Minerva protettrice delle Arti e delle Scienze (early 1680s)

Giordano, Luca (1634-1705)

Minerva protettrice delle Arti e delle Scienze (Minerva as Protectress of the Arts and Sciences)
early 1680s
Oil on canvas, 73.5 x 88 cm
National GalleryLondon

This modello, or detailed oil study, is one of a group of 12 – ten of which are in the National Gallery – that Giordano made in preparation for the ceiling frescoes in the Palazzo Medici Riccardi in Florence in 168285. The overall theme of the highly elaborate, showpiece frescoes is the progress of Mankind by means of Wisdom and Virtue. This scene corresponds to that painted on one of two short walls of the grand Galleria, above the entrance doors and directly opposite The Cave of Eternity.

Despite its current title, this scene is as much focused on a celebration of Minerva’s association with the virtues of hard work and diligence as on her role as protector of the arts and sciences. Minerva, who is the goddess of wisdom, is the figure in the centre of the painting, spotlit in a mountainous landscape. She is accompanied by the messenger god, Mercury, who hovers at her shoulder. Minerva is shown entrusting the key of knowledge to a seated figure representing Intellect, beside whom kneels naked Truth. With her other hand, and in her parallel role as goddess of the crafts, she gives a hammer to Craftsmanship (Artificio) and, behind him, Industry. At their feet, alongside Minerva’s shield and spear, lie a spade and pick, symbols of hard work and construction, as well as a wooden box – a hive, alluding to the industry of bees.

On the left of the painting a she-wolf stands over two babies – these are Romulus and Remus on the banks of the Tiber. According to legend, the twins were abandoned to die by the river but, suckled by the wolf, they survived. Romulus went on to found Rome. The figure sitting on the rock in the background playing the viol is probably the god Amphion, who appears in Homer’s Iliad and several other Greek legends. He was associated with ethereally beautiful music, and here his playing is so sweet that he has attracted a flock of birds; he even seems to have drawn the attention of the wolf. Just as Romulus was the founder of Rome, Amphion (and his brother Zethos) were known as the founders and builders of Thebes, one of the most prominent Greek cities in ancient literature. In this scene, Giordano seems to be evoking the founding of Rome and Thebes as ultimate examples of industry and craftsmanship. (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 Prudenza
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

 

 

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)