Full title | Allegory of Temperance |
---|---|
Artist | Luca Giordano |
Artist dates | 1634 - 1705 |
Series | Modelli for the Palazzo Medici Riccardi, Florence |
Date made | early 1680s |
Medium and support | Oil on canvas |
Dimensions | 97 x 101.3 cm |
Acquisition credit | Presented by the Trustees of Sir Denis Mahon's Charitable Trust through the Art Fund, 2013 |
Inventory number | NG6635 |
Location | Central Hall |
Art route(s) | C |
Collection | Main Collection |
This modello, or detailed oil study, is one of a group of 12 that Giordano made in preparation for the ceiling frescoes in the Palazzo Medici Riccardi in 1682–85. Ten of the modelli are in the National Gallery's collection, and this one represents one of the four Cardinal Virtues. First identified by the philosopher Plato, these were later adopted by the Roman Catholic Church. A different Virtue is depicted in each corner of the ceiling.
Here the Virtue is Temperance, shown as a young woman wearing an armoured breastplate and leaning on an elephant, then regarded as strong but cautious animals. Beside her stands Sobriety and together they triumph over Sloth (languishing on the left), Envy (in the centre) and Hunger (to the right, chewing on a bone). The figures flying above the scene are probably Voluptuousness (holding a winged sphere and fish hooks), Youth (in the centre) and Tranquillity (with a cornucopia and a white bird in a nest).
This modello, or detailed oil study, is one of a group of 12 that Giordano made in preparation for the ceiling frescoes in the Palazzo Medici Riccardi in Florence in 1682–85 (ten of the modelli are in the National Gallery’s collection). It corresponds with the group in the left corner of the barrel-vaulted ceiling, opposite the entrance to the grand Galleria and to the left of The Cave of Eternity.
The central figure represents Temperance, one of the four Cardinal Virtues. These were first identified by the philosopher Plato, and later adopted by the Roman Catholic Church. One Virtue is depicted in each of the four corners of the Galleria and they form part of a continuous frieze of allegorical and mythological scenes. In the finished fresco, four of the Medici family depicted in the centre of the ceiling are also given attributes representing each of the Virtues.
Here, Temperance is shown as a young woman wearing an armoured breastplate. She holds a bridle (indicating restraint) and a clock (indicating patience), and a halo-like radiance from behind her head lights up her determined expression. She is leaning on the head of an elephant, which was then regarded as the strongest but also the most cautious of animals. Beside her stands Sobriety, who holds a key (which was also the emblem of the Riccardi family) – she too has a steely look in her eye. The figure behind them probably represents Meekness, taking a suitably unassuming position in the line up; she is receiving flowers from two putti and pours oil or honey from a jar.
Together these figures of beauty and virtue, determination and moderation, are shown to triumph over three cowering hags who represent the effects of intemperance. Sloth languishes on the left, solitary and miserable. Envy, with shrivelled breasts and embraced by a snake, gnaws at her own forefinger. In the finished fresco, Giordano depicted her as a Gorgon, a legendary monster with snakes instead of hair. Meanwhile, to the right, Hunger chews on a bone and leans on a ravenous red-eyed wolf.
The figures flying above the scene are harder to interpret. On the right may be Tranquillity, with a cornucopia and a white bird in a nest – perhaps a dove, though it has been read as a seagull. In the centre, Youth carries an incense vessel and a ring in the form of a serpent biting its tail, a symbol of eternity. Behind her flies Voluptuousness, holding a winged sphere and fish hooks.
For the finished ceiling fresco, Giordano altered the composition so that Temperance is turning up towards Youth. He made similar changes to the postures of three of the four Virtues, presumably at the request of his patron, the Marquess Francesco Riccardi (only Fortitude keeps the same downward gaze employed in the modello). These alterations better suit the curvature of the ceiling and inject more energy and dynamism to the design, sending the eye up towards the centre of the room. Giordano’s changes to this particular scene also make it seem like Youth is shielding Temperance from the semi-naked figure of Voluptuousness above her; whether this alteration is significant or was done purely for aesthetic reasons is unclear.
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Modelli for the Palazzo Medici Riccardi, Florence
This group of ten paintings was made by Giordano as a series of detailed oil studies (or modelli) for the ceiling frescoes in the Palazzo Medici Riccardi in Florence, which are among the artist’s finest achievements. The modelli are part of a set of 12 (the other two are in private collections).
