Calunnia di Apelle di Botticelli
Presentación del libro “La Calunnia di Botticelli. Politica, vizi e virtù civili a Firenze nel Ri... more Presentación del libro “La Calunnia di Botticelli. Politica, vizi e virtù civili a Firenze nel Rinascimento”, escrito por Sara Agnoletto y Monica Centanni y publicado por Officina Libraria (2023) | Universidad Pablo de Olavide, Sala de grados del edif. 25 (Biblioteca) | Martes 28 de mayo a las 18:00
Organiza: Area de Filología Latina
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Encuentro con las autoras del libro "La Calunnia di Botticelli. Politica, vizi e virtù a Firenze ... more Encuentro con las autoras del libro "La Calunnia di Botticelli. Politica, vizi e virtù a Firenze nel Rinascimento", Monica Centanni y Sara Agnoletto | Universidad Complutense de Madrid, Facultad de Geografía e Historia | Martes 16 de abril:17:00 a 18:30
Meeting with the authors of the book "La Calunnia di Botticelli. Politica, vizi e virtù a Firenze nel Rinascimento", Monica Centanni and Sara Agnoletto | Universidad Complutense de Madrid, Facultad de Geografía e Historia | Martes 16 de abril: 17:00 a 18:30
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Presentazione del volume "La Calunnia di Botticelli. Politica, vizi e virtù civili a Firenze nel ... more Presentazione del volume "La Calunnia di Botticelli. Politica, vizi e virtù civili a Firenze nel Rinascimento", a cura di Sara Agnoletto, Monica Centanni, edito da Officina Libraria (2023) | Università degli Studi Roma Tre, dipartimento di Studi Umanistici | 21 marzo 2024, 10.00 - 12.00
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LECTURES | Presentazione del volume: "La Calunnia di Botticelli. Politica, vizi e virtù civili a Firenze nel Rinascimento" [Firenze, 25 July 2023, h. 11.00], 2023
Intervengono: Eike D. Schmidt con Maria Luisa Catoni; Alessandro Cecchi; Marcello Ciccuto. Sarann... more Intervengono: Eike D. Schmidt con Maria Luisa Catoni; Alessandro Cecchi; Marcello Ciccuto. Saranno presenti le autrici: Sara Agnoletto e Monica Centanni. Le Gallerie degli Uffizi, Firenze | 25 luglio 2023, h. 11.00
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La Rivista di Engramma (online), 2017
The most painted scene from the Decameron's first tale of day five shows Cymon stands gazing at I... more The most painted scene from the Decameron's first tale of day five shows Cymon stands gazing at Iphigenia, while she is sleeping in the woods. After admiring her beauty, the young nobleman changes from a badly mannered lout to an ideal polymath. Falling instantly in love Cymon turn into wise, becoming a model of the transforming power of beauty. The pictorial tradition usually respects the Decameron's original text and represents Cymon resting on his staff while peering over Iphigenia, in a calm, meditative state of mind. In only a few cases, two of which depict in the Calumny of Botticelli, Cymon’s pose changes to a hand-to-face posture, typical of melancholy figures. In this paper we examine the close connection that joins melancholy and love from Antiquity to the Modern Age, attempted to argue that Cymon's hand-to-face posture is symptomatic of an astonishment, of a mental alienation caused by Love, which is similar to melancholy. Traditionally considered pathological conditions strictly relate to madness, Love insanity and Melancholy become during the Renaissance the only two mental dispositions that make man receptive to divine inspiration. It was Marsilio Ficino, the great Florentine philosopher and commentator on Plato's Dialogues, who gave such unprecedented importance to them, providing also relevance to vision of beauty, through which man's soul may approach heavenly beauty and be reminded of its divine origins.
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La Rivista di Engramma (online), 2017
In the tractate Baba Bathra (Last Gate) in the Babylonian Talmud, legend is told concerning the c... more In the tractate Baba Bathra (Last Gate) in the Babylonian Talmud, legend is told concerning the conflict between brothers fighting over which one should be their father’s successor. The arbiter in their case urges them to remove their father’s corpse from its grave and to shoot arrows at him: the status of legitimate heir would be granted to the archer who hits closest to the father's heart. Only the youngest of the sons refuses to take part in this procedure out of reverence for his father, whereupon the arbiter decides to award the inheritance to him.
