Senior Thesis Final Botticelli

AllesandroBotticelli’sIconographyof

MysticNativityandMysticCrucifixion;

FraGirolamoSavonarola’sInfluence

March25,2010

Research4210‐904

Spring2010

JenifferHarrison

Jeniffer Harrison BGSD 4210-904 March 25, 2010

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FraGirolamoSavonarola,wasaDominicanFriarwhorosetopowerinthelate1400’s

andsignificantlyinfluencedpolitics,religion,andartinFlorence,Italy.Toarthistoriansthereis

muchspeculationconcerningthespecificeffectofSavonarolaontheartistsinFlorenceduring

hispowerovertheFlorentinereligion,politics,andartinFlorence’slate1400sandearly1500s.

DuetotheSavonarolaninfluenceitisallegedthatAllesandroBotticellitransformedhisonce

RenaissanceHumanitarianphilosophiesinhisartworktowardamoreSavonarolaniconography.

FullinvestigationofSavonarola’sinfluenceoneachindividualartistofhistimewouldbe

outsidethescopeofthispaper’spurpose.Thepurposeofthispaperwillbelimitedto

AlessandroBotticelli’siconographyintheMysticNativityandtheMysticCrucifixionasthey

relatetoSavonarolaniconography,sermons,andteachingsaswellassomeoftheiconography

andartworkofBotticellipriortoSavonarola’sinfluenceinworkssuchastheCalumnyof

Apelles,Primavera,andtheBirthofVenus.

DuringthelateQuattrocento,AllesandroBotticellicreatedthetemperaoncanvas

MysticNativity,(Figure1),aswellasthetemperaandoiloncanvasMysticCrucifixion,(Figure

2),inSavonarola’sFlorence.Throughouthistoryseveralelucidationsoftheiconography

includedofthesetwopaintingshavearisen;thepopularexplanationsdeviateprincipally

betweentwophilosophies.RabHatfield,PhDatrainedprofessorfromHarvardandProfessor

atYaleforfiveyearswhoeventuallybecametheheadtheArtHistoryDepartmentatSyracuse

UniversityinFlorencewithaprimaryfocusonRenaissanceart.Hatfieldhassignificant

expertiseandinsighttotheworkofBotticelliasevidencedinhisarticle,Botticelli’sMystic


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Nativity,SavonarolaandTheMillennium.Hatfield,amongothersinvestigatesthefirstschool,

whichisconfidentlyconvincedthatSavonarolahadasignificantbearingonBotticelli’scareerin

thelate1400’sandearly1500’s,particularlytheMysticCrucifixionandtheMysticNativity.A

dissimilarschoolconsidersthattheiconographyofBotticelli’slaterworkisconsistentwith

othericonographyofFlorentineartworkduringBotticelli’spaintingstimeframe.(Hatfield)The

MysticNativityiscanvaswithatemperamedium,108.6x74.9cmindimensionandresidesin

LondonattheNationalGallery(NationalGalleryLondon)andTheMysticCrucifixionmeasuring

73x51cm,whichishousedintheFoggArtMuseuminCambridge,Massachusetts("Library

ofGreatMasters‐ Botticel l i"74).LauroMatrines,whosedecadesofItalianRenaissance

scholarshipprovideauniqueperspectiveaboutSavonarolainFireInTheCityisconsultedto

gainabetterappreciationfortheDominicanFriar.Inordertofurthernarrowthescopeofthe

study,aconcentrationoftheyears1491–1498BCEareincludedasaprimaryfocalpointofthe

paperasthosewerethetimewhen“Savonarola’slifeandthehistoryofFlorencewereso

joinedtogetherthatitisimpossibletopullthemapart(Martines5).“

UnderstandingtheinfluenceonAllesandroBotticellibyGirolamoSavonarolarequires

someunderstandingofSavonarolaandtheDominicanOrder.SavonarolawasborninFerrara,

Italyin1452andjoinedtheDominicansinBologna,Italyin1475.WilliamA.Hinnebusch,O.P.,

D.Ph.(Oxon.),providesadetailedaccountoftheDominicanHistory.Hinnebuschhasa

doctorateinphilosophyfromtheUniversityofOxford,wasaProfessorofhistoryatProvidence

College,andhasspendmanyyearsdoingresearchattheHistoricalInstituteoftheDominican

OrderinRomeinordertowritemanyarticles,encyclopediacontributions,andjournalarticles


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ontheDominicanOrder.AccordingtoHinnebusch,theestablishmentoftheDominicanOrder

wasfoundedoutofSaintDominic’sdissatisfactionwithhisownaspirationtopreachtonon‐

ChristiansandconvertthemtoChristianity.ThroughmanyletterswrittenbothtoandfromSt.

