Bar Leshem
Chapter 3 - What's Love Got to Do with It? Abduction, Rape, and the Love of the Gods
Figure 3.1
Unknown, Left: Minerva Chastising Cupid; Right: Jupiter/Satyr and Antiope/Naiad, 1570s, Venice, Walnut parcel-gilt wood and pine, 60.96 × 172.72 × 55.88 cm, New Haven: Yale University Art Gallery, accession number 2014.52.1
On the left: Minerva Chastising Cupid while Venus is bound to a tree on the right. This image is a low quality copy of a lost drawing by Agostino Carracci, now known through an engraving by Cornelis Galle and Raphael Sadeler.
On the right: A satyr spying on a sleeping nude female figure. This scene can be identified as the myth of Jupiter and Antiope, a satyr spying on Venus, or a satyr watching a sleeping nymph or naiad.
In the center, where there is usually a family emblem, the titan Atlas is standing in a sort of contrapposto position carrying the globe.
Additional Information:
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Location: Yale University Art Gallery. On view, 2nd floor, European art.
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Catalogue Entry: "European Arts: Decorative Arts,"Yale University Art Bulletin 2014: Recent Acquisitions, Online Supplements.
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Provenance: Payne Whitney and Helen Hay Whitney estate (ca. 1902? –1946); by descent to John Hay (Jock) Whitney, and his wife Betsey Cushing Whitney (1946– ); by descent to John and Joanne Payson.
Figure 3.8
Unknown, Left: Sea-God and Nereid; Right Europa and the Bull, second half of the 16th century, wood (walnut) carved and gilded, 57 x 88 x 67.5 cm, St. Petersburg: Hermitage Museum, Inventory number Эпр-6791
On the left: A sea-god abducting a nereid, with marine motifs.
On the right: The myth of Europa abducted by Jupiter disguised as a bull. Europa does not seem to object to the abduction in this case, though it is hard to tell for certainty.
The center panel features the family cartouche, a common element found on many sixteenth-century chests.
In terms of decoration, the outer frame is adorned with spiral motifs, symbolizing a connection to the sea theme.
Additional Information:
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Location: St. Petersburg: The Hermitage Museum. (Not on display).
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Figure 3.12
Unknown, Nessus and Deianira, late sixteenth century, Venice: Galleria Giorgio Franchetti alla Ca’ d’Oro.
Within a singular elliptical frame, a captivating scene unfolds as a centaur abducts a woman. This particular depiction can be interpreted in two ways: either as Nessus abducting Deianira, the bride of Hercules, or as a detail from the conflict between Centaurs and Lapiths, possibly portraying the abduction of Hippodamia. Considering the absence of any additional figures, the likelihood leans towards the former interpretation.
Nonetheless, the depicted narrative aligns with a detail from a sixteenth-century engraving that represents the latter option.
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Additional Information:
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Location: Galleria Giorgio Franchetti alla Ca’ d’Oro, Venice.
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Bibliography: G. Fogolari, La Galleria Giorgio Franchetti alla Ca’ d’Oro di Venezia, 3rd Ed. (Rome: Istituto poligrafico dello stato, 1956), 15, 45.
Figure 3.15
Unknown, Abduction Scene, second half of the 16th century, Venice: Private collection.
The chest bears resemblance to fig. 3.11, the Ca' d'Oro cassone. It is possible that these two chests were commissioned together or created by the same artisan. Instead of depicting Deianira's abduction, a comparable scene portrays a sea-god abducting a nereid. The composition of the central scenes and the overall decorative design exhibit striking similarities between the two chests.
*Scanned Image*
Additional Information:
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Location: Private Collection, Venice.
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Bibliography: Clara Santini, Mille Mobili Veneti: L’arredo domestico in Veneto dal sec. XV al sec. XIX. Volume terzo: Venezia (Modena: Artioli Editore, 1999), 22, image no. 13.
