Interested in a copy for yourself? Poster or canvas.
Where? Room 26 of the Uffizi Museum
Created for? A wedding gift of Raphael to his friend Lorenzo Nasi.
What do you see? This painting – also known as Madonna del Cardellino – shows the Virgin Mary (referred to as the Madonna), Jesus, and Saint John. Mary sits on a rock and wears a red dress with a blue mantle on top of it. She protectively watches the two children in front of her. Saint John, the boy on the left with the gold curly hair, is dressed in animal skins. He holds a goldfinch bird in his hand. He wants to give the goldfinch to Jesus who is touching the head of the bird. Jesus is close to his mother and places his foot affectionately on his mother’s foot. The three figures in this painting are shown in a pyramidal form – known as the Renaissance triangle – a popular composition in the early Renaissance to represent symmetry in a painting. In the background, you can see a blue and green landscape with bushes, trees, hills, a river, a bridge, a castle, and some houses.
Backstory: Raphael created this work for his close friend Lorenzo Nasi, a wealthy wool merchant from Florence. The painting shows the meeting between Saint John, Jesus, and Mary. This scene is based on a medieval religious text, Meditationes Vitae Christi (see a later translation here), which describes the Holy Family meeting Saint John in the desert on their way back from Egypt (a story not mentioned in the Bible). The composition of the work was directly inspired by the painting Saint Veronica by Hans Memling, which was created between 1470 and 1475. The clothes of Mary, the composition, and the city in the background are all elements that can also be seen in Memling’s painting. Raphael's painting deteriorated severely over time, and in May 1999 it was taken down for restoration. It took almost ten years to finish the restoration. In the meanwhile, a much-lower-quality copy of the painting was on display in the Uffizi Museum.
Symbolism: The Virgin Mary is dressed in red and blue. Red is a symbol of the passion of Christ and blue is the symbol of the Church and of Mary. It was one of the more expensive pigments and therefore appropriate to use for an important figure like Mary. The European goldfinch is associated with the crucifixion of Jesus. In this painting, Saint John passes the bird on to Jesus as a forewarning of his violent death. From the book that Mary is holding, experts have identified the words “Sedes Sapientiae”. This is one of the devotional titles given to Mary and means “seat of wisdom”. It emphasizes that Mary gave birth to Jesus (who represents the wisdom). When Mary is depicted in the role of the “seat of wisdom”, she is typically shown seated on a throne with Jesus in her lap. However, in this case, the rock on which Mary sits serves as the throne.
Flowers: Several flowers can be seen in the painting. While not all flowers have been identified conclusively, many believe the flowers to be: anemones (representing Mary’s sorrow for the passion of Jesus), daisies (representing the innocence of Baby Jesus), plantains (representing the path to follow Jesus), and violets (representing humility).
Why a goldfinch? In European art, the goldfinch is frequently used as a symbol. The European goldfinch, Carduelis Carduelis, has a red face and a black and white head. Hundreds of paintings from the Renaissance have depicted the goldfinch. The European goldfinch is often associated with resurrection, but also with the soul, sacrifice, and death. Legend has it that the goldfinch got the red spot on its head during Jesus' crucifixion when it wanted to pluck a thorn from Jesus’ crown, and a blood of drop from Jesus splashed on its head. The goldfinch is indeed known to eat thistles and thorns and has therefore been associated with the crown of thorns that Jesus wore at his crucifixion.
Who is Raphael? Raffaello Sanzio da Urbino (1483-1520), popularly known as Raphael, was born in Urbino, a small city a few hours east of Florence. Together with Michelangelo and Leonardo da Vinci, he is considered one of the great masters of the Renaissance. He was a very talented architect, drawer, and painter, but is best known for his paintings of the Virgin Mary (called Madonnas) and his large-scale depictions of humans. The current work was created during Raphael's period in Florence and shares many similarities with two other paintings of Raphael: the Madonna of the Meadow in the Kunsthistorisches Museum in Vienna and La Belle Jardinière in the Louvre. A few years later, in 1508, he moved to Rome where he completed many works for the Pope, such as the Portrait of Leo X with Two Cardinals.
Fun fact: IIn 1547, the house of the Nasi family, which was several feet away from the Ponte Vecchio, collapsed. Two of the occupants were killed and much of its decorations got damaged. Raphael's painting was also badly damaged. Battista Nasi, the son of Lorenzo Nasi, did all he could to retrieve the remainings of this painting as it was a very valuable asset of his father. The painting had broken into six large pieces and even more smaller pieces. Battista could recover most pieces, except one large piece from the bottom left corner. The painting was restored by Ridolfo del Ghirlandaio, a good friend of Raphael. He did a great job in restoring the painting as this painting has become a very popular part of the Uffizi collection over the next centuries.
Interested in a copy for yourself? Poster
Where? Room 15 of the Uffizi Museum
Commissioned by? Unknown
What do you see? Mary sits on a paved terrace in front of a palace-like building and is reading at a richly decorated desk carved from marble. She gets surprised by a visit of the youthful Archangel Gabriel, who explains to her that she will be the mother of the Son of God. Gabriel raises his right hand to greet Mary and holds a white lily in his left hand. Mary hesitantly raises her left hand to greet the angel. The landscape in the back shows mountains, a sea, and cypresses, all typical elements present in the paintings of Leonardo da Vinci. All perspectives – height, width, and depth – converge on Mary, making her the center of attention. Interestingly, the desk of Mary and the palace-like building seem somewhat out of place in this setting, and the figures of Mary (who is usually described as a simple woman) and Gabriel seem to fit better with the bed of flowers and the nature-like background.
Backstory: This painting has been in the Uffizi since 1867. There has been a constant debate on who painted this work. The consensus is now that this painting was created in the workshop of Andrea del Verrocchio. A popular explanation is that the painting was started by Andrea del Verrocchio, who left a note to his pupil Leonardo da Vinci to finish the painting. This painting is now considered by many to be Leonardo’s first major work, as he made the background, the wings of the angel, and the finishing touches to the painting. The painting is based on Luke 1: 26-38, where the Archangel Gabriel foretells the birth of Jesus to Mary.
Symbolism: The angel holds a Madonna lily in his left hand. This lily represents the purity of Mary and is also the symbol of the city of Florence. Mary can be identified by her dress which is largely blue. The enclosed garden in which Gabriel is kneeling is a symbol of Mary’s virginity. The marble desk or sarcophagus in the middle has been painted after the tomb of Piero and Giovanni de’ Medici which was carved by Verrocchio.
Who is Mary? The Virgin Mary has been the most popular subject in Christian art. She represents four Roman Catholic dogmas, which are at the basis of Catholicism: Perpetual Virginity (when she gave birth to Jesus), Mother of God, Immaculate Conception (Mary was already without sins in the womb of her mother), and the Assumption into Heaven at the end of her life.