Dominicacarefulchroniclingofthegroundworkoftheprinciplesandtheologyofthe

Dominicanzealwasrevealed.Therecurringthemeofzealotsandreligiouszealringstruefrom

theinceptionoftheDominicanOrderthroughoutmuchoftheirhistoryincludingthe15th

CenturyinItaly.Savonarolawasconsideredtobea‘penancepreacher’andstressedtheneed

forreformationoftheCatholicChurch,restorationofmorality,andaneedtopurgethe

corruptionofthePope(Hinnebusch).Savonarola,animpassionedDominicanFriar,quickly

gainedrecognitionforhisapocalypticandpropheticpreachingstyleinNorthernItaly.

SavonarolawenttoFlorencein1491atthesummoningofLorenzotheMagnificentandwas

namedthePriorofSanMarco("LibraryofGreatMasters‐ Botticel l i"50). According

toA.HyattMayor,CuratorofPrintsattheMetropolitanMuseumofArt,Savonarola’sinfluence

overtheFlorentinecitizensandpoliticalarenawasextremeconsideringtheFriarhadnotlived

inFlorenceuntilhisthirties.Savonarola’sthirteenyearsinFlorenceweretohaveasignificant

impactontheartsandpoliticsofFlorence,primarilyduetoSavonarola’sunderstandingofthe

artsasapoliticalforce(Mayor66).Savonarola’spreachingagainstallformsofluxurieswould

leadtotheinfamous‘BonfiresoftheVanities’,whichdestroyedworksofart,sheetsofmusic,

literaryworks,clothing,jewelry,andanyotheritemdeemedaluxury("LibraryofGreat

Masters‐ Botticel l i"50).Ironicallyandsadly,the‘BonfiresoftheVanities’included

‘worldly’worksofBotticelli(Mayor68).Florence,feelingthethreatofinvasionfromCharles


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VIIIofFrance,believedthatSavonarola’spropheciesofthedestructionofFlorence,theirworld,

wasabouttocometrueandtherebyleavingroomforSavonarolatotakeupanunofficialpower

afterPierodeiMediciwasexiledfromFlorence.("LibraryofGreatMasters‐ Botticel l i"

50‐51)SavonarolawouldspendmuchofhistimeinthepulpitcastingtheChristianbeliefsinto

thefacesoftheself‐professedChristians.AminorityofscholarsbelievethatSavonarola’s

preaching’scarriedaHumanisticthreadthroughouttheminthathebelievedinandpreached

aboutman’sdignityandthereconciliationpromisedthroughGodaswellasthepotentialof

humans.TheRenaissanceHumanisticsimilaritiesendthereandSavonarolaconfrontedhis

listenersrepeatedlyontheabuseoftheirpotential.Dr.MarciaBrownHall,PhDofRenaissance

HistoryfromHarvardUniversitynotesinoneofhermanyresearchstudiesadisparitybetween

whatSavonarolapreachedandwhatheisrememberedaspreachingislikelydueinparttohis

failuretofindanappropriateformatforhiscontent.Halladditionallynotesthathisfailureto

movepasthisdidacticframeworkofpreachingwhichtypicallydrovehimtoscoldinghis

listenerswasnotfullyworkingwiththecontenthemayhaveintendedtoteach.(Hall494‐495)

SavonarolacontinuedtocontrolFlorentinepolitics,arts,andcitizenswithhisapocalypticand

propheticsermonsfornearlythirteenyears.Afterrepeateddefiance’softheCatholicChurch

andthePopehimself,thePopehadhimchargedandconvictedofheresyinMay1498.

SavonarolawashungwithhistwoclosestcollaboratorsintheFlorentinesquare.Thepapacy

didnotwishtoleaveanyoftheirremainstobeusedforrelicssotheyengulfedthebodieswith

flames,sweptuptheashesanddisposedofthemintotheriver,thusinsuringthatnorelics

couldbetiedtomiracles,hencemakingamartyrandsaintoutofSavonarola.(Martines3‐4;6)


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Dr.CharlesDempsey,PhD,ProfessorofArtHistoryatJohn’sHopkinsUniversityand

notedArtHistorianpointsoutthatSavonarolaincreasedhisexceptionallyapocalyptic

preachingduringtheendoftheQuattrocento,whichrepeatedlycondemnedthepatronsofthe

arts,artists,patrons,andartworkinFlorenceportrayingtheVirginMary,Christ,andSaintsas

wealthyandelitetherebyforewarningthepenaltyforFlorenceduringtheapocalypseforits

transgressionsandadditionallywarnthecongregationoftheimminentapocalypse(Dempsey).

