I feel that my research on the Vespucci collection needs a precise starting point as, so far, a lot of artists and pictures were mentioned but nothing ‘seriously’ considered. I have therefore decided to focus on Botticelli’s Venus and Mars panel (National Gallery of London) that seems to me one of the most fascinating pieces probably belonged to the Vespucci. To make things clearer (to myself first!) I shall divide this part into several sections in order to provide a general overview on the meaning, nature, provenance of the panel and the problems that it raises when related to the Vespucci patronage
Botticelli, Venus and Mars (London)
Meaning. Mars and Venus, respectively God of War and Goddess of Love (and once lovers) are represented facing each other. Venus is watching Mars sleeping while three infant satyrs play with Mars’ armour, and a fourth is resting under the God’s arm. The presence of an alert Venus and of an asleep and unarmed Mars brought scholars to consider the painting a symbol of love conquering war.
Occasion and characters. The panel has been often linked to the wedding of the Genoese Simonetta Cattaneo and the Florentine Marco Vespucci (cousin of Amerigo the explorer) celebrated in 1468. Simonetta was renowned for being the most beautiful woman of the time in the city of Florence. She became the muse of painters such as Piero di Cosimo and Botticelli and source of inspiration for poets such as Poliziano and his Giostra. Literature sources rmoreover remember that after Simonetta arrived in Florence every gentlemen fell in love with her. Among the others there was Giuliano de Medici. Botticelli seems to have been particularly keen on the Genoese lady as – according to academia – she was the subject of several of his paintings such as the Birth of Venus, the Primavera and – apparently - Venus and Mars (all these pictures in fact seem to depict the same lady). Moreover two Botticelli’s portraits of Simonetta are today in Berlin (Gemäldegalerie ) and Frankfurt (Städelsches Kunstinstitut).
Function and provenance. The panel is considered a piece of bedroom furniture, perhaps a bedhead or piece of wainscoting (the famous 'spalliera' ) or backboard from a chest (‘cassone’) that adorned Florentine houses. The panel is considered a Vespucci commission because of the wasps flying around Mars’ head at the top right of the picture. They suggest a link with the Vespucci family, though they could have been simply a symbol of the stings of love (love comes with pain). If the picture belonged to the Vespucci and if it was part of a bedroom furniture, it is possible to think that it was displayed in one of the bedrooms of the Vespucci palace. However, before making any assumptions, it is necessary to point out the problems related to the Vespucci palace (object of my next post).
Botticelli. Venus and Mars. detail (wasps top right)
Problems. The panel raises several issues that my research will try to tackle. First of all the occasion in which the panel was painted. It seems unlikely that the picture was commissioned for the wedding of Simonetta and Marco. While the wedding took place in 1468-9 Botticelli’s work is dated around 1485. Another problem is the function of the picture. Academia still debates whether it was part of a wedding chest (cassone) or a spalliera. Hopefully archival material in Florence will help to cast light on this issue. Finally the provenance: was the panel kept in the Vespucci palace? Before investigating this aspect I shall introduce the Vespucci palace in the next post.
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