DOI Page / Citation link:
https://doi.org/10.11588/diglit.31769#0123
42 Francis Ames-Lewis, “Early Me-
dicean Devices,” in: Journal oj the
Warhurg and Courtauld Institutes, 42,
1979, pp. 128—129 and 142; Levi
d’Ancona, Botticelli’s Primavera,
pp. 14, 42—43 and notes 53—54;
Horst Bredekamp, Sandro Botticelli:
La Primavera, Frankfurt 1988,
pp. 50-54.
43 Ames-Lewis, “Early Medicean
Devices,” pp. 128—129 and 142;
Mirella d’Ancona, Due quadri del
Botticelli eseguiti per nascità in casa Me~
dici, Florence 1992, pp. 22 and 56.
44 On the bridal chamber see John
Kent Lydecker, The Domestic Setting
of the Arts in Renaissance Florence, Ann
Arbor 1987, pp. 170—175, on the
purpose of sexual relations see
Alberti, ILihri della Famiglia;
Zirpolo, “Botticelli’s Primavera,”
pp. 26—27.
45 Michael Baxandall, Painting and
Experience in Fijteenth-Century Italy,
Oxford/ New York 1988 (ist edn.
1972), pp. 29—108. On the follow-
ing also see Zöllner, Quellen und
Ikonographie von Botticellis Primavera.
46 Aby Warburg, Bildniskunst und
ßorentinisches Bürgertum I. Domenico
Ghirlandajo in Santa Trinita. Die Bild-
nisse des Lorenzo de’Medici und seiner
Angehörigen, Leipzig n.d. [1902],
partic. pp. 13—25; K. Langedijk,
The Portraits oj the Medici ljth-l8th
Centuries, 3 vols., Florence 1982, II,
p. 1171, nos 74, 41 rev.
47 Zöliner, Leonardo: Mona Lisa, pp. 34,
54—55, colour plates, illus. 17,
31-32.
48 L. Stauch, Reallexikon zur deutschen
Kunstgeschichte, II, s.v. Baum,
pp. 63—73; Zöllner, Quellen und
Ikonographie von Botticellis Primavera,
pp. 146-151.
49 Speculum Virginum, Leipzig, Univer-
sity Library; A. Katzenellenbogen,
Allegories of the Virtues and
Vices in Medieval Art, New York
1964 (ist edn. London 1939),
pp. 65—68 and illus. 64—68;
G. B. Ladner, “Vegetation
Symbolism and the Concept
of Renaissance,” in: De artihus
opuscula XL. Essays in Honour oj
Erwin Panojsky, ed. M. Meiss,
2 vols, New York 1960,1,
pp. 303—322, pp. 308—312.
50 Levi d’Ancona, Garden oj the Renais-
sance, pp. 272—277, 208—209 and
381-387.
51 H. Wohl, The Paintings oj Domenico
Veneziano ca. l/j.io—l/j.61, Oxford
1980, pp. 32—63 and cat. no. 5.
52 Peter Humfrey, Cima da Conegliano,
Cambridge etc. 1983, cat. no. 145.
53 Levi d’Ancona, Botticelli’s Primavera,
pp. 15 and 25—27; Rohlmann, “Bot-
ticellis Primavera,” pp. 126—127.
54 Lightbown, Botticelli, II, no. B43;
Zirpolo, “Botticelli's Primavera”;
Rohlmann, “Botticellis Primavera,”
pp. 118—119.
55 Transl. from: Hans Liebeschiitz,
Fulgentius Metaphoralis, Leipzig/
Berlin 1926 (Studien der Bihliothek
Warburg IV), p. 124; Rudolf Witt-
kower, Allegorie und der Wandel der
Symbole in Antike und Renaissance,
Cologne 1983 (ist English edition
'937/i93 8). P- 4 0I> note 34-
56 Ibid., partic. pp. 257—263.
57 “Le temps revient,” ’L Tempo si rinuova:
Feste e spettacoli nella Firenze di Lorenzo
il Magnijco, ed. Paola Ventrone,
Florence 1992, p. 39; Cecilia De
Carli, I deschi da parto e la pittura del
primo Rinascimento toscano, Turin
1997, no. 39; Anne Jacobsen-
Schutte, “Trionfo delle donne:
tematiche di rovesciamento dei
ruoli della Firenze rinascimentale,”
in: Quaderni storici, 44,1980,
pp. 474-496.
58 The Bible, Book of Judges, 16;
Kraus/ Uthemann, Was Bilder
erzählen, pp. 164—165 and 221.
