DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.31769#0122
Onesti Panels,” in: Art History, 15,
1992, pp. 146—170, partic.
pp. 154—155; Rose Marie San Juan,
“Mythology, Women and Renais-
sance Private Life: The Myth of
Eurydice in Italian Furniture
Painting,” in: ArtHistory, 15,1992,
pp. 127—145. Following also cited
in note 23: Lilian Zirpolo, “Botti-
celli’s Primavera. Lesson for a
Bride,” in: womens artjournal 12,
1991/1992, pp. 24—26; Michael
Rohlmann, “Botticellis Primavera:
Zu Anlaß, Adressat und
Funktion von mythologischen
Gemälden im Florentiner Quat-
trocento,” in: Artibus et historiae,
17,1996.
20 Savonarola, “Sermon on the
Book of Ruth,” freely transl.
from: Schubring, Cassoni, p. 380,
and Edith Schaeffer, Von Bildern
und Menschen der Renaissance, Berlin
1913» P- 8-
21 Vasari, Lives, III, p. 248; Aby
Warburg, “Sandro Botticellis
Geburt der Venus und Frühling,”
1893, repr. in: A. Warburg, Ausge-
wählte Schriften und Würdigungen,
pp. 11—64; Lightbown, Botticelli, II,
cat. no. B39, partic. p. 52; Horne,
Botticelli, pp. 49—62.
22 Charles Dempsey, The Portrayal of
Love: Botticelli’s “Primavera”and Hu~
manist Culture at the Time of Lorenzo
the Magnificent, Princeton 1992.
23 John Shearman, “The Collections
of the Younger Branch of the
Medici,” in: Burlington Magazine,
117,1975, pp. 12—27, p. 25, no. 38;
Webster Smith, “On the Original
Location of the Primavera,” in: Art
Bulletin, 57,1975, pp. 31—40, p. 37,
no. 9; Mirella Levi d’Ancona,
Botticelli’s Primavera, Florence 1983;
Zirpolo, “Botticelli’s Primavera,”
pp. 24—28; Rohlmann, “Botti-
cellis Primavera,” pp. 97—132;
Frank Zöllner, “Zu den Quellen
und zur Ikonographie von
Botticellis Primavera,” in: Wiener
Jahrbuchfür Kunstgeschichte, 50,1997,
pp. 131—157-
24 Ovid, Metamorphoses, 2.685—835,
8.618—727; Homer, Iliad,
24.334—469, Odyssey, 5.28—148;
Krauss/ Uthemann, Was Bilder er~
zählen, pp. 26—27; Davidson Reid,
Classical Mythology, I, pp. 563—572.
25 Lucius Apuleius, The Golden Ass,
translated by W Adlington,
revised by S. Gaselee, London
and Cambridge, Mass. 1915,
4.28—5.24, p. 191.
26 Columella, De re rustica,
10.192—214; Martianus Capella,
De nuptiis Mercurii et Philologiae libri,
1.27, 9.888, and Remigius of
Auxerre, Commentum in Martianum
Capellam, ed. C. E. Lutz, Leiden
1962, p. 101 (Dempsey, Portrayal of
Love, pp. 38 and 45—46; U. Rehm,
[Review of Dempsey, Portrayal of
Love], in: Kunstchronik, 47,1994,
pp. 96—104, p. 102).
27 Angelo Poliziano, Stanze per la
Giostra, 1.40, cited in: Panofsky,
Renaissance, p. 193.
28 C£ e.g. Angelo Poliziano,
Rusticus, 210—221 (Dempsey,
Portrayal of Love, pp. 20—49, partic.
pp- 35—36).
29 Dempsey, Portrayal of Love, p. 38.
30 Zirpolo, “Botticelli’s Primavera,”
p. 26; Cristelle L. Baskins,
“Gender Trouble in Italian
Renaissance Art History:
Two Case Studies,” in: Studies
in Iconography, 16,1994, pp. 1—36,
pp. 2—16.
31 Barriault, Spalliera-Paintings, p. 28;
Rohlmann, “Botticellis Primavera,”
pp. 102—104.
32 C£ Susanne Kress, “Das auto-
nome Porträt in Florenz,” Phil.
Diss., Gießen 1995, pp. 146—167.
33 Apuleius, The Golden Ass, 5.28,
transl. by W Adlington, pp. 241
and 243; Ovid, Fasti, 4.155—160;
Giovanni Boccaccio, Genealogia
Deorum gentilium, ed. Vincenzo
Romano, Bari 1951, pp. 142—144
(3.22); Mirella Levi d’Ancona,
Botticelli’s Primavera, p. 50.