Since the thirteenth century, when the legend reappeared in Christian literature, it has changed (although the essence of the story remains the same), and the theme was intended as a moral exemplum of filial piety or blasphemy. The purpose of this essay is to argue that one of the reliefs around the room in the Calumny of Apelles by Sandro Botticelli (A7) contains a depiction of this medieval legend, interpreted as an amoral exemplum both of calumny and impiety.
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La Rivista di Engramma (online), 2016
Throughout this work we have tried to argue that the figure of Metanoia/Paenitentia in the The Ca... more Throughout this work we have tried to argue that the figure of Metanoia/Paenitentia in the The Calumny of Apelles, painting by Sandro Botticelli, is used to express ‘sloth’: the reluctance which prevents men from pursuing truth, good and justice, and from becoming better people. However, she also represents the perseverance that allows men to achieve these goals. These two, opposite, meanings are possible due to the interpretation of Metanoia/Paenitentia as Melancholy. Indeed, according to the doctrine of Marsilio Ficino, the melancholic state has positive and negative effects: melancholy is not only a temperament linked with sadness and apathy, but also a disposition which influences men leading them to a state of fervor or contemplation. Represented as an old woman, in mourning and overwhelmed by sorrow, Metanoia/Paenitentia looks like Melancholia, and she may well be interpreted as Melancholy, since she has a dark face, supposedly resulted from an excess of the black bile.
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La Rivista di Engramma (online), Dec 2016
In the Calumny of Apelles, Botticelli warns against Fraud that makes Slander possible. He represe... more In the Calumny of Apelles, Botticelli warns against Fraud that makes Slander possible. He represented Fraud and Conspiracy by styling Slander's hair with rosebuds and a white ribbon, symbols of goodness and innocence, to signify that fraud is untruthful and plots in the dark. He also explored the theme in the architectural background, in the first arch's rear pillar's base front relief (B2). Here he drew the scourging of seducers and pimps in Dante, Inferno XVIII. Both of these sinners lure women, pimps on behalf of others, seducers for their own benefit. Amorous flattery is a serious sin if its intent is malicious, because it moves away from Truth and from God, degrading man, since fraud involves a deviated use of reason – the main gift of God to humanity – and because it is adverse to Love, the highway to dignify man, according to Neo-Platonic thought. This warning is part of a more general iconographic program, in which the viewer is invited to act virtuously, according to reason, making good use of free will and ability to judge, avoiding irrational and vicious behaviors.
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La Rivista di Engramma (online), 2015
In the background of Botticelli’s Calumny of Apelles, architrave 2 shows a female figure lying o... more In the background of Botticelli’s Calumny of Apelles, architrave 2 shows a female figure lying on her right side, supported by her right elbow, which is on a pillow, her left hand outstretched. The long gown she wears fully covers her lower limbs, while her robe is being lifted from her body by a small satyr. From the right, another satyr, his right hand outstretched, pulls on a rope attached to the neck of a male figure, who wears a flowing dress and moves with a full step, right hand outstretched, towards the woman. The subject of the picture has often been identified either as Mars and Venus, because of the similarity of the reclining female figure to the one of Botticelli's Venus and Mars (National Gallery, London), or Bacchus and Ariadne, because of the many features which are also found in bacchic sarcophagi.
The paper suggests that the scene represents an exemplum of the power of love – a theme which is also exemplified in the episodes of architrave 4, 6 and 8. It also argues that the image relies on two classical sources: Lucian’s ekphrasis of a lost painting depicting the marriage of Alexander the Great and Roxane, and the Latin epyllion by Reposianus, Concubitus Martis and Veneris. Moreover, Botticelli’s Venus and Mars in the National Gallery of London provided an important source of inspiration.
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La rivista di Engramma. La tradizione classica nella memoria occidentale, Oct 2014
In Greek mythology, Athamas was a Boeotian king. He married Ino with whom he had two children: Le... more In Greek mythology, Athamas was a Boeotian king. He married Ino with whom he had two children: Learches and Melicertes. Athamas and Ino incurred the wrath of the goddess Hera because Ino had nursed the god Dionysus. According to some accounts, Hera struck Athamas with insanity, so that Athamas slew one of his sons, Learchus, throwing him against the rocks and persecuted Ino, who leaped into the sea with her other son Melicertes to escape the pursuit of her frenzied husband. The relief in plinth 1 in the Calumny of Apelles by Sandro Botticelli can be convincingly identified as The madness of Athamas. The subject stresses Athamas's mad rage which is meant to embody the very opposite of rationality, the most typical feature of human being. When there is neither reason nor sanity, when ignorance and madness prevail, the only thing that exists is irrational and suvage fury, which is repeatedly associated with the animal kingdom and the savage and barbaric world.
