Neoplatonism was a philosophical system that synthesized Platonic, Aristotelian, and Stoic ideas. It experienced a revival during the Renaissance and emphasized that spiritual things were real while material things were not. The goal was to free the soul from the body through knowledge and contemplation. Neoplatonism was embraced by the powerful Medici family in Florence and viewed all sources of inspiration, whether classical mythology or biblical, as means to unite with the divine. Artists like Botticelli produced works allegorizing the relationship between physical and spiritual beauty. Savonarola denounced humanism and Neoplatonism as heretical in 1490s Florence and forced the bonfire of secular art and literature

1. Humanism and the Allure of Antiquity
PART 3

2. Neoplatonism
A compilation of Platonic,
Aristotelian and Stoic ideas that
experienced a strong revival during
the late Middle Ages and the
Renaissance. Central to the
philosophy is the notion that
spiritual things are real and that
material things are not. The freeing
of the spiritual element, the soul,
from the material element, the
body, should be the ultimate goal of
all of mankind and could be
achieved through knowledge and
contemplation.
Marsilio Ficino
• Translated Plato into Latin
• (from Greek)
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3. Neoplatonism
Embraced by the powerful
Medici family.
All sources of inspiration,
whether Biblical or
Classical (Pagan)
mythology, represent a
means of ascending
earthly existence to a
mystical union with “the
One”.
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6. Neoplatonism- a marriage of Ancient Myth with Christian Theology
Contemplation of the sensual worldly beauty of the Goddess of Love (Venus) leads to a contemplation
of spiritual divine beauty (Virgin Mary). The two systems of thought are not necessarily opposed.
Virgin Mary Venus
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7. Syncretism
Santeria and Vodou
• Combinations of African tribal
religion with christian iconography
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8. The Medici Dynasty
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SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli
Uffizi, Florence.

10. The Birth of Venus
Inspired by a love poem written by
Humanist scholar Angelo Poliziano.
Zephyr (west wind), and Chloris on
left.
Venus in center, her maiden Pomona
on right.
Sacred Island of Cyprus.
First female nude since classical
antiquity not associated with shame.
Accommodating culture made possible
by powerful Medici family.
Contemplation of worldly (physical)
beauty-in theory leads to
contemplation of spiritual and divine
beauty.
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SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli
Uffizi, Florence.

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23. Botticelli
Byzantine influence shown in lyrical
use of line.
Decorative and flat space, little
illusion of depth.
Strong focus on Classical
Mythology.
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25. Simonetta Vespucci

26. Piero di Cosimo
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28. Sandro Botticelli, Primavera, ca. 1482. Tempera on wood, 6’ 8” X 10’ 4”. Galleria degli Uffizi,
Florence. 28

29. Primavera
Primavera=springtime
Clothed Venus in center. Cupid
above
Zephyr, Chloris and Flora at right.
Three graces to the left, and either
Mars or Mercury to the far left.
The occasion for the painting was
probably Lorenzo de Medici’s
wedding in May 1482
Another Neo-Platonist allegory on
worldly and spiritual love, although
difficult to decipher.
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42. Sandro Botticelli, Primavera, ca. 1482. Tempera on wood, 6’ 8” X 10’ 4”. Galleria degli Uffizi,
Florence. 42

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DOMENICO GHIRLANDAIO, Giovanna
Tornabuoni(?), 1488. Oil and tempera on wood, 2’ 6”
x 1’ 8”. Thyssen-Bornemisza Collection, Madrid.

47. Individualism vs. “Original Sin”
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FRA FILIPPO LIPPI, Madonna and Child with
Angels, ca. 1455. Tempera on wood, 2’ 11 1/2”.
x 2’ 1”. Galleria degli Uffizi, Florence.

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PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy,
1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

51. Christ Delivering the
Keys
Gospel of Matthew (16:18-19) as
Christ said to Peter: “And I tell you
that you are Peter (Petros), and on
this rock (petra) I will build my
church… I will give you the keys to
the kingdom of heaven….”
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52. Christ Delivering the
Keys
Perugino (Pietro Vanucci-
Birthplace is Perugia in Umbria)
1481-83 Pope Sixtus IV summons
artists to paint walls of Sistine
Chapel.
Papacy bases claim to authority on
this biblical event.
Temple of Solomon in background
along with Triumphal arches
modeled on arch of Constantine
(first Christian Emperor)
Background scenes include
“Tribute Money” and “Stoning of
Christ”
Christ surrounded by apostles,
including Judas (5th from left)
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53. Notice the artist making eye contact

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55. Judas with hand in pocket.
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ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy,
1465–1474. Fresco.

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ANDREA
MANTEGNA,
Camera Picta
(Painted Chamber),
Palazzo Ducale,
Mantua, Italy, 1465–
1474. Fresco, 8’ 9” in
diameter.

61. ANDREA MANTEGNA,
Camera Picta
Painted of Ludovico Gonzaga, the
Marquis of Mantua
Depicts scenes of the Marquis
greeting guests, and court life.
All the room is painted (trompe
l’oel) “fool the eye”
Di sotto in su (from below, upward)
8 fictive reliefs of the first Roman
Emperors shows an interest in
Rome’s Imperial past (Florence
would be more interested in the
Republican past)
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ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy,
1465–1474. Fresco.

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ANDREA
MANTEGNA,
Camera Picta
(Painted Chamber),
Palazzo Ducale,
Mantua, Italy, 1465–
1474. Fresco, 8’ 9” in
diameter.

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ANDREA MANTEGNA, Foreshortened Christ, ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”.
Pinacoteca di Brera, Milan.

81. ANDREA MANTEGNA,
Foreshortened Christ,
Reduced the size of Christ’s feet to
compensate for unusual
(foreshortened angle)
St. John, Virgin Mary, Mary
Magdalene
Wounds prominently and
realistically displayed
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92. ANDREA MANTEGNA,
Saint James Led to
Martyrdom, Ovetari
Chapel, Church of the
Eremitani, Padua, Italy,
1454–1457. Fresco,
approx. 14’ X 11’
(destroyed 1944).
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93. Girolamo
Savonarola
1490’s Florence undergoes
political, cultural, religious
upheaval.
Dominican monk Savonarola
becomes priest-dictator, banishes
the Medici.
Denounces Humanism and Neo-
Platonism as heretical, prophesied
the downfall of the city unless they
undergo large scale repentance.
Forces bonfire of secular art,
philosophy and literature (Bonfire of
the Vanities).
City comes to its senses and
executes Savonarola in 1498.
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LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–
1504. Fresco, 23’ wide.

99. Damned Cast into Hell
Painted for Pope Alexander VI
Saint Michael and Angels cast the
damned into hell.
Horrible consequences of a sinful life
graphically depicted. Striking
representation of the nude figure.
One part of an “End of Days” Narrative
when Christ returns to Judge mankind.
Other scenes included: Deeds of the
Antichrist, Resurrection, Elect Being
Called to Heaven
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104. Signorelli in lower left. Antichrist represents Savonarola.
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106. The Devil influencing the anti-christ
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