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Figure 3.16
Unknown, Left: Woman on a Ram; Right: Woman on a Horse, second half of the sixteenth century century, carved wood (walnut), Florence: Bargello National Museum. Inventory number 5MB.
This highly adorned chest showcases two prominent narrative scenes on its front panel. To the left, a nude female figure is depicted riding a ram, while to the right, a similar scene portrays a woman riding a horse.
In terms of decoration, the chest features a profusion of hybrid mythological female figures, which can be interpreted as either harpies or sirens.
Additional Information:
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Location: Florence: Bargello National Museum.
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Bibliography: Schottmüller, Frida. Furniture and Interior Decoration of the Italian Renaissance. New York: Brentano’s, 1921.
Figure 3.17
Unknown, Abduction / Aquatic Scenes, sixteenth century, carved walnut, San Marino, California: The Huntington Library, Art Museum, and Botanical Gardens. Object number 27.165
Two elliptical frames adorning the front of the chest showcase similar scenes: a sea-god carrying or abducting a nereid. These two scenes are artfully mirrored, creating a symmetry that adds depth and intrigue to the overall composition.
Additional Information:
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Location: San Marino, California: The Huntington Library, Art Museum, and Botanical Gardens. The Arabella D. Huntington Memorial Art Collection.
Figure 3.18
Unknown, Abduction / Aquatic Scenes, second half of the sixteenth century, Milan, parcel-gilt walnut, Los Angeles, California: The Getty Museum. Object number 68.DA.8
The front panel of the chest is presented as a cohesive frieze, uninterrupted in its sequence except for the family cartouche. Within this continuous scene, sea-gods are depicted carrying nereids across the water.
Additional Information:
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Location: Los Angeles, California: The Getty Museum.
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Catalogue Entries:
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Bremer-David, Charissa, Peggy Fogelman, Peter Fusco, and Catherine Hess. Decorative Arts: An Illustrated Summary Catalogue of the Collection of the J. Paul Getty Museum. Malibu: The J. Paul Getty Museum, 184, no. 309.
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Wilson, Gillian and Catherine Hess. Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum. Los Angeles: The J. Paul Getty Museum, 2001, 202-203, no. 402.
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Provenance: Private Collection, England; [Same Art, Ltd., Zurich].
Figure 3.19
Unknown, Left: Leda and the Swan; Right: Apollo with an Orb, 1580-89, walnut, 65 x 171.5 x 61 cm, Boston: Isabella Stewart Gardner Museum. Accession number F15s7
This intriguing chest showcases two captivating front panels. On the left panel, we witness the seduction of Leda by Jupiter, who has taken the form of a swan. On the right panel, in a somewhat mirrored arrangement, the youthful and handsome Apollo is depicted holding an orb. This contrast between male and female figures will continue to accompany us as we explore the next chest in this online catalogue.
Additional Information:
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Location: Isabella Stewart Gardner Museum.
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Catalogue Entry: Calderai, Fausto and Alan Chong. Furnishing a Museum: Isabella Stewart Gardner’s Collection of Italian Furniture. Boston: Isabella Stewart Gardner Museum, 2011, 96-97, no. 28.
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Provenance: Entered Isabella Stewart Gardner's collection by 1899.
Figure 3.20
Unknown, Left: Ganymede and the Eagle; Right: Diana with an Orb, 1580, 62 x 178 x 58 cm, private collection. Reference number LVS509
This chest is believed to have been commissioned alongside the previous cassone (fig. 3.18), sharing a similar design but featuring opposite genders on each panel. On the left panel, the youthful and handsome Ganymede is depicted being seduced by an eagle, symbolizing Jupiter. On the right panel, a woman is portrayed in a position reminiscent of Apollo in the previous chest, holding an orb. This figure is likely to represent Diana, Apollo's twin sister and the goddess associated with the moon.
Additional Information:
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Location: Private Collection, previously TrendFirst: Exquisite Art, Antiques & Modern Design.