Why the Annunciation? The ‘Annunciation’ has already been the subject of art since the fourth century. It has been a very popular theme in Florentine art. It shows the moment that the Archangel Gabriel tells the Virgin Mary that she will give birth to the Son of God.
Who is Leonardo da Vinci? Leonardo da Vinci (1452-1519) was an architect, astronomer, engineer, inventor, mathematician, musician, painter, writer, and much more. He is known to be one of the biggest multi-talents the world has ever seen. The fact that he studied science and nature extensively helped him in his artwork. He has produced a large number of sketches in which he practiced to draw specific human features, such as hand gestures, facial expressions, bone structures, and other anatomical features. Some of his most famous paintings include the Mona Lisa in the Louvre and the Virgin of the Rocks of which one version is in the Louvre and another version in the National Gallery in London.
Fun facts: The wings of the Archangel Gabriel are painted by Leonardo da Vinci and are most likely copied from a bird in flight. However, if you look carefully, these wings have been extended later on by another unknown artist. People have also noticed some rookie mistakes in this painting, indicating that the young Leonardo was still mastering the tricks of perspective. For example, look at the right hand of Mary, which rests on the reading desk. The desk is closer to the viewer than Mary. However, that makes it strange that Mary’s right hand is on the left side of the reading desk. In other words, her right hand is too close to the viewer compared to the rest of her body.
Written by Eelco Kappe
Where? Room 35 of the Uffizi Museum
Commissioned by? Agnolo Doni to celebrate his marriage with Maddelena Strozzi (from the powerful Strozzi family).
What do you see? Mary, Joseph, and Baby Jesus are shown in the center. Mary is sitting on her knees and looks up to Jesus while handing Jesus to Joseph. On the right, a young John the Baptist is depicted and in the background a group of five young and naked people. Look at the body of Mary, which is partly turned around in a somewhat unnatural pose. This painting has been influential for future work and has been labeled as one of the foundations of mannerism, which is an art style in which ideas such as proportions, balance, and ideal beauty are violated on purpose. Look also at the frame, which contains five carved heads. The head of Jesus is on top, and the other four heads represent the four prophets that told about the coming of the Messiah. This painting stands out because of its bright colors, which are due to the tempera pigment used by Michelangelo. This pigment typically keeps its color over time.
Backstory: The Doni Tondo (also referred to as the Holy Family) is painted by Michelangelo around the same time that he sculpted the world-renowned statue of David. The painting is still in its original wooden frame, which may have been designed by Michelangelo (but there is some debate about this). There is quite some debate about the meaning of this painting. For example, it is unclear to several art historians why the nudes are included in the background. Another issue of debate is whether the man in this painting is actually Joseph. Some people suggest that as the man looks much older than Mary that it could also be Joachim, the father of Mary.
Symbolism: The most common interpretation of this painting is that the young nudes in the background represent the pagan people, who are still not converted to Christianity. John the Baptist (the patron saint of Florence) is strategically posed in between the Holy Family and the pagan people in the background to bridge the gap between both worlds. In front of John the Baptist, there is a plant that is a combination of a hyssop (a symbol of the humility of Christ and baptism) and a cornflower (a symbol of Christ symbolizing heaven). The clover in the foreground represents the Trinity (God, Jesus, and the Holy Spirit). The carvings on the frame include crescent moons, lion heads, stars, and vegetation, and are believed to refer to the Doni and Strozzi families.
Who is Doni Tondo? Agnolo Doni was a wealthy Florentine banker. The word ‘tondo’ was used to refer to a circular work of art. Tondo is derived from the Italian word ‘rotondo’, which means round. The term ‘tondo’ is typically only used for large round paintings (over two feet in diameter)
Why the Holy Family? The Holy Family is a model for Christian families. The Holy Family is depicted in two different ways. Most commonly, it consists of Jesus of Nazareth, his mother, the Virgin Mary, and his foster father, Saint Joseph. However, there are also other versions in which Saint Joseph is replaced by Saint Anne, the mother of Mary.
Who is Michelangelo? Michelangelo di Lodovico Buonarroti Simoni (1475-1564) was an architect, engineer, painter, poet, and sculptor. He is considered to be one of the greatest artists ever and was considered the best artist of his time. He is probably most well-known for his sculptures (think about the David and the Pietà) and his frescos at the Sistine Chapel.
Fun fact: This is the only finished panel painting by Michelangelo that exists nowadays. In the National Gallery in London, there are two other panel paintings of Michelangelo, The Entombment and The Virgin and Child with Saint John and Angels, but he did not finish these paintings. Michelangelo was quite good in not finishing his work, as can be seen by the fascinating series of unfinished sculptures in the Galleria Accademia. Of course, Michelangelo has also painted frescos, like the famous ones in the Sistine Chapel.
Interested in a copy for yourself? Poster or canvas.
Where? Room 7 of the Uffizi Museum
When? Between 1430 and 1435
Commissioned by? The nuns of the Santa Maria Nuova hospital in Florence.
What do you see? Jesus and the Virgin Mary are on top of a series of small clouds, floating in the sky. This painting depicts paradise. Jesus is crowning the Virgin Mary as the Queen of Heaven. Mary has her arms crossed on her chest, slightly bends forward, and has a humble look on her face, while Jesus is decorating her golden crown with a jewel stone. Surrounding Jesus and Mary is a crowd of angels, blessed people, and saints. A choir of angels is playing music and dancing. You can see several angels scattered throughout the painting, recognizable by their wings, who are either playing music or are dancing. Three angels are dancing directly to the left of Mary, and you can see three others directly to the right of Jesus. On the top right and top left you can see some trumpets high up in the air and in the center foreground you can see two angels playing musical instruments. The angel in blue, turned with the back towards us, is playing a portable organ, and the angel to the left is playing a string instrument.
Backstory: The painting probably formed an altarpiece together with two side panels, Wedding of the Virgin and Death of the Virgin, which are now both located in the Museum of San Marco in Florence. This painting contains both elements that are Gothic and elements that are typical for the Renaissance. For example, the golden background is gilded and is an element that was common in Gothic painting. The use of halos is also typical Gothic. The realistic way in which the people are depicted and the three-dimensionality are examples of the Renaissance style.
Symbolism: The gold crown signifies both power (by being an advocate of the king) and wealth (regarding God’s promises). Jesus and Mary are surrounded by bright rays of light, symbolizing their divinity.
What is the Coronation of the Virgin? Mary is crowned by her son Jesus as the Queen of Heaven. This occurs after Mary has been assumed into heaven. In ancient times it was common for the king’s mother to be crowned queen. This subject was quite popular in art since the 13th century.
