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i. AndreadelCastagno.SixPortraits,
The QueensEstherandTomyris,
andtheSibyl.ca. I448.
Uffizi
Florence,
Josephine M. Dunn
Gli affreschi
di Andreadel CastagnonellavillaPandolfinipressoFirenze,in Bollettino
d'arte8, 1907, 1-3.
An earlydescriptionof Castagno'sninefigureswas
publishedby Carlo Pini and Gaetano Milanesi in
AlcuniQuadri della GalleriaRinuccini,
Florence1832,
95-99.
2Le vitede' piiueccellenti
scultorie architettori,
pittori,
359
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2.
Andreadel Castagno.Portraits
ofFamousMenandWomen.Ca. i448.Florence,
Uffizi
360
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'rI
?.
,..,
*..,
,...
.i
I
..?"
. E _._?
t P
,, ' M,K- - ,'T ,,,\,'NT AA ...
. . .
..:
,. : o,:7i
..
.,..? ', ".:
, ...,:
Uffizi
3. AndreadelCastagno.The CumaeanSibyl.Ca. I448.Florence,
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name and deed in a tituluspaintedon the wall famosis.Less oftenremarkedis the raritywith
beneaththeirfeet.The textbeneaththesibylsuc- which each of Castagno's heroines has been
cinctlyintroducesheras the(Sibilla) Cumana que depicted in Florentinemonumentalart of the
and early fifteenth
century,and
prophetavitadventumCh(risti),thus associating late fourteenth
her with a signaleventin the lifeof Christ:His the maverick nature of Castagno's womanly
itself.A briefcanvassof Florentinedepiccoming6.The inscriptionwhich once described trinity
of
tion
each woman may sufficeto clarifythese
Esther
no
is
visible
on
the
restored
Queen
longer
surfacesofCastagno'sfresco,butnineteenth-cen- points.
turyscholarshipand an earlyAlinariphotograph Castagno's slendersibyl of Cumae introduces
revealtheexistenceof a titulusbefore1966:Ester the trioto which she belongs,posing easilyand
in thefourthpaintednicheoftheloggia
The salvatoryrole gracefully
Regina GentisSue Liberatrix7.
As
a figureof considerabledignity,she
is
the
to
Esther
rephrasedby
inscription (Fig. 3).
assigned
to
the
stands
untroubled
given
adjacentQueen Tomyris:Thomir[ ]
by thefurorand frenzyof divherearliestdescription
[ ]ra vindicavitse de filio e patriam liberavit ination,neitherresembling
suam8.Thus described,Castagno's heroinesare as an Apollonianecstaticnorhermanicprototype
women of deed construedas similarin success, memorablydescribedby Virgilin Book Six ofthe
stratagemor might to their achieving male Aeneid.Raisingherrightarm,she pointsheavenin the mural.Yet, as most scholars ward in a gestureconnotingthedivineimportof
counterparts
have remarked,they are a singular gathering her utterance.So, too, gesturethe sibyl on the
by virtueof theirgender,since women incon- tabernacleof St. Matthewat Orsanmicheleand
stantlyswelledthe ranksof humanachievement Ghiberti'ssibylsand sageson thebronzedoorsof
A closedbook,indicamarshalled in traditionalschemes of uomini theFlorentinebaptistery'o.
6The titulus,
dimezzata. Neither Horster, Joost-Gaugiernor
stilllegibleon theslightly
abradedsurface
no
ofthefresco,
first
wastranscribed
CreightonGilbertnote thatEsther'sinscription
byGaetanoMilanesi,
AlcuniQuadri della GalleriaRinuccini,
Florence1832,
longerexists:AndreadelCastagno,Ithaca1980;Castagno's humanistic
96.
programat Legnaiaand its possible
7 EarlyAlinariphotographs
inventor,in Zeitschrift
45, 1982,
(nos.50728, 1954 edition;and
fiirKunstgeschichte
Pt 2, no. 3802)revealEsther'smissinghand to have
274-286;and, On Castagno'sNine FamousMen and
Women:SwordandBook as theBasisforPublicServexistedbeforerestoration.
Visibleis a crudely-drawn
if
as
illusionistiFlorence,
ice,in Lifeand Death in Fifteenth-Century
hand,
stylus-wielding
painted
poised
ed. M. Tetel,R.G. Wittand R. Goffen,Durham1989,
callyon thestonelintelofthedoorbelow.Bothhand
of
and styluswere removedduringthe restorations
174-192.
8The missingsecondword in Tomyris'titulusis frag1966,as Prof.LeonettoTintorihasexplained(conversamented.
