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.
This terracotta head of a young man is known as “Christo fanciulllo”. It came to light in 1931 after it was discovered in a convent at Ascoi Piceno. As to the sculptor, Leonardo da Vinci is considered a candidate. His name is linked to a claim made in 1584 by the Italian artist Gian Paolo Lomazzo who wrote: “I have also a little terracotta head of Christ when he was a boy, sculpted by Leonardo Vinci’s own hand…”
However, there is an earlier reference which also links to the terracotta Christo fanciullo(Christ as a young man). It appears in the Monforte Altarpiece painted by Hugo van der Goes. Although its current attribution is c1470, the painting has references which date the work to a later period, probably to sometime in 1482, the year that Van der Goes is said to have died.
The main panel of the Monforte Altarpiece depicts the Adoration of the Magi. Like Bottcelli’s Uffizi version it has underlying narratives and picks up on Botticelli’s references to Leonardo, his pointers to other artists and the assasination of Giuliano de’ Medici. Hugo is depicted in the Botticelli altarpiece and returns the compliment by featuring Botticelli in the Monforte painting.
The head sculpted by Leonardo or even of the artist as a young man, can be matched with the kneeling figure, whose left hand supports a golden chalice.
The Van der Goes painting is another work that assigns multiple identities to most of the figures. Hugo’s influence for this was likely Jan van Eyck who did the same – four for each figure – in the Just Judges panel of the Ghent Altarpiece.
At surface level the golden-haired figure is presented as a servant to the second magus in the group. At another level he represents Maximilian I, Archduke of Austria, and son of the Holy Roman Emperor Frederick III. A third identity is Matthias Corvinus, king of Hungary, Croatia and Bohemia.
A fourth identity is Leonardo da Vinci, and in his role as an artist, he is positioned receiving a golden chalice from the dying Hugo van der Goes, symbolising a rite of passage. This can be interpreted in more than one way. The most obvious is Leonardo leaving Florence to start a new chapter in his life and career at the Milanese court. Next to the kneeling Leonardo is the figure of Ludovic Sforza, Regent of Milan, known as Il Moro – the Moor – because of his dark complexion, and who Leonardo served as court artist from 1482 until 1499.
The figure also represents St Augustine of Hippo, one of the four Doctors of the Church depicted in the painting. A third identity for this figure is Michael Szilágyi, uncle and guardian (regent of Hungary) to the young king Matthias. The regency role is matched to the identity of Ludovic Sforza, uncle and guardian to the young duke of Milan, the boy holding the sceptre and portrayed at suface level as a servant to the third magus. When the figure is identified as St Augustine, then the boy is recognised as his son Adeodatus who died in adolesence.
The rite of passage theme also connects to Botticelli’s Uffizi version of the Adorationof the Magi and to one of the frescos in the Sistine Chapel which shows Moses commissioning Joshua to lead the Isralites. The Testimony and Death of Moses was the last fresco completed in the series depicting the lives of Moses and Jesus. It was probably finished in 1483 and is attributed to Luca Signorelli and Bartolomea Gatta.
Joshua, the man shown kneeling in front of the ageing Moses, is represented by Leonardo da Vinci. The man standing immediately behind him is presented as his father Piero da Vinci, while Moses is represented by Leonardo’s grandfather and guardian, Antonio da Vinci.
Van der Goes repeats a similar motif in his painting, the bearded magus handing down the chalice to the young man kneeling alongside. While there is far more depth of meaning and significance in this motif and the composition of figures, the purpose of this presentation is to link Leonardo to the painting and back to the terracotta head.
Botticelli’s Uffizi Adoration also shows a similar hand-over composition where Leonardo is depicted stooping with his right hand over the left hand of the man wearing a black coat, Lorenzo de’ Medici’s assassinated brother Giuliano. Notice also the handing over of the chalice to Lorenzo wearing the white gown by his father Piero di Cosimo de’ Medici.
So now we have three paintings with symbolism representing a rite of passage, a passing over, of life to death to new life, that includes Leonardo da Vinci.
Christ as a Young Man came of age around the time he was twelve years old. Luke’s Gospel mentions “the child grew to maturity, and he was filled with wisdom.” For Maximillian I the rite of passage at a young age was at 18 when he married Mary of Burgundy. Matthias Corvinius was just 14 when elected king of Hungary. Leonardo was also 14 years old when his family moved to Florence and he was placed as an apprentice in Andrea del Verrocchio’s studio.
So in age representation the head of “Christ as a Young Man” can be applied to all three identities. Van der Goes, it appears, had sight of the terracotta head, made a drawing or drawings of it, and included it in his painting to link Leonardo to the Botticelli and Signorelli/Gatta fresco. This would also suggest that Hugo van der Goes had sight of the relevant artworks both in Florence and Rome.
Professor Martin Kemp, a leading authority on the life and works of Leonardo wrote:
“Of the exant sculptures assigned to him [Leonardo] on grounds of style, none has decisively entered the accepted canon. Given the unlikelihood of any existing sculpture ever proving to be incontestably by Leonardo on the grounds of documentation and cast-iron provenance, any attribution must necessarily rest on less secure foundation of comparisons with his works in other media and with related sculpture of masters with whom he was closely associated, especially Verrocchio and Rustici.”
(‘Cristo Fanciullo’, Achademia Leonardi Vinci, IV, 1991, PP. 171-6)
Included in professor Kemp’s paper is a profile image (right) of the sculpture. The copy I have doesn’t show much detail but it is the profile itself that is of interest. When flipped, rotated and simply superimposed over the profile in the Van der Goes painting, the fit is an impressive match. Couple this with the deliberate references and connections Van der Goes has made to Leonardo in Botticelli’s Adoration of the Magi and the Sistine Chapel fresco, it would be reasonable to suggest that the “Christos fanciullo” head is the model for Hugo van der Goes adopted for the head of the kneeling servant in the Monforte Altarpiece.
Returning to the Sistine Chapel and the fresco of the Testament and Death of Moses attributed to Luca Signorelli and Bartolomeo Gatta…
I mentioned in a previous post that four of the multitude of figures depict Leonardo da Vinci. In this post I will present an explanation for one of them, the naked man seated on a tree stump and positioned centrally in the line of figures in the bottom half of the fresco.
Standing next to Leonardo is a figure wearing a bright blue jacket with most of his face hidden and his back to the viewer. Leonardo and the faceless man are presented in front of a group of men, some perhaps members of the Signoria, the government of Florence while others are members of the Medici family. With the exception of two, the group faces east toward another scene that shows Moses teaching the Law to the men, women and children gathered before him.