34 Mirella Levi d’Ancona, The
Garden of the Renaissance: Botattical
Symbolism in Italian Painting, Flor-
ence 1977, pp. 237—241, no. 3.
35 Rohlmann, “Botticellis Primavera”;
Goffen, Titian’s “Sacred and Profane
Love,” p. 116.
36 Christina Olsen, “Gross Expend-
iture: Botticelli’s Nastagio degli
Onesti Panels,” in: Art History, 15,
1992, pp. 146—170.
37 G. A. dell’Acqua/ R. Chiarelli,
L’opera completa del Pisanello, Milan
1972, no. 115; Vicenzo Cartari,
Imagini delli Dei degl’antichi, Venice
1647 (Reprint, Graz 1963), pp. 54,
57, 60,185 and 287.
38 Edmondo Solmi, “La festa del
paradiso di Leonardo da Vinci e
Bernardo Bellincioni,” repr. in
Solmi, Scritti vinciani, Florence
1976 (ist edn 1908), pp. 407—418,
p. 418; Bernardo Bellincioni, Le
Rime, ed. Pietro Fanfani, 2 vols.,
Bologna 1876—1878, II, p. 221.
39 Angelica Dülberg, Privatporträts,
Berlin 1990, pp. 141—142; Frank
Zöllner, Leonardo da Vinci: Mona
Lisa, Frankfurt 1994, pp. 60—65.
40 Leon Battista Alberti, The Family
in Renaissance Florence, a translation
by Renée Neu Watkins of ILibri
della Famiglia, Columbia 1969,
pp. 115—116; Patricia Simons,
“Women in Frames: The Gaze,
the Eye, the Profile in Renais-
sance Portraiture,” in: History
Workshop Journal, 25,1988,
pp. 4—30, partic. p. 12.
41 “Sensa honestà perduta è la
bellessa et sensa amor non fu
mai gentilessa.” This cassone
may be seen in the Stibbert
Museum in Florence; the inscrip-
tion is cited by Paul Fraser
Watson, The Garden of Love in
Tuscan Art of the Farly Renaissance,
Philadelphia/ London 1979,
p. IOI.
123
1992, pp. 146—170, partic.
pp. 154—155; Rose Marie San Juan,
“Mythology, Women and Renais-
sance Private Life: The Myth of
Eurydice in Italian Furniture
Painting,” in: ArtHistory, 15,1992,
pp. 127—145. Following also cited
in note 23: Lilian Zirpolo, “Botti-
celli’s Primavera. Lesson for a
Bride,” in: womens artjournal 12,
1991/1992, pp. 24—26; Michael
Rohlmann, “Botticellis Primavera:
Zu Anlaß, Adressat und
Funktion von mythologischen
Gemälden im Florentiner Quat-
trocento,” in: Artibus et historiae,
17,1996.
20 Savonarola, “Sermon on the
Book of Ruth,” freely transl.
from: Schubring, Cassoni, p. 380,
and Edith Schaeffer, Von Bildern
und Menschen der Renaissance, Berlin
1913» P- 8-
21 Vasari, Lives, III, p. 248; Aby
Warburg, “Sandro Botticellis
Geburt der Venus und Frühling,”
1893, repr. in: A. Warburg, Ausge-
wählte Schriften und Würdigungen,
pp. 11—64; Lightbown, Botticelli, II,
cat. no. B39, partic. p. 52; Horne,
Botticelli, pp. 49—62.
22 Charles Dempsey, The Portrayal of
Love: Botticelli’s “Primavera”and Hu~
manist Culture at the Time of Lorenzo
the Magnificent, Princeton 1992.
23 John Shearman, “The Collections
of the Younger Branch of the
Medici,” in: Burlington Magazine,
117,1975, pp. 12—27, p. 25, no. 38;
Webster Smith, “On the Original
Location of the Primavera,” in: Art
Bulletin, 57,1975, pp. 31—40, p. 37,
no. 9; Mirella Levi d’Ancona,
Botticelli’s Primavera, Florence 1983;
Zirpolo, “Botticelli’s Primavera,”
pp. 24—28; Rohlmann, “Botti-
cellis Primavera,” pp. 97—132;
Frank Zöllner, “Zu den Quellen
und zur Ikonographie von
Botticellis Primavera,” in: Wiener
Jahrbuchfür Kunstgeschichte, 50,1997,
pp. 131—157-
24 Ovid, Metamorphoses, 2.685—835,
8.618—727; Homer, Iliad,
24.334—469, Odyssey, 5.28—148;
Krauss/ Uthemann, Was Bilder er~
zählen, pp. 26—27; Davidson Reid,
Classical Mythology, I, pp. 563—572.