Why is Mary the Queen of Heaven? One of the many titles that Catholics have given to Mary is Queen of Heaven (Regina Caeli in Latin). Historically, in the Bible, the mother of the king had important powers in counseling the king and she was referred to as the Queen Mother. The reason that Mary is sometimes called the Queen of Heaven is that, according to the Catholic Church, Mary was assumed into heaven at the end of her earthly life. In Heaven, she is crowned as the queen (which is the coronation of the Virgin) as she is the mother of Jesus, who is the heavenly king of the universe. On October 11, 1954, Pope Pius XII decided that Catholics should celebrate the Queenship of Mary. Since 1969, the Queenship of Mary is a public holiday on August 22 in several countries, such as France and Spain.
Another work of Fra Angelico on the Coronation of the Virgin? The current version originally belonged to the Church of Sant'Egidio in Florence and is shown in the Uffizi since 1825. However, Fra Angelico has painted another well-known version of the Coronation of the Virgin. This version is currently in the Louvre in Paris. In that painting, you can see that blue skies replace the more old-fashioned Gothic golden background.
Who is Fra Angelico? Fra Angelico was born around 1387 as Guido di Pietro and died in 1455. He was a Dominican friar and was widely respected because of his gentle personality. While he started in the monastery as an illustrator of manuscripts, he became known as a masterful painter of altarpieces. Only after his death the name Fra Angelico was given to him. In his work he freely interpreted biblical stories, rather than accurately depicting the stories, to trigger spiritual responses of the people seeing those paintings and to stimulate prayer.
Fun fact: Fra Angelico was known during his life as Il Beato Angelico or simply Il Beato (which means ‘the blessed’). He was a devout friar during his life and only painted religious works. He prayed before every painting, and once the painting was done he did not alter them anymore as he believed that God inspired his work. While he was already called ‘the blessed’ during his life, Pope John Paul II officially beatified him in 1982, praising his immaculate lifestyle and divine paintings.
Interested in a copy for yourself? Poster or canvas.
Interested in a copy for yourself? Poster or canvas.
Where? Room 8 of the Uffizi Museum
Commissioned by? Uncertain. Originally, Giovanni de’ Medici ordered this painting to give it to the King of Naples, but this deal was abandoned due to a lack of funding for Filippo Lippi.
What do you see? A praying Virgin Mary. Two angels are holding the child Jesus in front of Mary. Mary and Jesus both seem to be lost in their thoughts. Mary is depicted in a very elegant way compared to earlier paintings. For example, look at her sweet facial expression and the graceful veils and pearls in her hair. Notice also the halo above the heads of Mary and Jesus. These halos are just a simple circle and mark the transition between the solid gold disks used in earlier work and the disappearance of the halo in later Renaissance paintings. The angel on the right seems to giggle and watch the viewer directly in the eyes. Mary, Jesus, and the angels are depicted in front of a window, which can easily be mistaken for the frame of this painting. In the background, you can see a landscape inspired by Flemish paintings.
Backstory: This painting was one of the first in which Mary and Jesus are depicted in a very human way. Mary is shown as an elegant young woman. This painting has served as an inspiration for many future paintings of Mary, but also for paintings of Venus. For example, the Birth of Venus by Botticelli (a pupil of Filippo Lippi) has been heavily inspired by this painting.
Symbolism: The pearls and veils that are carefully inserted in Mary’s hair and are gracefully draped around her neck are a new element that Lippi introduced to represent the elegance of Mary. The forehead is bigger than usual as the forehead was an object of beauty during that time (see the pearl on Mary’s forehead to emphasize this). You can see the shadow of Mary in the window frame on the left. This is another example of a physical detail, whereas earlier paintings of Mary focused mainly of the spiritual symbols. However, you can also see a seashore in the landscape, which refers to one of Mary’s titles ‘port of salvation’. The rocks in the landscape refer to the biblical tale of Daniel. Finally, Mary is wearing a blue dress, representing her purity, virginity, and royalty.
Who is Madonna? A Madonna is a representation of Mary with or without her child Jesus. Madonna comes from ‘ma donna’, which is Italian for ‘my lady’. In English, this is often referred to as ‘our lady’ and in French as ‘notre dame’. There are different types of Madonna painting. The ‘Madonna and child’ like in this painting was a very popular subject during the Renaissance. Other types of Madonnas that have frequently been used in the art are, for example, the ‘Madonna enthroned’, ‘Madonna of humility’, ‘adoring Madonna’, and ‘nursing Madonna’.
Why Madonna? The Madonna and child is the most popular theme in Christian art. Often Mary and Jesus are surrounded by angels or saints that pay their respects to them. Jesus and Mary are the most central figures in Catholicism, and their depiction should remind people of their religion.
Who is Filippo Lippi? Filippo Lippi (1406-1469), also called Lippo Lippi, was born in Florence. He was the son of a butcher, but his parents died when he was still young. After his aunt took care of him for a few years, at age eight, he joined the convent of the Carmine where the friars took care of him. The friars discovered his love for art and gave him some great opportunities to pursue a career in art. His son, Filippino Lippi also became a famous painter (and is thought by some to be the model for the giggling angel in this painting). Sandro Botticelli is the most well-known pupil of Filippo Lippi. Another well-known work of Filippo Lippi in collaboration with Fra Angelico is the Adoration of the Magi in the National Gallery of Art.
Fun fact: Filippo Lippi was a Carmelite monk and was supposed to live a celibate life. However, he did not take the rules too strict as he was an extremely lustful man. When he was in his 50s, he became the chaplain of a convent of nuns, and he fell in love with one of the nuns named Lucrezia Buti. He asked whether Lucrezia could serve as his model for Mary in this painting. This request was granted on the condition that there was always another nun present during these painting sessions. One day Lippi escaped together with Lucrezia from the convent (some stories tell that he abducted her) to live together with her. Together they got two sons.
Where? Room 43 of the Uffizi Museum
Commissioned by? Cardinal del Monte, who gave it as a gift to Ferdinando I de Medici, the Grand Duke of Tuscany
What do you see? A depiction of the head of Medusa painted on a circular and curved wooden shield. Medusa is a woman described in Greek mythology. With her glance she could turn people who looked at her into stone. Instead of normal hair she has living, venomous snakes on her head. The snakes are watersnakes from the Tiber river as those were the best type of snakes Caravaggio could find nearby. I count at least eight snakes on her head. The blood streams out of her head as she has just been killed by the Greek demigod Perseus. This painting shows the moment that Medusa is looking at the reflective shield that Perseus is holding (which according to the myth actually happened just before she got beheaded). She realizes that her head is separated from her body, but that she is still conscious. You can see this realization by the horror in her eyes. As the painting is created on a shield, Caravaggio’s idea was that this painting actually represents the view of the shield as held by Perseus just after he killed Medusa. It is also interesting to have a closer look at Caravaggio’s use of light and shadow in this painting. Do you see how Caravaggio used these contrasts to show the head of Medusa as a three-dimensional object?
