217:. In Renaissance art and culture, personifications that had taken on unclassical appearances during the Middle Ages were restored to classical forms – such as the idealization of the human figure – but also retained some aspects of medieval imagery. The medieval use of differentiated virtues (virtutes) was replaced by that of Virtue in general (with a recollection of the antique virtus), personified first by Hercules, later (c.1510) as a female figure sitting or standing on a rectangular block to emphasize her stability. This exact personification can be seen in Botticelli's Fortitude Virtue. Even while sitting, Fortitude has a slight contrapposto in her positioning. Her upper body weight is leaning on one arm while she also has one foot slightly shifted forward than the other. This posture creates a forward-moving energy that seems as if she will rise up from her throne and join the observer viewing her. Botticelli's Virtue also stands out for the different type of marble bench, with its richer engraved decorations.
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comparative transparency of even opaque colors when mixed with yolk of egg. Thus, in some cases, one may find a robe painted in the following manner. The color red, most associated with the extremes of emotion; passionate love, anger, rage, and violence can be symbolic of the strength that we must have when overcoming hardship. The contrast of the soft, flowing folds in her clothing to the harshness in her metallic armor creates an interesting play on themes of masculinity versus femininity. She appears to be regal and delicate while also maintaining vigor and bravery. Strength is not a quality subjective to sex.
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every human being. Fortuna was originally “she who brings,” the goddess who permitted the fertilization of humans, animals, and plants; thus was she worshiped by women desiring pregnancy, and the gardeners seeking bumper crops. Though
Fortitude's overall complexion is virtually perfect, there is one element of her face that conveys some sort of hardship. This is the discoloration that rests under her eyes. This slight bluish tint transmits a message to the observer that Fortitude has seen misfortune. It adds an element of humanism that is relatable to any passerby that sets their gaze upon this Botticelli piece.
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protests to
Botticelli's involvement, contributed to limiting Botticelli's participation in the commission to this single figure. Botticelli could count on the help of Tommaso Soderini, one of the Mercanzia commissioners, and because of his intrusion, the painters’ guild amended their statutes to protect its members from other outside interference. Soderini was one of the most prominent members historically of an influential Florentine patrician family and was elected as gonfalonier for life in 1502.
189:, an early Christian writer, the Virtues are "bestowers of grace and valor," represent the "out-pouring of divine energy," and are "possessed of unshakable virility.” During the Renaissance, allegory was used towards the Christian doctrine of salvation. This resulted in a broader application of philosophical systems and social wonders. Botticelli was an admirer of both influences. His works abound with sophisticated reflections of his knowledge and deep appreciation of literature including – besides
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Upon first glance, the eye is pulled to the most illuminated point of the painting: the face of
Fortitude. Her gaze is turned down and away from the observer and because of this, her expression is perceived as passive and uninterested. This was a characteristic feature of Botticelli's female figures.
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The 1.67 x 0.87–meter painting was produced with tempera paint on a wood panel. Tempera paint consists in mixing the dry powdered colors with yolk of egg, slightly thinned with acetic acid or water, instead of mixing the colors with oil or varnish as in the case of oil painting. The colors thus mixed
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judiciary were absorbed by the
Chamber of Commerce in 1777. At the time of their commission in the fifteenth century, the Mercanzia was of prime importance in Florence's economic life. This made the commission extremely prestigious, and the job was sought by many painters. Pollaiolo's understandable
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The linear perspective of the painting also adds to the regal impression of
Fortitude. Having her centered, pushed forward to the picture plane, and sharply lit focuses the viewer solely on the virtue she represents. In early Italy, Fortuna was the name of the goddess who controlled the destiny of
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The most striking color in the work is obviously
Fortitude's red robe, which is so elegantly draped off one shoulder and laid across her lap. Tempera paint is incapable of producing the hard and cutting edges that occur in oil painting, and this because of a very remarkable property, namely, the
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The cycle was for the
Tribunal Hall of Piazza della Signoria in Florence. The Tribunale di Mercanzia was the body that decided on the business disputes between Florentine merchants and administered justice among the guilds, known as Arts. Later, these panels would be moved to the
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is the first. Perhaps her gaze is intended to literally and figuratively watch over the other virtues as well as the viewers. Without strength, one can never fathom taking on the other six virtues.
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161:, was intended to be placed high upon a wall. This would be higher than the eye level of the viewer, therefore requiring them to look upward. In the line-up of all seven paintings of the
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It is a fascinating contrast to the theme of the title because if she represents strength, why does she express otherwise? This work, which is one of seven
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To a fifteenth-century audience, the Seven
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Stapleford, Richard. "Vasari and
Botticelli." Mitteilungen Des Kunsthistorischen Institutes in Florenz 39 (2) (1995): 397–408.
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Monaghan, Patricia. "Fortuna." In The Book of
Goddesses and Heroines, 110. New York, New York: Elsevier-Dutton, 1981.
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Lugli, Eemanuel. Metamorphic Heads: A Footnote on Botticelli's and Pollaiuolo's Mercanzia Virtues. Vol. 37 (2017).
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Fry, Roger E. "Tempera Painting." The Burlington Magazine for Connoisseurs 7 (27) (1905): 175–176.
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Lugli, “Metamorphic Heads: A Footnote on Botticelli's and Pollaiuolo's Mercanzia Virtues,” 28.
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Davidson, Gustav. "The Celestial Virtues." Prairie Schooner 44 (2) (1970): 155 -162.
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is painted on poplar, a more commonly used wood for painting on panels in Tuscany.
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129:'s workshop. Unlike the other panels in the cycle, painted on cypress wood, the
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are usually laid on a priming of gesso, though other grounds may be used.
