Allegoria della Prudenza (early 1680s)

Giordano, Luca (1634-1705)

Allegoria della Prudenza (Allegory of Prudence)
early 1680s
Oil on canvas, 99.7 x 95.2 cm
National GalleryLondon

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 168285 (ten of the modelli are in the National Gallery’s collection). It corresponds with the group in the corner of the barrel-vaulted ceiling of the grand Galleria, between the entrance and the north wall.

The central figure represents Prudence, 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 Prudence carries an arrow with a serpent entwined around it. The deer on which she rides is a symbol of prudence, because it was believed to move cautiously on account of the weight of its antlers. On the left are two philosophers dressed in oriental – or Near Eastern – style, one with a quadrant and compass, the other with a book. They may be the ancient mathematicians, Archimedes and Euclid, and they represent Order and Reason (or perhaps Experience).

Cowering at the feet of Prudence is a two-faced figure with claws instead of feet, intended to represent Fraud. Behind her is Ignorance, holding up a donkey’s head. In the sky above are figures representing, from left to right: Abundance (or Felicity), with a cornucopia and olive branch; Grace, holding a key (the emblem of the Riccardi family) and dropping flowers; and Wellbeing, with a shield (on which there is a putto with a dolphin) and a cup.

In the final fresco, Giordano twisted the head and torso of Prudence so that she looks up and back towards Grace. 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. (NG)

Modelli for the Palazzo Medici Riccardi:

Giordano, Luca (1634-1705)
Allegoria della Fortezza
early 1680s
National GalleryLondon

 

 

Giordano, Luca (1634-1705)
Allegoria della Giustizia
early 1680s
National GalleryLondon

 

 

Giordano, Luca (1634-1705)
Allegoria della Sapienza Divina
early 1680s
National GalleryLondon

 

 

Giordano, Luca (1634-1705)
Allegoria della Temperanza
early 1680s
National GalleryLondon

 

 

Giordano, Luca (1634-1705)
Allegoria dell’Agricoltura
early 1680s
National GalleryLondon

 

 

Giordano, Luca (1634-1705)
Antro dell’eternità
early 1680s
National GalleryLondon

 

 

Giordano, Luca (1634-1705)
Apoteosi dei Medici
early 1680s
National GalleryLondon

 

 

Giordano, Luca (1634-1705)
La barca di Caronte e il ratto di Proserpina
early 1680s
National GalleryLondon

 

 

Giordano, Luca (1634-1705)
Minerva protettrice delle Arti e delle Scienze
early 1680s
National GalleryLondon

 

 

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. (NG)