The group is taking the Law into account before passing judgement and possibly any sentence on Leonardo who had been anonymously reported for sodomy. His ‘anonymous’ accuser was another artist, Domenico Ghirlandaio, standing immediately behind Leonardo. Notice the snake-head shape of the fold above his right hand in the gold garment he is wearing. The snake reference not only points to Ghirlandaio as the sender of the anonymous letter to the Signoria, but also to the injury and the bruising on Leonardo’s right shoulder sustained from his attempt at human flight, hence the wing feature made of light silk attached around his neck. Was a tree or its stump the painful landing point?
Identifying Ghirlandaio is linked to the fresh-faced youth looking at the artist next to him. He is Giovanni di Lorenzo de’ Medici. The motif is borrowed from the fresco in the Sassetti Chapel in Florence depicting the Confirmation of the Rule of St Francis where both Giovanni and Piero are seen looking out directly at the artist who happens to be Ghirlandaio.
In the Moses fresco Piero (the Unfortunate) is the tall figure alongside Giovanni. Their father, Lorenzo the Magnificent, is to the right of the man in the blue jacket whose hand is raised as if appealing for help from Lorenzo. Could the man in blue be Leonardo Tornabuoini, one of the three other men charged with sodomy, and connected to the Medici family through Lorenzo’s mother Lucrezia Tornabuoni? This would explain why the face is hidden and possibly confirm the speculation that the charges against the men were dropped because of the Tornabuoni connection to the powerful Medici family.
The other figure not facing East but looking down on Leonardo is Antonio Pucci, Gonfaloniere of Justice and a close ally of the Medici family. His wealth and influence stemmed from the silk industry, hence the reference to the silk scarf or wing worn by Leonardo. The silk reference also connects to Ghirlandaio whose nickname means ‘garland maker’ and whose family produced silk scarves threaded with gold, a fashionable item with Florentine women of the time.
Pucci’s hands are explaining a point to Leonardo and his companion. He is squeezing his right thumb with the thumb and forfinger of his left hand. Could he be demonstrating a form of torture used by the authorities to punish or extract information, perhaps the application of thumbscrews or even amputation?
It’s a certainty that this fresco and, in particular, its central scene, was inspired by Sandro Botticelli’s Uffizi version of the Adoration of the Magi and its many reference to Leonardo including the episode relating to the charge of sodomy.
Luca Signorelli and/or Bartolomeo Gatta have replicated the right-hand corner of the Magi painting that shows Botticelli wrapped in a gold cloak standing behind the two figures representing Leonardo and one of his companions. But in the Moses fresco he is substituted by Ghirlandaio who, in the Magi painting is the ‘figure-head’ placed above Botticelli.
Ghirlandaio’s blue-domed hat is not only a reference to his name Domenico but also to the prep work he did by painting the Sistine Chapel’s dome in blue with gold stars to represent the heavenly dome covering the world. Notice also the feather in his cap, a refrence to the quill Ghirlandaio used to write his ‘anonymous’ note to the Florentine authorities. The denunciation was posted in what was known as the ‘tamburo’ a drum-shaped box or barrel provided for reports on law-breaking.
From this we can understand why Botticelli has placed Ghirlandaio’s head above himself. Botticelli means ‘little barrel’ and so a reference to the ‘tamburo’ and further confirmation that it was Domenico who wrote the anonymous letter charging Leonardo and others with sodomy. His reason for denouncing Leonardo in this way? Botticelli provides some of the answers in another of his great works, The Calumny off Apelles.
Another connection to Leonardo presented as the naked man in the Testament and Death of Moses fresco is Andrea Mantegna’s painting, Parnassus, completed about 1497 for Isabella d’Este and her studiolo. Mantegna’s Parnassus is heavly focused on Leonardo and his works. The figure of Orpheus playing his lyre is based on the figure of Leonardo in the Moses fresco and also linked to Botticelli’s Adoration of the Magi.
Finally, the bearded man, standing next to Lorenzo is the link between this scene and the one on the right featuring Moses teaching the law to the Hebrews.
The other bearded man seen tucked behind Ghirlandaio on the left side of the group has a legal status, and is a lawyer or notary. In a religious sense the scrolled brim on the front of his hat represents a phylactery or tefillin used to contain small scrolls inscribed with verses from the Torah. In a secular sense and as a notary licensed to witness signatures on documents the scrolled brim represents the box or ‘tamburo’ in which Ghirlandaio placed his written accusation against Leonardo. Here Signorelli confirms that the anonymous note was unsigned as witnessed by the notary standing next to Leonardo’s accuser.
A similar scroll motif is seen on one of the men in the next group to the left. He is Piero da Vinci, Leonardo’s father, and also a legal notary.
Here’s another painting with a multiplicity of Leonardo figures. This version of the Martyrdom of Saint Sebastian is attributed to the Pollaiuolo brothers Antonio and Piero. It is displayed in the National Gallery, London, and the date attribution is 1475. However, if the painting is meant to refer to the charge of sodomy made aganst Leonardo then the earliest completion date would be 1479.
Saint Sebastian survived his ordeal as target practice for a group of archers that had left him for dead. He was nursed back to health by Irene of Rome, the widow of the martyred St Castlus. However, Sebastian was later clubbed to death and his body dumped in a sewer.
Leonardo felt deeply wounded and fearful when he and four other men were brought before authorities and charged with sodomy in April 1479. Although the written accusation wasn’t signed Leonardo suspected that one of his own kind, another artist, had lodged the complaint. He likened the betrayal to the Greek fable of The Eagle Wounded by an Arrow (vaned with its own feathers), and alluded to this in the angel figure he painted for Verrocchio’s Baptism of Christ.
But there is another take on the fable: “the misery of realising that one has contributed to one’s own injury but also as a warning against self-reliant pride”. (Wikipedia)
This explains why Leonardo is depicted as self-harming by firing arrows at himself – and in another sense a form of self-flagellation to mortify the flesh against temptation. Notice also that the limbs of the crossbows are all shaped as a bird’s wings.
Antonio del Pollaiuolo produced a similar work with the Battle of the Naked Men, an engraving where ten look-a-like figures are depicted battlling with weapons against each other. It is no coincidence that the warriors share similar physical features and some of the faces are modelled on Leonardo, similar to the St Sebastian painting, and so meant to portray the battle with self and attempting to eliminate what may appear to be faults or weakness in one’s own eyes and the eyes of others.