Backstory: The painting is actually a self-portrait of Caravaggio. As he painted Medusa on a convex shield, he has actually used a convex mirror to paint his own face. If you look carefully, you may notice that the forehead and cheeks of Medusa are somewhat bigger than expected. Caravaggio created two versions of the Medusa painting. The first version is also known as Murtola (or Murtula), named after the poet who first wrote about it. The first version was painted in 1596 and is slightly smaller than the second version discussed here. Unfortunately, the first version belongs to a private collection nowadays. Do you see the differences?
Who is Medusa? In Greek mythology, Medusa was one of three sisters (Stheno, Euryale, and Medusa) who were often referred to as Gorgons. Both Stheno and Euryale were immortal, but Medusa was not. They were daughters of Phorcys (a sea god) and his sister Ceto (a sea goddess). According to the Roman poet Ovid, Medusa was a beautiful young woman. However, after Poseidon (the god of the sea) made love to her in Athena’s temple, Athena (the goddess of wisdom and war) changed her beautiful locks into living, venomous snakes (in other mythological stories the three sisters were already born with snakes on their heads). Medusa had a horrific facial expression that could turn people (or according to some, only men) who looked at her into stone. The Greek hero Perseus, a demigod, used a shining shield that he got from the goddess Athena to avoid looking at her directly and succeeded to cut off her head. He used her head as a weapon afterwards as it retained its power to turn people who looked at it into stone. Perseus ultimately gave the head of Medusa to the goddess Athena, who placed the head on her shield (which is what is depicted in this painting). When the head of Medusa was cut off, two creatures arose from Medusa’s body: Pegasus, a winged horse, and Chryasor, a giant with a golden sword.
Medusa in art? Medusa has been a popular subject in art. Famous artists have used her story as the inspiration for their artwork. Well known versions include a painting of Leonardo da Vinci (that has not survived), a painting by Peter Paul Rubens in the Kunsthistorisches Museum in Vienna, a marble bust by Gianlorenzo Bernini, and Antonio Canova’s Perseus with the Head of Medusa in the Metropolitan Museum of Art. Outside the Uffizi Museum (in the Loggia del Lanzi of the Piazza della Signoria) you can also admire a bronze sculpture of Perseus with the Head of Medusa by Benvenuto Cellini. This sculpture was made in 1545 and shows Perseus after he took the head of Medusa. He is almost completely naked, wearing his winged sandals and standing on top of Medusa’s body.
Who is Caravaggio? Michelangelo Merisa da Caravaggio (1571-1610) was trained by Simone Peterzano, who was in turn trained by Titian. He used a realistic painting style, paying attention to both the physical and emotional state of the subjects he painted. He combined this with a beautiful contrast between light and shadow in his paintings. He was a brilliant and unconventional artist. During his life he received quite some commissions for religious paintings. However, Caravaggio always knew to how add some dark elements to the painting. He liked to use beggars, criminals, and prostitutes as models for his paintings, which would often give unexpected outcomes for familiar biblical scenes. Two beautiful examples of his religious paintings are Death of the Virgin in the Louvre and The Entombment of Christ in the Vatican Museums.
Fun fact: Monica Favaro and colleagues published an academic study on which materials have been used in this painting and the evolution of these materials over time. The shield is made from poplar wood and covered by a linen. On top of the linen, Caravaggio added four different preparation layers (which are layers of paint that have dried and are again painted upon). These preparation layers helped to build the foundation of the painting (such as the main areas of dark and light). On top of these four preparation layers another layer of paint is applied containing a failed experiment of Caravaggio to make the background of the painting reflective. On top of this layer, a green layer, consisting of a mixture of verdigris and lead-tin yellow, is applied, forming the background of the painting as we see it today. On top of this background layer, three other layers of paint have been applied to form the painting (consisting of a mixture of siccative oils, turpentine and mastic with traces of beeswax). Finally, the painting contains additional layers to conserve the painting. As you can read, this painting is a fairly complex chemical composition!
Interested in a copy for yourself? Poster or canvas (Amazon links).
Where? Room 83 of the Uffizi Museum
Commissioned by? Guidobaldo II Della Rovere (1514-1574), the Duke of Urbino (a sovereign of central-northern Italy), commissioned this oil painting for his wife, Giulia Varano (1523-1547).
What do you see? A representation of a beautiful and sensual Venus, the goddess of love, is looking you straight in the eye. She lies naked on top of a white sheet in a room of a big Renaissance palace. Notice the beautifully painted folds in the sheets and the pillows. Venus is only wearing a gold bracelet with black enamels on her right arm, a ring on the pinky of her left hand, and a pearl earring. She has roses in her right hand, and you can see that one of the roses has already fallen on the red bed which has a pattern of black flowers. Her hair, partly woven in braids, is falling over her shoulders. Her body is contrasted with the dark background on the left, emphasizing her nakedness. Notice how the straight lines of the architecture nicely contrast with the curviness of Venus. The two maids in the background are apparently searching for Venus’ clothes in one of the two bridal chests.
Backstory: Guidobaldo II Della Rovere gave this painting to his young wife (who was 15 at the time of the painting), and the painting provides the meaning of marriage. It is considered to be one of the sexiest paintings in history. This painting is referred to as a ‘reclining female nude’, a genre that became popular in the early Renaissance. For this painting, Titian was inspired by a painting of the Sleeping Venus (also known as the Dresden Venus) which was started by Giorgione and finished after his death by Titian.
Symbolism: The painting provides three lessons of marriage for Giulia Varano. She needs to be erotic, faithful, and become a mother. The clear eroticism in the painting should remind Giulia of her sexual obligations in the marriage. The dog laying on the bed is a symbol of marital faithfulness. The maid on the right side, who is overlooking a kid, is a symbol of motherhood. The chests on the right were a typical wedding present in Italy at that time. The white sheets on which Venus is laying represent purity. Venus holds some roses in her hand, which were a symbol of love. Similarly, the red bed on which she is laying also represents love.
Who is Venus? Venus is the Roman goddess of love, beauty, sex, fertility, prosperity, and desire. One of the two children of Venus is Aenaes, who was one of the few people to escape from Troy according to Virgil’s poem Aeneid. Two of the descendants of Aeneas were Remus and Romulus, who founded Rome.
Why Venus? Venus was a symbol of love and sensuality. As this painting was for private use, Venus was a symbolic inspiration for this painting. In reality, a contemporaneous model has been used to depict Venus, most likely Angela del Moro, a friend of Titian.
Who is Titian? Titian (1488/1490 – 1576) was a painter and greatest member of the Venetian school of painters. He was very talented in painting both portraits and landscapes, which is and was a rare combination. In his teenage years, the Bellini brothers (Gentile and Giovanni) taught him how to paint, but his work was quickly considered to be better than that of the Bellini brothers. Many of the paintings of Titian throughout his long career contain nudity.