Savonarolanotoriouslyaddressedmanychurchmembers,specificallythepatronsofthearts

duringhissermonstoremindthemthatChristwasbornintopovertyandbyrepresentingthe

religiousfiguresintheluxuriousfineryofthepatronsoftheartwastomakeMaryintoawhore

(Martines6‐7;Hall494).Savonarolainafictionaldialoguefromthepulpitsaidthat‘allthat

fineryisforthehonourofmen,andfirstofallthepatrons,arichmerchantandabishopwho

liveonlytopleasetheirsenses’.Thisstatementwaspropheticinandofitselfinthatitcaptured

thedisagreementsofthefundamentalattitudesbetweenthefollowersofSavonarolaandhis

enemies(Martines6‐7).TheapparentimpactofSavonarola’ssermonswasprominentinthe

mannerandsubjectmattersofBotticelli’sartworkduringthistimeframe(Dempsey).During

theperiodofthisinfluence,itshouldbenotedthatSavonarolawasnotaniconoclastashe

believedinartworkwhichhadnothingsuperfluousaddedwhichwoulddetractfromthe

religiouscontentandhisprimaryconcernwiththestateofartatthetimeisbelievedbyHallto

behisdisapprovalfortheintentoftherich,nottheworksthemselves(Hall497).

Botticelli,initiallyinspiredbythe‘RenaissanceHumanisticConceptions’andtheMedici,

epitomizedthematurityofthe‘HumanisticConception’astoldbyaninfluentialFlorentine


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writerandRenaissanceHumanistPolymath,LeonBattistaAlberti.TheHumanisticinfluence,in

turnhadadirectcorrelationtotheartcommissionedbythepowerfulMedicifamily.Theearly

QuattrocentoFlorencewasatimeforBotticellitoprogressivelyintegratedtraitsofacountry

motifalongwithpriorexaminationofClassicalexamples.Unificationofthesetechniquesis

apparentinBotticelli’s“supplecontoursandthecontrappostoposes,gracefulproportions,and

balanced,naturalmovementofhisfigures,whichrespondtoaninvisibleyetpalpableruleof

harmonicnumber”(Dempsey).Additionally,asaresultBotticellicontinuedtocombinethe

RenaissanceHumanisticcultureintohisartworksupportfromthepowerfulMedicifamily.The

endproductofthismixturewasfirstevidentinPrimavera,(Figure3),andattainedapinnacleof

successintheBirthofVenus,(Figure4),(Dempsey).Botticelliprofitedfinanciallyinhisearlier

careerprimarilyviacommissionsadministeredbythePope,theCatholicChurch,andthe

MediciFamily.LaterinfluenceonBotticelliresultedprimarilyfromreligionaccordingto

SavonarolaratherthanreligionaccordingtoPopeAlexanderVIandtheCatholicChurch.

AttheendoftheQuattrocento,“thereisadeepercrisisofstyleandexpression

discernibleinBotticelli’slaterworks,beginningwiththeCalumnyofApelles,(Figure5),and

reachingapeakinsuchpaintingsastheMysticNativity”aswellaswiththepaintingMystic

Crucifixion(Dempsey).ThesepaintingsconveyBotticelli’sprogressiverejectionofcourtlystyle

exhibitedinhisbeginningworktowardamoreretrospectivemethodofartwork.Thelater

paintingsinquestioncontainartisticembellishmentonlyforthedeliberatepurposeof

enhancingthestoryline(Dempsey).TheMysticCrucifixionandTheMysticNativityare

significantpaintingsportrayingtheartist’slaterreligiousandphilosophicalinfluences,which


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coincidedwithhismomentousdeparturefromtheRenaissanceHumanisticIconographytoward

amoreSavonarolanIconography.

ManyfactorsarelikelytohavecontributedtothedevelopmentofAllesandroBotticelli’s

artisticpursuits.Someofthefactorsincludedtraining,artisticguidance;Renaissance

Humanisticphilosophies;hispatronageoftheMediciFamily;andSavonarola’sinfluenceover

Florence(Dempsy).ObservableeffectsoftheseandotherfactorsonBotticelliareexpected,as

peoplematureandgrowpersonallyandprofessionallyviaexperiencesandenvironment.