Botticelli also produced a version of St Sebastian and Leonardo was the model.
Could Antonio and Piero del Pollaiuolo’s painting of San Sebastian and the six archers have inspired Leonardo in conceiving a plan to produce a giant crossbow. A drawing of such a large-size weapon appears in one of Leonardo’s notebooks.
But what if the Martyrdom of Saint Sebastian was produced later than the current attribution date of 1475, perhaps after the charge of sodomy against Leonardo? This would push the date on to at least 1479. It would also allow for other identities to be given to the archers – perhaps to include Leonardo’s accuser Domenico Ghirlandaio and maybe others.
Of the two bendng men placed in the centre, one is faceless, the other is beardless and can be said to represent Leonardo. Both men are in the process of loading their crossbows ready to fire at at Leonardo. The four other men are all variations on Ghirlandaio, possibly representing his brothers who worked alongside him at his workshop. An item of clothing common to all of the men is a garland – making the connection to the nickname ‘il Ghirlandaio’ – garland maker.
So now the composition can be understood as the two men in the forefront contributing to their own injury. Their perceived behaviour and actions in loading the bolts provide ammunition for Ghirlandaio and the other archers to take aim and fire darts at Leonardo in particular, naked and tied to the tree stump, and portrayed naked again as a reference to Antonio Pollaiuolo’s engraving, the Battle of the Naked Men.
I recently pointed out that Leonardo da Vinci is depicted in one of the Sistine Chapel’s frescos – The Trial of Moses by Sando Botticelli. He’s one of the two fighting Hebrews, Domenico Ghirlandaio is the other.
Well, on the same Southern wall of the Chapel is another fresco that features Leonardo. In fact, he shows up in four of the scenes that record the Testament and Death of Moses. The fresco is attributed to Luca Signorelli and Bartolomeo della Gatta. It was the last section of the six-fresco cycle illustrating the life of Moses and probably started sometime in 1483.
This is how Wikipedia descibes the scenes, but there is no mention of Leonardo.
The fresco portrays the last episode in Moses’ life, in two sectors: a foreground one including two scenes, and a background one, with three further scenes and, on the right, a landscape. Moses is always recognizable through his yellow garments and the green cloak, as in the rest of the cycle. The artist made an extensive use of gold painting.
On the background Moses, on the Mount Nebo, receives by an angel the command baton, which gives him the authority to lead the Israelites towards the Promised Land. Below, Moses descends from the mountain with the baton in his hand, similarly to Cosimo Rosselli’s Descent from Mount Sinai nearby. In the foreground, on the right, is a 120-year-old Moses speaking at the crowd while holding the baton and a Holy Book: rays of light stem from his head. At his feet is the Ark of the Covenant, opened to show the Twelve Tables and the vase of the Manna. In the center, the procession includes a woman holding a child on her shoulders, wearing silk, an elegant youth portrayed from behind and a naked man sitting. The latter two characters are attributed to Luca Signorelli, as well as the man with a stick next the throne of Moses.
On the left is the appointment of Joshua as Moses’ successor; the former kneels to receive the command baton, while the prophet has his cloak opened, showing a red-lined interior. Finally, on the left background, is the corpse of Moses on a shroud, surrounded by the dismayed Israelites.
Leonardo is represented as Joshua kneeling at the left side of the fresco. He is also the naked man seated on the tree stump in the centre of the group of figures at ground level; and naked again as one of the two cherubs standing beside the woman sitting on the ground holding her baby. Leonardo is also portrayed as the angel alongside Moses on Mount Nebo.
The scenes at ground level are all connected to the interrogation and testimony of Leonardo after an anonymous report was made to the Florentine authorities in April 1476 accusing the artist and others of sodomy.
In my previous post I proposed that the artist Domenico Ghirlandaio was the person who sent the anonymous letter to the Florentine authorities accusing Leonardo da Vinci and three other men of sodomy.
I mentioned five paintings in which this event is alluded to, three by Botticelli, one by Andrea Mantegana and another by Verrocchio with the help of Leonardo himself.
I can now point to another work that makes mention of the incident – a confession of a kind – by Domenico Ghirlandaio. It’s one in a series of frescos he and his workshop produced for the Tournabuoni Chapel in the church of Santa Maria Novella on the lives of the Virgin Mary and John the Baptist, patron saints of Florence.
The particular fresco is the Baptism of Christ, and it is not without coincidence that several of its features are adopted from a similar work painted by Andrea del Verrocchio, assisted by Leonardo.
Leonardo also shows up in the Tournabuoni version. He is placed at the extreme left of the fresco, wearing a green gown and amber hat. His right hand is pointing to the dominant figure standing in front of him waiting to be baptised and whose nakedness symbolises his sin. He is no longer in hiding, although an angel’s wing – a gold leaf – covers his modesty.
He is Domenico Ghirlandaio.
In Verrochio’s version Ghirlandaio is the model for John the Baptist. It is not without reason why the angel painted by Leonardo and representing himself has his eyes fixed on the Baptist figure, “staring hard at him” and not at Christ, with a questioning look that asks “Are you the one…?” One of his own, a painter, a ‘Hebrew’, echoing the fable of the eagle wounded by an arrow vaned with its own feathers, and a reference to Leonardo’s shoulder injury. The shoulder injury is depicted in Leonardo’s angel and Ghirlandaio’s fresco.
In the Verrocchio painting, Leonardo’s angel’s right arm, his wing, is feathered and dark. He carries the cloth that will cover Christ, shaped as a wing but also meant to represent a shroud that will eventually wrap around the body of Christ. The garment turns to gold and forms a sling around Leonardo’s shoulder to support and partially cover his injury wound – a red, wing-shaped arrow to suggest a damaged shoulder blade or “winged scapular”.
The damaged right shoulder shows up on Ghirlandaio. Note the dark bruising and the emphasis on the shoulder blade. Leonardo confirms the problem by pointing to Ghirlandaio’s other shoulder. More likely he is presenting a prognosis of the injury, or disorder, to the bearded man alongside. His pointed hat is modelled on the hat worn by Lorenzo de’ Medici in Botticelli’s Uffizi version of the Adoration of the Magi. Magi = Medici = medical doctors.
Domenico Ghirlandaio (1448–1494) was an Italian Renaissance painter born in Florence. He was four years older than Leonardo da Vinci who in 1476 was arrested and brought to the Florentine court on a charge of sodomy after an anonymous denunciation was lodged at the Palazzo della Signoria, the city’s town hall, on April 9, 1476.