Fun fact: More than 300 works of Titian survived, partly because Titian became very old for his time. While there is quite some discussion about his actual year of birth, he claimed in a letter to the Spanish king, Philip II, to have been born in 1474. That would mean he died at the age of 102. The consensus nowadays is that Titian grossly exaggerated in that letter and that he was born around 1488-1490. Another characteristic of Titian was that, while he was considered to be the leading painter in Venice, he was notoriously greedy.
Interested in a copy for yourself? Poster or canvas (Amazon links)
Where? Room 10-14 of the Uffizi Museum
When? Between 1482 and 1485
Commissioned by? Lorenzo the Magnificent (1449-1492), ruler of the Florentine Republic and one of the most important driving forces of the Renaissance.
What do you see? The goddess Venus is shown naked on top of a shell on the seashore. She is born from the sea as a mature and sexual woman. Her facial expression is very peaceful and innocent. She tries to conceal herself with her hair and arm. This pose of Venus is inspired by the Greek statues made of Venus. For example, you can see the similarity to the positioning of the arms in the statue of Venus de' Medici (which is also in the Uffizi). If you look carefully, it looks like Venus is floating on the shell as the positioning of her feet and body is physically unrealistic. On the left, Zephyr, the god of the west wind, blows Venus to the shore. Meanwhile, Zephyr is carrying the nymph, Chloris. They are surrounded by flowers which are falling from the sky. On the right, Ores, goddess of the seasons, hands a flowered cloak to Venus to cover herself.
Backstory: This is one of the most famous paintings in the world. Venus is born from the sea foam (her Greek name Aphrodite means ‘arisen from foam’). According to the myths, the Greek god Cronus castrated the god Uranus and threw his genitals into the sea. Aphrodite was later born from the foam of his genitals. The theme of the painting is inspired by the poet Ovid’s Metamorphoses (Amazon link to the book), which consists of 15 books and 240 myths starting from the creation of the world until the deification of Julius Caesar. Ovid (also known as Homer) writes in his work about an adult Venus who is rising from the sea to inspire love.
Symbolism: Violets, the flowers of love, are blowing in the wind on the left. The shell represents feminism. The dress of Ores and the robe she is holding for Venus are decorated with various spring flowers related to the birth theme, including red and white daisies, blue cornflowers, and yellow primroses.
Who is Venus? Venus is the Roman goddess of love, beauty, sex, fertility, prosperity, and desire. According to the myths, she was born from the foam of the sea. Venus is known in Greek mythology as Aphrodite. In Latin, Venus means ‘sexual desire’. She is the mother of Aeneas who survived the fall of Troy and fled to Italy. As such, Venus was considered the mother of the Romans and therefore a very popular goddess among the Romans. Perhaps because of this, Julius Caesar claimed to be an ancestor of Venus.
Why Venus? Whereas Mary was the ideal woman to paint from a Christian point of view, Venus represents the moral dangers and shame of the human body. Christianity taught the people to be ashamed of the nude human body. Botticelli was trying to blend the Christian worldview and the arising humanist worldview. From that background, you can understand why Venus is still partly covering her nakedness with her hair (the Venus of Urbino painted in 1538 by Titian will show you a much more explicit depiction of Venus). This is a transition from religious art to Renaissance art. In some sense, Venus represents the opposite of Mary.
Who is Botticelli? Sandro Botticelli (1445-1510) was a painter that belonged to the Florentine school of painters. Botticelli was in love with Simonetta Vespucci (a cousin-in-law of the explorer Amerigo Vespucci), who was already married to Marco Vespucci. Simonetta was known as the greatest beauty of her time and died in 1476. As a result of that Botticelli never married. Throughout his life, he has been inspired by Simonetta, who has served, according to popular belief, as the inspiration for many of his paintings (including this painting). According to his wish, Botticelli was buried at the feet of Simonetta Vespucci.
Fun fact: Many people have noted the ‘cadaverous’ color of Venus, which is not considered very attractive. This was not some macabre fantasy of Botticelli, but merely a consequence of the deterioration of the pigment over time.
Interested in a copy for yourself? Poster and canvas.
Wai Laam Lo, CC BY-SA 3.0
Where? Room 18 of the Uffizi Museum
When? Between the third and first century before Christ
Commissioned by? Unknown
What do you see? A life-size marble statue (about five feet tall or 155cm) of the Greek goddess Venus. At her feet is Cupid (the god of Desire, erotic love, attraction, and affection) riding a dolphin. Venus is depicted in a fugitive pose after arising from the sea. The statue was considered one of the most erotic statues in the world due to her almost perfectly sculpted buttocks (which you cannot see, unfortunately). While her arms are partly covering her breasts and pubic area, it actually draws the attention to these parts of her body.
Backstory: The origins of this statue are unknown, and thus we don’t know who sculpted her. It is the oldest statue in the Uffizi and is referred to as Venus de’ Medici because the Medici family acquired it in 1677. The statue was initially displayed in Rome, but Pope Innocent XI decided that it should be moved to Florence. Pope Innocent XI was a deeply religious man and decided that such a notorious naked statue does not belong in Rome. The statue was originally colored. However, over time the statue lost its color and experts thought that the colors were not part of the original. So, in the 18th-century acids were used to remove the last traces of color from the statue. Recent microscopic research has shown that the statue was colored originally. The original color of her hair was gold, she had red lips and her ears were pierced for earrings. This marble statue is a copy of an original Greek statue of Venus in bronze. The Venus De’ Medici is one of the most copied statues of all time (for example, there is one in the Metropolitan Museum of Art in New York). Interestingly, the Venus de’ Medici, with Cupid riding a dolphin is not tied to any known mythological story, which adds to the fascination and speculation about this statue.
Symbolism: The size of Venus is enormous compared to the small Cupid and the dolphin at her feet to give the impression that Venus is giant. The somewhat apologetic pose of Venus (covering her breasts and pubic area) and the dolphin at her feet make it likely that she got somewhat surprised when arising from the sea.
Who is Venus? Venus is the Roman goddess of love, beauty, sex, fertility, prosperity, and desire. Venus is also known in the Greek mythology as Aphrodite. Together with the Mars, the god of war, she is the parent of Cupid. The ancient Romans also considered Venus as the goddess of the gardens, and this makes her a popular subject for statues placed in gardens. Over time many statues have been made of Venus, often as an excuse to depict nudity. A well-known example is the Venus Victrix of Antonio Canova which can be admired nowadays in the Galleria Borghese in Rome.
Why Venus? Venus was admired by the Romans and Greeks as she represented love and sexuality. This statue of Venus was heavily inspired by the life-size statue Aphrodite of Cnidus (or Knidos), a famous statue from the fourth century before Christ. These life-size statues of a naked Venus were considered to be very attractive to men in ancient times.