Althoughscholarsinthepastoften‐deniedSavonarola’sinfluenceonBotticelli,itisevidentin

Botticelli’slastpaintingsspecificallytheMysticNativityandtheMysticCrucifixion,which

containedreligiousmatterincludedvisionaryandapocalypticessentialsthatheexpressed

allegoricallywereinlinewiththesermonstyleofSavonarola("LibraryofGreatMasters‐

Botticel l i"74). Therefore,itisadditionallyevidentthatBotticelliputintopaintwhat

SavonarolaputintowordsduringhispreachingasrevealedbytheSavonarolaniconography

containedwithintheMysticNativityandtheMysticCrucifixion.Thesesamepaintingsconveya

broaddispositionofreligiousfanaticisminFlorenceduetotheSavonarolanpower.Botticelli’s

dilemma,whichwasessentiallypersonalinnaturemostlikelyinfluencedhisartistic

representationsandhispictorialstyle,wasbasedprimarilyinthecontrastingworldsofhisearly

yearsoftheRenaissanceHumanitarianismcultureandhislateryearsexposedtothereforming

asceticofSavonarola’sIconography,whoutilizedChristianityasaguidetoarationalcivicand

politicalloyalty("LibraryofGreatMasters‐ Botticel l i"74‐76).


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DuringthelaterportionoftheCinquecento,Savonarolautilizedhisthemeofresolveby

divinemeritaspropagandaforFlorence’spoliticalandsocialreformation.Thedynamicsermon

deliverystyleofSavonarolaquicklyimpactedseveralFlorentineartistsincludingBotticelli.

SavonarolantheoriesaboutFlorenceaswellastheirapparentswayonAllesandroBotticelli

weredefinitivelyapparentintheMysticCrucifixionandMysticNativity.Iconographyin

Botticelli’sNativityandCrucifixioncanbeprimarilyrelatedtotheteachings,preaching,

sermons,andpersuasionoftheDominicanFriar(Hatfield110).TheiconographyoftheNativity

andCrucifixionportrayalsshouldbeconsiderednotasaliteraldepiction,butinsteadasan

allegoricalpaintingofthenativity(Hatfield110).RabHatfield,authored“Botticelli’sMystical

Nativity,SavonarolaandtheMillennium”impartsacomprehensiveinvestigationofthe

iconographyinthepaintingswiththeconcentrationontheMysticNativity.Hatfield’s

examinationspresentanopeningpositiononwhichtoexpoundtheconnectionofBotticelliand

Savonarola.HatfieldintroducesfivedistinctiveassociationsbetweentheMysticNativity

paintingandthesermonsgivenbytheFriar.Hefirstdiscusses“theNativityinwhichangels

accompanymortalsandshowthemthenewbornchild;secondly,therearethreecouplesof

angelsandmortalswhoembraceandkiss;thirdly,thereisawreathoflittlecrowns;fourthly,

thereisalengthyinscriptionatthetopin(notverygood)Greek,withreferencestotheBookof

Revelation;andfifthly,therearefivesmittendemons(Hatfield89).”Aforeshadowingofa

‘secondnativity’orthesecondcomingofChristisportrayedintheiconographical

characteristicsoftheMysticalNativity.Botticelli’sMysticNativityiconographyenhancesthe

portrayalofaRenaissanceTriptych;byintroducinghellinthelowestsegmentofthecanvas,the


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common,dailyportrayalinthecentralsegmentofthecanvas;andthedivineenclosedinthe

topsegmentofthecanvas.Thetripartitestructure,whichiscommonintheRenaissance

portrayaloftheHolyFamily,displaysthelevelsofheaven,earth,andhellhorizontallyinthe

painting;howeverBotticelliportrayedhistriptychverticallyinthesepaintingsratherthanthe

horizontal.

TheMysticNativity’smiddlesectioncontainsquitesignificantpartsofthepainting,

whichareemblematicofthesphereofhumanity.Theextremeenlargementofthefiguresin

thecentralsectionincomparisontotheshepherdsandangelssurroundingtheHolyFamilyis

considerable.ThesizedifferenceissuchthatshouldMarystandup,herheightwouldbeso

disproportionatethatshewouldstandtallerthanthemanger.Theoxandtheass,typically

associatedwiththenativitysceneinthescripturesarealsoexaggeratedinsize.This

exaggeratedsizeoftheelementsandfiguresofthecentralplaneareevidencethatthe

exaggerationinsizeprovidestworoles,firsttoshowtheirsignificanceandsecond,the

enlargementsarenecessarytoobtainageometricallyvisualproportion.Anotherinstanceof

thesignificanceofthecentralsectionofthecanvasconsistofthebabyJesusinhisswaddling

clothsbeforeanopencavebehindthemanger,thuscallingtomindhisimpendingcrucifixion

andforeshadowinghissubsequentresurrection.Inthrowingoffhisswaddlingclothes,Jesus’

armcontinuestoberaisedasifinaposeofablessing.Jesus’fatherJosephisseatedattheleft

sideofbabyJesusandwasJesus’mortalfather.Josephisrepresentedasifheissleeping.

