Tag: Uffizi

Perseus and Medusa

Perseus and Medusa

Super Hero and #MeToo

After exploring prophets, sinners, and saints from the Biblical tradition, it’s time to turn back to the world of Greek mythology. Let’s start with two of its most iconic figures: Perseus and Medusa. Her story resonates today as a #MeToo narrative; his tale reads like the script of a modern superhero film. Greek myths may be older than the Bible, but the themes they carry, such as good versus evil, justice for the wronged, and the quest for hope, are timeless. So let’s dive in.

To give some context, I’ll introduce the two main characters, Perseus and Medusa, before following Perseus through his adventures, from his miraculous birth as the child of one of Zeus’ escapades to his dramatic wedding with Andromeda. The topics we’ll explore are:

The recurring theme: a busy life for our superhero and the eternal struggle between good and evil.

The Main Characters: Perseus and Medusa

Perseus is one of the prominent heroes in Greek mythology. Unlike some other Greek heroes, his strength did not rely solely on brute force but also on inner qualities like courage and determination. He was the son of Zeus, king of the gods, and Danaë, a mortal princess. Perseus is best remembered for slaying Medusa and for rescuing Andromeda from a sea monster.

Medusa, once a beautiful priestess in the temple of Athena, is one of the tragic figures in mythology. She was raped by Poseidon in Athena’s sacred temple. Because the act defiled a holy space, and possibly because Medusa had boasted of her beauty, Athena punished her by transforming her flowing hair into venomous snakes. And from that moment on, anyone who looked directly at Medusa would be turned to stone.

Poseidon, the rapist, went unpunished. It was the victim who bore the consequences. We do not know if Poseidon felt guilt or ever faced the weight of what he had done. What we do know is that Medusa became the embodiment of female suffering, even labeled a monster. Her transformation has come to symbolize the way women are punished or demonized. In today’s world, Medusa’s story is often reinterpreted through the lens of the #MeToo movement, challenging us to consider who the real monster truly was.

Perseus, Roman copy after a Greek original of the 5th century BCE, Marble, height 29cm, Centrale Montemartini, Musei Capitolini, Rome. Medusa (c.1646), Gian Lorenzo Bernini (Italian, 1598 – 1680), Marble, height 68cm, Musei Capitolini, Rome.

Danaë, Perseus’ mother; Zeus, his father

Perseus was born under remarkable and mysterious circumstances. His mother was Danaë, a mortal princess and daughter of Acrisius, the king of Argos. Acrisius, obsessed with control and fearful of fate, had received a chilling prophecy: one day, he would be killed by his own grandson. To stop this from happening, he locked Danaë in a bronze chamber, isolated high in a tower, where no man could reach her.

But the gods, as always in Greek myth, find a way. Zeus, king of the gods, saw Danaë and desired her. Taking the form of a shower of gold, he entered her prison and impregnated her. In time, Danaë gave birth to a son, whom she named Perseus.

When Acrisius discovered the child, he was furious and terrified. Yet he couldn’t bring himself to kill his own daughter and her infant directly. Instead, he sealed them in a wooden chest and cast them out to sea, leaving their survival to fate. But Zeus watched over them!

The sea carried Danaë and Perseus safely to the island of Seriphos, where a kind fisherman named Dictys took them in. Dictys raised Perseus as his own, and the boy grew into a brave and spirited young man.

(A note from the future: many years later, when Perseus had grown into a man, he took part in the Olympic Games. During a discus throw, his aim went astray and struck down a spectator. That man was none other than King Acrisius, his own grandfather. The prophecy Acrisius was so afraid of was fulfilled, by a tragic accident. But that lies far ahead in the story. For now, we return to the adventures of Perseus as a youth.)

As Perseus matured, he became fiercely protective of his mother. Her beauty had not faded, and it attracted the unwanted attention of many men, including the island’s ruler, King Polydectes. Polydectes was aggressive and arrogant, and he was determined to marry Danaë, whether she agreed or not. Perseus saw through him immediately and did everything he could to protect his mother.

Danaë locked in the tower, Perseus with his mother Danaë drifting away, the fisherman Dictys who found Perseus and his mother, and King Polydectes who will soon start harassing Danë.
Illustration (c.1470) from Raoul Lefèvre (French, 15th Century) “Recoeil des Histoires de Troyes”, 9x12cm, Koninklijke Bibliotheek KB 78 D 48, National Library of the Netherlands, The Hague. For the full page of the manuscript, with text and illustration, click here.

An impossible task: killing Medusa

Frustrated, Polydectes devised a plan to get Perseus out of the way. He announced he was marrying someone else and demanded that all his subjects bring him wedding gifts. Perseus, relieved that his mother wasn’t the bride, promised to give Polydectes whatever he wanted. The king seized the opportunity and asked for something outrageous: the head of Medusa, whose gaze could turn anyone to stone.

Perseus agreed, though he had no idea how he would complete such an impossible task.

Help from Athena and Hermes

To carry out the impossible task of killing Medusa, Perseus received crucial help from two gods: Athena, goddess of wisdom, and Hermes, the swift messenger of the gods.

Athena gave Perseus a highly polished bronze shield. It would allow him to see Medusa’s reflection without looking directly at her. A pretty vital move, since anyone who met her gaze would instantly turn to stone. Hermes provided him with winged sandals, enabling him to fly, and a sharp curved sword.

With Athena’s guidance and Hermes’s gifts, Perseus was ready to face the deadly Medusa. He flew to her, used the mirror-like shield to watch her movements, and without ever meeting her eyes, struck with precision. In one swift motion, he cut off her head, snakes and all.

Death of Medusa and the birth of Pegasus

As Perseus struck off Medusa’s head, something extraordinary happened. From the blood that poured from her neck, a winged horse sprang forth. This was Pegasus, who became Perseus’s loyal companion.

Perseus now carried two powerful tools. One was the head of Medusa, which still had the power to turn anyone who looked at it into stone. The other was Pegasus, the magical horse who could fly. With these, Perseus began his journey home. He planned to return to Seriphos, confront King Polydectes, and reunite with his mother Danaë.

But the way back would not be simple. Like many heroes, Perseus would face new challenges on the road. Each test would reveal more of his courage, his cleverness, and his sense of justice.

