Zöllner, Frank: Botticelli: Images of Love and Spring (1998)

68 “Giurar potresti che dellonde
uscissi La Dea premendo colla
dextra il crino, Collaltra il dolce
pomo ricoprissi.” Poliziano, Stanze
per la Giostra, 1.101.1—3, cited in:
Horne, Botticelli, p. 149.

69 Benvenuti de Rimbaldis de Imola
Comentum super Dantis Aldigberij
Comoediam, ed. J. P. Lacaita, 5 vols.,
Florence 1887, III, pp. 279—280,
p. 280; Frank Zöllner, “’Policret-
ior manu’ — Zum Polykletbild der
friihen Neuzeit,” in: Polyklet, exh.
cat., Liebieg Haus, Frankfurt
1990, pp. 450-472, p. 458.

70 Wind, Pagan Mysteries, 132.

71 Giinter Passavant, Verrocchio als
Maler, Diisseldorf, 1959, pp. 58—87;
Gombrich, Symbolic Images, p. 91.

72 Hesiod, Theogony, pp. 173—200;
Anacreon, Odes, p. 51; Wind,

Pagan Mysteries, pp. 133—136;

Levi d’Ancona, Garden of the
Renaissance, pp. 330.

73 Pliny, Historia naturalis, 21.94.165,
cited in: Levi d’Ancona, Garden of
the Renaissance, p. 44.

74 “Nel tempestoso Egeo in grembo
a Tethi, Si uede il fusto genitale
accolto.” Poliziano, Stanzeper la
Giostra, 1.99.1—2, cited in: Horne,
Botticelli, p. 149.

75 Horace, Satires, 1.8.3—6.

76 Kenneth Clark, Leonardo da Vinci,

2nd edition, Harmondsworth
1958, p. 116; Leonardo da Vinci,
exh. cat., Hayward Gallery, ed.

M. Kemp and J. Roberts, London
1989, p. 38 and no. 14.

77 Hyginus, Astronomia, 2.8;

Hederich, Mythologisches Lexikon,
col. 1446—1448; Davidson Reid,
Classical Mythology, II, pp. 629—35.

78 Levi d’Ancona, Due Quadri del
Botticelli, pp. 51—62.

79 Horne, Botticelli, pp. 144—148;
Lightbown, Botticelli, I, p. 96, II,
pp. 60—63; Susanne Kress,

“Die ‘Camera di Lorenzo, bella’
im Palazzo Tornabuoni,” in:
Mitteilungen des Kunsthistorischen

Instituts in Florenz, 42,1997 (in
preparation).

80 Everett Fahy, “The Tornabuoni-
Albizzi Panels,” in: Scritti di storia
dell’arte in onore di Federico Zeri, 2
vols., Milan 1984,1, pp. 233—247;
Kress, “Camera di Lorenzo.”

81 Martianus Capella, De nuptiis
Philologiae etMercurii, books 3—9.

On the moral aspect cf. the sonnet
by Burchiello, cited by Horne,
Botticelli, p. 145

82 “Septe son l’arti liberali: & prima
Grammatica deil’altre e uia &
porta.” Burchiello, ibid.

83 Andrea di Bonaiuto, Triumph of
St. Thomas Aquinas, circa 1366—68,
Florence, Santa Maria Novella.

84 Capella, De nuptiis Philologiae et
Mercurii, books 1—2; Veronica
Mertens, Die drei Grazien, Wies-
baden 1994, pp. 190—194.

Select Bibliography

My interpretations of Sandro Bot-
ticelli’s mythological paintings are
based on older iconological research
and on monographic studies (see
Notes) as well as on the findings of
more recent research into the Renais-
sance, which may be summarized as
follows: In the fifteenth century,
private patrons commissioned works
with profane themes above all to
decorate their own residences in an
elevated manner. As a rule these
works commemorated specific events,
most notably weddings, but also
births, the coming of age, new homes,
and death. In keeping with this, most
of Botticelli’s profane paintings and
some of his religious panel paintings
can be traced back to occasions of
this kind.

Barriault, Anne B. “Spalliere”Paintings of
Renaissance Tuscany. University Park,
PA: 1994.

Baskins, Cristelle L. “Lafesta di
Susanna: Virtue on Trial in
Renaissance Sacred Drama
and Painted Wedding Chests.” In
Art History 14 (1991): 329—344.

-. “Griselda or the Renais-

sance Bride Stripped Bare by
Her Bachelor in Tuscan
Cassone Painting.” In
Stanford Italian Review 10 (1991):

-. “Gender trouble in Italian

Renaissance History: Two Case
Studies.” In Studies in lconography 16
(1994): 1-36.

Bischoffi Uwe. Die “ Cassonebilder”
des Piero di Cosimo: Fragen der
Ikonographie. Frankfurt: 1995.
Braham, Allan. “The Bed of
Pierfrancesco Borgherini.” In

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