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La rivista di Engramma. La tradizione classica nella memoria occidentale, Mar 2013
Now, high-definition technology gives us the opportunity to explore Sandro Botticelli’s masterpie... more Now, high-definition technology gives us the opportunity to explore Sandro Botticelli’s masterpiece The Calumny of Apelle. Those details which were neither possible to be seen with the naked eye nor with traditional printing techniques are now close enough to be examined. Just by zooming with the click of a mouse, the advanced features of Haltadefinizione allow us to explore photographic images of The Calumny of Apelle in great detail as well as the decorated architectural backdrop. In this article of Engramma we publish: high-quality reproduction of relieves in the architectural backdrop. The complete apparatus of relieves is associated with the history of the interpretation of each subject and the list of the authors who undertook to identify it. We also publish the overlapping grip to The Calumny of Apelles that allows us to place eachrelieve within the architectural backdrop.
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La rivista di Engramma. La tradizione classica nella memoria occidentale, Dec 2013
In 1475 there was a jousting tournament in the Piazza Santa Croce, Florence. It was hosted by Lor... more In 1475 there was a jousting tournament in the Piazza Santa Croce, Florence. It was hosted by Lorenzo the Magnificent and was won by his younger brother, Giuliano de' Medici. During the ceremony Giuliano carried a standard with a picture of Pallas Athena painted by Botticelli. Although this image is lost, an anonymous description of the festivities depict Giuliano's banner as a Minerva in arms, with the motto La sans par, amongst olive branches and flames. Minerva looks at the sun, while little Cupid is tied to a tree, his weapons broken. Furthermore, the figure of an intarsia door in the Palazzo Ducale of Urbino resembles the figure of Pallas on the standard. The peculiarity of that Pallas is the appearance of the jousting lance, instead of a spear, in her right hand.
Two other images of Pallas with jousting lance were identified in this essay: the Minerva in the base 15 of the Calumny of Apelles; and the Minerva in one of the illustration for the Dante's Divine Comedy (the Purgatory XII), which Botticelli executed, from about 1480 to 1500, for Lorenzo di Pierfrancesco, his great patron from the Medici family. Furthermore, it was suggested that the figure of Pallas with jousting lance was adopted by Giuliano, and afterwards by Lorenzo di Pierfrancesco, as an emblem. In the Calumny of Apelles, Minerva personifies the guardian of judgment and the promoter of civilization and good governance.
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La rivista di Engramma. La tradizione classica nella memoria occidentale, Dec 2013
The theme of the sleeping female as an object of contemplative meditation was developed Giovanni ... more The theme of the sleeping female as an object of contemplative meditation was developed Giovanni Boccaccio's works, which was especially popularized through an episode in the Decameron where the story of Cymon and Iphigenia is recounted by Panfilo. That story is meant to demostrate “the sacredness, the power, and the beneficial effects of the forces of love”. Cymon is a young man of noble birth whose appalling behavior scandalizes his family. Despite their concerted efforts, his manner are brutish and his intellectual life non-existent, as well. One day Cymon happens on Iphigenia, who was sleeping in the woods. Inspired by the sight of her beauty, he is transformed into a noble gentleman, as exceptional in his erudition and wit as he had been in his depravity.
Renaissance intended this theme as moral exemplum and introduced it from illuminated manuscripts into paintings: there is much evidence which suggests that the story depicted on bedroom furniture, including cassoni and spalliera panels, were to act as models of prescribed behavior for both men and women. In the Calumny of Apelles the theme created by Boccaccio become a powerful exemplum for the representation of spiritual, Neoplatonic, transforming man into citizen.