Atlas becomes a mountain

On his journey home, Perseus grew tired and stopped to rest in a distant land. This place was ruled by Atlas, a mighty giant who stood guard over a sacred garden. Perseus asked for shelter, explaining that he was the son of Zeus. But Atlas remembered a prophecy that warned him a son of Zeus would one day steal the golden apples from his garden. Fearing the prophecy, Atlas refused to let Perseus stay.

Perseus did not argue. Instead, he reached into his bag and pulled out the head of Medusa. When Atlas looked upon it, he was instantly turned to stone. His great body became part of the earth. His beard and hair turned into forests. His shoulders and arms became ridges and cliffs. His head rose into the sky as a high mountain. This, according to legend, is how the Atlas Mountains in Morocco originated and came to be named after the giant Atlas.

Perseus and Andromeda

As Perseus traveled home, riding the winged horse Pegasus, he flew over the coastline of ancient Ethiopia. There, he saw a young woman chained to the rocks at the edge of the sea. Her name was Andromeda. She had been left as a sacrifice to a sea monster, sent to punish the land for her mother’s pride. Her mother, Queen Cassiopeia, had once claimed that Andromeda was more beautiful than the sea spirits. This angered Poseidon, god of the sea. In revenge, he sent a terrifying monster to attack the coast. The only way to stop the destruction, the people believed, was to offer Andromeda to the creature.

Perseus was struck by Andromeda’s beauty, and he made a promise to save her. As the sea monster rose from the waves, Perseus flew into action. Riding Pegasus, he waited for the perfect moment. Then, at just the right time, he pulled Medusa’s head from his bag. The monster looked…, and instantly turned to stone.

Andromeda’s parents, the king and queen, were filled with gratitude. Perseus asked for Andromeda’s hand in marriage, and she agreed. Together, they would set off for his homeland. But their story was not over yet.

Wedding of Perseus and Andromeda, and Phineas as unwanted guest

After rescuing Andromeda, Perseus was welcomed as a hero. The wedding was quickly arranged, and the royal palace filled with celebration. But not everyone was pleased. At the height of the feast, an angry voice echoed through the hall. It was Phineus, Andromeda’s former fiancé. He stormed in with a group of armed men, furious that the bride had been given to another. He shouted that Andromeda had been promised to him, and that Perseus had stolen her. Tension rose. The joyful feast turned into chaos. Phineus and his followers attacked. Perseus tried to fight them off, but he was badly outnumbered.

Then, as a last resort, Perseus reached for the most fearsome weapon he had: the severed head of Medusa. Holding it aloft, he turned his gaze away. The attackers, caught mid-charge, had no time to look away. One by one, their bodies froze in place. Faces twisted in rage, weapons raised, they turned to cold, silent stone. The room fell quiet. Phineus was no more. The threat was over. The marriage of Perseus and Andromeda could finally begin in peace.

Saving his mother Danaë, and confronting Polydectes

After his adventures abroad, Perseus returned home to the island where he had grown up. But all was not well there. His mother, Danaë, was still being harassed by King Polydectes, who had never given up his attempts to force her into marriage. She had taken refuge in the temple of Athena, hiding from the king’s relentless advances.

Perseus went straight to the palace and confronted Polydectes. Without a word, Perseus pulled the head of Medusa from his bag. Polydectes and his supporters, unprepared and arrogant, looked straight at it and turned to stone. With justice served and his mother finally safe, Perseus restored peace to the island.

Medusa’s head on Athena’s shield

After the sea monster was killed, Andromeda and his mother Danaë saved, and justice delivered, Perseus fulfilled one last promise. He returned the head of Medusa to Athena, the goddess who had guided him on his quest.

Athena took the powerful object and placed it at the center of her shield. From then on, Medusa’s stony gaze would serve to protect. It would turn away evil, and remind all who saw it of the strength found in wisdom and courage.

Closing Notes

So what do we make of Perseus? Like Daniel from the biblical tradition, he is not a hero of brute force but of cleverness, courage, and integrity. Both are young men who rise to great challenges with the help of higher powers, whether divine faith or Olympian favor. They confront arrogant rulers, monsters in both human and mythic form, and they stand up for those who cannot protect themselves.

The stories of Perseus are older than the Bible, mythological in form, but in essence they tell the same tale: that justice can prevail, and that even in dark times, there is hope for the oppressed. Daniel’s story, though biblical in origin, mirrors these ancient myths in spirit. Both narratives teach us that the powerful who act with pride and hubris will be humbled. Both reveal a world where integrity matters more than might. And both reassure us that in the end, with the help of God or the gods, peace can be restored.

Bonus: Versace!

Now from myth to Milan! The famous fashion house Versace uses the head of Medusa as its logo, a direct nod to Greek mythology. The choice wasn’t random. As children, the Versace siblings played among ancient ruins near Reggio Calabria in southern Italy. There, on an old mosaic floor, they encountered the image of Medusa.

Gianni Versace chose Medusa as the brand’s emblem. In myth, those who looked at her were turned to stone. In fashion, he hoped those who looked at his designs would be equally spellbound and captivated. Unlike Perseus, who avoided her gaze, we are drawn to it willingly, mesmerized. Carefully of course, because style and beauty can petrify!

Cranach’s Adam and Eve united in a single frame

Cranach’s Adam and Eve united in a single frame

Lucas Cranach the Elder (German, 1472 – 1553)

Gallerie degli Uffizi, Florence

At the Uffizi in Florence, an important restoration has brought new life – and unity – to Lucas Cranach the Elder’s celebrated pair of panels Adam and Eve, together representing the Fall of Man. The Uffizi’s Adam and Eve were most likely created as two coordinated but independent panels, not as one painting later split. They are conceived together as a single composition, and the two works have now been united within a single ebony-style frame, visually and aesthetically restoring the harmony intended by the German master.

Adam and Eve (1528), Lucas Cranach the Elder (1472 - 1553), Oil on panel, 167x122cm, Galleria degli Uffiuzi, Florence.
After: Adam and Eve (1528), Lucas Cranach the Elder (1472 – 1553), Oil on panel, 167x122cm, Galleria degli Uffiuzi, Florence.