Josephiscommonlyportrayedinthismannerashisdivineknowledgewasdisseminatedtohim

whilehewasdreaming.(Hatfield89‐110)


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Botticelli’sinscriptionlocatedattheverytopportionofthecanvasoftheMystic

NativityinGreekisfurtherindicationandevidenceofSavonarola’sinfluenceontheartwork

andiconographyofboththeMysticNativityandMysticCrucifixion.ProfessorChristopher

RowlandontheExegesisofHolyScriptureOxfordUniversityhasresearchedandwrittenabout

theinterpretationoftheNewTestamentandChristianity.IninvestigatingBotticelli’sMystic

Nativity,ProfessorChristopherRowlandtranslatedBotticelli’sinscriptionas“I,Allesandro,was

paintingthispictureattheendoftheyear1500inthe(troubles)ofItalyinthehalftimeafter

thetimeaccordingtothechapterofSt.JohninthesecondwoeoftheApocalypseintheloosing

ofthedevilforthreeandahalfyears.Thenhewillbechainedandweshallseehim(aboutto

beburied/troddendown)asinthispicture(Rowland310).”Theinscriptionundoubtedly

designatesadisappearanceoftheRenaissanceHumanisticopinionspreviouslyheldbyBotticelli

andsolidifiestheinfluenceofSavonarolaandhisapocalypticsermonsandtheireffecton

Botticelli’srenderingofhisart.(Dempsey)TheGreekinscriptionareverifiablylinkabletoboth

RevelationsandSavonarola’ssermonof1493duringAdventwhentheFriarreadfromPsalms

85,“Mercyandtruthmettogether,righteousness,andpeacehavekissedeachother.Truth

shallspringoutoftheearth;andrighteousnessshalllookdownfromheaven(Hatfield89).”

DuringBotticelli’stimeinFlorenceitwascommonlybelievedthattheAntichristwouldcomein

theyear1500andhewouldreachmaturityin1530thusmirroringthelifeofChrist.Ina

sermondeliveredbySavonarolain1491,theFriaradmittedtheAntichristwouldpossiblycome

soon.AccordingtoRevelationstheAntichristwouldbeborninBabylon.ForBotticelli,the

AntichristwasPopeAlexanderVIsinceatthetimeJohnwroteRevelations,whenJohnsaid


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BabylonhemeantRome.(Hatfield99)Botticelli’sreferencetothe‘loosingofthedevilfor

threeandahalfyears’inhisinscriptionreferstoseveralsituationsduringBotticelli’stime.The

firstimportantrelationshipistheuseofSavonarola’sAssumptionDaysermonwhichconnects

the‘privileges’ofMarywithchapters11and12ofRevelationsinwhichamanyreferencesare

madeconnectingthescripturetothepainting,especiallyRevelations12.6inwhichaWoman

fledintothewildernesstobefedfor1260dayswhichisthreeandahalfyears.Accordingto

Revelations12SavonarolawouldhavebelievedwewerealreadyintheThirdWoeduringthe

timethatSatanwascasttoearthforthesamethreeandahalfyears.IntheBiblioteca

NazionaleCentraleofFlorenceof1491,theBiblewasfullofnotationsbyFraDomenicoda

PesciaforSavonarola’suse.Theannotations,particularlyinRevelations,arenumerousand

directlyrelatedtoSavonarola’sApocalypsesermons.(Hatfield99‐100)ChristopherRowland

andRabHatfieldconcurtheGreekinscriptionlinksBotticelli’sMysticNativitytoSavonarolaand

theyagreeitisacriticalportionofinformationinfurtheringtheevidenceofadepictionofthe

secondcomingofChristbeingdepictedviaiconographyintheMysticNativity.Additionally,as

notedbyProfessorofArtandPhotographerRonaldM.Steinberg,severaloftheangelshold

paperscrollswhichareentwinedwitholivebranchesbearingsectionsofSt.Luke2:14and

otherwritingspraisingtheVirginMary(Steinberg78‐79).Newsourceshouldbeintroducedto

thereaderEveryscrollbearsadirectassociationwithSavonarola’stwelveprivilegespertaining

totheVirginpertheCompendiodiRevelationeandtheysymbolizetheallegoricalcrownthe

FlorentinepeoplebestowedontheVirgin(Hatfield94).TwelveangelscircleabovetheVirgin


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Mary’sheadwithcrownsandsheavesofwheatformingherallegoricalcrown,whichisthe

symboloftheVirginMaryas“QueenofHeaven”(Hatfield97).