Visibletodayarethefinalletters,
>>ra,<<
tion,I980).Milanesihadrecordeda different
generalconfiguraMilanesi
as havingsignified>>Tartara.<<
tionforEsther'smissing
a cartello
in
limbbydescribing
ly interpreted
Tartaravindifirst
as >>Thomir
recordedtheinscription
thequeen'srighthand.This,ratherthanthelintelbecavit se de filio et patriamliberavitsuam:<<Alcuni
low,was reputedto haveborneheridentifying
titulus,
Florence1832,
AlcuniQuadri della GalleriaRinuccini,
Florence1832,
97.SubQuadridellaGalleriaRinuccini,
on theprogram
doesnotdisputethis
97. By 1900, whenWaldschmidt
sequentliterature
contemplated
Castagofthetext
recenttranscriptions
Estherseemsto haveacquireda writing
no's program,
transcription,
although
betweenmissingand exdo not distinguish
ofstylus,<<
instrument
described
as a >>type
theexistence
generally
tantletters.
of whichG. Richterlateracknowledged,
Andreadel
9RobertL. Mode: The MonteGiordanoFamousMen
to readthe
Castagno,Chicago1943.Horsterpreferred
Cycleof CardinalGiordanoOrsiniand the 'Uomini
objectin Esther'shandas thescepterby whichKing
Italian Art,
Ahaseurusgrantedherentrance
intothethroneroom:
Famosi' Traditionin Fifteenth-Century
AnnArbor1970.
Fresken1450-57,in WallrafCastagno'sFlorentiner
Richartz
'oThe sibylsarereproduced,
17,1955,83.
byGiuliaBrurespectively,
Jahrbuch
delCambioa Orsansultabernacolo
netti:Le statuette
in the
Hand and stylusaremoreproblematic
elements
Instides Kunsthistorischen
frescothanthepaintedinscription
whichalso accommichele,in Mitteilungen
tutesin Florenz34,1980,286 (Fig. 2), and 287 (Fig. 3);
paniedtheimagebefore1966,foritis entirely
possible
PrinceLorenzoGhiberti,
thattheoriginaltitulus
wastransposed
fromthe
and,RichardKrautheimer:
merely
ton1980, Platesi25a and I26a.
lowerto the upperwall as a base forEsther,newly
362
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Uffizi
4. AndreadelCastagno.QueenEsther.Ca. I448.Florence,
tiveofwisdom,is claspedagainstherleftthighin a
graspwhichdefiesanatomicalpossibilityand the
laws of gravity.
attributes
The absenceof identifying
particularas
the
Cumaean has been
izing Castagno's sibyl
remarked".Exceptingthe tituluspainted at her
feet,neithercostume,formnorgestureclarifyher
identityas prophetessor Cumaean Sibyl.While
herdressevokesantiquity,hergesturesgenerally
implyrhetoricand learning.Deprivedof thetitufromRaplittlein characterization
lus,she differs
hael's later tome-bearingPlato, whose heavendirectedhand impliesdiscourseon mattersmetaphysicalin theStanza della Segnatura.
Castagno's sibyl remainspossibly the earliest
identifiable
depictionof theCumaean prophetess
in themonumentalartof earlyRenaissanceFlorence. Florentineart,unlikeFlorentineliterature,
italiane,
"AngelinaRossi: Le sibillenelleartifigurative
Pt.3,in L'Arte18,DecemberI915,430.
209-221; ,Pt.
JulyApril1915,
" ibid.,Pt.i,< L'Arte18,
2,,0
August1915,272-285;>Pt.3,<<December1915,427-458.
LVII-LVIII.
Reproducedas Figs.72and73inJohnPope-Hennesy's
Ithaca 2974, 205-206.
Fra Angelico,
363
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5. Esther,Ruth,Mary,Judith.1398-1401.Vault,Florence,Orsanmichele
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,,..,
?
,
. .
,,;.~
i
"4.
'C.
c?;.
? i.
?
,
.*"
,.
?.
"
:'`
"i,.
,
"
.. .
.
iX i~4
6. Esther.1398-1401.Vault,Florence,Orsanmichele
these,Lorenzo di Giovannid'Ambrogio'sgeneric
sibyl shared symbolic space with an unnamed
propheton thePortadella Mandorlaof theDuomo,and theOrsanmichelesibyls(variouslyattributedto Piero di Niccol6 Lamberti,Nanni di Bartolo di Rosso, Michelozzo and the young Donatello)assuredlywerein place and visibleto Castagno when he designedthe Carducci sibyl'5.It
seems,forthe mostpart,thatFlorenceprovided
Castagnowithfewmodelsbywhichto designthe
apparentlymaverickCumaean of Virgiliandescriptionand Neapolitanacclaim.
inGiuliaBrunetti:
Le statuette
sultaber'5Reproduced
inMitteilungen
des
nacolodelCambioa Orsanmichele,
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248.