Fun fact: The statue has an inscription at its base reading ‘CLEOMENES SON OF APOLLODORUS OF ATHENS’. However, this inscription is not original as the base with the inscription was broken. The current inscription was added to it in the 17th century. It seems highly unlikely that Cleomenes created this sculpture as he was not a very good sculptor. In the 17th and 18th century it was common practice to add the name of Cleomenes to statues of mediocre quality to enhance the value of those statues. The Venus de’ Medici sculpture, however, is more in line with the work of Praxiteles who created very elegant and graceful statues around the time that this statue was made, but there is not much other evidence to confirm this.
Written by Eelco Kappe
Where? Room 10-14 of the Uffizi Museum
When? Between 1477 and 1482
Commissioned by? Lorenzo de’ Medici as a wedding gift to his cousin Lorenzo di Pierfrancesco de’ Medici
What do you see? This painting is full of allegories (hidden meanings), which leads to much debate on how to interpret the painting. In the meadow, you can see hundreds of different flowers. The blue figure on the right is Zephyr, the god of the west wind. Zephyr is chasing the nymph Chloris, who is associated with flowers and spring. Zephyr’s breath turns Chloris into the woman with the dress decorated with flowers (who is thought to be the goddess of Spring, called Flora). The central figure in the middle is Venus. To the left of Venus, the three Graces (Charites in Greek) are dancing. The Graces are minor deities in Greek mythology. To the left of the Graces is Mercury (Hermes in Greek), the messenger of the Greek gods, who is scattering the clouds with his staff. Some people say that Mercury may be modeled after Lorenzo de’ Medici who commissioned this painting. On top on Venus is Cupid (her son) aiming his flaming arrow at one of the Graces.
Backstory: The painting only got his name, La Primavera in 1550 when Giorgio Vasari saw the painting. This painting is also known as the Allegory of Spring ('primavera' is Italian for 'spring'). While many interpretations have been given to the painting, a popular interpretation is that the painting is inspired by a story from the poet Ovid. In his book Fasti (Amazon link to the book), the nymph Chloris is naked and attracts the first wind of the spring, which is represented by Zephyr. When Zephyr captures her, flowers sprang from her mouth and she turns into the goddess Flora.
Symbolism: Venus represents the goodwill (humanitas) and divides the spiritual values on the left from the material values on the right (the earthly desires shown by Zephyr). Notice that Cupid is blindfolded while aiming his arrow on one of the Graces. This is a reference to the saying that love is blind. In the background of the picture, you can see orange trees, which are a symbol of the Medici family. Venus stands in front of a myrtle bush (the dark leaves behind her), which is a sacred plant for her as it was the first plant she used to cover herself when she arose naked from the sea. The Graces on the left and the right are wearing expensive jewelry in the colors of the Medici family. Some people believe that each of the flowers symbolizes a unique message. At least for some of the flowers the message is clear. For example, the strawberries in the crown of Flora represent seduction and the roses in her hand symbolize love. Finally, the city of Florence is named after the goddess Flora (which is Latin for ‘flower’).
Who is Venus? Venus is the Roman goddess of love, beauty, sex, fertility, prosperity, and desire. Venus is also known in the Greek mythology as Aphrodite. Venus and Mars are the parents of Cupid. In art, Cupid is often depicted together with his mother, Venus.
Why Venus? Nudity was the natural state of Venus, which provided a good excuse to include nudity in an artwork. This was an important reason for her popularity in Renaissance art. Whereas in this painting Venus is still dressed, this will quickly change. A few years later Botticelli painted The Birth of Venus in which she is already largely naked.
Who is Botticelli? Sandro Botticelli (1445-1510) was a painter who belonged to the Florentine school of painters. The name Botticelli means “little barrel”. He got this name because people described his brother as “fat like a barrel”. Botticelli was initially trained by his brother to become a goldsmith, but at the age of 14, he became an apprentice to the successful painter Filippo Lippi (1406-1469), known from the painting Madonna and Child with Two Angels. Later in his life, Botticelli became a mentor to both Leonardo da Vinci and Michelangelo.
Fun fact: The painting contains over 500 individual flowers and between 170 and 200 different varieties. Most of these flowers were growing in the spring around Florence. Botanical experts are already inspired for centuries by these flowers. They have been able to identify about 130 flowers, including daisies, forget-me-nots, jasmine, lilies, and violets. For the remaining flowers, there is quite some debate on whether these are fantasy flowers created by Botticelli or real flowers that existed in 15th century Florence but are now extinct.
Interested in a copy for yourself? Poster or canvas.
Written by Eelco Kappe
Where? Room 7 of the Uffizi Museum
When? Between 1435 and 1460. The dating of this painting has been the subject of much debate, but most critics believe it is painted between 1435 and 1440.
Commissioned by? Lionardo Bartolini Salimbeni, a rich Florentine man who had a strong commercial interest in the battle of San Romano.
What do you see? This painting shows a scene from the battle of San Romano on June 1, 1432. This battle was fought between the Republic of Florence and the Republic of Lucca with its allies. The central figure on the white horse is probably Bernardino della Ciarda. He was a former captain in the Florentine army but had recently defected to the opponents. He is fully armored and about to be thrown off his horse by a jousting lance. In the foreground, you can see several fallen horses and soldiers. The composition of the painting is not very realistic as the horses and soldiers in this painting look like dummies. The reason is that Uccello’s main interest in painting was not to perfectly depict a scene from history, but he was more interested in getting the linear perspective right. Look, for example at all the lances that are in this painting. Some are conveniently dropped on the ground in a geometrical pattern. The lances in vertical direction all point to the same vanishing point which Uccello wanted to incorporate to create depth in the painting. The vanishing point is just above the head of the white horse. In the background, you can see some soldiers and dogs hunting for rabbit and deer.
Backstory: The battle of San Romano (a small place in Italy, near Lucca) was part of the war between the Republic of Florence and the Republic of Lucca with its allies from Genoa, Milan, and Siena. An important element of the war was about who would get access to the port of Pisa for trade. The battle of San Romano took place on June 1, 1432, and lasted less than a day. This battle was only a relatively minor battle, but the Florentines remembered it as a turning point in the war. This painting commemorates the Florentine victory in this battle, though Sienese sources disagree with this conclusion. The battle started when Florentine general Niccoló Tolentino was attacked after he was separated from most of his army when he was exploring the area. Tolentino and his small group of soldiers fought a brave fight and did not give up until another Florentine general, Micheletto Attendolo (who is at the center of the Louvre version of this battle), arrived at the battle scene with reinforcements. Attendolo and his army helped Florence to win this battle. The war dragged on for another year without a clear winner and in the end the war was settled through negotiations.