Leonardo was accused with four others but because the report had been made secretly and wasn’t signed, the charges against all the men were dropped. A similar accusation was lodged two months later but again dismissed.
Although the letter condeming Leonardo and the other men was left unsigned, it’s unlikely the author was unknown at the time. Gossip and speculation would surely have followed Leonardo’s arrest and potential suspects and motives considered.
One man who did know whose hand wrote the letter to the authorities was Sandro Botticelli. He identified the person in at least three of his works and may even have been party to the posting. The first was the portrayal of the two fighting Hebrews in the Sistine Chapel fresco depicting the Trials of Moses (1482). Next was the Uffizi version of the Adoration of the Magi completed in 1482 after Botticelli had returned to Florence following his stint at the Vatican. The third reference shows up in The Calumny of Apelles (1494-95) after Ghirlaindaio had died of pestitential fever in January 1494 at the early age of 44.
Ghirlandaio is also included in the frame of suspects by Andrea Mantegna in his version of Parnassus (1497-98).
Finally, Leonardo himself points to his ‘outing’ in Andrea del Verrochio’s Baptism of Christ, in which he painted one of the ‘grounded’ angels. This would place the painting’s completion after the charge made against Leonardo was dropped in June 1476.
“Another narrative is that Leonardo was perhaps at odds with himself, battling with his sexuality and experiencing his nature to be in conflict with the law that threatened not only his existence but also his way of life, hence the reason why Botticelli depicted Leonardo as both of the Hebrew men.”
After further research I can now add more to this conflict narrative between the two Hebrew men. They also represent two artists, one being Leonardo da Vinci falling under the sword of Moses and the Law (still to be received); the other, portrayed under the protection of Florentina, is Domenico Ghirlandaio, a contemporary of Leonardo and one of the Florentine group of artists responsible for frescoing the walls of the Sistine Chapel.
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?”
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…”
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.
Andrea del Verroccio is probably better known for his work as a sculptor than a painter. Even the two principal figures in his Baptism of Christ painting appear rigid as if placed on pedestals. Both Christ and John the Baptist are shown standing on the bedrock of the shallow river Jordan with their feet submerged in water. The weight of each man is placed on his right leg and balanced by the left. The feet are the ‘footings’ or ‘founds’ supporting the whole body which in this scenario can be understood as Christ’s body representing the Church he founded.
I mentioned in a previous post how the river is depicted as both water and blood and is connected to the Massacre of the Innocents carried out by King Herod, and also the later beheading of John the Baptist. But there are also two other events which link to the blood and water theme: (1) the rite of Baptism in the Christian Church, seen as participation in the death and resurrection of Christ; and (2) when Jesus was pierced with a lance at his crucifixion and the wound was seen to pour out blood and water.
His pierced side was later witnessed by Thomas, one of the disciples who had doubted Christ’s resurrection. When Jesus later appeared to him he invited Thomas to touch the wounds in his hands and feet and telling him, “Give me you hand; put it into my side. Doubt no longer but believe.”
Before he painted the Baptism of Christ, Verrocchio was commissioned in 1467 by the Merchant’s Guild in Florence to produce a bronze sculpture depicting Christ and St Thomas. This bronze and the niche it was placed in on an exterior wall of the Orsanmichel was the main source of inspiration for Verrocchio when he came to outlining his composition for the Baptism painting completed in 1475. Work on the bronze sculpture very ikely took a back seat at times as it was not unveiled and in situ until 1483.
The niche, or tabernacle, where Christ and St Thomas was displayed (it still is, but a copy), was previously occupied by Donatello’s gilded bronze sculpture of St Louis of Toulouse, completed in 1425. However, in 1459 the niche was sold to the Merchant’s Guild and Verrochio was commissioned to fill the gap with his bronze. The niche itself is said to have been sculpted by Donatello. Verrochio paid tribute to his former master by referencing some its features for his Baptism of Christ, as well as linking his painting to a legend attributed to St Louis.
The stance of Christ and St Thomas in the bronze commissioned by the Merchant’s Guild echoes the two standing figures in the Baptism painting. Donatello’s predella supporting the tabenacle area features two winged-angels carrying a wreath crown. These are the two ‘angels’ portrayed by Verrocchio. One carrying Christ’s garments and kneeling on the rock shelf by the waterside.
The two heads looking out at the ends of the predella, facing right and left, are the two heads in the rock outcrop in the painting – one is King Herod, the other Goliath. It’s likely the heads featured on the predalla may refer to Greek or Roman philosophers.
Centred on Donatello’s triangular pediment are three heads encircled within a winged olive crown. They represent the Trinity, Father, Son and Holy Spirit. The Trinity is also referenced in Verrochio’s painting and is an integral part of the Baptism of Christ account in John’s Gospel. The Father’s two hands are seen extending from Heaven, while the Spirit is coming down from heaven like a dove to rest on Jesus.
The frieze below the pediment is a twist bracelet of four winged-cherubs. The four heads represent four identities Verrocchio has linked to the face of the baptised Christ.
The spiralled columns inside the tabernacle and their Ionic capitals are the inspiration for the palm tree and its crown on the left of the painting, matched on the other side by the Baptist’s shaft crowned with a golden cross.
The scalloped ceiling inside the dome of the tabenacle is represented by the dish used by the Baptist to pour water over Christ’s head. The patterned scallop is echoed by the arrowed rays emanating from Heaven.
Either side of the dome are two angels with an arm reaching out along the arch, in a manner similar to the portrayal of John the Baptist reaching out over the head of Jesus. This is also reflected in the actual sculpture with Jesus’ right hand outstretched over Thomas and blessing the doubting disciple.
As far as matching Thomas touching the side wound of Jesus, this is shown in the kneeling figure of the angel said to have been painted by Leonardo da Vinci. Here Leonardo is drawing attention to the shoulder wound he apparently carried throughout his life (represented by him carrying the robe worn by Jesus – or even a shroud – and so referring to the death and resurrection aspect of baptism). The cloth can also be related to as a wing, and therefore pointing again to Leonardo’s damaged shoulder and his fascination for birds and for flying. This is another feature referenced in Botticelli’s Adoration of the Magi where Lorenzo de Medici is seen carrying the wrap of his light blue gown over his right forearm. It was this that protected him from a more serious injury during the attack in the Duomo on himself and his brother Giuliano who was not so fortunate and died during the assassination attempt.