'IWerner Cohn: Franco Sacchettiund das ikonogra-
20
derGew6lbemalereien
vonOrsanphischeProgramm
des Kunsthistorischen
Instimichele,in Mitteilungen
tutesinFlorenz,8,1958,65-67;Eve Borsook:TheMural
PaintersofTuscany
fromCimabuetoAndreadelSarto,
Oxford1980,54-55.
Ronald Lightbown:Sandro Botticelli,Los Angeles
366
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........
...e
1:?~~~arX
t~:..~j
r:r:
?l
It-
...
.....
L7
Ca. i448.Florence,
Uffizi
7. AndreadelCastagno.QueenTomyris.
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The partially-abraded
inscription
paintedbe- women.Throughstudyof Castagno'sCarducci
neathTomyris'feetattributes
two memorable patron,
laterPandolfini-Rinuccini
to
connections
deedstothequeen:vindication
ofherson'sdeath, thevilla,andthepolitical
ofFlorence
circa
temper
and theliberation
of herpeople.In fourteenth-145o-60,
shenotedthesimilarity
Esther's
between
andearlyfifteenth-century
ofherbi- andTomyris'
illustrations
each
the
titulus, describing queenas
no
theclimactic
momentof Tomyris're- liberatrix
ofherimperilled
nation25.
ography,
Although
of Cyrus'decapitated such role was ascribedby titulusto thesibyl,
venge- the submersion
headintoa vatofblood- invariably
is depicted22.Joost-Gaugier
deducedsalvational
ideasimplicit
is
a
the
to
of
Castagno'sScythian
queen,however, postprophecy
comingof Christ.
sibylline
heroine
kin
to
another
andthesalvation
themesofliberty
victory
psychically
pensive Accordingly,
Renaissance
Donatello'sbronzeDavid of ofnationsweremarshalled
to supportherintervictor,
of
as secularherowomen
1430-32.
pretation Castagno's
Historians
havepostulated
theexistence
ofaddi- ines analogousin deed to Castagno'sFarinata,
tionalheroines
to explainCastagno'sunusualse- suaepatrieliberator,
and FilippoScolari,relator
lectionofheroines,
andtheyhavedoneso insum- victorie theutocarum26.
discussions
of
content
lessonthe Morerecently,
Gilberthassuggested
mary
predicated
Creighton
certainpresenceof Castagno'striothanon the thatthewomenwereselectedto personify
the
assumedabsenceof unnamedheroines23.
asMore activeand contemplative
lifestylesthrough
andauthors27.
however,
typically,
Basing
Castagno'strioofwomenhas semblywiththestatesmen
visualbeenrelegated
toa symbolic
roleancillary
on Castagno's
tothat hisinterpretation
particular
ofthemalesas an assembly
the
ofhistorical
Floren- izationofeachheroine,
Gilberthasdescribed
tines.Prevailing
of
as
as
the
fresco
a
women
not
as
a
but
triad,
independent
interpretation
symbolic
Florentine
hastendedtotailor figures
in a program
as twofoursomes
staunchly
perceived
program
theiconographical
ofCastagno'swomen flanking
thelonecentral
ofQueenEsther.
figure
identity
to conformance.
accordCharacterized
as liberators
of The CumaeanSibylandQueenTomyris
the
three
their
thematic
foils
to
and
of
civic
and
as
were
people exemplars
duty virtiu, ingly
interpreted
thewomenhencehavebeenenvisioned
assuitable menwithwhomeachstood.Thesibyl,withbook
of
instruments
forCastagno'smen,thesix battle- in hand,joinsthreemenwielding
companions
Tobraveandbook-wise
of
sword
to
war,
bypen.
patriots24.
conveytemperance
thislineofthought,
Christiane
Joost- myris,withlancepoised,assembleswiththree
Following
of
deference
to epitomize
thelibertarian
focusof book-bearing
authors,
Gaugier,hasemphasized
thetituli
a themeforthemural
toreaffirm
thecivicnature
ofCastagno's pento sword.Suggesting
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success.
Interthrough
literary
topoimetwithlittle
ofCastagno's
as a derivative
of
pretations
program
themedieval
of
the
Nine
Worthies
genre
promoted
thewomenas modelheroines
ofbiblical,
classical
andmodern
ofthree
times30.
Yet,as representatives
discrete
historical
thewomendo notconperiods,
formwellto thechronological
estabsequencing
lishedby thecanonof nineworthies
sincethey
eras:biblical
(Esther)
exemplify
onlytwohistorical
andclassical
In theVillaCar(sibylandTomyris).
heroine
served
asthecounterpart
ducci,nomedieval
ofSaintsElizabeth
ofHungary,
ofSweden,
Bridget
or Constantine's
Helen.Theparadigmatic
literary
scheme
oftheNineWorthies
to
seemed,
therefore,
rather
than
to
corroborate
the
dispute
symbolic
ofCastagno's
heroines
as merepersonificaweight
tionsofhistorical
time.