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167 cm × 87 cm (66 in × 34 in)
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This work originally belonged to a set of seven panels representing
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Venus and the Three Graces Presenting Gifts to a Young Woman
388:"Teria Sido Uma Quase Noviça, amante de Leonardo da Vinci?"
561:"Allegory." Oxford Art Online: Grove Art Online. (2003).
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Virgin and Child with the Young Saint John the Baptist
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A Young Man Being Introduced to the Seven Liberal Arts
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Virgin and Child with the Infant St. John the Baptist
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1085:Portrait of a Man with a Medal of Cosimo the Elder
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114:was the first recorded masterpiece by Botticelli.
125:in Florence. The other six panels are painted by
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1169:Paintings by Sandro Botticelli in the Uffizi
706:The Story of Nastagio Degli Onesti, part one
121:, intended to decorate the Tribunal Hall of
569:https://www.uffizi.it/en/artworks/fortitude
1016:Madonna Adoring the Child with Five Angels
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1123:Portrait of a Young Man holding a Roundel
487:Stapleford, “Vasari and Botticelli,” 400.
768:The Discovery of the Body of Holofernes
567:"Fortitude," Le Gallerie degli Uffizi.
469:Davidson, "The Celestial Virtues," 156.
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895:Scenes from the Life of Saint Zenobius
541:"Fortitude," Le Gallerie degli Uffizi.
532:"Fortitude," Le Gallerie degli Uffizi.
523:"Fortitude," Le Gallerie degli Uffizi.
514:“Fortitude,” Le Gallerie degli Uffizi.
416:"Fortitude," Le Gallerie degli Uffizi.
246:'s six paintings, all also now in the
230:, when the wealth and heritage of the
321:"Fortitude," Le Gallerie degli Uffizi
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1184:15th-century allegorical paintings
874:The Last Communion of Saint Jerome
458:The Book of Goddesses and Heroines
445:The Book of Goddesses and Heroines
349:McGowan, Kathleen (July 8, 2010).
304:List of works by Sandro Botticelli
102:, finished in 1470. Housed in the
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972:Virgin and Child with Two Angels
964:Virgin and Child with Two Angels
866:Lamentation over the Dead Christ
842:Lamentation over the Dead Christ
775:The Return of Judith to Bethulia
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1092:Portrait of Giuliano de' Medici
828:Punishment of the Sons of Korah
563:http://www.oxfordartonline.com/
394:(in Portuguese). Archived from
386:Soares, Átila (June 25, 2014).
94:) is a painting by the Italian
980:Virgin and Child with an Angel
950:Madonna in Glory with Seraphim
920:Virgin and Child with an Angel
434:Fry, “Tempera Painting,” 175.
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1070:Portrait of Smeralda Brandini
505:“Allegory,” Grove Art Online.
496:“Allegory,” Grove Art Online.
478:“Allegory,” Grove Art Online.
425:Fry, “Tempera Painting,” 175.
339:Fry, “Tempera Painting,” 175.
330:Fry, “Tempera Painting,” 175.
16:Painting by Sandro Botticelli
850:Saint Augustine in His Study
804:Saint Augustine in His Study
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1009:Madonna of the Pomegranate
957:Madonna of the Rose Garden
995:Madonna of the Magnificat
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140:The woman represented in
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761:Sant'Ambrogio Altarpiece
1179:15th-century paintings
1052:Madonna del Padiglione
807:(Florence: Ognissanti)
670:Pallas and the Centaur
123:Palazzo della Signoria
881:The Mystical Nativity
858:Pala delle Convertite
835:Cestello Annunciation
816:Temptations of Christ
782:Adoration of the Magi
734:The Story of Lucretia
727:The Story of Virginia
697:Illustrations to the
104:Galleria degli Uffizi
943:Madonna delle Grazie
928:Madonna della Loggia
244:Piero del Pollaiuolo
127:Piero del Pollaiuolo
1148:Botticelli (crater)
1002:Madonna of the Book
398:on October 11, 2018
1143:(2016 documentary)
1141:Botticelli Inferno
1102:(Washington, D.C.)
902:The Man of Sorrows
888:Mystic Crucifixion
853:(Florence: Uffizi)
691:Calumny of Apelles
684:The Birth of Venus
359:Simon and Schuster
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935:Madonna and Child
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641:List of works
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1110:(Frankfurt)
1107:Young Woman
232:Renaissance
152:Composition
96:Renaissance
1163:Categories
1118:(Florence)
923:(Florence)
785:(Florence)
557:References
456:Monaghan,
443:Monaghan,
361:. p.
270:Temperance
90:(Italian:
62:Dimensions
1115:Young Man
1099:Young Man
1077:Young Man
1062:Portraits
938:(Avignon)
861:(Trinity)
753:Religious
663:Primavera
656:Fortitude
402:March 27,
215:Poliziano
207:Boccaccio
167:Fortitude
144:could be
142:Fortitude
131:Fortitude
112:Fortitude
110:, Italy,
87:Fortitude
22:Fortitude
1080:(London)
1030:New York
983:(Boston)
967:(Naples)
912:Madonnas
845:(Munich)
392:Fanfulla
298:See also
277:Prudence
250:, were:
108:Florence
92:Fortezza
78:Florence
70:Location
1133:Related
1025:Glascow
869:(Milan)
648:Secular
460:, 110.
291:Justice
256:Charity
221:History
211:Alberti
181:Meaning
163:virtues
159:virtues
119:Virtues
98:master
447:, 110.
369:
248:Uffizi
228:Uffizi
213:, and
74:Uffizi
54:Medium
36:Artist
310:Notes
263:Faith
191:Dante
106:, in
825:and
404:2018
367:ISBN
284:Hope
199:Ovid
195:Livy
49:1470
46:Year
363:280
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357:.
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617:t
610:v
406:.
375:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