Other versions of this painting? This painting is a part of a triptych (a work of art divided into three parts) made by Uccello. The three paintings represent different moments in the battle of San Romano. There are two alternative explanations about the order of the paintings. The simple explanation is that the three paintings represent the morning of the fight (the version in the National Gallery in London), the afternoon (the current version), and the evening (the Louvre version). A more popular alternative is that the National Gallery version represents the beginning of the battle with Niccoló da Tolentino. The Louvre version represents the arrival of Micheletto Attendolo and his army, and the current version shows the last episode where Bernardino della Ciarda from the opposing army was unhorsed. Note that the current painting of the battle in the Uffizi is the only of the three versions that is signed (see the words PAVLI VGIELI OPVS in the shield at the bottom left).
Who is Uccello? Paolo Uccello (1397-1475) was born as Paolo di Dono in Pratovecchio in Tuscany. In his teenage years, he was an apprentice of Lorenzo Ghiberti and later he got influenced by contemporaries such as Donatello, Brunelleschi, and Masaccio. He was named Uccello, which is Italian for ‘bird’, because he liked to paint birds. He developed strong scientific interests and was very interested in representing perspective in paintings, something that he and contemporary artists just introduced to painting. The appropriate use of linear perspective was often more important in his paintings than what the painting should represent. In his paintings, he combines elements of the older Gothic tradition (the decorative parts) and the newer Renaissance movement (which introduced depth and perspective).
Linear Perspective? Linear perspective was developed around 1420 by Brunelleschi. It was a completely new approach to represent space in paintings. The simplest idea of perspective is that the size of objects becomes smaller the further away they are from the observer. Paintings with perspective have one or multiple vanishing points which help the painter to create perspective. Foreshortening is a specific form of perspective in which an illusionary trick is used to provide the idea of depth. A great example is when someone wants to paint a picture of a person laying with his feet towards you. To create the idea of depth, the painter will paint the feet of the person bigger than his head. The lamentation of Christ by Mantegna is a great example of such a painting. Note that the linear perspective in Uccello’s paintings is not perfect, but it did help to create depth in two-dimensional paintings. His work served as an inspiration for many artists in the next generations who perfected his ideas about linear perspective in paintings.
Fun fact: This painting of Uccello and its two companion pieces in the Louvre and National Gallery originally had an arched top, possibly a Gothic arch. However, these arches have been cut away around the time that Lorenzo the Medici seized the paintings from the commissioning Salimbeni family. The paintings were changed into rectangular formats and some additions were made to the top corners. There is clear evidence that the top left and right corner did not originally exist, but these additions were made at the end of the 15th century. It is very unlikely that Uccello made these additions, but the unknown artist that made these did a good job as the additions are very hard to notice with the naked eye. An analysis of the different layers for these additions, however, clearly reveals that some different materials and paint compositions are used.
Where? Room 29 of the Uffizi Museum
Commissioned by? Elena Baiardi for the funerary chapel of her husband Francesco Tagliaferri in Parma
What do you see? Mary is holding the Baby Jesus. Mary has a very long, swan-like, neck. Notice also the length of her fingers and shoulders, and the oversized Jesus. These extended body features are typical of mannerism. Mary’s beautiful hair is painted in detail as well as the pearls in her hair. She has bare feet and her right foot is resting on two beautiful green and orange pillows. On the left, six (somewhat eroticized) angels are all looking at different directions. Can you identify all six angels? In the bottom right, Saint Jerome (a well-known priest born in the fourth century) is depicted as a Greek statue. On the left, you can see the angel holding a large vase with the shadow of a cross painted on it.
Backstory: This painting is also known as ‘Madonna of the Long Neck’ or ‘Madonna and Child with Angels and St. Jerome’. The painting is unfinished as Parmigianino died in 1540, which adds to the mystery of the painting. Quite some people say that Jesus already appears dead in this painting, something that could fit with the purpose of the painting to appear in a funerary chapel.
Symbolism: Mary is wearing a blue robe, representing her purity, virginity, and royalty. On the right, the small figure of Saint Jerome is included, which was required by the commissioner for Saint Jerome’s connection to the worship of Mary. In hymns from the medieval times, the neck of Mary was compared to an ivory tower or column, which explains the presence of the exaggerated length of Mary’s neck as well as the columns on the right.
Why Mary? Mary had a symbolic role of representing the church. This representation is in line with the analogy between the long neck of Mary and the ivory columns. The columns are also an architectural reference to the church.
Who is Parmigianino? Parmigianino (1503-1540) was born in Parma (where he was named after, though his real name is Girolamo Francesco Mario Mazzola). He is known for his unorthodox and mannerist painting style. Another well-known painting of Parmigianino is his self-portrait in a convex mirror which can be found in the Kunsthistorisches Museum in Vienna. Giorgio Vasari claimed that Parmigianino was an incarnation of Raphael (they both died at age 37). He is also known for his great etchings and woodcarvings.
What is mannerism? This painting by Parmigianino is one of the prime examples of mannerism. This style started in around 1520 at the end of the High Renaissance and lasted until about 1580 when the Baroque movement took over. In mannerism ideals such as proportions, balance, and ideal beauty are violated on purpose. This style leads to paintings that are asymmetric and out of balance.
Fun fact: Just like Leonardo da Vinci and Michelangelo, Parmigianino found it difficult to finish his work due to his attention to detail. Indeed, several parts of this painting are unfinished, but we have a decent idea of what he intended to paint from the many surviving preliminary drawings that he created before starting with this painting. First, look carefully to the right of the feet of Saint Jerome (bottom right), where another foot is drawn. Probably Parmigianino wanted to paint Saint Francis here, but he did not finish that. Second, the baby is bold now, but possible the hair still had to be added. Third, see also the columns on the right. From the bottom, you can see a series of columns, but from the top, it looks like only a single column. Fourth, do you see the sixth angel, which is still unfinished, below Mary’s right elbow?
Interested in a copy for yourself? Poster.
Where? Room 43 of the Uffizi Museum
Commissioned by? Cardinal del Monte for the Grand Duke of Tuscany Ferdinand I
What do you see? A young Bacchus is holding a glass of wine in his left hand and has vine leaves in his hair. It seems that he is wearing some makeup on his face. With his right hand, he is playing with the drawstrings of his half-opened robe. Bacchus is sitting at a stone table with a bowl of fruit and a jug of wine. The bowl of fruit contains both healthy and spoiled fruits as well as fresh green leaves and spoiled yellow leaves. Bacchus already seems a bit drunk and extends an invitation to the viewer to join him for a glass of wine and maybe something more… If you look carefully, you can see the ripples in the glass of wine to indicate the movement of the left arm of Bacchus towards the viewer.
Backstory: This painting was created when Caravaggio was staying with his first patron, Cardinal del Monte. True to his unconventional style, Caravaggio painted an imperfect, limited, earthly version of Bacchus. This may be close to some of the figures he met in the many taverns and brothels that he liked to visit.