Interpretations
associating
Castagno'sheroines
withGiovanniBoccaccio'scelebrated
galleryof
illustrious
women(De mulieribus
claris,
I361-I375)
consonantwith fifteenth-century
ideals of civic
behavior(e.g., Matteo Palmieri,Della vita civile,
1430), GilbertconcludedthatFlorentinesviewing
the Carducci programwould have been encouragedto reconcilein a lifeofserviceto thepatriathe
equallyvirtuousactivitiesof swordand pen28.
Such a messageis plausible,indeed,forQuattrocento Florentinesocietyadvertised,throughart
and in literature,
the virtues,responsibilities
and
commendabledeedsofmenofswordandpen29.In
these programs,however,women generallydid
notappearas promptsto maleachievement
either
as authoror soldier.Why,therefore,
was not an
eminentmaleauthorchosenin thesibyl'splace;an
eloquentstatesmengivenEsther'srole;or,a worthywarriorselectedin Tomyris'stead?The original questionsremain:whywomenat all in Castagno's fresco,aridwhy thisparticularsibyl in the
companyof two easternqueens?
Even acceptingthepossibilityof libertarian
notionsprojectedby Castagno'swomenand thesix
Florentineswithwhom theygather,the trio remainsessentiallyenigmatic,
sincefourteenthand
Florentine
literature
unitfifteenth-century
rarely
ed the threein theunique camaraderieCastagno
was commissionedto paint.Moreover,considering the wide range of heroinesavailable to fifFlorentinesand fromwhichCastteenth-century
women
were
selected,how mightwe exagno's
the
decision
to
honor the Cumaean Sibyl,
plain
Queen Esther and Queen Tomyrisabove their
morepopularheroicsisters:thefreedom-fighting
virtuousLucretiaor valiantCamilla?
Judith,
Scholarswho soughtto elucidatethis question
on Boccaccio'streatise
Castgenerally
promoted
albeitpeculiar,
agno'strioas anintimate,
rephrashonorific
traditions
heingoflarger
commending
roesand memorable
deeds(De virisillustribus)
thethirdquarter
ofthefifteenth
during
century32.
the choiceto includewomenin the
Certainly,
interest
in
programcorroborates
Quattrocento
thedeedsofheroicwomen,butneither
inBoccaccio'sTrecento
norinlaterfifteenthbiographies,
translation
of Plutarch's
De mulieribus
century
nor in thelivesof famousmenand
virtutibus,
womenpennedby Petrarch
andhisfollowers
as
De virisillustribus
didthethreewomenappearas
28ibid,174-192.
29J.Dunn: Andrea del Castagno's,FamousMen and
ofPennsylvania
Women,<
1991.
University
30 On thecanonoftheNine Worthies:
HorstSchroeder:
Der Topos der Nine Worthiesin Literaturund
bildenderKunst,G6ttingenI971,especiallychapters4
and 5;J.von Schlosser:Ein veronesisches
Bilderbuch
unddiehifischeKunstdesXIV. Jahrhunderts,
inJahrbuch der Kunsthistorischen
Sammlungendes Allerto
Kaiserhauses16,1985,168.Withreference
h6chsten
thistradition
andCastagno'sfresco,
seeCreighton
Gilbert:On Castagno'sFamousMen andWomen:Sword
and Book as theBasis forPublicService,in Lifeand
Death in Fifteenth-Century
Florence,ed. M. Tetel,R.
369
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thesymbolictrinity
commissionedby Castagno's
33On theidentity
of Castagno'spatron,seeJ.M. Dunn:
vecchie
Andreadel Castagnoe i Carducci:documenti
la villaCarduccidi Firenze,in Arnuoviriguardante
1967,21.Comparealso,MariaLuisaPlaisant:Un opus-
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successas liberatrix
oftheJewishnationappearsto bothChaucerandChristine
de Pisanlaterwould
havebeendue lessto herstrategies
and diplomacy aver39.
than to the Assyrianruler's slavish affection36. Primarily,exegeticaldiscussionof Esther renFew biblicalheroinesswelledBoccaccio's biogra- deredtypologicaland symbolicherroleas dutiful
claris, wife to a powerfulmonarchand as advocate of
phiesofheroicwomenin theDe mulieribus
and thebraveladieshonoredby medievalexegesis justice beforehim. As one who gave lifeto her
themfromHaman's perfidy,
-Judith,Deborah,Rebeccaand Esther- remained people by liberating
Estherprefigured
Ecclesia40.Her
conspicuouslyabsentin his treatise37.
life-nourishing
During Castagno's lifetime,the Dominican prayersbeforeAhasuerusalso were believedto
monk Antoninus had prescribedimitationof anticipateMary'sintercession
formankindon the
Estherby wealth-endoweddaughtersof upper- finalday of judgment4'.