Then there is the mystery of the halos in the Baptism of Christ painting… but more on this in my next post.
The two young boys featured in Verrocchio’s Baptism of Christ are usually described as angels – but in this instance are shown without wings. They have halos, so are they angels or saints? The halos over the two other figures in the painting, Christ and John the Baptist, differ in colour, and the Saviour’s halo is marked with a cross.
Botticelli’s Madonna of the Magnificat (1481) also features angels without wings. Two of his ‘angels’ are arranged to mirror those in the Verrocchio painting. He repeated the motif in his Uffizi version of the Adoration of the Magi.
Is there a connection between the three groups? Probably, and likely to be Leonardo da Vinci. It is said to he painted the angel on the left in Verrocchio’s panel produced in 1475 for the Vallomvrosan monastery of St Salvi in Florence.
In the Magnificat, some historians have suggested that the two angels are meant to represent the Medici brothers, Lorenzo and Giuliano, while in the Adoration scene the two men placed left and right of the group are Giuliano de’ Medici and Leonardo.
The Baptism painting also connects to Florence Cathedral, Santa Maria del Fiore, where Giuliano de’ Medici was murdered in April 1478. Botticelli makes reference to both the assassination and Verrocchio’s painting in the Uffizi Adoration. The gold-brimmed hat (right) refers to the halo theme and its iconography in the Baptism of Christ.
More on this and the secret of the halos in a future post.
The Baptism of Christ is attributed to Andrea del Verrocchio and partly to a young Leonardo da Vinci who worked in Verrecchio’s studio at the time when the painting was produced around 1475. It depicts Jesus being baptised in the Jordan by John the Baptist. Two young angels kneel on the bank of the river, one holding Christ’s garments. It was said by Francesco Alberti in a guidebook published in 1510 that this figure was painted by Leonardo. Some art historians suggest that he had a hand in other parts of the painting, notably the background scene and perhaps even the figure of Christ
According to the art historian, painter and architect Georgio Vasari: “Leonardo painted an angel who was holding some garments; and despite his youth, he executed it in such a manner that his angel was far better than the figures painted by Verrocchio. This was the reason why Andrea would never touch colours again, he was so ashamed that a boy understood their use better than he did.”
Perhaps an exaggeration by Vasari who was born in 1511, forty years after the painting was completed and never spoke with Verrochio who died in 1488.
What Vasari failed to record and may not have noticed about the painting is that the Baptist figure is modelled on Leonardo, and whose angel rendition is another image of himself. Verrichio knew this but seemingly not Vasari.
Verrocchio also knew the painting was linked to another artist, the sculptor Donatello and the two statues he made of the biblical David, one in marble and the other bronze. Verrocchio also produced a bronze of David which links to this painting as well as his bronze of Christ and Thomas.
Bottecilli also refers to the Baptism of Christ painting in his Uffizi version of the Adoration of the Magi. He also recognised the ‘hidden’ hand of Leonardo in Verrochio’s Baptism of Christ – and the shoulder injury he sustained probably in childhood – a ‘fallen angel’, so to speak, nursing a broken wing and uncertain if he would ever resurrect and ‘fly’ to rise above the earth again.
This naked figure traditionally identified as Vulcan, the Greek god of fire, features in the Parnassus painting by Andrea Mantegna. Its attribution date is 1497. In mythology Vulcan was the husband of Venus and this depiction shows him raging against her because of her presumed infidelity with Mars.
Although naked, Mantegna has applied other guises to the figure, notably Francesco II Gonzaga, husband of Isabella d’Este (in the guise of Venus), and the Domincan preacher Girolamo Savonarola. The figure also references three artists: Leonardo da Vinci, Sandro Botticelli and Antonio Pollaiuola.
It was Pollaiuolo who produced the engraving known as the Battle of the Naked Men in which Leonardo is depicted fighting with himself in the centre. Mantegna has borrowed the naked man to portray Vulcan. The identity transition is a deliberate smoke-and-mirrors technique by Mantegna to reference Leonardo’s sfumato painting style and mirror writing. The Mantua court artist also makes and mirrors other pointers to Leonardo in a counterpoising manner.
For example: the naked man is a pointer to Leonardo’s unfinished painting of Jerome in the Wilderness. Mategna has portrayed his figure with the left arm outstretched whereas the right arm is extended in Leonardo’s Jerome. It also grips a stone. Close inspection of Mantegna’s version reveals the left hand has some of its fingers bent to form the shape of a skull, and so another reference to Leonardo’s Jerome and his skull symbolising a ‘memento mori’. The ‘memento mori’ theme links to the identity of the fiery friar Girolamo Savonrola who set Florence alight with his end-time preaching and prophecies during a four-year period that ended in his own execution and burning in May 1498. His moral campaign encouraged the people to burn and destroy their secular art, books and other objects considered as “occasions of sin”. These public events became known as “bonfires of vanities” and Botticelli was an artist said to have taken heed and destroyed some of his work in this way.
The red cloak tied around the neck of the naked man also ties to other meanings. Not only does it represent a flame of fire stemming from a hot-head, it is also shaped to represent a dog. This is matched in three ways, first to the facial features as that of a werewolf and therefore connected to a hellhound. This then links to Botticelli and his Adoration painting that features the Twelve labours of Hercules, one being his descent into the underworld to combat the dog Cerberus that guards Hades. The third match is to the epithet applied to Savonrola’s Domican Order, Domini canes, meaning ‘dogs of the Lord’.
Mantegna also presents the red cloak as a wing, and the probable inspiration for this is a passage from one of Leonardo’s notebooks on the flight of birds: Leonardo writes: “The centrepiece of the shoulder of the bird is the part turned by pectoral and dorsal muscles. These muscles control whether the elbow is raised or lowered, according to the will and needs of the animal that is moving.” This note is accompanied by a wing illustration similar to the shape of the red cloak. A later note observes: “Always in the raising of the hand the elbow is lowered and presses the air down, whereas in the descent of the hand the elbow is raised and remains sideways on in order not to impede the movement in the air compressed within the wing.”
Leonardo’s observations about lowering and raising are adapted by Mantegna to refer back to Savonarola who was tortured before he was hanged and his body set alight. The method of torture used on the preacher was the strappado. The victim’s arms and legs are tied behind his back. He is suspended by a rope tied to his wrists and then dropped at intervals from a great height. The outcome usually results in a dislocated shoulder and permanent damage. Mantegna alludes to the drop process by showing water cascading from three levels of the high ground behind the naked man. Notice how the right arm hangs as if his shoulder is dislocated. Is Mantegna also alluding to the damaged right shoulder Leonardo is said have suffered with? And was this also caused by a fall, perhaps from a great height? How similar is the shape of the crouched, bird-like figure of Jerome in Leonardo’s painting, to the bound figure suspended in the Jacques Callot drawing of the strappado. It is said that Leonardo bought caged birds in the marketplace just to set them free.
