Hair-raising terror

Detail from Botticelli’s Calumny of Apelles, Uffizi, Florence

This detail from Botticelli’s Calumny of Apelles, shows the personification of Slander dragging Apelles by his hair and carrying a flaming torch in her left hand. The painting is dated to 1494.

An earlier painting by Botticelli, Pallas and the Centaur, c 1482, also depicts a female grabbing the head of a centaur by his hair. Instead of a flaming torch in her left hand she holds a halberd.

Are these similar actions meant to link the two paintings in some way?. Is there someone or a particular narrative that Botticelli has referred to in both works?

Detail from Botticelli’s Pallas and the Centaur, Uffizi, Florence

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.