Finally,as a Mariantype,
class Florentines,and in medievalhagiography her crowningby Ahasueruswas interpreted
as a
she had appeared as one of few Old Testament prefiguration
of theVirgin'scoronationin heavwivesselectedforemulationintheearlymartyrol- en42.Of theseinterpretations,
theformertwo corfiffamiliar
she
was
most
to
roborate
the
of
ogies38.Generally,
identity Castagno'sJewishqueenif
we assumethatthe titulusoriginallypaintedto
teenth-centuryaudiences through scriptural
exegesis and biblical illustration.Through the accompanyher was accuratelyrecordedby Miformer,her career was renderedanalogous to lanesi and documentedby the FratelliAlinari:
that of the savingJudith- as Isidore of Seville EsterRegina GentisSue Liberatrix.In the Villa
observed,Hrabanus Maurus confirmed,and as Carducci, Esther's statureas savior is lauded,
36 Triumphs,
ed. ErnstH.
Wilkins,Chicago1962,
22.
37The Estherwho appearsin BNCF, Cod. Magliabechiano II.II. 327 (formerlyCl. XIII, no. 122),Bk. 5,c. 76r-
attributed
to Boccaccio'scoma collectionoftreatises
pilation- is presentedin conjunctionwithideals of
conductand strength
whichtheDe mulieribus
claris
heroinesmanifest.Recognizedfor her ?beautyand
she is describedas an audacious,but
worthydress,<<
woman.Her greatdead- theliberation
ofher
reverent
that,as a
people - is recountedand we are informed
resultof her act,>>allof theprincesof Persiarender
honorto all theJews.<<
The authorcitesas his source,
the biblicalBook of Esther,and concludeshis short
biographicalentryon the queen withnoticeof her
symbolicstature:o...la qual HestersecondoHieronymo moralme[n]te
la chiesa;la qualeliberatutti
significa
li populi dal timoredella morteeternale.Et essendo
mortoHaman;el quale significa
el peccato;sono chiamatial co[n]vitodellenoze eternaletuttiglicieli.<On
Boccaccio'sZibaldone:FrancescoMacri-Leone:II Ziin Giornale
baldoneboccaccescodellaMagliabechiana,
storicodella letteraturaitaliana 1o, 1987,1-41.
Boccaccio'sfollower,
Domenicodi BordigalloofCreon thelivesofHebrewqueens,
mona,penneda treatise
a collectionof biographiesthatwould havefilledthe
lacuna in Boccaccio's De mulieribusclariswhich is
devotedto classicalandmodernparagons.On DomenF. Novati:La vitae le operedi Domenico
ico's treatise:
di Bordigallo,inArchiviovenetoi9,188o,5-45;and,L.
Torretta:II >Liberde clarismulieribus<
di Giovanni
del >Liberde clarismulieriBoccaccio,pt.3:I tradutori
italiana40,
bus,<in Giornalestoricodella letteratura
1902, 35-65.
38Letter19,in Letteredi Sant'Antonino,
1859,i65;Marc
Glasser:MarriageinMedievalHagiography,
inStudies
inMedievaland Renaissance
ed.J.A. S. Evans
History,
and R. W. Ungar,Vancouver1981,
14-~5.
in Patrologia
39 ,Allegoriaequaedamsacraescripturae,<<
Latina,83,116;>>DeUniverso,<<
3,I,ibid,III,66;Emerson
Brown:BiblicalWomenintheMerchant's
Tale: FemiandtheBeyond,in Viator5,1974,
nism,Anti-Feminism
387-412;The Book of the Cityof Ladies, trans.E. J.
Hebraeiinterhagiographa
annumerant,
multiplicatur
Christiet Ecclesiaesacramenta
in mysterio
contineti;
quia ipsaEstherinEcclesiaetypepopulumde periculo
in posteros..,<
celebremmittit
Exliberat,et interfecto
in PatrologiaLatina,ed.
positionin LibrumEsther,<<
L.-P. Migne,Paris1852,0o9,col. 635.Reau hasobserved
thatcommendations
of Esther,nationalheroine,are
lessChristian
thanJewishinterpretations
ofthequeen,
de l'artchretien,
Paris1956,
2,336.Esther's
Iconographie
appearancewithJaelandJudithin thebiblicaltrioof
theNine WorthyWomen,however,seemsto dispute
thisobservation.
humanae
41J.MarieGuichard:Noticessurle ,Speculum
Paris1849,24.
salvationis,<
42Esther'scoronationprefigures
thatof Mary in the
Biblia Pauperum,Hans Aurenhammer:
Lexikonder
Vienna1959-67,
Christlichen
2,336.