The strands of wire gripped in Vulcan’s right hand refer to the fine net he made to throw over Mars and Venus (similar to how birds on the ground are captured). The wires also represent the strands of a spider’s web stemming from the lopped tree root. Alongside are bunches of grapes. The combination represents the fable of the spider and the grapes that Leonardo recorded in one of his notebooks.
Another feature that connects Leonardo to this section of Mantegna’s painting is Vulcan’s furnace. Its flames represent a “bonfire of vanities” and its red and blue flames are possibly the predominant colours favoured by Botticelli in the paintings he assigned to the fire. Vulcan’s left foot points to a recess in the furnace where ashes can be removed. A close inspection reveals a ‘charcoal’ representation of Leonardo. It connects to the head of one of the dancers. She is Isabella d’Este who Leonardo drew a portrait of – in charcoal – when he once visited Mantua.
The charcoal reference to Leonardo disguised in the stone furnace has two other links: First to his representation as the head of the sphinx in Botticelli’s Uffiz Adoration and its associated reference to preparing ink for writing; and the second to an early painting – The Baptism of Christ – attributed to Andrea del Verrocchio in which Leonardo is said to have had a hand in painting one of the angels.
Between the figures of Christ and the Baptist is a rock outcrop with a recess at water level. It depicts the helmeted head of herod, the king who later ordered the beading of John the Baptist. Herod also ordered the killing of all Jewish boys under the age of two, hoping that among them would be Jesus the new-born king.
This prompted the Holy Family to flee to Egypt and so provides a link to another painting by Leonardo, the Virgin of the Rocks. According to legend, the Holy Family was met on the road by an angel escorting John to Egypt to escape Herod’s wrath. Herod’s bloodbath became known as the Massacre of the Innocents, indicated in the painting above by the blood-red water at ‘Herod’s Gate’. The slaughter of innocents, or even innocence, is represented in other parts of Mantegna’s Parnaussus painting.
There are two versions of the Virgin on the Rocks, both attributed to Leonardo, and in both paintings the infant John is shown with the Virgin’s right hand placed on the child’s right shoulder. Another pointer, perhaps, to Leonardo’s shoulder injury?
It’s interesting to note in the Last Supper fresco which Leonardo began to paint in the mid 1490’s, both the right hand of Jesus and the left hand of Judas are shown as claw-shaped. John’s hands are joined as if symbolising the good and evil sat either side of him.
The feminised figure of John is possibly a portrayal of Leonardo’s right hand man, Salaì, who was described by Vasari as “a graceful and beautiful youth with curly hair, in which Leonardo greatly delighted” even though his master also wrote that his servant for 25 years was “a liar and a thief”.
Also very noticeable is the large knot resting on the shoulder of Barholomew standing at the left end of the table. Even in the fresco’s poor state it can be seen to represent a lion’s head to echo the fiery head of Batholomew. The arm band is also significant and symbolic of restriction. Both these motifs are repeated in Mantegna’s Parnassus painting in which he refers to the works of Leonardo.
All the figures in Leonardo’s Last Supper can be interpreted as representing a claw hand or pointing to Leonardo’s shoulder injury.
Last week, the world’s media reported on the diagnosis made by two Italian doctors which suggested Leonardo da Vinci suffered with ulnar palsy, or what is known as “claw hand”. The claim was first presented in the Journal of the Royal Society of Medicine on May 3, 2019, by Davide Lazzeri and Carlo Rossi.
That Leonardo was inflicted with a paralysis in his right hand is not unknown to historians. Antonio de Beatis, secretary to Cardinal Luigi d’Aragona, wrote in his travel diary about a visit to Leonardo in 1517. “One cannot indeed expect any more good work from him as a certain paralysis has crippled his right hand.”
Drs Davide Lazzeri and Carlo Rossi base their diagnosis on two portraits of Leonardo, a red-chalk drawing attributed to Giovanni Ambrogio Figino (1540-1608), and the other to an engraving made in 1505 by Marcantonio Raimondo (ca 1480-1527)
The engraving purports to show Leonardo playing a lira da braccio, suggesting therefore he may still had use of his right hand to enable to bow the instrument. The red-chalk drawing depicts Leonardo with his right hand cradled in the folds of his gown as if supporting an injured arm.
Historians generally attribute Leonardo’s paralysis to have manifested late in his life, but there is evidence to suggest the polymath bore his affliction even earlier and to the period he was living in Florence before moving to Milan in1482. The evidence is provided by three of his contemporaries, Andrea del Verriccio, Sandro Botticelli and Domenico Perugino. Even Leonardo himself produced work that hinted at his disability.
Dr Lazzeri suggests that an acute upper limb trauma, possibly from a fall, could have resulted in ulner palsy. He eplains, “The ulnar nerve runs from the shoulder to the little finger and manages almost all the hand muscles that allow fine motor movement.” Perhaps in the light of the this new analysis by Drs Lazzeri and Rossi, it can now be better understood just why Leonardo did not always complete his paintings or was at least slow to do so.
In 1479 a group of Florentine artists were commissioned to fresco the walls of the Sistine Chapel. It was considered a reconciliation initiative between Pope Sixtus IV and Lorenzo de’ Medici following the murder of Lorenzo’s brother Giuliano by conspirators supported by Sixtus. The four principal artists were Sandro Botticelli, Pietro Perugini, Domenico Ghirlandaio and Cosimo Rosselli. Surprisingly Leonardo da Vinci was not among the group. Could one of the reasons for his absence have been some kind of incapacity at the time, perhaps the result of an injury to his right arm?
In 1481, Leonardo was commissioned to paint an altarpiece depicting the Adoration of the Magi. It was never completed. Prior to that he started to paint St Jerome in the Wilderness. This work also remained unfinished and is now housed in the Vatican Museums.
Revisitng this work it is clear to see the emphasis placed on the suffering of St Jerome in the process of beating his breast with the rock held in his right hand. What is now particularly obvious in the light of last week’s report is the prominence and detail given to the right shoulder, the collar bone and afflicted expression on Jerome’s face. Outstretching his arm is seemingly a most painful process, enough to make him grimace and turn his head away. Could this be Leonardo recording the pain of his own injury in some way? Notice the claw-shaped grip around the stone held in the right hand.