59 Horst W Janson, Donatello, 2 vols.,
Princeton 1957,1, pp. 200—204;
Volker Herzner, “Die ‘Judith’ der
Medici,” in: Zeitschrijtjür Kunstge-
schichte, 43,1980, pp. 139—180; John
Pope-Hennessy, Italian Renaissance
Sculpture, 4th edition, London
1996, pp. 359—360.
60 Ames-Lewis, Farly Medicean Devices;
Patricia Simons, “Women in
Frames,” in: History Workshop
Journal, 25,1988, pp. 4—30, partic.
pp. 9—13; Kress, Das autonome
Porträt in Florenz.
61 Leon Battista Alberti, “De re
aedificatoria,” 9.4 in: On theArt
oj Building in Ten Books, transl. by
Joseph Rykwert, Neil Leach and
Robert Tavernor, Cambridge,
Mass. and London 1988, p. 299.
62 Warburg, Botticellis Gehurt der Venus
und Fnihling; Horne, Botticelli,
pp. 148—153; Wind, Pagan Mysteries,
pp. 128—140 and pp. 263—264;
Lightbown, Botticelli, I, pp. 86—90,
and II, pp. 64—65; Levi d’Ancona,
Due Quadri del Botticelli, pp. 51—62.
63 On flower symbolism: Levi
d’Ancona, Garden oj the Renaissance,
pp. 113—114 (cornflowers) and
124—126 (daisies).
64 Hesiod, Theogony, 174—201, partic.
I94-I95-
65 Homer, “To Aphrodite,” in:
The Homeric Hymns, ed. Apostolos
N. Athanassakis, Baltimore and
London 1976, p. 55.
66 Tibullus, Carmina, 3.3.34; Wind,
Pagan Mysteries, p. 263; Guy de
Tervarent, Attrihuts et symholes dans
I’art projane 1450—1600, 2 vols.,
Geneva 1958,1, p. 114; Manfred
Lurker, Wörterhuch der Symholik,
5th edition, Stuttgart 1991,
pp. 496—497; Piera Bocci Pacini,
“Nota archeologica sulla nascita
di Venere,” in: Gli Ujjzi. Studi e
ricerche, 4, Florence 1987, pp. 19—32.
67 “E dentro nata in acti uaghi et
lieti, Una donzella non con
human uolto, Da zephiri lasciui
spinta a proda, Gir soura un
Nichio; et par chel ciel ne goda.”
Angelo Poliziano, Stanze per la
Giostra, 1.99.5—9, cited in: Horne,
Botticelli, p. 149.
124
dicean Devices,” in: Journal oj the
Warhurg and Courtauld Institutes, 42,
1979, pp. 128—129 and 142; Levi
d’Ancona, Botticelli’s Primavera,
pp. 14, 42—43 and notes 53—54;
Horst Bredekamp, Sandro Botticelli:
La Primavera, Frankfurt 1988,
pp. 50-54.
43 Ames-Lewis, “Early Medicean
Devices,” pp. 128—129 and 142;
Mirella d’Ancona, Due quadri del
Botticelli eseguiti per nascità in casa Me~
dici, Florence 1992, pp. 22 and 56.
44 On the bridal chamber see John
Kent Lydecker, The Domestic Setting
of the Arts in Renaissance Florence, Ann
Arbor 1987, pp. 170—175, on the
purpose of sexual relations see
Alberti, ILihri della Famiglia;
Zirpolo, “Botticelli’s Primavera,”
pp. 26—27.
45 Michael Baxandall, Painting and
Experience in Fijteenth-Century Italy,
Oxford/ New York 1988 (ist edn.
1972), pp. 29—108. On the follow-
ing also see Zöllner, Quellen und
Ikonographie von Botticellis Primavera.
46 Aby Warburg, Bildniskunst und
ßorentinisches Bürgertum I. Domenico
Ghirlandajo in Santa Trinita. Die Bild-
nisse des Lorenzo de’Medici und seiner
Angehörigen, Leipzig n.d. [1902],
partic. pp. 13—25; K. Langedijk,
The Portraits oj the Medici ljth-l8th
Centuries, 3 vols., Florence 1982, II,
p. 1171, nos 74, 41 rev.
47 Zöliner, Leonardo: Mona Lisa, pp. 34,
54—55, colour plates, illus. 17,
31-32.
48 L. Stauch, Reallexikon zur deutschen
Kunstgeschichte, II, s.v. Baum,
pp. 63—73; Zöllner, Quellen und
Ikonographie von Botticellis Primavera,
pp. 146-151.
49 Speculum Virginum, Leipzig, Univer-
sity Library; A. Katzenellenbogen,
Allegories of the Virtues and
Vices in Medieval Art, New York
1964 (ist edn. London 1939),
pp. 65—68 and illus. 64—68;
G. B. Ladner, “Vegetation
Symbolism and the Concept
of Renaissance,” in: De artihus
opuscula XL. Essays in Honour oj
Erwin Panojsky, ed. M. Meiss,
2 vols, New York 1960,1,
pp. 303—322, pp. 308—312.