Cranach and his workshop painted over fifty versions of The Fall of Man. Within those, the Uffizi pair stands out for its design: the figures of Adam and Eve are clearly meant to be seen together and, as such, tell the story of the Fall of Man. Their expressions, gestures, and mutual gaze reveal a dynamic dialogue that is now fully restored. The new frame, inspired by the black ebony frames typical of Central and Northern European collections, enhances this interplay while also protecting the works with conservation glass.

Adam and Eve (1528), Lucas Cranach the Elder (1472 - 1553), Oil on panel, each 167x61cm, Galleria degli Uffiuzi, Florence.
Before: Adam and Eve (1528), Lucas Cranach the Elder (1472 – 1553), Oil on panel, each 167x61cm, Galleria degli Uffiuzi, Florence.

Lucas Cranach the Elder’s paintings of Adam and Eve were typically created as a matched pair, with each figure painted on a separate panel intended to be displayed side by side. Though not a single unified panel, the works were conceived as a visual pair, often mirroring each other in pose and scale to create that harmonious composition. This diptych format was popular in Cranach’s workshop, which produced multiple variations on the theme, all maintaining the balance and tension between the figures.

Here are a few other examples: the set from the Kunsthistorische Museum in Vienna; the set from the Norton Simon Museum during restaurantion; and a single panel variation from Würzburg. For an overview of all Cranach’s Adams and Eves, see the Corpus Cranach as supported by the Universitätsbibliothek Heidelberg.

Adam and Eve (c.1530), Lucas Cranach the Elder (1472 - 1553), Oil on panel, each 188x70cm, Norton Simon Museum, Pasadena, California.
The two panels from the Norton Simon Museum, put next to each other during the restauration.
Adam and Eve (c.1530), Lucas Cranach the Elder (1472 – 1553), Oil on panel, each 188x70cm, Norton Simon Museum, Pasadena, California.

Over the centuries, some of these paired panels were separated, sold individually, and now reside in different collections around the world. Where possible, museums have reunited them, while others display only one half of the original pairing. Though variations exist – including single-panel compositions featuring both figures – Cranach’s most attractive format is the two-panel set, a format emphasizing the duality of the narrative of the seducer and the one being seduced, and allowing for the visual interplay between Adam and Eve.

Adam and Eve (c.1513), Lucas Cranach the Elder (1472 - 1553), Oil on panel, 72x62cm, Museum für Franken, Würzburg.
Adam and Eve (c.1513), Lucas Cranach the Elder (1472 – 1553), Oil on panel, 72x62cm, Museum für Franken, Würzburg.

Within the visual and theological conventions of the Renaissance, Eve was often portrayed as the seducer, and Adam as the one being seduced. Lucas Cranach the Elder’s paintings reflect this interpretation. His depictions typically follow the traditional Christian narrative in which Eve is the first to take the forbidden fruit and then offers it to Adam, thus leading both into the Fall.

With the operation in Florence, the Uffizi has not only restored the original compositional intent but has also enhanced the storytelling power and visual impact of two masterpieces of the German Renaissance, now united as they were meant to be. The result is a more coherent and powerful narrative of the biblical story of temptation and the fall of humankind. This reframing marks a key addition to the Uffizi’s newly arranged rooms dedicated to Flemish and Northern European painting on the Gallery’s second floor. 

  • About the restoration on the Uffizi website, click here.
  • Some info about visiting the Uffizi in Florence, click here.
Silenus and Bacchus (c.1572) shine again in the Uffizi.

Silenus and Bacchus (c.1572) shine again in the Uffizi.

Jacopo Del Duca aka Jacopo Siciliano (Italian, 1520 – 1604)

Le Gallerie degli Uffize, Florence

After a complex restoration which lasted over six months, the bronze sculpture and one of the leading lights of the Verone Corridor on the first floor of the Uffizi Gallery is glowing again: we are talking about the large statue of Silenus with Bacchus as a Child by the sixteenth-century artist Jacopo del Duca.

Silenus with Bacchus as a Child (c.1572), Jacopo Del Duca aka Jacopo Siciliano (Italian, 1520 – 1604), Bronze, height 187cm, Le Gallerie degli Uffizi, Florence.

The restoration has been the first recovery intervention carried out on the statue in modern times. It had become necessary because of the excessive darkening of the bronze caused by many retouchings and corrections made on the surface of the Silenus over the centuries. Also, its base needed to be reinforced because of the presence of microcracks in several points.

Silenus with the Infant Bacchus, marble statue created in Rome around 1st century AD after a Greek bronze original by Lysippos from around 300 BC, discovered in Rome in the Gardens of Sallustius around 1566, height 198cm, Louvre, Paris.

The subject derives from a marble statue, now preserved in the Louvre, which is a Roman copy from the Imperial era after a bronze dating back to the late 4th century BC allegedly by the Greek sculptor Lysippos. The Louvre Silenus (the so-called Borghese Silenus) was found in the second half of the sixteenth century in a garden in Rome. The bronze copy of the Uffizi, was commissioned by Ferdinando I de’ Medici. In 1588, the Grand Duke placed the sculpture inside the gallery of Villa Medici in Rome and later moved in front of the villa’s portico. In 1787, Silenus with Bacchus as a Child was brought to Florence and displayed in the Uffizi Gallery, where it’s still found today.

In Greek mythology, Silenus was a companion and tutor to the wine god Bacchus (or in Greek Dionysus). A notorious consumer of wine, he was usually drunk and had to be supported by satyrs or carried by a donkey. But Silenus was also wise prophet and the bearer of terrible wisdom; he was described as the oldest, wisest and most drunken of the followers of Bacchus.

Drunken Silenus (c.1620), Peter Paul Rubens (Flemish, 1577 – 1640), 212x215cm, Alte Pinakothek, München.

When Bacchus was born, Hermes – the messenger of the gods – took the infant and gave it to Silenus, then a minor forest god who loved getting drunk and making wine. Silenus took young Bacchus under his care and raised the child which grew to become one of the most important gods of Greek mythology. Eventually, Silenus, from a foster father became a follower of Bacchus and he became inextricably linked with the wine god.