HatfieldalsorelatestheSavonarolasermonstotheiconographyoftheMystic

CrucifixionaswellastotheMysticNativityasheexplorestheDecember1494sermonin

Florence.Inthissermon,Savonarolapreached:

“Ihavetoldyouseveraltimesinthepast,Florence,thateventhoughGodhas

everywherepreparedagreatscourge,neverthelessontheotherhandhelovesyouand

isfondofyou.Andsoitcanbesaidthatinyouhasbeenrealizedthatsaying,‘Mercy

andtrutharemettogether’,thatisMercyandRighteousnesshavecometogetherinthe

cityofFlorence.Fromtheonesidecamethescourge,andmercycametowardsitfrom

theotherside,and,‘righteousnessandpeacehavekissedeachother’,andhave

embracedtogether,andGodhaswishedtoshowyoujusticeandontheotherhandbe

mercifultoyou,andsaveyou…(Hatfield93)”.

Hatfieldexplains,“ThispassageappearstobearnotonlyontheMysticNativity,butonthe

MysticCrucifixionaswell(Hatfield93).”Thereisanabundanceofangelsthroughoutinthe

MysticNativitypainting.Faith,Hope,andCharityarerepresentedinthepaintingbytheangels

wearingrobesofWhite,Green,andRed,respectively.Atthetopofthestableroof,thethree

angelsformasemi‐circleinvitingtheaudienceto“read”thebook,whichtheyareholding.The

debateamongscholarsastowhattheangelsarereadingcontinues;howeveritislikelythe

angelsarereadingfromRevelationschapter11‐12.KennethClarkoneofBrittan’sauthors,

Museumdirectors,broadcasters,andoneofthebestknownArtHistoriansofhisgeneration,


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relatedRevelations11‐12asfittingintothetwofoldthemeofthenativityandthesecond

comingofJesusChrist(Clark).Additionally,thethreeangelslocatedjustabovethetrodden

devilsatthebaseofthepaintingareembracingthreemortalsallwearingtheolivecrowns,a

symbolofmartyrdom.TheyareaccordingtoonetheorybyRabHatfield,martyrsandsaints

whowillriseintheFirstResurrection(Hatfield94‐97).Speculationastotheidentityofthetwo

martyrs,inthecontextoftheSavonarolanerainFlorencewouldprobablymakethem

Savonarola’stwoloyalfollowerswhowerehungandburnedwithSavonarolainFlorence,May

1498(Steinberg311).AnoverridingthemeintheMysticNativity,duetothelargequantityof

olivebranchesinitismayhaverepresentedPeace;however,duringBotticelli’stimein

Florence,olivesandolivebrancheswererepresentativeofMercyandSavonarola’s1493

AdventsermonwasaboutMercy,notPeacewhoholdstheolivebranch.Additionally,wreaths

madeofolivebrancheshadbeenutilizedinFlorence’spublicritualsandwererepresentativeof

Mercyaswell(Hatfield94).Immediatelybelowthetopsectionofthecanvas,twelveangels

circletoformacrownbearingsheavesofwheatovertopoftheVirginMary.Theseangelsare

notformingnothericonographicaltwelve‐starcrown,butratheratwelve‐starcrownofMary

tocarrytheprayersofthepeopletoheaven.Atfirstglanceitwouldappearthattheangelof

Hopecladinagreenrobeismissingfromtheotherangels;howevertheangelofHopehas

ascendedintoheavenandnowwearsagoldenrobeasHopeisnolongerneededinthe

KingdomofHeaven.ThisrepresentationofHopeistherebyshowninitsfinalconsummation.

(Hatfield96‐97)


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TheMysticCrucifixionwaslikelyintendedfortheboysinBernardinodeiFancuilli’s

grouporanotherSavonarolanassociate(Hatfield112).ThepaintingincludesChristonthe

crossdominatingtheupperhalfofthecanvasintheforegroundoverthetopofFlorenceinthe

middlegroundwhichiseasilyidentifiedbyBrunelleschi’sdomeontheFlorenceCathedral.In

thelowergroundMaryMagdaleneclutchingtightlytothecrossandislookingatanangelwho

isstrikingananimal,likelyalion,whichisthesymbolofFlorenceandanotheranimalis

escapingfromherrobe.TheupperleftcornerofthistriptychisGodthefatherdispatching

severalgroupsofangelswithwhiteshieldswithredcrossespaintedonthemandontheright

oftheupperportionisadarkblackcloudspreadingtowardthecenterofthecanvascontaining

devilsthrowingburningtorchesdown.("LibraryofGreatMasters‐ Botticel l i"74‐75)

IntheuppersectionoftheMysticCrucifixion,theangelsbeingdispersedbyGodthefather

bringtomindtheboyswhoparticipatedintheprocessiononPalmSunday1496inwhicheach

boywasdressedinwhiteandcarryingredcrossesaswellasolivebranches,someofwhich

werefashionedintowreaths.Theprocessionincludedtwocrowns,whichwerededicatedto

ChristandMaryandadditionallycarriedthepaintingEntryofChristintoJerusalem(Hatfield

