Roman Governor. To complete the set of Roman governors – all men of authority – is Pope Boniface VIII, consecrated bishop of Rome in 1295.
The second figure in the back row can be matched to the Thomas Aquinas portrait by Sandro Botticelli dated 1481-1482. Of course, date attributions are not always accurate, but if this is close to the mark then it also helps to date the Panel of the Friars to a period after Botticelli’s painting and probably before a time Hugo is thought to have died around 1482. There is no record of Hugo’s death except a vague mention without a date in a chronicler’s journal said to have been written between 1509 and 1523.
There is a noticeable difference in the eyes of the two portraits. Hugo’s version has embedded the eyes of Botticelli from another painting – the Monforte Altarpiece. He did this not only to make a connection to Botticelli’s Uffizi version of the Adoration of the Magi because it portrays Van der Goes, but for two other reasons which link the work to the Panel of the Friars.
The identity of the Aquinas figure can be confirmed by iconography that forms part of the white-haired Cistercian friar who, in this instance, is another saintly figure, Bernard of Clairvaux. The same applies to the portrayal of Boniface VIII. He too is connected to the Cistercian figure, not only portrayed as Bernard of Clairvaux but also as Bartolomeo Platina , the Vatican librarian who compiled and wrote a book on the Lives of the Popes (1479).
• I shall explain more about these group of figures and how they connect to each other in my next post.
This trio of men featured in the St Vincent Panels are related. The older man is the father of Hugo van der Goes, and also of the half-hidden figure behind him, Hugo’s half-brother Nicholas. Hugo is placed at his father’s left shoulder, almost cheek-to-cheek, and looking straight at the viewer – a sign of recognition. Did Hugo, or even the father contribute in some way to this section of the painting, or was the artist Nuno Gonçalves perhaps paying tribute to the men for some personal reason?
The other men in the line-up also represent family groups, fathers and sons. The three men to the right of Hugo are two sons with their father. Left of Hugo’s father are two men hat can be considered a son and his father, while to their left the three men represent another family group, possibly the Gonçlaves family with Nuno looking out from the edge of the frame next to his brother and both positioned behind their father.
So what other evidence is there that points to Hugo and his father among the group of men in the Panel of the Prince? There are two extant paintings attributed to Hugo van der Goes and housed in New York’s Met Museum that provide the answer: Portrait of an Old Man can be matched to Hugo’s father, while Portrait of a Man, possibly a self-portrait of Hugo, and probably cut down to size from a larger scene, has a particular feature – the praying hands – that Gonçalves has repeated for the hands of the father. Is this a statement by Gonçalves to say that both Hugo and his father had a hand in the painting of this panel?
What is a more likely scenario is that the old man isn’t actually the paternal father of Hugo and Nicholas, but can be considered instead as a pastoral or spiritual father, guiding the two men during their formation and time as lay brothers in the monastic community of the Roode Klooster which Hugo joined around 1477. Could he be Father Thomas Vessem, Prior of the Roode Klooster during Hugo’s time there as a lay brother?
The relationship between the two men shown in the Panel of the Prince is undoubtedly a close one, and the portrait of him painted by Hugo is not the only time he was portrayed by the artist. The same man features in Hugo’s Death of the Virgin, as shown below left. He also appears in the Justice Panels attributed to Dieric Bouts: Justice of Emperor Otto lll – Beheading of the Innocent Count and Ordeal by Fire. One was completed, and the second started by Bouts before he died in 1475. Van der Goes is said to have completed some of Bouts’ unfinished paintings. Was this one of them, and which artist included the ‘father’ figure associated with Hugo, shown below right alongside the Flemish artist Rogier van der Weyden as part of the beheading panel?
And not by coincidence, a portrait of Van der Weyden (left) is also included in the St Vincent Panels, alongside Dieric Bouts (below).