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La Rivista di Engramma, 2005
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Renaissance
In collaborazione con la Scuola di dottorato Iuav. Incontro di studio sui progetti di ricerca sul... more In collaborazione con la Scuola di dottorato Iuav. Incontro di studio sui progetti di ricerca sulle medaglie rinascimentali e la costruzione di un progetto europeo in collaborazione con la Scuola di Dottorato Iuav. Coordinato da Monica Centanni (Università Iuav) con Sarah Cockram (University of Glasgow), Melania Soler Moratón (Universidad de Murcia). Partecipano Damiano Acciarino, Sara Agnoletto, Maria Bergamo, Filippo Perfetti, Giulia Zanon.
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La Rivista di Engramma, 2021
The proposed work analyses Donatello's lost “Dovizia” and its legacy on Florentine visual culture.
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LA FIESTA Y SUS LENGUAJES, 2021
El propósito de este trabajo es establecer cuáles fueron los
significados y los cometidos de las ... more El propósito de este trabajo es establecer cuáles fueron los
significados y los cometidos de las manifestaciones festivas
de carácter caballeresco-cortesano en el Cuatrocientos. Las
manifestaciones festivas de carácter caballeresco-cortesano
jugaron un papel político importante en la Firenze del siglo
XV. Las ‘armeggerie’ y las justas permitían ofrecer una imagen
idealizada de la ciudad, equiparando a la república florentina
con las demás cortes italianas y europeas y a su clase dirigente
con la nobleza que gobernaba por derechos de sangre. Pero
con los Medici las fiestas caballeresco-cortesanas dejaron de
ser sólo una artimaña para equipararse a la aristocracia de
sangre. Ellos empezaron a explotar también la idea de virtud
caballeresca para legitimar su papel político incluso desde una
perspectiva ética.
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La rivista di Engramma. La tradizione classica nella memoria occidentale, Sep 2011
Since the first edition of Le Imagini con la spositione de i dei de gli antichi (Images and descr... more Since the first edition of Le Imagini con la spositione de i dei de gli antichi (Images and descriptions of ancient gods) by Vincenzo Cartari – printed in Venice in 1556 – a large descriptive space was reserved to the figure of Fortune. Due to the multiplicity of its meanings and to its topical interest, this personification was widely used during the Renaissance age and beyond, in different areas of artistic production.
Cartari – supported by a number of sources that at different times and in various ways identified and characterized the figure of Fortuna (including Pausanias, Virgil, Horace, Aulus Gellius, Catullus, Dante and Petrarca) – draws with a decided and effective sign the multiple aspects of the goddess. Cartari compares, among others pagan deities, Fortune to Nemesis and to Nemesis-Justice, suggesting an identification between these figures.
Starting from this triple overlap of Fortune, Justice, and Nemesis, Cartari introduces a digression on the theme of just judges and false accusations, which starts from the description – mediated by the summary of an ancient ekphrasis by Lucianus of Samosata – of the celebrated painting of the 4th century BC, the Calumny of Apelles.
The first edition of Cartari’s treaty, in 1556, was not provided with illustrations. Only in 1571 the work was enriched by engravings, created by Bolognino Zaltieri, but here the picture of Calumny was non included. Only in the next edition, in 1615 – this time published in Padua by the erudite Lorenzo Pignoria, and enriched with new illustrations by Filippo Ferroverde – the image of Calumny finally appears. The new engraver greatly enriched the text, inserting the ancient subject described by Lucianus in two different representations (both present also in Cartari's following reprints): one is included within the text, in the digression on the theme of calumny; the other one is added to Pignoria's commentary to the work.
The two images, although outlined by the same artist, consist in two different interpretations of the famous theme. The first engraving, in the text, is one of the few versions of Calumny subverting the specifications given by Lucianus' ekphrasis, since it is composed as a frontal picture, built around the central figure of the judge. The second engraving, in the commentary, is a mirrored and simplified copy of an original and renowned interpretation of the subject, a work by Federico Zuccari painted around 1569.
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La rivista di Engramma. La tradizione classica nella memoria occidentale, Sep 2012
During the Renaissance, the theme of Fortuna affecting the human condition was much discussed by ... more During the Renaissance, the theme of Fortuna affecting the human condition was much discussed by humanists, who debated on the skills needed in order to deal with the unpredictability of life. If human beings cannot determine their own destiny, they can certainly learn and practice those skills which might help them overcome the quirks of Fate. The personification of Fortuna and the god Mercury, which had been paired since Antiquity, provided humanists and artists with the starting point of an in-depth meditation on the human condition, which resulted into a broader reflection on virtus, ars, natura, and the liberal arts. With his protean nature and crafty intelligence, Mercury came to be regarded as the most appropriate deity of the ancient Pantheon who could embody the effort made by men to change an ever-changing world, in the attempt to shape their own destiny in accordance with their wishes and desires.