96).Thesesameiconographicalwhiteshieldswithredcrossesalsobringtomindthewhite‐clad

“Angels”whorebukedthemiddle‐classcitizensinFlorenceatSavonarola’spromptingand

shamedthecitizensintorelinquishingtheirvanities(belongings)whichSavonaroladeemed

immoral(Hall499).Themostlikelyinterpretationofthispaintingisachievedwhenreadingit

asanallegorysimilartothewaytheMysticNativitywasinterpretedwithMaryMagdalene


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representingarepentantFlorence,whichisprotectedfromharmbydivineintervention.

("LibraryofGreatMasters‐ Botticel l i"74‐75)

Formanyscholarsandfortheauthorofthispaper,theMysticCrucifixionandtheMystic

NativityconveythebroaddispositionofthereligiousfanaticismofFlorenceduringthetimeof

SavonarolaandtheportrayalofSavonarolo’simpactisevidentviatheiconographyportrayedin

theboththeabovementionedpaintings.Bothpaintingsarehighly‘naïvesyntax’withagreat

dealofemphasistobefoundontheangelsandthefactthatinbothpaintings,thesymbolsof

evil,specificallyfivesmittendevilsinthelowestportionoftheMysticNativityandtwosmall

andinsignificantdemonsintheMysticNativityarenotportrayedasfrightening.Asfurther

evidencetotherelationshiptoSavonarola’spreaching’s,theonlyvolumeofcollectedworksof

BernardinodeiFancuillicontainedonlytwoillustrations,oneofthenativityandoneofthe

crucifixion.(Hatfield112)ItshouldbenotedthattheopinionofMarciaHartvariesslightlyin

thatshebelievedtheconnectionbetweenBotticelli’siconographywithSavonarola’sinfluence;

howeveritwasherbeliefthathewouldhavebeendisappointedwiththerenderingof

Savonarola’scommunicationinpaintofthatmessage.ShegoesontosaythattheMystic

Crucifixionportraysafreneticmood;butthethreatofdestructionoverpowersthepossibility

andpromiseofreward.IntheMysticNativityshebelievedthatthesubjectofferedan

opportunityofjoyfulcelebration,justneedacommaherehoweverbecameahomily.Hall

believedthatthefailuretofindanappropriateformforthecombinationofadmonitionwith

celebrationwasarecurringconcernandproblemwithSavonarola’spreachingwhichinvariably

affectedtheartistduringhisreignaswell(Hall503).PlainlyevidentinBotticelli’sMystic


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CrucifixionandMysticNativityisthefactthatwhilethestylerenouncedshallownaturalism,it

additionallyregressedtothemannerofpaintinginamuchearliermannerandtheSavonarolan

erabrokeapartthecontinuityofbothpatronageandstylewithoutsatisfyingtheoldstyleina

failedattempttoforgeanewstyle.

Aswritteninthe‘InternationalJournalsofEthics’byrenownedphilosopher,Eliseo

Vivas,“Platowasabsolutelyright;Ifthemanneroflifeofasocietycanbeshowntochangeas

themodesofitsmusicchange,itisthebusinessofthemoralisttoregulatethemodesofits

music.Thetroublewithregulationisapracticalone.Thosewhohaveattemptedtoregulate

lifehaveoftenbeenbigotedsouls,notreallywantingtomakemenhappy,astheyprofess,but

wantingrathertocontrolthem,hatingthem,becausetheycanoccasionallyforgettheindignity

oflivingandcanlaughinthesun(Vivas84)”.Tothesetypeofmen,includingtheChristianorin

ourcasethePiagnoneandSavonarola,artbearsnopurposeunlessithasadeliberateand

ulteriorreasonforexistingandtheintensityinChristianpassionssuchasSavonarola’smake

themnarrowintheirpassions.(Vivas84,94)“Ahysteriamaysweepoverawholecountryora

wholeage,asitdidinFlorence,forabriefmoment,duringSavonarola’sday…Whenitdoes

seemmeneschewallinterests,andnopleasure,nosatisfaction,isinnocentorvalid(Vivas95).”

Botticelli’sartworkattheendofhislifewasclearlyinfluencedbySavonarola’s

teachings,sermons,andliteratureinthelate1400’sandearly1500’sinFlorence,Italy.