And this brings the circle back to Hugo van der Goes who also placed the portrait of Dieric Bouts at the edge of the frame in the Monforte Altarpiece, but not alongside Van der Weyden, preferring to subsitute him with the Italian artist Sando Botticelli. And why should he do this? Because Botticelli included the figure of Hugo alongside himself in his own version of the Adoration of the Magi now housed in the Uffizi, Florence.
• More on this and Hugo’s Death of the Virgin in my next post.
In my previous post I pointed out that the four satyrs in the Venus and Mars painting who are tormenting the sleeping figure of Mars represented Botticelli and his three brothers. A similar scene appears on a freize in another and earlier painitng by Sandro Botticelli, the Calumny of Apelles (1494). It depicts three winged cherubs tormenting a lion.
Below the panel is an alcove, one of many in the painting designed to display various statues. In this instance the niche is like a sentry box that houses a soldier in armour with his sword and shield. He keeps watch over the unfurling scene. The panel above the alcove can be understood in two ways – the lion as representing Leonardo, and also the Marzocco, the heraldic lion that is the symbol of Florence. These are characterised as the sentry statue representing the mythological figure of Mars, no longer naked as in Botticelli’s earlier painting.
Botticelli has linked the two paintings in this way to point to the identity of Mars and the sentry being one and the same person – Leonardo da Vinci.
Notice also the proximity of the shell features in the backgrounds serving as another link.
But why would Botticelli want to reference Leonardo in the Calumny of Apelles? The reason is this and points to another artist, the figure on the ground being dragged by his hair by Calumny. She is laying claim to Domenico Ghirlandaio and presenting him for judgement before the king, except that the man on the throne (Midas) is also a representation of Ghirlandaio, as is the other man, Rancour (Envy).
Ghirlandaio was only 45 when he died in January 1494 of ‘pestilential fever’, probably a form of the ‘sweating sickness’ that gripped parts of Europe in the latter part of the 15th century. Ghirlandaio’s passion came sudden and lasted five days before he died.
Botticelli’s Calumny of Apelles, painted in 1494, is a pointer to Ghirlandaio’s death earlier that year and hints that Domenico was the person who annonymously notified the Florentine authorities in 1476, accusing Leonardo and three other men of sodomy (hinted at in the freize panel). But Botticelli suggests the reason for the slander was jealousy on the part of Ghirlandaio, hence his depiction as Rancour. Note also that the naked figure at the start of the line of events in the painting represents Truth. And so Ghirlandaio, shown naked in his passion except for his loin cloth, is exposed for his calumny against Leonardo.
This panel painting known as Venus and Mars was produced by Sandro Botticelli about 1485. It’s housed at the National Gallery in London. A contemporary of Botticelli, Andrea Mantegna, was very familiar with the underlying narrative in the painting and used it as a basis for the satirical composition in the Parnassus picture he produced for Isabella d’Este, now housed in the Louvre, Paris.
The satirical slant is obvious in Botticelli’s version of Venus and Mars, the antics of the four satyrs are are all pointers to the painting being meant to poke fun, for whatever reason, at the two lovers.
Sandro Botticelli portrays himself as the satyr tucked inside the barrel-shaped cuirass in the bottom right corner of the painting. the name Botticelli meaning “little barrel”. The three other satyrs represent Botticelli’s brothers. Sandro was the youngest of the four boys. Mantegna picks up on the cuirass connection by portraying Botticelli on the breastplate of Mars in the Parnassus painting.
Mantegna’s Mars is based on Piero de’ Medici, eldest son of Lorenzo de’ Medici. Piero led Florence after his father’s death in 1492 until his own exile in just two years later in 1494. Venus is repesented by Isabella d’Este. However, the pairing also references Leonardo da Vinci’s lost painting, Leda and the Swan. More on this in a future post.
Pareidolia: the tendency to perceive a specific, often meaningful image in a random or ambiguous visual pattern. (Merriam-Webster dictionary)
Here’s an example of Sandro Botticelli putting into practice some advice Leonardo da Vinci gave in one of his notebooks on the subject of Pareidolia. It’s a sample of several references Botticelli makes to Leonardo in his painting. More details at this link.