50 Levi d’Ancona, Garden oj the Renais-
sance, pp. 272—277, 208—209 and
381-387.
51 H. Wohl, The Paintings oj Domenico
Veneziano ca. l/j.io—l/j.61, Oxford
1980, pp. 32—63 and cat. no. 5.
52 Peter Humfrey, Cima da Conegliano,
Cambridge etc. 1983, cat. no. 145.
53 Levi d’Ancona, Botticelli’s Primavera,
pp. 15 and 25—27; Rohlmann, “Bot-
ticellis Primavera,” pp. 126—127.
54 Lightbown, Botticelli, II, no. B43;
Zirpolo, “Botticelli's Primavera”;
Rohlmann, “Botticellis Primavera,”
pp. 118—119.
55 Transl. from: Hans Liebeschiitz,
Fulgentius Metaphoralis, Leipzig/
Berlin 1926 (Studien der Bihliothek
Warburg IV), p. 124; Rudolf Witt-
kower, Allegorie und der Wandel der
Symbole in Antike und Renaissance,
Cologne 1983 (ist English edition
'937/i93 8). P- 4 0I> note 34-
56 Ibid., partic. pp. 257—263.
57 “Le temps revient,” ’L Tempo si rinuova:
Feste e spettacoli nella Firenze di Lorenzo
il Magnijco, ed. Paola Ventrone,
Florence 1992, p. 39; Cecilia De
Carli, I deschi da parto e la pittura del
primo Rinascimento toscano, Turin
1997, no. 39; Anne Jacobsen-
Schutte, “Trionfo delle donne:
tematiche di rovesciamento dei
ruoli della Firenze rinascimentale,”
in: Quaderni storici, 44,1980,
pp. 474-496.
58 The Bible, Book of Judges, 16;
Kraus/ Uthemann, Was Bilder
erzählen, pp. 164—165 and 221.
59 Horst W Janson, Donatello, 2 vols.,
Princeton 1957,1, pp. 200—204;
Volker Herzner, “Die ‘Judith’ der
Medici,” in: Zeitschrijtjür Kunstge-
schichte, 43,1980, pp. 139—180; John
Pope-Hennessy, Italian Renaissance
Sculpture, 4th edition, London
1996, pp. 359—360.
60 Ames-Lewis, Farly Medicean Devices;
Patricia Simons, “Women in
Frames,” in: History Workshop
Journal, 25,1988, pp. 4—30, partic.
pp. 9—13; Kress, Das autonome
Porträt in Florenz.
61 Leon Battista Alberti, “De re
aedificatoria,” 9.4 in: On theArt
oj Building in Ten Books, transl. by
Joseph Rykwert, Neil Leach and
Robert Tavernor, Cambridge,
Mass. and London 1988, p. 299.
62 Warburg, Botticellis Gehurt der Venus
und Fnihling; Horne, Botticelli,
pp. 148—153; Wind, Pagan Mysteries,
pp. 128—140 and pp. 263—264;
Lightbown, Botticelli, I, pp. 86—90,
and II, pp. 64—65; Levi d’Ancona,
Due Quadri del Botticelli, pp. 51—62.
63 On flower symbolism: Levi
d’Ancona, Garden oj the Renaissance,
pp. 113—114 (cornflowers) and
124—126 (daisies).
64 Hesiod, Theogony, 174—201, partic.
I94-I95-
65 Homer, “To Aphrodite,” in:
The Homeric Hymns, ed. Apostolos
N. Athanassakis, Baltimore and
London 1976, p. 55.
66 Tibullus, Carmina, 3.3.34; Wind,
Pagan Mysteries, p. 263; Guy de
Tervarent, Attrihuts et symholes dans
I’art projane 1450—1600, 2 vols.,
Geneva 1958,1, p. 114; Manfred
Lurker, Wörterhuch der Symholik,
5th edition, Stuttgart 1991,
pp. 496—497; Piera Bocci Pacini,
“Nota archeologica sulla nascita
di Venere,” in: Gli Ujjzi. Studi e
ricerche, 4, Florence 1987, pp. 19—32.
67 “E dentro nata in acti uaghi et
lieti, Una donzella non con
human uolto, Da zephiri lasciui
spinta a proda, Gir soura un
Nichio; et par chel ciel ne goda.”
Angelo Poliziano, Stanze per la
Giostra, 1.99.5—9, cited in: Horne,
Botticelli, p. 149.
124