Symbolism: The bowl with spoiled fruit is an example of a vanitas, which means ‘emptiness’. Vanitas refers in the traditional Christian view to the emptiness and worthlessness of all earthly goods and ambitions. Spoiled fruit is one common way to present this. Notice also the dirty fingernails of Bacchus. Some interpret this as a warning of the consequences of earthly pleasures, while other just attribute this to the style of Caravaggio (he painted in great detail what he saw, including dirty fingernails). The vine leaves in Bacchus’ hair are one of his sacred symbols, and that is how we can easily recognize him. Finally, it seems that Bacchus is wearing some makeup on his face, which is often associated with sexuality and strengthens the idea that he is inviting the viewer for more than a glass of wine.
Who is Bacchus? Bacchus (in Greek Dionysus) is the god of the wine, fertility, madness, theatre, and religious ecstasy. He is the son of god Zeus and the mortal Semele.
Why Bacchus? Bacchus was a chronic alcoholic and was a good subject to depict the misery of the common people (or as some people think, the miserable state of Caravaggio at the time of the painting). Bacchus was also the inspiration for popular festivals, called Bacchanalia, which were introduced to Rome in the second century before Christ. These festivals contained a lot of alcohol and nudity and were a popular theme in Renaissance art. The fact that Bacchus was associated with drinking and other crazy activities made him a popular subject for some less religious artists. Caravaggio has created more paintings in which Bacchus was the subject. For example, around 1593, he created the painting Young Sick Bacchus which is considered to be a self-portrait of Caravaggio. This painting is now in the Galleria Borghese in Rome.
Who is Caravaggio? Michelangelo Merisi da Caravaggio (1571-1610) was trained by Simone Peterzano, who was in turn trained by Titian. He used a realistic painting style, paying both attention to the physical and emotional state of the subjects he painted. He combined this with a brilliant contrast between light and shadow in his paintings. Caravaggio had a tumultuous life and was accused of murder, assault, many fights, and he served in prison. However, his sheer brilliance as an artist has given him a place in the history books. His painting style has had a big influence on the development of Baroque painting (which includes drama and an intense contrast between light and dark).
Fun fact: Many experts believe that Caravaggio used a mirror to draw this painting such that he did not have to make the drawing first, but could immediately work on the painting. This means that the model for this painting offered the wine with his right hand, instead of the somewhat awkward way in which Bacchus is using his left hand. Another reason to believe that Caravaggio was using a mirror for this painting is that after a cleaning of the painting a very small self-portrait of Caravaggio working on a painting was revealed in the reflection of the jug of wine (but it is difficult to see).
Interested in a copy for yourself? Poster.
Where? Room 26 of the Uffizi Museum
Commissioned by? Pope Leo X
What do you see? The portrait of Pope Leo X, shows the Pope sitting in his study. He is depicted realistically in a three-quarter profile. He wears the papal robe and the papal camauro, a cap traditionally worn by the pope. A cardinal is on both sides of him. Their silence helps to establish the authority of Pope Leo X in this painting. All three are wearing velvet (a woven fabric with evenly distributed patterns), and the Pope is also wearing a so-called, damask undergarment that shines in the light and has fur linings. In front of the Pope is an illuminated Bible, which is a Bible with decorations such as small illustrations, beautiful initials at the beginning of the paragraph, and sometimes even gold or silver decorations. He was studying the Bible with a golden magnifying glass that he is holding in his hand. Next to the Bible is a finely worked silver bell. On top of his chair is a distinctive golden ball-shaped ornament. In its reflection, you can see the window, the shoulders of the Pope, and the outline of the room.
Backstory: Raphael was the lead painter for Pope Leo X and he had already made quite some portraits of Pope Leo X in fresco scenes. He also painted several portraits of Leo X to distribute throughout Italy. The current painting is the most well-known of these different portraits. The idea behind distributing these paintings was to promote the Medici regime throughout the country. This was important as a lot of things were happening in those years that created uncertainty for the common people and their leaders. One of these things was that Martin Luther (a famous German theology professor) publicized his famous list of complaints against the Roman Catholic Church. Between 1513 and 1605, four popes came from the Medici family. An important reason for this is that popes liked to appoint their family members as cardinals, making it more likely that they would eventually become pope. The cardinal on the left of the painting is Giulio di Giuliano de’ Medici (a cousin of the Pope who would become Pope Clement VII from 1523 until 1534). The cardinal on the right is Luigi de’ Rossi (another cousin of the Pope).
Symbolism: The open Bible in front of Leo X is probably the Hamilton Bible, a famous 14th century Bible with illustrations and decorations, which is nowadays in the Kupferstichkabinett in Berlin. It refers to the good education of Pope Leo X. The beautifully carved bell and the illuminated Bible both indicate Pope Leo’s love for art as he was a great art collector and commissioner. The robe and the cap (called a camauro) the Pope is wearing are the typical garments for the pope. The golden ball on top of the chair, called a finial, may be a reference to the Medici family emblem, which contains six balls.
Who is Pope Leo X? Giovanni de’ Medici (1475 – 1521) is the second son of Lorenzo the Magnificent, the ruler of the Florentine Republic. He became a cardinal at 13 years old. An important reason that Giovanni became a cardinal at such a young age was that his sister was married to Pope Innocent VIII. He became pope on March 9, 1513, until his death on December 1, 1521. During his rule as pope, he excommunicated Martin Luther from the church, and he granted people who donated to the reconstruction of St. Peter’s Basilica a reduction in the amount of punishment they would have to undergo for their sins (called indulgence). He was a big spender and ruined the papal finances under the motto: “Since God has given us the papacy, let us enjoy it”.
Who is Raphael? Raffaello Sanzio da Urbino (1483-1520), popularly known as Raphael, was born in Urbino, a small city a few hours east of Florence. His father, Giovanni Santi, was a painter with a good reputation, but Raphael had already lost both his parents at age 11. He is best known for his depictions of the Virgin Mary (Madonnas), and his large-scale depictions of humans. His work is widely appreciated for the clarity and magnificence with which he could paint people and his simple compositions. In 1508, he was summoned to Rome by Pope Julius II, the predecessor of Pope Leo X, to become the lead court painter. He stayed there until his death, which was one year before the death of Pope Leo X. He is buried in the Pantheon in Rome.
Fun fact: When an old painting is rediscovered there is always the question whom to attribute the work to. The reason is that there often exist many copies of the original painting. Copies of a masterpiece are much less valuable and often not as good as the masterpiece itself. However, there is a copy of this painting of Leo X by Andrea del Sarto that is legendary. In 1523, the Marquis of Mantua asked Pope Clement VII (the cardinal on the left) for the painting of Pope Leo X with two cardinals. This request was approved, and before giving the painting away, a copy was made by Andrea del Sarto. However, the owner of the original painting wanted to keep the original and gave the copy away. The copy was so good that even the assistant of Raphael, Giulio Romana, who had helped with the original painting could not recognize that it was not the original painting. The copy hangs now in the Museo di Capodimonte in Naples, Italy.
Interested in a copy for yourself? Poster or canvas.