This is what Leonardo wrote in his notebook on the subject:
A Way of Development and Arousing the Mind to Various Inventions: “I cannot forbear to mention among these precepts a new device for study which, although it may seem but trivial and almost ludicrous, is nevertheless extremely useful in arousing the mind to various inventions. And this is, when you look at a wall spotted with stains, or with a mixture of stones, if you have to devise some scene, you may discover a resemblance to various landscapes, beautified with mountains, rivers, rocks, trees, plains, wide valleys and hills in varied arrangement; or again you may see battles and figures in action; or strange faces and costumes, and an endless variety of objects, which you could reduce to complete and well drawn forms. And these appear on such walls confusedly, like the sound of bells in whose jangle you may find any name or word you choose to imagine.”
The Notebooks of Leonardo da Vinci, Chapter IX, The Practice of Painting
The Uffizi Galleries in Florence will stage the first museum exhibition on Botticelli in China next September, as part of an unprecedented five-year exchange with the Hong Kong government’s culture department. Details at this link.
The Virgin Adoring the Child is one of many in a line of Mary-and-the-Infant-Jesus paintings by Sandro Botticelli and his workshop. So what’s different in this Nativity portrayal? For starters, the artist has woven a representation of himself in his painting.
In Giorgio Vasari’s Lives of the Most Excellent Painters, Sculptors, and Architects he devotes a chapter on the life and work of Sandro Botticelli. There is a notable anecdote in the biography that records a dispute Botticelli had with a neighbour who was a weaver. Botticelli confirms the incident in this painting, as well as another reference made by Vasari to Sandro’s health late in life. However, Botticelli uses the same iconography to apply other levels of meaning to interlock and weave with additional themes in the painting.
But first here is Vasari’s anedote about Botticelli and the weaver:
“Another time a cloth-weaver came to live in a house next to Sandro’s, and erected no less than eight looms, which, when at work, not only deafened poor Sandro with the noise of the treadles and the movement of the frames, but shook his whole house, the walls of which were no stronger than they should be, so that what with the one thing and the other he could not work or even stay at home. Time after time he besought his neighbour to put an end to this annoyance, but the other said that he both would and could do what he pleased in his own house; whereupon Sandro, in disdain, balanced on the top of his own wall, which was higher than his neighbour’s and not very strong, an enormous stone, more than enough to fill a wagon, which threatened to fall at the slightest shaking of the wall and to shatter the roof, ceilings, webs, and looms of his neighbour, who, terrified by this danger, ran to Sandro, but was answered in his very own words—namely, that he both could and would do whatever he pleased in his own house. Nor could he get any other answer out of him, so that he was forced to come to a reasonable agreement and to be a good neighbour to Sandro.”
Text is from the ten-volume edition published by Macmillan and Co. & The Medici Society, 1912-14, sourced from The University of Adelaide
The stone building blocks rising above the Infant represent Botticelli – a kind of ‘Lego’ figure, with arms outstretched, bearing a stone, and supported precariously on two wooden poles. The ox’s horns represent the dilemma faced by the weaver. If the ox dislodges the nearest pole, then Botticelli’s stone may fall on the stubborn donkey below (the weaver) that seems to be oblivious to the danger and interested only in peering out from the woven fence, tempted by the straw in the manger. However, Botticelli implies that the weaver doesn’t have a choice with the stone structure appearing to rest on one horn only.
The ox is also symbolic of Luke’s gospel and the two vertical poles alongside are a reference to chapter eleven, in particular the verse about the Return of the Unclean Spirit.
The specific number of looms mentioned by Vasari amount to eight, which tallies with the unclean spirit returning to the man’s house (his soul) that had been swept clean, bringing with it seven other spirits, even more wicked. Eight in total.
