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Transcript of Senior Thesis Final Botticelli
AllesandroBotticelli’sIconographyof
MysticNativityandMysticCrucifixion;
FraGirolamoSavonarola’sInfluence
March25,2010
Research4210‐904
Spring2010
JenifferHarrison
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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
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AllesandroBotticelli’siconographyinhislaterartisundeniablesothequestionforthisauthor
thenbecomeshowwasthisepisodeinFlorentinepoliticsandartseffectiveinconveyinga
messagetofuturegenerations?Theansweristhatitwaseffectiveinthatarteventuallymoved
awayfromthestatusquoofthepatron’s,suchastheMediciandCatholicChurch’scontroltoa
moreartistbasedcontrolandfreedom.Artistbasedcontrolispartiallyineffectiveinthatother
countryleaderssuchasHitlerattemptedtocontrolwhatartwasappropriatefortheGermans
andfortheremainderoftheworld.HitlerfailedasSavonarolafailed,howevertheartworld
andhumanitiessufferedseverlossesduetofanaticalleadersandreligiouszealotssuchasthese
menandpricelessartwork,whichcanneverbereplaced,hasforeverbeenremovedfromthe
world.
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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.
Jeniffer Harrison BGSD 4210-904 March 25, 2010
20
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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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Jeniffer Harrison BGSD 4210-904 March 25, 2010
21
bject=&sortInSession=false&historicalPeriod=&viewlightbox=false&media
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Web.23Mar2010.
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Figure1
SandroBotticelli,Italian,MysticNativity,c.1500‐01,temperaoncanvas,H:108.6cm,W:74.9cm,NationalGallery,London.
Jeniffer Harrison BGSD 4210-904 March 25, 2010
24
Figure2
SandroBotticelli,Italian,MysticCrucifixion,c.approximately1497,Temperaandoiloncanvas,73.5x50.8cm,FoggArtMuseum,CambridgeMassachusetts,HarvardUniversityArtMuseums,UnitedStates.
Jeniffer Harrison BGSD 4210-904 March 25, 2010
25
Figure3
SandroBotticelli,Italian,Primavera,c.1477‐1478,temperaonpanel,203x314cm,Uffizi,Florence.
Jeniffer Harrison BGSD 4210-904 March 25, 2010
26
Figure4.
SandroBotticelli,Italian,BirthofVenus,c.1477‐1478,temperaoncanvas,172.5x278.5cm,Uffizi,Florence.
Jeniffer Harrison BGSD 4210-904 March 25, 2010
27
Figure5.
SandroBotticelli,Italian,CalumnyofApelles,c.1494‐1495,Temperaonpanel,62x91cm,Uffizi,Florence.