The Thriumph of Silenus (c.1625), Gerrit van Honthorst (Netherlandish, 1590 – 1656), 209x272cm, Palais des Beaux-Arts, Lille, France.
  • More about the restoration, click here.
  • Some info about visiting the Uffizi in Florence, click here.
Last Supper (1525), Andrea del Sarto, Florence, Italy.

Last Supper (1525), Andrea del Sarto, Florence, Italy.

Andrea del Sarto (Italian, 1486 – 1531)

Cenacolo di Andrea del Sarto, Florence.

In the old refectory of the San Salvi monastery on the outskirts of Florence, Andrea del Sarto painted the life-like Last Supper. Initially, the artist painted the sub-arch, which took 18 days. Work was suspended for about fifteen years, and then he was called back to fresco the Last Supper properly and completed it in 46 days. During the siege of Florence it was one of the very few surviving works outside the walls of Florence, the only one of importance, and it seems that the imperial soldiers were so enchanted by its surprising modernity that they spared it. In 1534 the monastery became a female monastery and then a strict enclosure was introduced, which made the work de facto invisible until the monastery was suppressed. 

Last Supper (1525), Andrea del Sarto (Italian, 1486 – 1531), fresco, 468x871cm, Museo del Cenacolo di Andrea del Sarto, Florence.

At this Last Supper, the apostles are seated, shocked by the announcement of the betrayal just uttered by Jesus. Judas, as Leonardo already did in his Last Supper, is not separated from the table on this side as in so many other Last Suppers, but is at the right hand of Jesus, faithful to the Gospel text of John with his hand on his chest to demonstrate his disbelief, as he receives a piece of soaked bread from Jesus. Jesus had just told the group that one of them will betray him, the one he will rech out to with a piece of bread.

Andrea del Sarto (1486 – 1530) was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. Although highly regarded during his lifetime as an artist senza errori or without errors, his renown was eclipsed after his death by that of his contemporaries Leonardo da Vinci, Michelangelo, and Raphael.

The Annunciation to the Virgin Mary, March 25

The Annunciation to the Virgin Mary, March 25

Today 25th of March is the feast of The Annunciation, also referred to as the Annunciation to the Blessed Virgin Mary. It is the announcement by the Archangel Gabriel to Mary that she would conceive and bear a son through a virgin birth and become the mother of Jesus Christ.

It’s easy to remember this date, as it’s a full nine months of pregnancy before Christmas, the birthday of Jesus. And it’s approximately the start of spring and the moment of the northern equinox when day and night are equally long. In medieval terms, start of spring is identified as the date of an unusual number of Biblical events: Adam’s and Eve’s fall into sin; Cain’s murder of Abel; Abraham’s near-sacrifice of Isaac; the martyrdom of John the Baptist; and the Crucifixion. Still more strongly associated with this date is the Annunciation, at which, according to the Gospel of Luke, the archangel Gabriel brought word to the Virgin Mary that she would conceive the Son of God: “Hail, full of grace, the Lord is with thee: blessed art thou among women.”

The Annunciation at the Well flourished in Byzantium, an ancient Greek city that became known as Constantinople and as Istanbul today. In this illustration from a 12th century manuscript, two meetings are implied: at left, Mary dips her pitcher into a well as she turns to hear Gabriel’s message; at right, she approaches a house where she will receive the angel a second time while sitting on a throne-like chair. This illustration is following the Annunciation as written in the Gospel of James.
Jacobus Monachus also known as the Kokkinobaphos Master, Homiliae in Beatam Mariam etc, 12th Century, Bibliothèque Nationale de France. Département des Manuscrits, Inv Nr Grec 1208, page 159v

The Annunciation has been one of the most frequent subjects of Christian art. Its composition and details vary in accordance with its setting: the Virgin might appear on a throne, in a loggia, in a bedroom, or outdoors, and she often is shown sewing or reading. A variant of particular interest is the depiction of the Annunciation at the Spring, also known as the Annunciation at the Well. Inspired by accounts preserved in early apocryphal (non-Bible) texts such as the Gospel of James, this variant of the Annunciation depicts the Virgin Mary greeted by the angel Gabriel as she is fetching water at a well.

Cultures in the western part of the Mediterranean, like Venice with its strong trading links to the Byzantine area, adopted the image of the Annunciation at the Spring. This scene appears among twelfth-century mosaics of the Life of the Virgin in the transept of the church of San Marco in Venice.

There are two basic sources that describe the Annunciation. The Gospel of Luke (1:26-38) and the Gospel of James (v.11). Luke’s Gospel is part of the traditional Bible books and mostly the story that is depicted in Western art from the 14th Century onwards. The other source is the 2nd Century Gospel of James, which is an “apocryphal” book, meaning it’s not included in the traditional Bible collection of books. James’s Gospel is mostly the source in Eastern art up to the 15th Century and – remarkably – again by British painters in the 19th Century. The Gospel of James describes how one day Mary took the pitcher and went forth to draw water at a well when she heard an angelic voice: “Hail, you are highly favored, the Lord is with you, blessed are you among women.” And Mary looked around on the right and on the left to see from where this voice could have come.” During this first encounter, at a well or spring, the angel was heard but not seen. Mary appeared to be alone. Mary then went inside and it’s there that the angel appeared to her in person, while Mary is sitting on a throne-like chair.

In this beautiful illustration form an early 14th Century Armenian manuscript known as the Glazdor Gospels, a flattened, stylized well and pitcher offer only a reminder of the original “Annunciation at the Well” images. The figures’ static postures, animated only by Gabriel’s speaking gesture and the Virgin’s raised palm, recall Western Annunciation scenes, but Mary’s gilded brocade, the throned seat and the ogival dome at the top of the composition attest to its Eastern roots.
The Glazdor Gospels, Los Angeles, University of California Research Library, MS. 1, p. 305.

From the 14th Century onward most Annunciations in Western art focus more on the story as written in the Gospel of Luke rather than the apocryphal Gospel of James. They dispense with the pitcher and the well and more and more they will also omit Mary sitting on a the throne-like seat. Many more images placed the event in a specific and unified space such as a portico (Fra Angelico), a private home (Rubens), or a church (Van Eyck).