Another painting that throws light on Leonardo’s claw-hand is Andrea de Verrocchio’s version of Tobias and the Angel (1470-65). For the angel Raphael read Verrocchio and for Tobias, Leonardo – the master instructing his apprentice. Close inspection of the linked arms clearly shows deformity in the young man’s right hand, particularly the little finger. Some art experts suggest Leonardo may have painted the fish that Tobias is carrying in his left hand.
Although Leonardo wasn’t part of the Florentine team sent to Rome to fresco the walls of the Sistine Chapel, he does feature in one of its paintings – The Trials of Moses – attributed to Botticelli. Leonardo is presented as the Egyptian being put to the sword by Moses and later buried. Both hands of the Egyptian, aka Leonardo, are formed as claws!
Returning to Florence in 1482 Botticelli went onto complete an earlier commission before he was called away to Rome, the Adoration of the Magi, the adaption now housed with Leonardo’s version in the Uffizi, Florence. The earlier mention of Leonardo being buried is alluded to again by Botticelli. The stone head to the left of the Holy Family group is Leonardo shown as the half buried Great Sphinx of Giza in Egypt. But this is not the only reference to Leonardo in the painting. In fact, there are are several, one of which points to the claw feature in Verrocchio’s Tobias and the Angel but is also given another meaning by Botticelli as part of one of several themes in the painting.
Leonardo is the figure wearing the pink cape crouching in front of Botticelli who is positioned in the right corner of the frame. The fingers of Leonardo’ right hand claw into the back of the hand of Giuliano de’ Medici. As to the reason for this, that’s another story.
Domenico Ghirlandaio, positioned next to Botticelli and wearing a feathered hat, was one of the artists who shared the workload in frescoing the walls of the Sistine Chapel. He also returned to Florence afterwards to complete a commisison he was given earlier to fresco the Sassetti Chapel in the Santa Trinita basilica. He produced five frescos on the life of St Francis. One of these, the last in the cycle, depicts the Death of St Francis seen surrounded by fellow friars and Florentine notables. The central figure hovering above the dead saint is meant to represent a knight named Jerome who doubted the authenticity and claims of the stigmata associated with Francis during his saintly life. When Francis died, Jerome examined the manifested wounds of Christ on the body of the holy man and was convinced they were genuine and so convereted his life.
Here Ghirlandaio has borrowed the Leonardo/Egyptian figure from Botticelli’s Sistine Chapel fresco – note the similarity in hair colour and style, and the shade of the red and blue garments. Leonardo is known for dissecting dead bodies in his search for how the human body functions, and his notebooks are filled with drawing and sketches recording his findings. So here we have not only the connection back to Leonardo’s early painting of Jerome in the Wilderness, but also Ghirlandaio linking it to the knight known as Jerome who doubted the stigmata of Francis. Ghirlandaio also confirms Leonardo’s claw hand, not just by the shape of the right hand reaching into the body’s side wound, but also by the claw-shaped ‘praying hands’ of the two figures either side of Leonardo.
Leonardo held a skeptical view about some aspects Christianity, and was even considered a non-believer by some people. Ghirlandaio, it seems, was a believer in ‘miracles’ and in the use and power of relics to obtain physical healing. Perhaps this is why he presented Leonardo before the dead Francis in this final fresco, as an expression of his own personal faith and prayer made visible for others to witness. It is said that Leonardo renconciled with the Catholic Church when he was close to death and paid for Masses to be said for his soul’s salvation after he died.
The claim that Leonardo is represented in the engraving produced by Marcantonio Raimondo in 1505, has some merit. When he left Florence for Milan he brought with him a a silver lyre in the shape of a horse’s head as a gift for the Milanese ruler Ludovico Sforza. In Raimondo’s engraving Leonardo is depicted playing a ‘lira da braccio’ – an arm lyre – for the animals gathered around him. He is presented as Orpheus, “a legendary musician, poet, and prophet in ancient Greek religion and myth”, said to be able to charm all creatures with his music.
Leonardo portrayed as Orpheus may have been inspired by Andrea Mantegna’s famous painting Parnassus, now displayed in the Louvre. This is another work with several references to Leonardo and also Botticelli. In fact, it’s a parody on Botticelli’s Uffizi version of the Adoration of the Magi, which explains why Mantegna embedded the references to Leonardo. In the left corner of the painting is a young man seated on a tree trunk and playing a lyre for the dancing Maneads. The figure is Orpheus but also represents Giuliano de’ Medici. His left hand is claw-shaped to pluck the strings of the lyre. In Botticelli’s Uffizi Adoration Giuliano is also placed in the left corner, alongside a silver-head horse representing Leonardo’s lyre.
From these examples it can be seen that Leonardo’s claw-hand was not a late development in life, and that his contemporaries portayed his ailment in their paintings. There are probably more to come to light as the works I have cited are only those I have studied in recent months.
St Jerome in the Wilderness is another unfinished painting by Leonardo da Vinci. Believed to have been started sometime in 1480 before Leonardo moved from Florence to Milan, it’s now housed in the Vatican Museums.
At sometime in its history the panel was reduced in size. However, before it was cut down it served as inspiration for the upper half of Botticelli’s Uffizi Adoration of the Magi. It’s not hard to recognise that the kneeling Magi before the Infant Jesus is not only meant to resemble both Cosimo de’ Medici and Pope Sixtus IV as mentioned in previous posts, but also the figure of St Jerome depicted in Leonardo’s early work.
Other elements in Leonardo’s painting are also echoed and in a future post I will refer to these and the reason why Botticelli has made the connection to Jerome and placed the Saint – one of the early “Doctors of the Church” – in such a central position in his painting.
Italy has issued a set of stamps depicting stolen artworks recovered by its “monuments men” taskforce as it tries to shake off its status as the country with the highest number of art thefts in the world.
The stamps, which show works by Van Gogh, Mantegna and Raphael, celebrate the 50th anniversary of the Command for the Protection of Cultural Heritage.
Today marks the 500th anniversary of the death of Leonardo da Vinci. The milestone is being acknowledged by special events around the world.
A little further back in time, 37 years to be precise and 1482, Sandro Botticelli recorded the death of Leonardo in a novel way – by portraying him in two roles, both as an Egyptian and a Hebrew slave in a fresco painting on a wall in the Sistine Chapel. The panel depicts the Trials of Moses and was one of several commissioned by Pope Sixtus IV using Botticelli and other Florentine artists.