Nine of the paintings relate to the ceiling of the highly ornate Galleria, built to house a precious collection of antiquities and function as a public reception room. The other is associated with the ceiling of the adjacent Library. The overall theme in the Galleria is the elevation of mankind through Wisdom and Virtue, using allegorical and mythological figures to represent different strengths and traits. It culminates in a centrepiece which presents the wealthy Medici family as the paradigm of both these qualities.
Giordano seems to have worked up these modelli to clarify his designs and may have presented them to his client, the Marquess Francesco Riccardi, for approval before the frescoes were executed.
This group of ten paintings was made by Giordano as a series of detailed oil studies (or modelli) for the ceiling frescoes in the Palazzo Medici Riccardi in Florence. Begun in 1682 and completed in 1685, the frescoes are among Giordano’s finest achievements and appear to have been painted ‘a secco’ – that is, on dry rather than fresh (‘a fresco’) plaster. The modelli were originally part of a set of 12 (the other two are in private collections). Nine of them relate to the ceiling of the highly ornate Galleria and the tenth – the Allegory of Divine Wisdom – is associated with the ceiling of the adjacent Library.
Giordano seems to have produced preliminary oil sketches based on drawings, and then worked up more finished oil sketches to clarify his design. It was probably these that Giordano presented for approval to his client, the Marquess Francesco Riccardi (1648–1719), so that any required changes could be discussed before the frescoes were executed (some differences can be seen when we compare the modelli with the final frescoes). Others have suggested that these ten modelli were painted after the frescoes were completed, as ricordi (or visual records). Contemporary documents do make clear that the modelli were valued as finished works in their own right. The ten canvases in the National Gallery still have the original carved and gilded frames made for them in Florence in the 1680s, as they were clearly hung and on display at the Palazzo Medici Riccardi (where they remained until the early nineteenth century).
The Palazzo, which had originally been built by Cosimo de' Medici in the mid-fifteenth century, was bought in 1659 by the Medici’s friends and allies, the fabulously wealthy Riccardi family. They doubled the size of the original building, and the showpiece of the new extension on the west side of the palace was a splendid Galleria on the first floor, with a barrel-vaulted gallery and heavily gilded stucco decorations. Flooded with light from the south- and west-facing windows that line two of its sides, this room was intended to house a precious collection of antiquities and to function as a public reception room.
The frescoes in the Galleria were designed not only to impress Florentine society, but to flatter the Medici specifically; they were still the most powerful family in the city. Giordano’s adviser for the iconography of the ceiling was Alessandro Segni, a man of letters who had been Francesco Riccardi’s tutor and travelling companion. Between them, the three men devised the continuous frieze of interconnected scenes which runs around the lower part of the ceiling. The overall theme in the Galleria is the elevation of mankind through Wisdom and Virtue, using allegorical and mythological figures to represent different strengths and traits. It culminates in a centrepiece that presents the Medici family, elevated to the company of the gods, as the paradigm and embodiment of both of these qualities. Other themes, including particular virtues, the four elements, the cycle of life and death and the regenerative power of nature, are also woven into the visual narrative.
At the two short ends of the room are scenes representing human life (The Cave of Eternity) and industry and the arts (Minerva as Protectress of the Arts and Sciences). On the long sides are mythological figures and allusions to classical myths and legends. The Rape of Proserpine incorporates scenes of death, judgement, punishment and the afterlife, while the adjacent scene celebrates agriculture and fecundity. On the opposite long side of the ceiling, the modelli for which are in two different private collections, the triumph of the Roman gods Bacchus, Neptune and Amphitrite adjoins the Death of Adonis. In the corners of the Galleria are allegories of the four Cardinal Virtues: Fortitude, Justice, Prudence and Temperance.
Understanding the Galleria’s ceiling is not just about decoding the allegories, which are often complex and imprecise and are always open to different interpretations. Giordano’s great achievement in the frescoes was to fuse all these parts together into a vast swirling whole, remarkable for its lightness, transparency and sheer visual brilliance – vast areas of the ceiling are given over to blue sky and translucent white clouds. Though the modelli are darker, more static, on a smaller scale and divided into separate scenes, they are crucial to understanding the decorative scheme’s artistic development.










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