The Allegorical Triumphs of Frederigo da Montefeltro and Battista Sforza
Allegorical Triumph of Frederigo da Montefeltro and Allegorical Triumph of Battista Sforza
Piero della Francesca (Sansepolcro, 1412 – Sansepolcro, 1492)
1472-1474. Tempera on wood panel, 47 x 33 cm.
Currently housed at the Galleria degli Uffizi in Florence, the Allegorical Triumph of Frederico da Montefeltro and its pair, Allegorical Triumph of Battista Sforza, allude the importance of a liberal arts education in the 15th century through a combination of artistic elements, iconography, an understanding of the patrons themselves, and historical context. These works were painted on a diptych panel, a combination of two hinged wooden panels that allow the images to adorn both sides of each panel. The two triumphs feature the same subjects as the portraits decorating the other side, Frederico de Montefeltro the Duke of Urbino, and his wife, Battista Sforza. The named couple and patrons and patrons of this piece (Kempers 237) are thought to have staged it in the center of the audience room in the Urbino palace, where all four images would be visible (Clough 720).
These two paintings contain various Renaissance artistic elements. The background, more detailed in the front while shrinking and fading in the back, is a demonstration of atmospheric perspective, a prelude to linear perspective. The carts are painted with depth, and the figures are spread throughout the painting; they do not float in random space. Both the image’s depth and use of space are elements of Renaissance progression. The positioning of the patrons is significant as well. They sit on their carts, higher than most of the other figures in the image. This positioning creates a line, naturally drawing the eye from the edge of either panel, starting at the animal pulling the cart and leading to the patron seated on the cart in an elevated power position. The rock roads in the foreground create horizontal lines, thus sectioning the painting, and separating the subjects from the backgrounds, while still positioning them in realistic spaces. This combination of two diagonals and one continuous horizontal creates a triangular form across the two panels.
The iconography present in these two paintings help shed light on the important values of the time. These images prominently display the two royal figures riding carts, one drawn by a pair of horses, the other, a pair of unicorns. The white horses pulling Frederico are symbols of royalty, while the unicorns pulling Battista are references to chastity (Clough 724). In addition, the panels show other figures riding on the carts such as angels, putti, and women holding various items. The attributes include a broken column, a pelican, and the scales of justice. These women and their items allude to the virtues possessed by either Battista or Frederico (Kleiner 615). On Battista’s cart ride the allegorical virtues of Charity, Faith, Hope, and also a figure representing Death, as Battista was already dead at the time of creation of this work. The four cardinal virtues, Justice, Wisdom, Fortitude, and Temperance ride with Frederico, along with a Victory crowning him (Kempers 235).
This combination of artistic elements and iconography in these two works evidences how the liberal arts helped aristocratic powers attain desired virtues in life and power in the political realm. In both pieces, the triumphal ride of a leader is reminiscent of Roman generals in Roman antiquity, an association with the past an educated nobleman would desire. Due to the revival of classical ideas in Renaissance humanism, including the importance of virtuous leaders, both leaders and patrons commissioned works which associated them with these desired virtues. Also, beneath the two images inscriptions in Latin praise the chaste nature of Battista and the virtuous nature of Frederico (Pollnitz e-mail). The virtues shown are meant to be associated with the patron they ride with yet, how were they acquired? The key for understanding Battista resides in her portrayal of reading a prayer-book (Kemper 235). Among women at this time, only noblewomen received an education, albeit limited in comparison to men’s (Grafton and Jardine 1986). Unlike a man’s education, a woman’s revolved around these different virtues: charity, faith, hope, and chastity, the most important one. Here, the unicorns leading Battista down the road represent this chastity. The fact the book she holds is a prayer-book coincides with societal expectations that women should only read books which speak of good and pure virtues, and above all, chastity (Vives 78). In this way, we see Battista’s education, represented by her ability to read, contributing to her representation as a virtuous woman.
On the other hand, Frederico is represented as an educated and virtuous military and civil leader. His armor is a testament to his successes as a military leader in expanding his territorial and financial possessions as Duke of Urbino (Hollingsworth, 201). This image of Frederico’s crowning by Victory reinforces his image as the victor of Urbino. In addition, he is portrayed with the four cardinal virtues. This bold representation associates his image with the most desired virtues of contemporary times. In this way, he once again solidifies his claim to leadership as well-justified. Educated at the Gonzaga court in Mantua, Frederico was taught by the humanist, Vittorino da Feltre. While there, he gained a great respect for the cardinal virtues discussed in classic literature. Frederico seems to have understood that if, from the public’s perspective, he acquired these virtues, it would assist his claim as both a virtuous and publically-preferred leader (Hollingsworth, 193). This is why, above all, he wanted the citizens of Urbino, and any visitors to his home, to perceive him as a virtuous man, and therefore a good leader (Clough 719). Other connections to classical times, for example the putti and the Corinthian column held by the representation of Fortitude, both serve as reminders of Frederico’s respect for classical times and the related virtues (Kempers 235). His virtuous representation compliments his reputation as a generous patron. With the importance of patronage in society at the time, a man who used his wealth to purchase works of art not only promoted himself in a positive manner, but also supported the growth and development of the arts and the educations which accompanied them (Clough 720). The elements, contexts, patrons, and subjects of both Allegorical Triumph of Frederico da Montefeltro and its pair, Allegorical Triumph of Battista Sforza all demonstrate the importance of the liberal arts at this point in fifteenth century Italy.
List of Works Cited
Clough, C. H. “Frederigo da Montefeltro’s Artistic Patronage.” Journal of the Royal Society of Arts 126.5268 (1978): 718-734
Francesca, Piero della. Allegorical Triumph of Frederigo da Montefeltro and Allegorical Triumph of Battista Sforza. 1472-1474. Galleria degli Uffizi, Florence. By Timothy M. Brennhofer. March 27, 2016. Photograph.
Grafton, Anthony, and Lisa Jardine. From Humanism to the Humanities: Education and the Liberal Arts in Fifteenth- and Sixteenth-century Europe. Cambridge: Harvard University Press, 1986. Print.
Hollingsworth, Mary. Patronage in Renaissance Italy: From 1400 to the Early Sixteenth Century. Baltimore: The Johns Hopkins University Press, 1994. 192-201. Print.
Kempers, Bram. Painting, Power, and Patronage: The Rise of Professional Art in the Italian Renaissance. Ed. Beverley Jackson. London: The Penguin Press, 1987. 219-243. Print.
Kleiner, Fred, S. “The Renaissance in Quattrocento Italy.” Gardner's Art through the Ages: A Global History 15th ed. Boston: Cengage Learning, 2013. 581-621. Print.
Pollnitz, Aysha. "Re: Latin Translations." Message to Tim Brennhofer. 5 Apr. 2016. E-mail.
Vives, Juan Luis. Preface. The Education of a Christian Woman: A Sixteenth-Century Manual. Ed. Charles Fantazzi. Chicago: University of Chicago Press, 2000. 45-50. Print.