The section shows Leonardo as the model for the Egyptian slain by Moses, as recorded in Exodus (2 : 11-14). Leonardo is also depicted as the bloodied Hebrew making an exit from captivity in Egypt but in danger of being enslaved by a woman seemingly set on protecting him. The woman is Florentina, the symbol of Florence.
Here Botticelli is referring to Leonardo’s brush with the law when he was one of a group of four men accused of sodomy. The charges were eventually dropped, some say because one of the other men was connected to the powerful Medici family. Had the law been applied in full then the four men could have faced execution. Guilty or innocent, the risk of execution was probably one of the reasons why Leonardo eventually left Florence and moved to Milan.
So here Botticelli expresses Leonardo’s fear of the severity of Florentine law, applied justly or unjustly, as portrayed by Moses who was chosen to present God’s law written in stone but which he had earlier applied unjustly on his own account by killing the Egyptian and hiding his body.
The passage from Exodus also relates what happened after Moses had killed the Egyptian. The following day he came across two Hebrews fighting each other. He said to the man who was in the wrong, “What do you mean by hitting your fellow countryman?” The man retorted, “And who appointed you to be prince over us and judge? Do you intend to kill me as you killed the Egyptian?”
Moses became frightened when he realised his crime had been discovered and fled to the land of Midian. Was Botticelli using this analogy to compare the flight of Moses to the flight of Leonardo to Milan, referring to the fact his “crime” was also uncovered?
Another narrative is that Leonardo was perhaps at odds with himself, battling with his sexuality and experiencing his nature to be in conflict with the law that threatened not only his existence but also his way of life, hence the reason why Botticelli depicted Leonardo as both of the Hebrew men.
The self-conflict motif can also be read into the fighting group of Moses and the Egyptian. In Botticelli’s Uffizi Adoration, Leonardo is painted in similar colours, green and yellow, to Moses in the Sistine Chapel frescos. But there are also other explanations for this match in the Adoration painting which I shall post on at another time.
The facial expression of the Hebrew on the ground is meant to relate to the screaming face of Leonardo that can be seen on the breastplate of Giuliano de’ Medici sculpted by Andrea del Verrocchio. The cuirass is hollowed as a protective piece of armour, similar to a shell. This is why Botticelli has shaped Leonardo’s cloak as a shell. Leonardo collected and made study draiwngs of shells. However, Botticelli is also suggesting that the vunerable point of any creature carrying a shell on its back and hiding underneath it, is its underside and belly region. This point is also made with a similar motif in the Uffizi Adoration painting.
There is another feature that links the face of Leonardo on the breastplate to his face portrayed on the Egyptian, and which connects with Moses. When the prophet came down from Mount Sinai for the second time “the skin on his face was radiant”. Artists generally show this as “horns of light” or what became known as the “horns of Moses”, usually depicted as two horns projecting from his head. They are meant to represent enlightenment or knowledge, as in knowing God’s law. In the fresco, Moses has yet to receive God’s law written on stone tablets.
However, the face of the Egyptian, aka Leonardo, has hair curled in the shape of horns. These are not only meant to represent the snakes associated with the image of the Gorgon Medusa and the pagan worship of the Egyptians of the time, but also suggest the brilliance of Leonardo, as gifted with knowledge and talents. The horns and the enlightened theme is also expressed on the breastpate, referring not only to Leonardo, but also the wearer Giuliano de’ Medici, considered a shining light and chivalrous knight of the Renaissance.
In my previous post I pointed out that in Botticelli’s Uffizi version of the Adoration of the Magi, the figure of Joseph is leaning on a stone shelf which depicts Leonardo da Vinci as the head of the Great Sphinx. It wasn’t the first time Botticelli had portrayed Leonardo as the Sphinx. He had used the motif in an earlier work when he and other Florentine artists were commissioned by Pope Sixtus IV to fresco the walls of the Sistine Chapel. The commission was seen as a gesture of goodwill in building the peace process between Florence and the Pope in the aftermath of the Pazzi Conspiracy and assassination of Giuliano de’ Medci.
I also mentioned that the two tree trunks supporting the roof of the building housing the Holy Family represent the Roman numeral IV – four – and made the connection to the pharaoh Thutmose IV.
Now the numeral can also be understood as a pointer to Pope Sixtus IV, born Francesco della Rovere.
The two supports are from oak trees. Some oak leaves sprout from the vertical support even though it has been stripped of its bark at the base and so starved from nutrients and therefore any future life, a likely reference to the figure below of the hanged assassin Bernardo Bandini del Baroncelli, who served on the side of Sixtus in the pope’s efforts to remove the Medici family from its power base in Florence.
The Pope’s family name of Della Rovere means “of the oaks” or “the place of the oaks”. So here we see Botticelli expressing the Pope’s desire to take control of the Florentine Republic of which Lorenzo de’ Medici was the de facto ruler.
Art historians generally agree that the figure kneeling in front of the Infant Jesus is Lorenzo’s grandfather, Cosimo de’ Medici, but it also depicts Pope Sixtus IV as head of the Church on earth, and so a bridge (pontiff) between heaven and earth, a crossing into the promised land, not only led by Moses as described in the Old Testament, but also through the death and resurrection on the new-born Saviour, Jesus – hence the hands of Cosimo and Sixtus clasping the feet of the Infant. The two families, the Medici and the Della Rovere, are shown united in a symbolic sign of reconciliation and peace.
It was Pope Sixtus IV who built the Sistine Bridge across the Tiber in Rome. Notice the river-bend shape of the white scarf draped around his shoulders. Seen as Cosimo, the drape represents a waxing crescent moon.
There is another reference to ‘the place of oaks’ – the head of Sixtus – shaped as an acorn with its cup and nut. It’s gaunt appearance is reminiscent of some of the skull studies in Leonardo’s anatomical drawings and is meant to act as a ‘bridge’ to the sculpted head of Leonardo portrayed in the ‘rockface’ above. Which brings me back to the start of this post and the mention of Botticelli painting a similar motif in an earlier work.
For this we have to return again to the Sistine Chapel and the connection to Moses leading the Israelites to freedom from Egyptian captivity. The particular fresco is the Trials of Moses (or the Youth of Moses) painted on the southern wall.
My next post wil explain how and why Botticelli has linked references to Leonardo da Vinci in this fresco and the Uffizi Adoration.