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Tradizione Classica
La Rivista di Engramma, 2021
The proposed work is the result of the Seminario Mnemosyne’s work on panel 46,
"Nymph", of Aby Wa... more The proposed work is the result of the Seminario Mnemosyne’s work on panel 46,
"Nymph", of Aby Warburg’s Atlas. The essay consists of an interpretative reading of
the Panel, where the focus has been shifted to the relationship between two of the
figurative manifestations of the Florentine Nymph. The carrying servant and the
lady, their connection with panel 47 and an analysis of their movement, questioning
if their dynamism should be considered a Pathosformel, are the object of the study.
As a result, we present here the re-edition of a technical sheet on the captions and a
reference bibliography, edited by Ada Naval. Some methodological readings
connected with the panel have been included: Appendix I by Sara Agnoletto
analyses Donatello's lost “Dovizia” and its legacy on Florentine visual culture and
Appendix II by Filippo Rizzonelli reflects on photography and editing and their
semantic values within the panel.
Bookmarks Related papers MentionsView impact
Uploads
Organiza: Area de Filología Latina
Meeting with the authors of the book "La Calunnia di Botticelli. Politica, vizi e virtù a Firenze nel Rinascimento", Monica Centanni and Sara Agnoletto | Universidad Complutense de Madrid, Facultad de Geografía e Historia | Martes 16 de abril: 17:00 a 18:30
Since the thirteenth century, when the legend reappeared in Christian literature, it has changed (although the essence of the story remains the same), and the theme was intended as a moral exemplum of filial piety or blasphemy. The purpose of this essay is to argue that one of the reliefs around the room in the Calumny of Apelles by Sandro Botticelli (A7) contains a depiction of this medieval legend, interpreted as an amoral exemplum both of calumny and impiety.
The paper suggests that the scene represents an exemplum of the power of love – a theme which is also exemplified in the episodes of architrave 4, 6 and 8. It also argues that the image relies on two classical sources: Lucian’s ekphrasis of a lost painting depicting the marriage of Alexander the Great and Roxane, and the Latin epyllion by Reposianus, Concubitus Martis and Veneris. Moreover, Botticelli’s Venus and Mars in the National Gallery of London provided an important source of inspiration.
Two other images of Pallas with jousting lance were identified in this essay: the Minerva in the base 15 of the Calumny of Apelles; and the Minerva in one of the illustration for the Dante's Divine Comedy (the Purgatory XII), which Botticelli executed, from about 1480 to 1500, for Lorenzo di Pierfrancesco, his great patron from the Medici family. Furthermore, it was suggested that the figure of Pallas with jousting lance was adopted by Giuliano, and afterwards by Lorenzo di Pierfrancesco, as an emblem. In the Calumny of Apelles, Minerva personifies the guardian of judgment and the promoter of civilization and good governance.
Renaissance intended this theme as moral exemplum and introduced it from illuminated manuscripts into paintings: there is much evidence which suggests that the story depicted on bedroom furniture, including cassoni and spalliera panels, were to act as models of prescribed behavior for both men and women. In the Calumny of Apelles the theme created by Boccaccio become a powerful exemplum for the representation of spiritual, Neoplatonic, transforming man into citizen.
significados y los cometidos de las manifestaciones festivas
de carácter caballeresco-cortesano en el Cuatrocientos. Las
manifestaciones festivas de carácter caballeresco-cortesano
jugaron un papel político importante en la Firenze del siglo
XV. Las ‘armeggerie’ y las justas permitían ofrecer una imagen
idealizada de la ciudad, equiparando a la república florentina
con las demás cortes italianas y europeas y a su clase dirigente
con la nobleza que gobernaba por derechos de sangre. Pero
con los Medici las fiestas caballeresco-cortesanas dejaron de
ser sólo una artimaña para equipararse a la aristocracia de
sangre. Ellos empezaron a explotar también la idea de virtud
caballeresca para legitimar su papel político incluso desde una
perspectiva ética.