BotticellihadnotfullyunderstoodtheentiremessageSavonarolawishedtoportraythruthe

arts;howeverasstatedearlierSavonarolahimselfwasunclearinhismessage,ashehadnot

foundanappropriatevenueforhisownmessage.TheinfluenceofFraGirolamoSavonarolaon


18

AllesandroBotticelli’siconographyinhislaterartisundeniablesothequestionforthisauthor

thenbecomeshowwasthisepisodeinFlorentinepoliticsandartseffectiveinconveyinga

messagetofuturegenerations?Theansweristhatitwaseffectiveinthatarteventuallymoved

awayfromthestatusquoofthepatron’s,suchastheMediciandCatholicChurch’scontroltoa

moreartistbasedcontrolandfreedom.Artistbasedcontrolispartiallyineffectiveinthatother

countryleaderssuchasHitlerattemptedtocontrolwhatartwasappropriatefortheGermans

andfortheremainderoftheworld.HitlerfailedasSavonarolafailed,howevertheartworld

andhumanitiessufferedseverlossesduetofanaticalleadersandreligiouszealotssuchasthese

menandpricelessartwork,whichcanneverbereplaced,hasforeverbeenremovedfromthe

world.


19

ListofIllustrations

Figure1. SandroBotticelli,Italian,MysticNativity,c.1500‐01,temperaoncanvas,H:108.6cm,W:74.9cm,NationalGallery,London.

Figure2. SandroBotticelli,Italian,MysticCrucifixion,c.approximately1497,

Temperaandoiloncanvas,73.5x50.8cm,FoggArtMuseum,CambridgeMassachusetts,HarvardUniversityArtMuseums,UnitedStates.

Figure3. SandroBotticelli,Italian,Primavera,c.1477‐1478,temperaonpanel,203

x314cm,Uffizi,Florence.Figure4. SandroBotticelli,Italian,BirthofVenus,c.1477‐1478,temperaoncanvas,

172.5x278.5cm,Uffizi,Florence.Figure5. SandroBotticelli,Italian,CalumnyofApelles,c.1494‐1495,Temperaon

panel,62x91cm,Uffizi,Florence.


20

Bibliography

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Feb2010.http://www.artchive.com/artchive/B/botticelli/mystical_nativity.jpg.html.

Dempsey,Charles.OxfordArtOnline.“Botticelli,Sandro(Filipepei,

Alessandro(diMarianodiVanni.)”OxfordArtOnline.OxfordArt,2008.Web.2Mar

2010.http://www.oxfordartonline.com:80/subscriber/article/grove/art/T010385.

Hall,MarciaB."Savonarola'sPreachingandThePatronageofArt."ChristianityandThe

Renaissance;ImageandReligiousImagesintheQuattrocento.TimothyVerdonand

JohnHenderson.Syracuse:SyracuseUniversityPress,1990.492‐521.Print.

Hatfield,Rab.“Botticelli’sMysticNativity,SavonarolaandtheMillennium.”

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24.27&startDate=&sort=Accession+%23&objtit le=&century=&endDate=&o


21

bject=&sortInSession=false&historicalPeriod=&viewlightbox=false&media

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UniversityCaliforniaPress, 1978.99‐101.Print.

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"MysticNativity."NationalGalleryLondon . NationalGalleryLondon,n.d.


22

Web.23Mar2010.

<http://www.nationalgallery.org.uk/server.php?show=conObject.21

9>.

Rowland,Chris.ImaginingtheApocalypse.Queen’sCollege,Oxford,2005.

303‐327.Print.

Salvini, Robert. TheCompleteLibraryofWorldArt: Al l thePaintingsof

Botticel l i . Part4. London:OldbournePress, 1965.165‐172.Print

Steinberg,RonaldM.FraGirolamoSavonarola,FlorentineArt,and

RenaissanceHistoriography.Athens:OhioUniversityPress,1977.19‐31;58‐61;69‐

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23

Figure1

SandroBotticelli,Italian,MysticNativity,c.1500‐01,temperaoncanvas,H:108.6cm,W:74.9cm,NationalGallery,London.


24

Figure2

SandroBotticelli,Italian,MysticCrucifixion,c.approximately1497,Temperaandoiloncanvas,73.5x50.8cm,FoggArtMuseum,CambridgeMassachusetts,HarvardUniversityArtMuseums,UnitedStates.


25

Figure3

SandroBotticelli,Italian,Primavera,c.1477‐1478,temperaonpanel,203x314cm,Uffizi,Florence.


26

Figure4.

SandroBotticelli,Italian,BirthofVenus,c.1477‐1478,temperaoncanvas,172.5x278.5cm,Uffizi,Florence.


27

Figure5.

SandroBotticelli,Italian,CalumnyofApelles,c.1494‐1495,Temperaonpanel,62x91cm,Uffizi,Florence.

Documents

Senior Thesis Final Botticelli