Botticelli, Savonarola, and the Politics of Late Quattrocento Florence

Calumny of Apelles

Calumny of Apelles

A lost painting depicting an allegory of Calumny by the famous ancient Greek painter Apelles became known to Renaissance artists through a famous description by Lucian. In one of his treatises, Leon Battista Alberti (1404-1472) recommended that artists try to recreate this image based on the written description, an exercise known by the ancient Greeks as ekphrasis :a commentary or literary description written about a visual work of art. In his text, the classical author Lucian not only described the calumny Apelles faced when being accused of conspiring against King Ptolemy IV, but he also described in detail the painting Apelles created to depict his unjust slander. Certain details in Botticelli’s painting, such as the donkey ears on King Midas/ King Ptolemy IV, suggest that he was familiar with Alberti’s version of Lucian’s text as well as Cristoforo Landino’s (1424-1504) vernacular account of the story of Apelles in his c. 1481 commentary on Dante’s Divine Comedy. Landino also included Lucian’s description of Apelles’ painting.[1] In the Calumny of Apelles (1494-1495), Botticelli masterfully produces his version of the famous Greek painting (see Appendix Image 3).

         King Midas, representing an “unjust judge,” is seated on his throne, flanked by the allegorical figures of Ignorance and Suspicion who whisper into his donkey ears.[2] A barely clothed youth is dragged towards Midas by Slander who is, in turn, led by the hooded and bearded Hatred. Fraud and Deceit follow Slander and adjust the jewels adorning her. To the left, an old figure denoting Penitence turns her head away from what is taking place and Truth, a nude figure, looks and points towards Heaven. The scenic architecture is as impressive and dynamic as the actions of the figures. Numerous sculptural friezes and sculptures set in niches depict classical subjects and imagery. Hartt and Wilkins write that “[t]he oppressive effect of the Calumny is in part produced by its illogical space” as the majority of the perspective lines concentrate and vanish behind Fraud’s head while the two central barrel vaults vanish at a lower point.[3] The stark landscape beyond the arches redirects the viewer’s eye back to the central action of the figures.

         The patron and purpose of the work are unknown. However, it is recorded that Botticelli eventually gifted the Calumny to his friend Antonio Segni. There are various theories as to what motivated the artist to complete this painting. It is likely that Botticelli created it for himself as a means of expressing “professional pride” as a competent and knowledgeable artist.[4] The content of this image would likely only have been familiar to individuals educated in classical mythology. Schumacher observes that “[n]ot only with the choice of theme, but also with the panorama of images planned within this image, Botticelli formulated a claim to being seen as a pictor doctus (learned painter) and to being measured against the masterworks of classical painting”.[5] It is plausible that he could have wanted to prove his skills and align himself with the talents of the Greek painter Apelles. Within one image, Botticelli referenced a myriad of subjects that had been treated by famous classical artists as well as previously by himself. Many of these images brought Apelles and Zeuxis praise and fame and now they enabled Botticelli to not only prove his worth but to surpass the accomplishments of his artistic predecessors. By blending both mythical and Biblical iconography, Botticelli encapsulated the spirit of the Greco-Roman revival amidst the Christian Renaissance.

         Once again, there are possible political readings of Botticelli’s artwork. On 16 November 1502, Botticelli was accused of committing sodomy with one of his workshop assistants. Therefore, like Apelles, he may have created this painting to express his own experience with public slander.[6] Perhaps the calumny he was depicting was not his own, but rather that of Fra Girolamo Savonarola. The Dominican Friar’s popularity had earned him some powerful enemies. Calling for both a spiritual and political reform of Florence and of the Church made him popular with citizens but less so among the ranks he was condemning. Some scholarship argues that Botticelli may have been visually defending Savonarola’s memory while blaming his accusers and antagonists.[7]

         In his commentary of the Divine Comedy, Landino used the narrative of the calumny and its connotations of evil to illustrate the destructive power of lies.[8] Rudolph Altrocchi presents the idea that the Calumny might be referring to the period in Florence after Lorenzo de’ Medici’s death in 1492.[9] When Piero de’ Medici was made Lorenzo’s successor, he was assigned two counsellors, one of whom was Bernardo Rucellai. Because of his ineptitude for the position, Piero was susceptible to the lies spread by disingenuous Florentines regarding his advisors. Believing that his advisors coveted his rulership, he dismissed them unjustly.[10] A sixteenth century poem written by Bernardo Rucellai on the triumph of calumny describes a prince with asses’ ears.[11] Is this a depiction of Piero in a poem expressing personal grievances against the Medici ruler? Afterall, Bernardo had been in a dignified position but became a “victim of slander poured by jealous rivals into the asinine ears of the ruler”.[12] If there is indeed a connection here, Altrocchi posits that the poem would have been written slightly before Botticelli’s painting, as Bernardo was removed from Medici offices before their expulsion in 1494. Perhaps Botticelli also expressed “personal resentment…against the unjust misrule of Piero”[13] after having spent much time in Lorenzo’s court.