The Archangel Gabriel delivers a salutation from God: “Ave Gratia Plena” (Hail, Full of Grace). His words flow out in gold letters. Mary draws back with surprise and modesty. She has been chosen to bear the Son of God. As she speaks her acceptance: “Ecce Ancilla Domini” (See, I am the Servant of the Lord), written upside-down for God to read it more easily from above. The dove of the holy spirit descends to her on rays of light.
Jan van Eyck (Netherlandish, c.1390 – 1441), The Annunciation (c.1435), 90x34cm, National Gallery of Art, Washington.
In this Annunciation by Fra Angelico, Gabriel is seen approaching Mary outdoors in the cloister of San Marco in Florence. Mary is depicted as sweet and innocent yet taken aback by Gabriel’s arrival. Her innocence and virginity is represented by the “Hortus Conclusus” (Walled Garden) seen in the background. Her arms are folded in the same manner as Gabriel, and show her acceptance, humility, and submission.
Fra Angelico (c.1395 – 1455), The Annunciation (c.1442), Fresco, 230x297cm, Convent of San Marco, Florence.

When Cosimo de’ Medici rebuilt the convent of San Marco, he commissioned Fra Angelico to decorate the walls with frescos. This included the inside of the monk’s cells and inside the corridors; around fifty pieces in total. Out of all of the frescos at the convent, the Annunciation is the most well known. This fresco was not intended just for aesthetic purposes. Running across the loggia at the bottom of the fresco there is an inscription that instructs the viewer: “Virginis Intacte Cvm Veneris Ante Figvram Preterevndo Cave Ne Sileatvr Ave.” It means “When you come before the image of the Ever-Virgin take care that you do not neglect to say an Ave”. This was a daily reminder for the monks to pray.

Leonardo’s Annunciation depicts the Archangel Gabriel announcing to Mary that she would conceive miraculously and give birth to a son to be named Jesus.  The angel holds a Madonna lily, a symbol of Mary’s virginity as well as that of the city of Florence. It is presumed that, being a keen observer of nature, Leonardo painted the wings of the angel to resemble those of a bird in flight, but later, the wings were lengthened dramatically by another artist.
Leonardo da Vinci (Italian, 1452 – 1519), Annunciation (c.1474), 98x217cm, Uffizi, Florence.
In this Annunciation by Rubens, painted around 1628, Mary is portrayed in her sitting room. The homy atmosphere is emphasized by the wicker basket that contains Mary’s sewing and the sleeping cat in the bottom right-hand corner. Rubens started working on this painting after his stay in Italy, where he had come under the influence of the great painters of the Renaissance. This Italianate influence is evident from the unusually bright colors and the free dynamic style, which was new in the Netherlandic countries. Rubens used ultramarine for Mary’s cloak, a precious pigment made from finely ground lapis lazuli.
Peter Paul Rubens (Flemish, 1577 – 1640), The Annunciation (1628), 310x179cm, Rubens House, Antwerp.
This scene shows the intercession of the Holy Ghost, symbolised by the white dove. The Virgin is accompanied by three of her traditional attributes: a sewing basket, a book as symbol of Mary’s devotion, and a spray of lilies which symbolize her purity.
Bartolomé Esteban Murillo (Spanish, 1617 – 1682), The Annunciation (c.1660), 125x103cm, Museo del Prado, Madrid.
In the 19th Century a group of British painters broke with traditional imagery and went back to pre-Raphael depiction of stories. This group is therefor called the Pre-Raphaelites. Here on this painting, Mary is back at the well as in the Byzantine annunciation images. She encounters the voice of the angel and his message, although she doesn’t see him.
Edward Burne-Jones (British, 1833–1898), The Annunciation (1879), 250x105cm, Lady Lever Art Gallery, Liverpool, England.
This Annunciation of 1892, by Arthur Hacker from the Tate Britain, London, is depicting the story from the 2nd Century apocryphal (non-Bible) Gospel of James. As Mary gathers water at the well, unexpectedly an angel she cannot see appears. Arthur Hacker chose to portray the young Mary in portrait form, rather than focus upon the angelic meeting. Serious and sombre, Mary rests her hands on her heart. She is aware of something very important happening to her. She knows she has a role to play, and seems humbled to be chosen for it. Hovering behind Mary is the angel. He holds out a lily to Mary, the flower that symbolises Mary’s purity. Arthur Hacker spent time in Spain and Morocco. This had a strong influence on his art. Mary’s clothing probably reflects Islamic dress Hacker saw during his travels.
Arthur Hacker (English, 1858 – 1919), The Annunciation (1892), 233x126cm, Tate, London.
Beatrice Emma Parsons chooses to portray the innocence and vulnerability of a young woman faced with the important responsibilities of motherhood. While the virginity of Mary has always held theological importance, with this work Parsons uses it to emphasize the humanity of the scene. Parsons captures the vulnerability of Mary, dressed in white and standing among a field of Madonna lilies, a symbol of the Annunciation and Mary’s purity. Also seen growing in Mary’s garden are red roses, emblematic of Christ’s Passion. The Holy Spirit, represented according to the traditional iconography of scenes of the Annunciation as a Dove fluttering above the Virgin’s head, is here translated into a group of birds sitting on the roof of the Virgin’s cottage.
Beatrice Emma Parsons (English, 1870 – 1955), The Annunciation (1897), 114x183cm, Sotheby’s New York, 2007.
Tanner painted The Annunciation after a trip to Egypt and Palestine in 1897. Influenced by what he saw, Tanner created an unconventional image of the moment when the angel Gabriel announces to Mary that she will bear the Son of God. Mary is shown dressed in rumpled Middle Eastern peasant clothing, without a halo or other holy attributes. Gabriel appears only as a shaft of light. Tanner entered this painting in the 1898 Paris Salon exhibition, after which it was bought for the Philadelphia Museum of Art in 1899.
Henry Ossawa Tanner (American, 1859 – 1937), The Annunciation (1898), 145x181cm Philadelphia Museum of Art, Philadelphia PA.

March 25 was used as New Year’s Day in many pre-modern Christian countries. The holiday was moved to January 1 in France by Charles IX in 1564. In England, the feast of the Annunciation came to be known as Lady Day, and Lady Day marked the beginning of the English new year until 1752.

