Summary
The thougths about the Muses of Guarino da Verona can not be considered as excentric. The fact, that even two Muses concerning Agriculture represented in the Studiolo cycle, may go back to the enthusiasm of Ferrarese humanists for country life as well as for bucolic literature. Polyhymnia in her rather simple appearence could be a personification of the pastoral Muse. Beyond several details of the series (e.g. robes open on the paunch, the head ornament of Thaleia) supposedly is a dialogue between painters and humanists. The artists might have done their best in giving an antiquizing aspect to their Muses. The Painter of Terpsychore took motifs from a Medeia-sarcophagus, while the model for Urania could be found in representations of Mars and Venus. Panofsky's “principle of disjunction”seems as valuable for these cases, as for the relation between Antiquity and Christian art. The formulation of Polyhymnia was influenced by a drawing made after antiquity, so, according to our actual knowledge, this is the first Renaissance painting representing a classical subject matter in an antique form. Hipothetically some of the drawings attributed to the so called ‘Anonimo dell’ Ambrosiana' and the painting of Urania and Polyhymnia could be attributed to Bono da Ferrara.
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1953 |
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“This Single Slab of Marble Does Not Show you One Single Face”. •
Funerary Monuments From the Saint Michael Cathedral in Alba Iulia from the Sixteenth and Seventeenth Centuries
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