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Bibliography: Calderai, Fausto and Alan Chong. Furnishing a Museum: Isabella Stewart Gardner’s Collection of Italian Furniture. Boston: Isabella Stewart Gardner Museum, 2011, 96-97, no. 28.
Figure 3.21
Unknown, Left: Satyr (?); Right: Leda and the Swan, 1540-1560, walnut with gilded gesso, 171.2 x 57 x 60.4 cm, Washington: National Gallery of Art. Accession number 1942.9.360
This exceptional chest stands out with its abundance of decorative motifs, including lush fruit garlands and playful putti. Among these ornate elements, two small elliptical frames draw attention, each showcasing a distinct figure. On the left side, an enigmatic figure, possibly a satyr, poses a challenge to identification. Meanwhile, the right frame presents Leda and Jupiter in the form of a swan, engaging in an intimate and erotic embrace.
Additional Information:
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Location: Washington: National Gallery of Art.
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Catalogue Entries:
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Provenance: Acquired in Urbino by Professor Elia Volpi [1858-1938], Florence; inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park after purchase 28 December 1917 by funds of the estate; gift 1942 to NGA.
Figure 3.27
Unknown, Left: Hypsipyle and Jason; Right: Medea and Jason, 1575-90, walnut, carved and partially gilded, 68.5 x 174 x 58.4 cm, New York: The Metropolitan Museum of Art. Accession number 1975.1.1944
In two mirroring scenes, the mythological tale of the hero Jason and his love interests unfolds upon this chest. On the left panel, we witness the poignant meeting between Jason and Hypsipyle, the queen of Lemnos. On the right panel, the scene captures the significant moment of the meeting, betrothal, or marriage between Jason and the sorceress Medea.
Additional Information:
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Location: New York: The Metropolitan Museum of Art, The Robert Lehman Collection.
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Catalogue Entries: Koeppe, Wolfram, Clare Le Corbeiller, William Rieder, Charles Truman, Suzanne G. Valenstein, and Claire Vincent. Decorative Arts in the Robert Lehman Collection. New York, Princeton: Metropolitan Museum of Art and Princeton University Press, 2012, 202-203.
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Provenance: Acquired by Philip Lehman, by 1918.
Figure 3.28
Unknown, Left: Jason meeting Medea; Right: Neptune and Amphitrite / Neptune and Caenis (?), sixteenth century, Ecouen: Musée Nationale de la Renaissance. Catalogue number 20402
The chest features two narrative panels. The left panel portrays the meeting, betrothal, or marriage between Jason and Medea, reminiscent of fig. 3.26. However, it is the right panel that invites a reinterpretation. While previously identified as Neptune and Amphitrite, I propose an alternative depiction of Neptune and Caenis. Based on my analysis of the iconography and the resemblance to the myth, this revised interpretation sheds new light on the scene.
Additional Information:
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Location: Ecouen: Musée Nationale de la Renaissance.
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Bibliography: Brown, Patricia Fortini. Private Lives in Renaissance Venice: Art, Architecture, and the Family. New Haven and London: Yale University Press, 2004.
Figure 3.29
Unknown, Left: Orpheus Singing to the Animals; Right: Jason Meeting Medea, second half of the sixteenth century, walnut, 41 x 185.5 x 63.5 cm, Dorset: Kingston Lacy Estate, The National Trust Collection. NT 1254473
Within this chest, the left side presents a captivating scene portraying Orpheus serenading wild animals, a prominent iconography frequently found in early modern art. This particular depiction holds significant importance, and it is further explored and discussed in Chapter 4 of the accompanying dissertation.
On the right panel, we encounter the recurring theme of Jason and Medea, with their meeting, betrothal, or marriage depicted once again. The juxtaposition of these two scenes on the chest adds depth and variety to the narrative, offering a glimpse into different mythological tales and exploring various aspects of early modern art.
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