Cartari – supported by a number of sources that at different times and in various ways identified and characterized the figure of Fortuna (including Pausanias, Virgil, Horace, Aulus Gellius, Catullus, Dante and Petrarca) – draws with a decided and effective sign the multiple aspects of the goddess. Cartari compares, among others pagan deities, Fortune to Nemesis and to Nemesis-Justice, suggesting an identification between these figures.
Starting from this triple overlap of Fortune, Justice, and Nemesis, Cartari introduces a digression on the theme of just judges and false accusations, which starts from the description – mediated by the summary of an ancient ekphrasis by Lucianus of Samosata – of the celebrated painting of the 4th century BC, the Calumny of Apelles.
The first edition of Cartari’s treaty, in 1556, was not provided with illustrations. Only in 1571 the work was enriched by engravings, created by Bolognino Zaltieri, but here the picture of Calumny was non included. Only in the next edition, in 1615 – this time published in Padua by the erudite Lorenzo Pignoria, and enriched with new illustrations by Filippo Ferroverde – the image of Calumny finally appears. The new engraver greatly enriched the text, inserting the ancient subject described by Lucianus in two different representations (both present also in Cartari's following reprints): one is included within the text, in the digression on the theme of calumny; the other one is added to Pignoria's commentary to the work.
The two images, although outlined by the same artist, consist in two different interpretations of the famous theme. The first engraving, in the text, is one of the few versions of Calumny subverting the specifications given by Lucianus' ekphrasis, since it is composed as a frontal picture, built around the central figure of the judge. The second engraving, in the commentary, is a mirrored and simplified copy of an original and renowned interpretation of the subject, a work by Federico Zuccari painted around 1569.
"Nymph", of Aby Warburg’s Atlas. The essay consists of an interpretative reading of
the Panel, where the focus has been shifted to the relationship between two of the
figurative manifestations of the Florentine Nymph. The carrying servant and the
lady, their connection with panel 47 and an analysis of their movement, questioning
if their dynamism should be considered a Pathosformel, are the object of the study.
As a result, we present here the re-edition of a technical sheet on the captions and a
reference bibliography, edited by Ada Naval. Some methodological readings
connected with the panel have been included: Appendix I by Sara Agnoletto
analyses Donatello's lost “Dovizia” and its legacy on Florentine visual culture and
Appendix II by Filippo Rizzonelli reflects on photography and editing and their
semantic values within the panel.
Organiza: Area de Filología Latina
Meeting with the authors of the book "La Calunnia di Botticelli. Politica, vizi e virtù a Firenze nel Rinascimento", Monica Centanni and Sara Agnoletto | Universidad Complutense de Madrid, Facultad de Geografía e Historia | Martes 16 de abril: 17:00 a 18:30
Since the thirteenth century, when the legend reappeared in Christian literature, it has changed (although the essence of the story remains the same), and the theme was intended as a moral exemplum of filial piety or blasphemy. The purpose of this essay is to argue that one of the reliefs around the room in the Calumny of Apelles by Sandro Botticelli (A7) contains a depiction of this medieval legend, interpreted as an amoral exemplum both of calumny and impiety.
The paper suggests that the scene represents an exemplum of the power of love – a theme which is also exemplified in the episodes of architrave 4, 6 and 8. It also argues that the image relies on two classical sources: Lucian’s ekphrasis of a lost painting depicting the marriage of Alexander the Great and Roxane, and the Latin epyllion by Reposianus, Concubitus Martis and Veneris. Moreover, Botticelli’s Venus and Mars in the National Gallery of London provided an important source of inspiration.
Two other images of Pallas with jousting lance were identified in this essay: the Minerva in the base 15 of the Calumny of Apelles; and the Minerva in one of the illustration for the Dante's Divine Comedy (the Purgatory XII), which Botticelli executed, from about 1480 to 1500, for Lorenzo di Pierfrancesco, his great patron from the Medici family. Furthermore, it was suggested that the figure of Pallas with jousting lance was adopted by Giuliano, and afterwards by Lorenzo di Pierfrancesco, as an emblem. In the Calumny of Apelles, Minerva personifies the guardian of judgment and the promoter of civilization and good governance.
