The table is part of a series of four panels, perhaps commissioned by Lorenzo il Magnifico in 1483 to donate to Giannozzo Pucci on the occasion of his marriage to Lucrezia Bini that year. Already stored at palazzo Pucci, in the second half of the nineteenth century were missing: three found today at the Prado and only one, the last one is returned to its original location after having been, among other things, the collection Watney of Charlbury at London.
Description and style Edit
The news of Nastagio degli Onesti in Decameron by Giovanni Boccaccio (fifth, eighth day novella) and was chosen for the contents with a happy ending of a love affair, in which a woman, daughter of Paul Tan, who refused the Court of Nastagio is finally witnessing the infernal punishment of another woman spotted the same sin of ingratitude towards her lover.
The first episode in particular is set in pine forest around Ravenna, the city where the story, and view Nastagio who, having abandoned the city disappointed by his passion not paid, wanders alone and sorrowful until she stumbles in the sudden appearance of a woman being chased by a Knight Cavalry and his dogs the azzannano despite his attempts to defend it.
From left are some tents where you see Nastagio (from Red pants) recommended by a few friends to go out of town for a while, then you see featured Nastagio that roams the forest, reappearing shortly after while trying to drive away with a stick the dogs trying to bite a seminude woman, chased by an impetuous Knight armed with a sword and Golden Armor.
The scene has a strong narrative vein, with the representation of two contemporary scenes that required the splitting even three character figures of Nastagio. If the concept of four scenes is due to the master, the execution was delegated in part to shop assistants, in particular Bartolomeo di Giovanni (first three scenes) and Jacopo Sellaio (last scene).
The harmonious ambiance of the plates is nicest effects, effects of spatial units. The colors are clear and the natural setting is moderately controlled. In this scene the trees with high vertical stems form a sort of grid with horizontal unwinding sea landscape in the background, with a remarkable breakthrough in depth. The drama cohabits with the formal elegance of slender figurines, with graceful movements of people and animals, a magical suspension between fable and reality.
- Bruno Saints, Botticelli, in the protagonists of Italian art, Scala Group, Florence, 2001. ISBN 8881170914
Related Articles Edit
- Nastagio degli Onesti
- Nastagio degli Onesti, second episode
- Nastagio degli Onesti, 3rd episode
- Nastagio degli Onesti, fourth episode