25 Lucius Apuleius, The Golden Ass,
translated by W Adlington,
revised by S. Gaselee, London
and Cambridge, Mass. 1915,
4.28—5.24, p. 191.
26 Columella, De re rustica,
10.192—214; Martianus Capella,
De nuptiis Mercurii et Philologiae libri,
1.27, 9.888, and Remigius of
Auxerre, Commentum in Martianum
Capellam, ed. C. E. Lutz, Leiden
1962, p. 101 (Dempsey, Portrayal of
Love, pp. 38 and 45—46; U. Rehm,
[Review of Dempsey, Portrayal of
Love], in: Kunstchronik, 47,1994,
pp. 96—104, p. 102).
27 Angelo Poliziano, Stanze per la
Giostra, 1.40, cited in: Panofsky,
Renaissance, p. 193.
28 C£ e.g. Angelo Poliziano,
Rusticus, 210—221 (Dempsey,
Portrayal of Love, pp. 20—49, partic.
pp- 35—36).
29 Dempsey, Portrayal of Love, p. 38.
30 Zirpolo, “Botticelli’s Primavera,”
p. 26; Cristelle L. Baskins,
“Gender Trouble in Italian
Renaissance Art History:
Two Case Studies,” in: Studies
in Iconography, 16,1994, pp. 1—36,
pp. 2—16.
31 Barriault, Spalliera-Paintings, p. 28;
Rohlmann, “Botticellis Primavera,”
pp. 102—104.
32 C£ Susanne Kress, “Das auto-
nome Porträt in Florenz,” Phil.
Diss., Gießen 1995, pp. 146—167.
33 Apuleius, The Golden Ass, 5.28,
transl. by W Adlington, pp. 241
and 243; Ovid, Fasti, 4.155—160;
Giovanni Boccaccio, Genealogia
Deorum gentilium, ed. Vincenzo
Romano, Bari 1951, pp. 142—144
(3.22); Mirella Levi d’Ancona,
Botticelli’s Primavera, p. 50.
34 Mirella Levi d’Ancona, The
Garden of the Renaissance: Botattical
Symbolism in Italian Painting, Flor-
ence 1977, pp. 237—241, no. 3.
35 Rohlmann, “Botticellis Primavera”;
Goffen, Titian’s “Sacred and Profane
Love,” p. 116.
36 Christina Olsen, “Gross Expend-
iture: Botticelli’s Nastagio degli
Onesti Panels,” in: Art History, 15,
1992, pp. 146—170.
37 G. A. dell’Acqua/ R. Chiarelli,
L’opera completa del Pisanello, Milan
1972, no. 115; Vicenzo Cartari,
Imagini delli Dei degl’antichi, Venice
1647 (Reprint, Graz 1963), pp. 54,
57, 60,185 and 287.
38 Edmondo Solmi, “La festa del
paradiso di Leonardo da Vinci e
Bernardo Bellincioni,” repr. in
Solmi, Scritti vinciani, Florence
1976 (ist edn 1908), pp. 407—418,
p. 418; Bernardo Bellincioni, Le
Rime, ed. Pietro Fanfani, 2 vols.,
Bologna 1876—1878, II, p. 221.
39 Angelica Dülberg, Privatporträts,
Berlin 1990, pp. 141—142; Frank
Zöllner, Leonardo da Vinci: Mona
Lisa, Frankfurt 1994, pp. 60—65.
40 Leon Battista Alberti, The Family
in Renaissance Florence, a translation
by Renée Neu Watkins of ILibri
della Famiglia, Columbia 1969,
pp. 115—116; Patricia Simons,
“Women in Frames: The Gaze,
the Eye, the Profile in Renais-
sance Portraiture,” in: History
Workshop Journal, 25,1988,
pp. 4—30, partic. p. 12.
41 “Sensa honestà perduta è la
bellessa et sensa amor non fu
mai gentilessa.” This cassone
may be seen in the Stibbert
Museum in Florence; the inscrip-
tion is cited by Paul Fraser
Watson, The Garden of Love in
Tuscan Art of the Farly Renaissance,
Philadelphia/ London 1979,
p. IOI.
123