Ikonographie,
371
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8. Flowering
ofAdam'srod;SibylandVisionofVirginandChild,
in SpeculumHumanaeSalvationis,
New York,
France,i5thcentury,
The PierpontMorgan LibraryM. 385,f.II
therebyrenderingher a femininecounterpartto
Castagno'sdapperFarinata,liberator.
Thus, like the Cumaean Sibyl, Esther easily
withina Christianized,or
mightbe interpreted
context,heridentitytypologically
Christianizing,
focusedon definingeithertheroleofMaryor the
Church.Whileherinclusionand hertitulusin the
Villa Carducciwell mightbuttressby association
theChristianizing
themeadvancedby Castagno's
sibyl,theinclusionofQueen Tomyrisis lesseasily
explainedin thesetheologicalcontexts.
For fifteenth-century
audiences, classical and
medievaltextsyieldedhistoriesand treatiseson
war roundlypraisingTomyris'strengths
as a miltactician.
had
Herodotus
first
these,
itary
Among
narratedthe eventsleading to the ignominious
deathofTomyris'adversary,
In
CyrusofPersia43.
and slightaltergeneral,nuancesofinterpretation
ations of the storyby laterauthorsdid not disof the warrior
prove this early characterization
as
The
Roman
moralizqueen Cyrus'vanquisher.
Valerius
Maximus
Factis
Dic(De
ing historian,
conLibriIX), forexample,
tisqueMemorabilibus
372
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9. MarybeforeChrist;EstherbeforeAhasuerus
inSpeculumHumanaeSalvationis,
New York,
France,I5thcentury,
ThePierpont
M.
f.
42
385,
MorganLibrary
ance44.In a textlegitimizing
thepassionforviolent biographyofTomyrisin theDe mulieribusclaris,
vengeance,he selectedTomyristo representnon- he studiedtheaccountsofValeriusMaximusand
Romans whose bloodlustwas sanctifiedby just Justinus(HistoriarumPhilippicarum)to provide
revenge.
Tomyriswitha compellingmotiveforrevengeby
the
Petrarch
had
considered
Trecento,
castingherson,Spargapises,as theinnocentvictim
During
of Cyrus' greedforpower46.
a
a
of
secular
ruler, figure
Tomyris praise-worthy
In a lettercongratulating
savoir-faire.
theEmpress
however,Tomyris'
During Castagno's lifetime,
Anna on the birthof a daughter,he includedthe heroismwas beingdisplacedbythatofherenemy,
century,
Xenophon's
Scythianqueen amongcelebratedwomenselected Cyrus.In theearlyfifteenth
as suitablerole models fora youngprincessand historyof Cyrus' careerwas popularizedby Itahumanists:LorenzoValla,Giovanni
futurequeen45.When Boccaccio decidedto pen a ly's foremost
44Ed., C. B. Hase, Paris 1832,2, 177-178.
45Le Familiari,
ed.VittorioRossi,Florence1968,4, Bk.21,
letter8,61-68,esp.64.
46Concerning
FamousWomen,trans.Guido A. Guarini,
New Brunswick
1963,104-1o6.
373
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All use subject to JSTOR Terms and Conditions
WittdiscussesTrecentodebateon Virgil'sfamouseclogue:ColuccioSalutatiandtheconceptionofthepoet
d' HumanismeetRenaissance
46,1984,407-420.Coluctheologusin the fourteenth
century,in Renaissance
cioSalutati
there-evaluation
ina letter
titled
30,1977,538-563.
anticipates
Quarterly
essepotissi- 510OntheSpeculumhumanaesalvationis:
docetvanam
J.MarieGui>Sepulcrorum
magnificentian
mumindignorum,<<
inwhich
hedescribes
chard:Noticessurle >SpeculumHumanaeSalvationis<,
Cyrus'tomb,
di Coluccio
ed.Francesco
Paris1840;Otto Brix:Ober die mittelenglische
OberNovati,
Salutati,
Epistolario
Rome1981-1911,
Letter5,I, 45-48.
in Pasetzungdes >SpeculumHumanaeSalvationis,<
48ErnstWalser:
Florentinus:
LebenundWerke,
lestra7, 1900, 11-12; JulesLutz and Paul Perdrizet:
Poggius
traduc1914,229-234.
Leipzig/Berlin
SpeculumHumanaeSalvationis:textecritique,
49RobertL. Mode:TheMonteGiordano
FamousMen
tionineditedejean Midlot(1448)...,Leipzig1907-O9;
L.
Orsiniand the>Uomini
M. Fr.Daniels:De SpeighelderMenschliker
BehoudeCycleofCardinalGiordano
Famosi<Tradition
in Fifteenth-Century
ItalianArt,
nesse,Tielt1949,LV-XLVII; AdrianWilsonandJoyce
Ann Arbor 1970, 266.