Here are the two stories, written by Luke and by James, both accounts of the Annunciation and written down in the first few centuries after the birth of Jesus.The story as told by Luke in his Gospel (1:26-38) is focusing on the discussion between the Angel and Mary. It’s as follows:

Luke 1: 26-38
God sent the angel Gabriel, to a virgin named Mary. The angel went to her and said, “Greetings, you who are highly favored! The Lord is with you.”
 Mary was greatly troubled at his words and wondered what kind of greeting this might be. But the angel said to her, “Do not be afraid, Mary; you have found favor with God. You will conceive and give birth to a son, and you are to call him Jesus. He will be great and will be called the Son of the Highest.”
 “How will this be,” Mary asked the angel, “since I am a virgin?”
The angel answered, “The Holy Spirit will come on you, and the power of the Most High will overshadow you.”
 “I am the Lord’s servant,” Mary answered. “May your word to me be fulfilled.” Then the angel left her

The story as told by James in his Gospel (v.11) gives also details about the setting. It happens at the well and inside Mary’s house, and it mentions that Mary is doing some sewing and needlework. It’s as follows:

James v.11
And she took the pitcher and went out to fill it with water. And suddenly a voice could be heard, saying: “Hail, you who has received grace; the Lord is with you; blessed are yiou among women!” And Mary looked round to the right hand and to the left, to see from where this voice came. And she went away, trembling, to her house, and put down the pitcher; and she took her sewing basket with needlework, and she sat down on her seat. And then, look, an angel of the Lord stood before her, saying: “Fear not, Mary; for you have found grace before the Lord, and you shall conceive, according to His word.” And she is hearing, reasoned with herself, saying: “Shall I conceive by the Lord, the living God? and shall I give birth as every woman gives birth?” And the angel of the Lord said: “Not so, Mary; for the power of the Lord shall overshadow you: wherefore also that holy thing which shall be born with you shall be called the Son of the Highest. And you shall call His name Jesus, for He shall save His people from their sins.” And Mary said: “See, I am the servant of the Lord before His face: let it be upon me according to your word.”
The Olympian Gods

The Olympian Gods

This is a 101 crash course in Greek and Roman gods. In ancient Greek mythology, twelve Olympian gods and goddesses ruled over the affairs of mankind from their palace on Mount Olympus. Besides this canon of major deities, many other gods, half-gods, human offspring and heroes visited the Olympus, and these twelve Olympians descended frequently to earth to have their wars, love affairs, parties and weddings, with other gods and humans. With 2,917 meters, Mount Olympus is the highest mountain in Greece, about 80 km southwest from Thessaloniki.

Cornelis van Poeleburgh (1594 – 1667), “Feast of the Gods” (1623), 32x84cm, Wadsworth Atheneum Museum of Art, Hartford, Connecticut.

Roman mythology draws directly on Greek mythology and the Romans identified their own gods with those of the ancient Greeks. Greek and Roman mythologies are therefore often classified together as Classical mythology. The interpretations of Greek myths by the Romans often had a greater influence on narrative and pictorial representations of “classical mythology” and therefore the twelve Olympians are often known under their Roman or Latin names.

There is a certain hierarchy, with Zeus being the King of the Gods and Hera their Queen. Almost all of these twelve have family relationships, Zeus often is the father although his kids have different mothers. The Olympian Gods and Goddesses have their own field of reign, covering all aspects of antique mankind. They can be recognised by their posture and physics, and by their attributes. Hereunder the Twelve Olympians, also with their Roman names and of course with their attributes. After some practising it becomes an easy and fun task to recognise them. Here is the 101 crash course!

Zeus (Jupiter)

King of the Gods and ruler of Mount Olympus, god of the sky, lightning, thunder, law, order and justice. The Roman equivalent is Jupiter. He is associated with a bundle of thunderbolts and the eagle. Zeus is married to Hera.

Heinrich Friedrich Füger (1751 – 1818), “Jupiter” (c.1800), 103x79cm, Hungarian National Gallery, Budapest.

Zeus (Greek Ζεύς, Roman Jupiter) is the senior god, ruling over the other deities who are living on their divine Mount Olympus. He held dominion over the earth and sky and was the ultimate arbitrator of law and justice. He controls the weather, specifically with thunder and lightning. He married Hera, but he had a wandering eye and a penchant for flings with any and all women and occasionally a man or boy. His romantic interests gave birth to numerous other gods, demi-gods, and mortal heroes on the earth. Many of the myths about Zeus concern his seemingly endless adulterous rapes of mortals and demi-gods. His wife Hera doesn’t like this at all of course. Zeus’ amorous adventures and Hera’s counterattacks and revenge provide an endless source of fun and many of these stories are inspiration for generations of artists. On the painting Zeus (Jupiter) enthroned, with the eagle at his feet and in his hand a bundle of thunderbolts.

Hera (Juno)

Queen of the Gods, Goddess of marriage and family. The Roman equivalent is Juno. Her attribute is the peacock. Hera is the wife of Zeus.

Hendrick Goltzius (1558 – 1617), “Juno” (c.1595), 13x11cm, Drawing on Paper, Rijksmuseum, Amsterdam.

Hera (Greek Ἥρᾱ, Latin Juno) rules as the queen of the gods. As the goddess of marriage and fidelity, she was one of the only Olympians to remain steadfastly faithful to her spouse, Zeus. Though faithful, she was also vengeful, and tormented many of Zeus’s extramarital partners. This has been depicted multiple times throughout history of art and is an endless source of stories and inspiration for painters. Acting as a matronly Queen of the deities of Olympus, she is normally associated with women, marriage and childbirth. Hera’s most usual attribute is her favourite bird, the peacock, as can be seen in-extremis on Glotzius’ drawing from the Rijksmuseum.

Poseidon (Neptune)

The God of the Sea. The Roman equivalent is Neptune. He can be recognised by his trident, horses and dolphins. Poseidon (God of the Sea) is a brother of Zeus (God of the Sky) and Demeter (God of the Land).

John Singleton Copley (1738 – 1815), “Neptune” (c.1754), 70x113cm, The Metropolitan Museum of Art, New York.

