204:, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.
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The picture is a syncretion of scenes from different legendary themes in different time periods that
Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution
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from Rome and never to allow anyone else to reign. In the centre of the picture
Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia
200:, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of
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Right-hand scene. While her husband is away, the virtuous
Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is
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219:. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts
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Berbera, Maria (2002). "Some
Renaissance Representations of Marcus Curtius". In Enenkel, K. A. E.; de Jong, Jan L.; Landtsheer, Jeanine; et al. (eds.).
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killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is
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Recreating
Ancient History: Episodes from the Greek and Roman Past in the Arts and Literature of the Early Modern Period
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316:. Boston, New Haven: Isabella Stewart Gardner Museum, Yale University Press. pp. 68–70.
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The scene on the right porch is the death of
Lucretia. The frieze over the porch depicts
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83.8 cm × 176.8 cm (33.0 in × 69.6 in)
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The
Isabella Stewart Gardner Museum: A Companion Guide and History
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The use of architecture in this picture is parallel to that of
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Venus and the Three Graces
Presenting Gifts to a Young Woman
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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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192:The legendary funeral oration takes place in the
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492:The Story of Nastagio Degli Onesti, part one
802:Madonna Adoring the Child with Five Angels
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909:Portrait of a Young Man holding a Roundel
251:The Tragedy, Death or Suicide of Lucretia
22:The Tragedy (Death, Suicide) of Lucretia
554:The Discovery of the Body of Holofernes
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681:Scenes from the Life of Saint Zenobius
372:"An Elegant Flower In a Modest Garden"
370:Weisgall, Deborah (February 2, 1997).
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348:. Isabella Stewart Gardner Museum.
264:List of works by Sandro Botticelli
215:and the ousted last king of Rome,
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151:The picture of Lucretia's tragedy
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16:Painting by Sandro Botticelli
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101:and oil painting on a wood
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289:. Brill. p. 159.
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602:Temptations of Christ
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520:The Story of Lucretia
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160:. The legend is that
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729:Madonna delle Grazie
714:Madonna della Loggia
346:, Sandro Botticelli"
187:Republic of Florence
170:Lucius Junius Brutus
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124:Botticelli Lucretia
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357:. smithsonian.com
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949:Categories
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270:References
225:Holofernes
72:Dimensions
901:Young Man
885:Young Man
863:Young Man
848:Portraits
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647:(Trinity)
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442:Fortitude
378:12 August
361:11 August
174:Tarquinii
109:spalliera
59:1496–1504
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80:Location
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118:master
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