Without realising it, Vasari also alludes to the two poles supporting Botticelli’s arms: He writes: “Having grown old and useless, and being forced to walk with crutches, without which he could not stand upright, he died, infirm and decrepit, at the age of seventy-eight…”
So here Botticelli depicts himself as still standing, stiff as stone, but upright with a straight back, even if with the aid of crutches, on a cornerstone representing Christ, and still very much capable of producing meaningful paintings. Notice also his head is turned, not looking into darkness but at the light radiating from the Virgin Mary. Notice also the light from the Bethlehem Star falling onto Botticelli’s ‘capstone’ head, in line with the light’s descent onto the Saviour.
• More Boticelli gems found in this painting on my website at this link.
Here’s another painting of Fioretta Gorini and her son Giulio portrayed in the role of the Madonna and the Infant Christ, one of many similar paintings by Sandro Botticelli and his workshop. Not surprisingly it embeds features which point to Leonardo da Vinci, and not just because he painted the same woman in two of his paintings – the Benois Madonna, and later the portrait mistakingly titled Ginevra de’ Benci.
In his monograph, Botticelli Life and Works, Ronald Lightbown describes the adoration scene:
The composition of the small tondo of the Virgin Adoring the Child, painted around 1490, was repeated, as it deserved to be, in many workshop versions. The broken gray masonry of the stable in the foreground, converts the circle into a square within which the Virgin, wearing a pink robe beneath the deep blue of her cloak, kneels in the dark sward, adoring the Child who lies on the cloak’s end propped up by a bale of straw, stretching up his hands to her. The straw is painted with great attention: each outer straw is executed with a straight stroke, highlighted with touches of yellow. From the triangle of sky to the left of the thatched golden-brown roof, a gold star sends down its ray above the Child’s head. Behind, a duck swims on a pool; beyond are low dark-green undulations with a wooden gateway opening onto a path over bright green hills on the left. On the right is a brown fence and a river landscape. Such browns – pale tawny brown, golden brown, chestnut – are characteristic of Botticelli’s later pictures; so too is the conjunction of tawny and light green to give a delightful effect of pastoral gladness.
Ronald Lightbown, Botticelli: Life and Work, pp 217-218
The painting is housed at the National Gallery of Art in Washington DC and the gallery’s date attribution is between 1480 and 1490. However, there are indications in the work that suggest it was produced after 1490, possibly as late as 1495. The painting may appear to be a simple portrayal of the Virgin and Child, but with Botticelli nothing is as straightforward as it appears at surface level. There is an underlying narrative that relates to the Dominican preacher Girolamo Savonrola, a revolutionary figure in Florence between his arrival in the city in1490 and the time of his execution in May 1498.
My assessment for the date of the painting is not before the second half of 1498, and after the execution of Girolama Savonarola.
The Virgin Adoring the Child also inspired Mantegna’s Parnassus, said to have been painted in 1497, although some of its iconography does suggest a later date. Mantegna produced a second painting for Isabella d’Este’s studiolo, the Triumph of Virtues. This is dated between 1500 and 1502.
This detail is from a fresco in the Sistine Chapel titled Testimony and Death of Moses. It shows Moses seated and preaching to a group of people, women and children on the left, men on the right. At his feet is the Ark of the Covenant. It is strategically placed at the side of two of the women with a babe in arms, one standing the other seated on the ground. They represent the Madonna and Child, a repeated subject of Sandro Botticelli’s paintings.
There are two angels standing behind the seated Madonna. The angel in the forefront, wrapped in prayer beads, is modelled on Giuliano de’ Medici who was assassinated in 1478, some three years before the fresco was completed. Giuliano is portrayed as a guardian angel, keeping watch over the seated Madonna and Child who are modelled on Fioretta Gorini and her son Giulio. There are three versions of Fioretta. The second is the figure standing immediately behind the seated woman, also with a child in arms, and the third depiction is the head behind the head of the standing woman.