When Zeus became king, he divided the universe amongst himself and his two brothers of which Poseidon (Greek Ποσειδῶν, Latin Neptune) received dominion over the seas and waters of the world, its storm and earthquakes. He was the protector of seamen and the god of horses. Poseidon lived with his wife in a magnificent palace under the sea, though he was a frequent visitor on Mount Olympus. On the painting, as usual, Neptune is depicted as an old man with long flowing white hair and beard, riding over the waves of the sea in a coach made of a shell and drawn by his horses. His head crowned as king of the seas, trident in one hand and a big pearl in his other hand.

Demeter (Ceres)

Goddess of the Harvest and Agriculture. The Roman equivalent is Ceres. Her attributes are wheat and the cornucopia, which is the horn of plenty. Demeter is the sister of Zeus and Poseidon.

Antoine Watteau (1684 – 1721), “Ceres” (c.1717), 142x116cm, National Gallery of Art, Washington.

Known as the “good goddess” to the people of the earth, Demeter (Greek Δημήτηρ, Latin Ceres) is the goddess of the harvest, who oversaw farming, agriculture, and the fertility of the earth. Not surprisingly, as she controlled the production of food, she was very highly worshipped in the ancient world. On the paining by Watteau she represents summer. Ceres wields a sickle and sits on clouds among sheaves of wheat. The figures surrounding Ceres — the crayfish, the lion, and the nude blond woman — represent the zodiacal symbols of summer (Cancer, Leo, and Virgo). The name of Ceres comes back in the word “cereal”.

Athena (Minerva)

Goddess of War and Wisdom. The Roman equivalent is Minerva. Her symbols are the owl and the body armour including a helmet. Athena is born out of Zeus’ head.

Rembrandt van Rijn (1606 – 1669), “Minerva” (1635), 138x117cm, The Leiden Collection, New York.

Athena (Greek Ἀθηνᾶ, Latin Minerva), was the daughter of Zeus, born out of his head and already at birth dressed in full armour. Athena’s strength rivaled that of any of the other gods. She refused to take any lovers, remaining determinedly a virgin. She took her place on Mount Olympus as the goddess of justice, strategic warfare, wisdom, rational thought, and arts and crafts. In the Rembrandt painting, Minerva can be seen in her study, looking up from her large folio. Her regal appearance is enhanced by the laurel wreath crowning her head. In the background are more books and parts of her body armour, a golden helmet, a spear and a large shield.

Artemis (Diana)

Goddess of the Moon and the Hunt. The Roman equivalent is Diana. Symbols are the moon, bow and arrow. She is a daughter of Zeus and Apollo is her twin brother.

Pietro Antonio Rotari (1707 – 1762), “Diana” (c.1740), 109x77cm, Private Collection, latest at Sotheby’s.

Artemis (Greek Ἄρτεμις, Latin Diana)  and her twin brother Apollo were children of Zeus. The twins became important Olympians, though they were as different as night and day. Artemis was quiet, dark and solemn, the goddess of the moon, forests, archery, and the hunt. Like Athena, Artemis had no desire to marry. She was the patron goddess of feminine fertility, chastity, and childbirth, and was also heavily associated with wild animals. On the painting she is easily recognised by the crescent moon worn as a tiara, the bow and arrow on her back and a hunting dog at her feet.

Apollo

God of the Sun, Light and Music. His attributes are the lyre, sun and laurel wreath. Apollo is a son of Zeus and Artemis is his twin sister.

Rosalba Carriera (1675 – 1757), “Apollo” (c.1743), 67x52cm, Pastel on Paper, The State Hermitage Museum, St Petersburg.

Artemis’s twin brother Apollo (Greek Ἀπόλλων and the same name in Latin) was the god of the sun, light, music, prophecy, medicine, and knowledge, and thus the exact opposite of Demeter. Zeus may have been the senior of the deities, but among the most important and popular with the Greeks and Romans, and later with artists, is Apollo. He is a beardless young man, and the epitome of male beauty. His most common attribute is the lyre, his constant companion for both music and poetry. Apollo was considered the most handsome of the gods. He was cheerful and bright, enjoyed singing, dancing, and drinking, and was immensely popular among both gods and mortals. He also took after his father in the chasing of mortal women and from time to time a boy. On the painting Apollo is depicted as a male beauty, with his lyre and a laurel wreath on his head.

Ares (Mars)

God of Violent War. The Roman equivalent is Mars. Spear, shield and armour are his symbols. Zeus is Ares’ father.

Hendrick ter Brugghen (1588 – 1629), “Mars” (1629), 107x93cm, Centraal Museum, Utrecht.

The attributes of Ares (Greek Ἄρης, Latin Mars) are any part of arms and armour of a warrior, like a helmet and shield. Where Athena oversaw strategy, tactics, and defensive warfare, Ares revealed in the violence and bloodshed that war produced. Often depicted asleep, as on our painting here, which makes him more sympathetic. The God of War asleep becomes the Good of Peace. His name is still used in “martial arts”.

Hephaestus (Vulcan)

God of Fire and Blacksmith of the Gods. The Roman equivalent is Vulcan. To be recognised by fire and the hammer. He married Aphrodite.

Pompeo Girolamo Batoni (1708 – 1787), “Vulcan” (c.1750), 98x76cm, Pinacoteca Civica, Como.

Hephaestus (Greek Ἥφαιστος, Latin Vulcan) learned the blacksmith’s trade, built himself a workshop, and became the god of fire and metallurgy. His forges produce the fire of volcanoes. Hephaestus was horribly ugly – at least by the standards of gods and goddesses – but he managed to marry the beautiful Aphrodite, goddess of love. His attributes derive from his role, and include the hammer and anvil as used in the working of metals. These tools can be seen on this painting, with fire in the background. The word “volcano” refers to the Roman name of Hephaestus, Vulcan.

Aphrodite (Venus)

Goddess of Love, Beaty and Sexuality. The Roman equivalent is Venus. She can be recognised a dove and beauty aspects like jeweller and flowers. Aphrodite married Hephaestos.

François Boucher (1703 – 1770), “Venus” (1751), 108x85cm, The Metropolitan Museum of Art, New York.