L. Wilson:A Medieval Mirror:SpeculumHumanae
thegenuine
nature
ofsibylline Salvationis,
Cicerohadquestioned
50o
1984;AvrilHenry:The
i324-I500,California
Patristic
oracles:
BardThompson:
UseoftheSibylline MirourofMansSaluacione,Philadelphia
1987.
Oracles,in ReviewofReligion25,1952, 130.RonaldG.
374
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?;-hc
dy~`afxd.m)i~trn~(tvcI
duo
rr
q
...........
.
"
........
ct
IV
~
.. ..".".
li,
.. ;M::
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~N-
rXrl?,
fws?4fJ,-t
< ::,,IA
Olt*
... ...aIf'~~trc~~
? ., .. ,.
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-"p ,,i.,,z;jj
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Cyrus'headina vatofblood,
Io. JaelslaysSisera;Tomyrissubmerges
inSpeculumHumanaeSalvationis,
New York,
France,Irthcentury,
The Pierpont
M. 385,f.33
MorganLibrary
oftheSpeculum,is affiliated
withChrist'sNativiof His
ty and with two biblical prefigurations
miraculousbirth;Pharaohs'sdream,and thefloweringof Aaron's staff(Fig. 8). Castagno'ssibylof
Cumae paraphrasesthe messageof the unnamed
Speculumsibyl who foreseesa virginbirthand
predictstheadventofa child.Withfingerraisedin
towardsthe heavens,Castagno's
prognostication
faces
a shortwall of theCarduccilogprophetess
which
the
Madonna is depicted,a restive
giaupon
Christin hand.
Queen Estheralso appearsin theSpeculum,prean eventin thelifeofChristtypologically
figuring
relatedin Chapter39. She anticipatesan apocry-
phalevent:ChristshowingHis Fatherthewounds
of thePassion (Fig. 9). Signalmomentsin thelife
ofAntipaterand theBlessedVirginarealliedwith
themessageof Christ's
Esther'sdeed to reinforce
action: each protagonistpresentswounds emblematicof suffering
to One who is his, or her,
judge. The momenttargetedfor analogy in Esther'slifeis drawnfromChapter7 of theBook of
Esther,in which the biblical queen introduces
Ahasuerusto Haman's deceit.While Mary bares
her breasts to Christ,Esther persuades before
Ahasuerusto effectthe rescue of her people, a
deed visualizedas analogousto Christ'sredempvulnerum.
toryostentatio
375
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All use subject to JSTOR Terms and Conditions
ii.
AndreadelCastagno.Eve,MadonnaandChild,Adam.Ca. I448.Ex-VillaCarducci,Legnaia
In Chapter33oftheSpeculum,Tomyrisis reprein
sentedas thesaviorof herpeople,participating
of
beleaa typologyfocused on the liberation
guerednations(Fig. Io). Her liberatrix-colleagues
theBlessed
arean estimablefellowshipcomprising
who
the
who
routs
devil;Judith, vanquishVirgin,
es Holofernes;andJael,who slaysSiserato release
IsraelfromCanaaniterule.
Accepting Castagno's women as a collective
each fromthe
Christianizedtrio,and segregating
376
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"FIT
MN.:
. :!
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iit:
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"."...;
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4,
3".
..
.i ?:.
Ph
v
panorama of Christologicaleventsrecountedin
the Speculum,the sibyl and two easternqueens
assumea remarkablycoherentand cogentmeaningas a group.They alludeto threekeymoments
inthestoryofsalvation:theIncarnation;RedemptionthroughthewoundsofthePassion;and,VictoryoverSatan.
If thesibyland two easternqueensmaybe interpretedsymbolicallyas a Christianizedtrio,their
inclusionin Castagno'sfresconeednotbe defined
solely in termsof the vernacularcivic argument
posed by the six males.While Castagno's statesmenand poetsexiston a planeof endeavorwhich
is contemporary,historicaland directedto the
acquisitionof earthlyrenown,the threewomen
turf,bound in
mightbe standingon lessterrestrial
deed to a redemptiveChrist.
ThroughtheCumaean Sibyl,theiconographical
dimensionsof the Carducci programclearlyare
expandedby theinclusionof Christologicalmesand completedin
sagewhich,in turn,is buttressed
humanistic
at
C. Joost-Gaugier:
program
Castagno's
in Zeitschrift
Legnaiaand itspossibleinventor,
fiir
45,1982,
Kunstgeschichte
277.
378
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"::.9ii.:;......::: i!!! li
!i r:7!iiiis;?
..::i.
.i.:?::.
!i,..:
i}iiii
::
."
jii
81I
?r.i
..;.:,
,;:.i. .........
ii
:
.: :
l:l:.?i-i'::
s;;..-,.....,..--..
,ii,:rii
....'
.:ii.rrri~i.i~iii
::::
?.:i?::!::.
:
:%!
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.,;?