Renaissance intended this theme as moral exemplum and introduced it from illuminated manuscripts into paintings: there is much evidence which suggests that the story depicted on bedroom furniture, including cassoni and spalliera panels, were to act as models of prescribed behavior for both men and women. In the Calumny of Apelles the theme created by Boccaccio become a powerful exemplum for the representation of spiritual, Neoplatonic, transforming man into citizen.
significados y los cometidos de las manifestaciones festivas
de carácter caballeresco-cortesano en el Cuatrocientos. Las
manifestaciones festivas de carácter caballeresco-cortesano
jugaron un papel político importante en la Firenze del siglo
XV. Las ‘armeggerie’ y las justas permitían ofrecer una imagen
idealizada de la ciudad, equiparando a la república florentina
con las demás cortes italianas y europeas y a su clase dirigente
con la nobleza que gobernaba por derechos de sangre. Pero
con los Medici las fiestas caballeresco-cortesanas dejaron de
ser sólo una artimaña para equipararse a la aristocracia de
sangre. Ellos empezaron a explotar también la idea de virtud
caballeresca para legitimar su papel político incluso desde una
perspectiva ética.
Cartari – supported by a number of sources that at different times and in various ways identified and characterized the figure of Fortuna (including Pausanias, Virgil, Horace, Aulus Gellius, Catullus, Dante and Petrarca) – draws with a decided and effective sign the multiple aspects of the goddess. Cartari compares, among others pagan deities, Fortune to Nemesis and to Nemesis-Justice, suggesting an identification between these figures.
Starting from this triple overlap of Fortune, Justice, and Nemesis, Cartari introduces a digression on the theme of just judges and false accusations, which starts from the description – mediated by the summary of an ancient ekphrasis by Lucianus of Samosata – of the celebrated painting of the 4th century BC, the Calumny of Apelles.
The first edition of Cartari’s treaty, in 1556, was not provided with illustrations. Only in 1571 the work was enriched by engravings, created by Bolognino Zaltieri, but here the picture of Calumny was non included. Only in the next edition, in 1615 – this time published in Padua by the erudite Lorenzo Pignoria, and enriched with new illustrations by Filippo Ferroverde – the image of Calumny finally appears. The new engraver greatly enriched the text, inserting the ancient subject described by Lucianus in two different representations (both present also in Cartari's following reprints): one is included within the text, in the digression on the theme of calumny; the other one is added to Pignoria's commentary to the work.
The two images, although outlined by the same artist, consist in two different interpretations of the famous theme. The first engraving, in the text, is one of the few versions of Calumny subverting the specifications given by Lucianus' ekphrasis, since it is composed as a frontal picture, built around the central figure of the judge. The second engraving, in the commentary, is a mirrored and simplified copy of an original and renowned interpretation of the subject, a work by Federico Zuccari painted around 1569.
"Nymph", of Aby Warburg’s Atlas. The essay consists of an interpretative reading of
the Panel, where the focus has been shifted to the relationship between two of the
figurative manifestations of the Florentine Nymph. The carrying servant and the
lady, their connection with panel 47 and an analysis of their movement, questioning
if their dynamism should be considered a Pathosformel, are the object of the study.
As a result, we present here the re-edition of a technical sheet on the captions and a
reference bibliography, edited by Ada Naval. Some methodological readings
connected with the panel have been included: Appendix I by Sara Agnoletto
analyses Donatello's lost “Dovizia” and its legacy on Florentine visual culture and
Appendix II by Filippo Rizzonelli reflects on photography and editing and their
semantic values within the panel.
Meeting at the Faculty of Geography and History of the Universidad Complutense de Madrid, with the authors of the book "La Calunnia di Botticelli. Politica, vizi e virtù a Firenze nel Rinascimento", Monica Centanni and Sara Agnoletto.
Incontro di studio sui progetti di ricerca sulle medaglie rinascimentali e la costruzione di un progetto europeo in collaborazione con la Scuola di Dottorato Iuav.
Coordinato da Monica Centanni (Università Iuav) con Sarah Cockram (University of Glasgow), Melania Soler Moratón (Universidad de Murcia). Partecipano Damiano Acciarino, Sara Agnoletto, Maria Bergamo, Filippo Perfetti, Giulia Zanon.
Presso l’auditorium Vasari degli Uffizi, Firenze | 25 luglio 2023, h. 11.00.
L'intera conferenza è visbile al link:
To watch the full conference follow the link:
https://www.youtube.com/watch?v=FNk3_-YPzOA&t=1s&ab_channel=UffiziTV