Let’s take a closer look at the last mentioned. She is closely matched to Leonardo’s portrait of Ginevra de Benci – aka Fioretta Gorini (right). Her hair is tied with a simple scarf, without decoration. Her eyes are looking to the right. Someone has caught her attention. It is Leonardo (not in the frame), the artist who painted her portrait. The fierce-looking woman on Fioretta’s shoulder is her protectress, a Gorgon feature, with a reputation of turning anyone who looked at her into stone.
The stone refererence is a reminder of the marble sculpture Verrocchio made of Fioretta – Lady with a Bouquet – and his terracotta bust of Giuliano de’ Medici that shows a Gorgon feature on the breastplate depicting Leonardo as an angel. Fioretta’s father was a cuirasser who made protective armour. The breastplates would likely feature a Gorgon symbol.
The Giuliano and Leonardo ‘double-head’ also links to the appearance of a ‘double-head’ on the Fioretta figure in the fresco. This in turn provides another connection to Fioretta’s identity and Leonardo – a drawing made by the artist that is now housed in the British Museum. It depicts the Virgin and Infant Christ holding a cat. The Virgin is portrayed with a ‘double-head’ and it is this feature that the fresco artist has adopted and coalesced with the head of Fioretta in Leonardo’s painting known as Ginevra de’ Benci.
This combination and reference to Leonardo’s drawing also reveals that the woman in the sketch is Fioretta Gorini. The sketch and, more notably, a similar drawing in reverse and on the recto side of the sheet were prelimany drawings for the painting attributed to Leonardo and known as the Benoir Madonna. More on this in a future post.
The double-head feature in the fresco is meant to portray Fioretta at two stages in life, or two paths open to her. One that leads to death, the other to new life. She takes the path of transfiguration or religious conversion. Death, in the guise of the gorgon and representing her lover Giuliano de’ Medici, is at her side, after which she gives birth to her son.
Over her gold-decorated dress she puts on a purple cloak of ‘mourning’ and repentance, turning her head to the ‘Joseph’ figure opposite who is gazing adoringly at Fioretta’s child. In this instance the man is portrayed as Giuliano da Sangallo, brother of Antonio, the man who took charge of Fioretta’s son for the first seven years of his life. Giuliano is depicted instead of Antonio to link to the name of Giuliano de’ Medici and identify Fioretta’s son who was named Giulio.
The third stage in the transformation of Fioretta’s life shows her seated on the ground (an act of humility), simply dressed and holding her child. Her blue and gold garments are matched in colour to those seen in the Benoir Madonna. Her blue cap with its gold wings is similar to the cap and colours seen on the Moses figure and also in the figure of his successor Joshua shown elsewhere in the painting. The blue cap and gold ‘wings’ represent an anointing by the Holy Spirit.
In my previous post I suggested that Fioretta had joined a religious community of Carmelites. I mentioned also her connection to the Sangallo family and that one of the attributes of Saint Gallo was a bear carrying a piece of wood. Another attribute of the saint is a hermit’s tau staff and in the Sistine Chapel fresco we see Giuliano Sangallo leaning on a such a staff. Its end is placed at the bare feet of Fioretta. This is another pointer to Fioretta’s hermitic life, her removal from the world and discalced status, and also a reference back to Leonardo’s portrait of Fioretta that art historians have mistakenly identified as Ginervra de’ Benci.
Fioretta’s ‘three-in-one” transformation connects to the transfiguration of Moses who was seen in a new light by the people when he descended from Mount Sinai after conversing with God. The first figure in the line of men on the right of the fresco is Elijah who, along with Moses, featured in the transfiguration of Jesus when he ascended a mountain in the company of three of his disciples. His face shone like the sun and God the Father’s voice was heard to say: This is my beloved son, with who I am well pleased; listen to him,” repeating the same words he spoke when Jesus was baptised by John in the wilderness. (Mark 1:11, 9:7)
Historians record Giuliano de’ Medici as the father of Fioretta’s son. Following the assassination of Giulio, his brother Lorenzo de’ Medici was informed by Antonio da Sangallo of the child’s birth and that Giuliano was its father. But was he?