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::,,,i
.
elevatedandthereby
fromCastag- calposturings
oftheFirstParents
aroundtheMadistinguished
nine
his
hand
donna
andChild.
no's
illustri.
Predictably, right
lightshaftofa hoe.
themes
ofbirth,
deathandtriumph
lyclaspsthecylindrical
Considering
envisions
Adamasa choric
on
the
over
Satan
which
the
fall
of
Adam
and Eve and
Castagno
figure
short
infunction
anddesign Christ'sIncarnation
on Castwall,hisrolecomparable
collectively
present
tothatofBoccaccio,
leftmost
on
the
to see the
figure
adjacent agno'sshortwall,it is notsurprising
wall.WhileBoccaccio's
instructs
theviewer CumaeanSibyl,as prophetess
oftheIncarnation
gesture
to regard
thebookhepresents,
Adamextends
his and heraldof thesecondAdam,facingthewall
in
a
of
a trioofimagesintegral
tothepurport
of
arm,
right palmupwards, gesturepresentation.bearing
Sopoised,
heacknowledges
thesublime
result
birth- herprophecy.
On theshortwall,first
andsecond
ed ofhistransgression:
Christin thearmsofHis creations,
first
andsecondAdams,aredisplayed
in
Mother
alsoisdirected
of figures
thesignificance
of whichis
(Fig.13).Yethisgesture
past a trinity
theMadonnaandChildtothelithe,
titulus
oftheCuyoungwoman acknowledged
bytheprophetic
whostands
ontheir
Eve
maean
Adam
and
Eve,theMaright: (Fig.14).
Sibyl.Together,
Shameneither
stainsthebrownormediates
the donnaandChild,andtheCumaeanSibylinauguEve.UnlikeCastagno's ratethestoryofredemption
whichfindsitssalvaproudstanceofCastagno's
sixFlorentines
and threeheroicwomen,shetoo toryconclusion
on thelongwallin thesymbolic
standsona lowplinth.
In gazingbeyondtheloggia forms
ofEstherandTomyris
as typesofChrist's
intothecourtyard
she
overSatan.
outside, turnsawayfrom Passionandtriumph
theMadonna,
andfrom
their
The message
bornebyCastagno's
three
Adam,from
progeny
unitedly
theninefigures
who laboredin herwake.More womenis important,
as surely
theircentral
placealonethanhercompanions
inCastagno's
she menton thelongwalloftheloggiamanifests:
the
mural,
withno figure,
communicates
actualorpainted,
in havocearnedforhumankind
byAdamandEve is
theinnerspaceofthepainted
loggia.Herdetached foiledby divineplan.Framedby six Florentine
and alienated
form- whichvisuallydivorceher heroes,
theCumaeanSibylandQueensEstherand
fromtheraceshehad>>destroyed
of
an
means
themselves
becomea frame
fortheworthy
by
Tomyris
the
her
ascribed
to
deeds
ofCastagno's
statesmen
andauthors.
Inunitapple/evil<<clarify persona
by
IfEvesignifies
lossofEdenandtravail,
titulus53.
pain ing thefamosiwiththeirhistorical
progenitors,
and deathforhumankind,
Adam- by gesture, Adamand Eve,thewomendefinethecareers
of
and
the
Florentines
in
an
modern
historical
context
comglance, possibly
through message
conveyed
- might
haveconnoted
thesalva- prisingheroicdeeds,moralvalor,and especially
byhislosttitulus
tionalcorollary
toherdeed:redemption
the Christian
IntheVillaCarducci,
through
redemption.
earthly
ofChrist.
Infact,
advent
be
visualand
deeds
well
be
Castagno
might
heavenly
promise might wedin
a
well-known
the
Andrea
del
of sixachieving
izing
iconographic
argument,
Castagno'sassembly
of
which
he
reinforces
the
and
men
three
women.
symmetry
by asymmetrisalvation-promissory
is fragmented,
anditsabbrevi53The paintedinscription
ated state has yielded various transcriptions:
Eva
M.
Om[ni]bus.Mater.Suasione.Sua. Genus.Peremit,
Horster:CastagnosFlorentiner
Fresken1450-57,in
17, 1955, 82; Eva Om[ni]Wallraf-Richartz-Jahrbuch
in Zeitschrift
47, 1984,504. The
fiirKunstgeschichte
verbofthetitulus
fallsattheendoftheinscripmissing
tion,and is partiallyvisible.Clearly,two wordsfollow genus,as bothSalmi'sand Mode's transcriptions
report.The finalword mightbe a declensionof
the noun,malus,renderedas the ablativeof means.
Malus,oftenusedto pedagogicaladvantageinexegetical literature
bothas >apple<<and >>evil<<,
suitablyconcludesthethoughtinaugurated
by suasionesua genus
per[re]m[it].
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