Aphrodite (Greek Ἀφροδίτη, Latin Venus) as the most beautiful woman, was married to the most ugly of the gods, Hephaestus. She enjoyed a number of flings with mortal humans, including an affair with the beautiful young guy Adonis. Aphrodite (mostly as Venus) has proved hugely popular in Western art, all too often as an excuse for painting a classical female nude and in the case of her affair with Adonis, also with a beautiful man. This tradition of depicting Aphrodite largely or completely unclothed dates from classical times, already on some of the wall paintings found in the ruins of Pompeii. The Boucher painting, formally called “The Toilette of Venus” was executed for the bathroom of Madame de Pompadour, the powerful mistress of Louis XV. Boucher devised a summary of the key features: Venus as female beauty, and an unfurling of luxurious furniture, fabric, flowers, and pearls. The name of the goddess still lives on in the words “aphrodisiac” and “venereal”.

Hermes (Mercury)

God of travel, commerce and communication, Messenger of the Gods. The Roman equivalent is Mercury. Attributes are winged sandals, hat with wings, and the caduceus, a rod with two entwined serpents. His father is Zeus.

Peter Paul Rubens (workshop), “Mercury” (c.1637), 180x69cm, Museo del Prado, Madrid.

Hermes (Greek Ἑρμῆς, Latin Mercury) is the god who spends as much time among mortals as he does on Olympus: he’s the divine messenger and emissary. Attributes associated with that role include winged sandals, a distinctive staff with a pair of serpents around it, known as a caduceus, and a hat or helmet which bears wings too. The pair of entwined serpents along the caduceus indicates his swiftness as a messenger. This is where the word “mercurial” comes from. There’s also a touch of mischief about Hermes, which has resulted in him being referred to as the divine trickster. He’s thus seen as the protector of all messengers, travellers, thieves, merchants and orators. On the Prado painting we can see the wings around his feet and on his head, and the two snakes around the rod; and of course the male beauty of Hermes himself.

Dionysus (Bacchus)

God of Wine. The Roman equivalent is Bacchus. As God of Wine he can of course be recognised by the grapevine and a cup. Dionysus is the youngest son of Zeus.

Michelangelo Merisi, known as Caravaggio (1571 – 1610), “Bacchus” (c.1598), 95x85cm, Le Gallerie degli Uffizi, Florence.

As the god of grape harvest, wine and its making and consumption, Dionysus (Greek Διόνυσος, Latin Bacchus) was an easy favourite among Olympians and mortals alike. Dionysus was the only Olympian to be born of a mortal mother, and perhaps that was part of the reason why he spent so much time among mortal men, traveling widely and gifting them with wine. Like on the Caravaggio painting here, he is almost always associated with wine and drunkenness. His most distinctive attributes are grapes, wine leaves and of course a glass of wine. His name lives on in the word “bacchanal”.

Hans Memling (1430 – 1494)

Hans Memling from Bruges, Belgium, died on this day August 11 in 1494. Besides producing the standard devotional paintings, he also became one of the most sought-after Netherlandish portrait painters. He invented an unique and totally new style of portrait, with a landscape in the background, as if the sitter is portrayed outside or in front of a window.

Hans Memling (1430 – 1494), “Portrait of a Man with a Letter” (c1485), 35x26cm, Oil on Panel, Le Gallerie Degli Uffizi, Florence, Italy.

Memling’s clientele was quite international. Bruges had many visitors from Florence, Tuscany, as the Italians and the Flemish were partners in textile trading and banking. The Medici family even had their permanent representatives in Bruges. These wealthy merchant guys with haircuts fashionable in Florence, asked to be portrayed against a Flemish background.

Hans Memling (1430 – 1494), “Portrait of a Young Man” (c1472), 38x27cm, Oil on Panel, The Metropolitan Museum of Art, New York.

The portraits were shipped to Florence and many of these are now in Italian museums. Already a few years after the first Memling portraits were sent home to Florence, painters from Tuscany started to use similar Flemish backgrounds in their own paintings. Memling is the perfect example of the influence of Netherlandish art on the Italian Renaissance. Memling revolutionized Italian painting.

Mannerism

Bronzino (1503 – 1572), “An Allegory with Venus and Cupid” (1545), 146x116cm, Oil on Wood, The National Gallery, London.

Mannerism is a European art style that follows Renaissance and precedes Baroque, originating in Italy around 1520 and spreading over Europe. Mannerism lasted until the end of the 16th Century, when Mannerism gradually turned into the Baroque style.

How did Mannerism originate and what is it all about? The artists from the Renaissance, like Michelangelo and Leonardo da Vinci, excelled in painting and sculpting ideal beauty, balanced proportions and ultimate elegance. Their art had reached the top of what could be achieved; Renaissance was considered the peak of perfection. That gave the next generation of artists a feeling that they had not much to add anymore, and therefor they started to search for additional artistry on top of the Renaissance skills and values. This next generation started to add wisdom and intelligence to their art. And that resulted in a “manner” of over-sophisticated elegance. Mannerism is more about artificial and intellectual beauty than the perfect natural beauty from the Renaissance times.

The word “Mannerism” comes from the Italian word “maniera”, meaning “manner”. The Mannerist painters were painting in the “manner” of Renaissance painters like Michelangelo, but topped it up with their own intellectual and sophisticated inventions. One could say that they overdid it a bit. The mannerist artists tried to exceed Renaissance art, but that resulted in an overcomplicated way of depicting nature. And ultimately that was followed by the even more complex manner of depicting beauty during the Baroque.

Look at Bronzino’s “An Allegory with Venus and Cupid” (1545). It’s an almost bizarre composition and an exaggerated anatomy of figures. It reminds us of Michelangelo, but with an over-the-top approach of beauty. And the meaning behind this painting is so over-intellectual, that one hardly understands what it is about. It’s passion and play, time and despair, love and seduction; with every figure having it’s own symbolic meaning and art historians nowadays in doubt of the actual meaning. Or look at the Virgin Mary with Child (1540) by Parmigianino. In his efforts to create more elegance, Parmigianino gave his figures those long stretched bodies. And ironically, the painting is now just known as “The Madonna with the Long Neck”. Both Bronzino and Parmigianino want to express that there is more to achieve than the old-fashioned way of traditional Renaissance painting. They show the viewer their new “manner” of dealing with art and beauty. Mannerist painters proudly created Modern Art in the 16th Century.

Parmigianino (1503 – 1540), “The Madonna with the Long Neck” (c. 1537), 216x132cm, Oil on Wood, Galleria degli Uffizi, Florence.