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does fury and wrath by carrying in her left hand a blazing torch and with the other dragging by the hair a young man who stretches out his hands to heaven and calls the gods to witness his innocence. She is conducted by a pale ugly man who has a piercing eye and looks as if he had wasted away in long illness; he represents envy. There are two women in attendance to
Slander, one is Fraud and the other Conspiracy. They are followed by a woman dressed in deep mourning, with black clothes all in tatters—she is Repentance. At all events, she is turning back with tears in her eyes and casting a stealthy glance, full of shame, at Truth, who is slowly approaching.
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355:(below the throne). In general, though many of the subjects of the decorative sculpture are classical, the style of their depiction, especially in the statues, is firmly from Botticelli's own period. The palace is beside the sea, which can be seen, flat and plain, through the windows; as often, Botticelli has little interest in enlivening his depiction of landscape with detail. The living figures contrast in style with the statues, and are all thin and elongated in a rather mannered way.
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281:. Ptolemy was on the verge of executing Apelles, when one of the rebel prisoners confirmed Apelles was innocent and the slanderer himself was given to Apelles as a slave, along with gold. Apelles then expressed his resentment of the peril in which he found himself in his painting. A difficulty with Lucian's story is that, although Apelles' dates are far from certain, he is usually regarded as a contemporary of
221:
half-naked victim on the floor, who is being pulled forward by the hair by
Calumny (Slander), in white and blue and holding a flaming torch. Fraud, behind, arranges Calumny's hair. Rancour (Envy), a bearded and hooded man in black, holds his hand towards the king's eyes to obscure their view. On the throne, the king has the
261:
Botticelli reproduced this quite closely, down to the donkey ears of the seated king, into which the women that flank him speak. A richly gowned
Slander (or Calumny), with her hair being dressed by her attendants, is being led by her slender, robed companion. The victim she is dragging, nearly nude
248:
with very large ears, extending his hand to
Slander while she is still at some distance from him. Near him, on one side, stand two women—Ignorance and Suspicion. On the other side, Slander is coming up, a woman beautiful beyond measure, but full of malignant passion and excitement, evincing as she
220:
of vices or virtues, or in the case of the king and victim, of the roles of the powerful and the powerless. From left to right, they represent (with alternative names): Truth, nude and pointing upwards to Heaven; Repentance in black; Perfidy (Conspiracy) in red and yellow, over the innocent
416:. Savonarola was excommunicated on 12 May 1497, but continued to preach until the Florentine government pressured him to stop, ceasing on 18 March 1498. He was finally executed on 23 May 1498. Hartt notes "...no one seems to think the painting can be as late as 1497 or 1498. Why not?"
192:, and like that may have been painted for his own use. It was completed around 1494 or 1495, and is probably the last secular painting of his to survive. It is often speculated that Botticelli had a specific slandered individual in mind, perhaps himself, or
378:, around the head of Fraud, but the central cornice and vaults use one a good deal lower. The movement of the narrative action across the picture space conflicts with the strong pull of the perspective to the back of the picture space.
229:, and Ignorance on his far side and Suspicion on the near side grasp these as they speak into them. The king extends his hand towards Calumny, but his eyes look down so that he cannot see the scene.
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of classical heroes, creatures from ancient myth, and battle scenes. The extensive reliefs around the room contain some quotations from earlier paintings of his, including the
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232:
These identifications are clear from Lucian's description of a painting by
Apelles, a Greek painter of the Hellenistic Period. Though Apelles' works have not survived,
300:
seems to have been. Without any description of the setting in Lucian or
Alberti, Botticelli has imagined a throne room very elaborately decorated with sculptures and
180:
with nine figures (as well as many painted statues) but at 62 x 91 cm is far smaller than his large mythological paintings, but larger than the usual size of his
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405:. Vasari says that the painting had been a gift from Botticelli, so if he had intended the painting for himself, he apparently changed his mind some time later.
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196:. In 1502, some years after the probable date of the painting, an anonymous denunciation to the authorities accused Botticelli of
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against his enemies, especially as the black robe with white underneath of
Penitence can be seen as that of the friar's
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by Lucian, but no other
Botticelli painting is clearly an attempt to recreate an ancient composition almost in full.
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of 1435, and there were four translations of Lucian's Greek into Latin or
Italian during the 15th century.
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considers the painting may have originally been intended for
Botticelli's own pleasure and use, as the
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pieces intended to be fitted into panelling or furniture. However, it is comparable in size to his
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According to Lucian, the painting was made after Apelles had himself been slandered, denounced to
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A number of Botticelli's secular works show an interest in recreating some of the lost glories of
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had praised it and recommended it as a subject for artists to recreate in his highly influential
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is produced by its illogical space". Most of the architecture has a more or less consistent
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715:(1921). "The Calumny of Appelles". In Modern Language Association of America (ed.).
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and with his ankles crossed as if to be crucified, raises his hands in prayer.
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Ettlingers, 146; Lightbown, 231 only recognizes her pose as in part to be a
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of Egypt by Antiphilos, a rival artist, of conspiring in around 219 BC with
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Frederick Hartt notes the temptation to see the painting as a defence of
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62 cm × 91 cm (24 in × 36 in)
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Altrocchi (1921), pp. 454, 456–457; quoting translation by A.M.Harmon.
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saw the painting in the collection of the son of Antonio Segna Guidi (
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324:-like statue in a niche above the central group seems to be from a
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397:–1512), a Florentine banker whose period from 1497 overseeing the
314:. The figure of "Truth" is clearly derived from the Venus of his
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153:, which are recorded in classical literature, especially the
121:, the work was completed in about 1494–95, and is now in the
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Venus and the Three Graces Presenting Gifts to a Young Woman
786:, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams),
20:
718:
Publications of the Modern Language Association of America
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paintings of the story of Nastalgio degli Onesti, and his
117:. Based on the description of a lost ancient painting by
1280:
Virgin and Child with the Young Saint John the Baptist
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A Young Man Being Introduced to the Seven Liberal Arts
1273:
Virgin and Child with the Infant St. John the Baptist
1320:Portrait of a Man with a Medal of Cosimo the Elder
257:Ignorance and Suspicion on either side of the King
132:The content of Apelles' painting, as described by
1395:
212:Perfidy, the victim, Calumny, Fraud and Rancour
824:, Penguin 1965 (page nos from BCA edn, 1979).
851:
601:and, 235 identifies vase carrying figures by
419:It was later in the Medici collection in the
1404:Paintings by Sandro Botticelli in the Uffizi
941:The Story of Nastagio Degli Onesti, part one
525:Deimling (2000), p. 72; Lightbown, 230, 232
1251:Madonna Adoring the Child with Five Angels
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769:, 1976, Thames and Hudson (World of Art),
343:Other scenes probably derive from ancient
1358:Portrait of a Young Man holding a Roundel
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339:Detail below the throne: a centaur family
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370:, "some of the oppressive effect of the
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252:
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169:playing with Mars' armour, from another
1003:The Discovery of the Body of Holofernes
800:, 114, 2004 (revd edn), Chaucer Press,
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1130:Scenes from the Life of Saint Zenobius
19:"La Calunnia" redirects here. For the
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489:Lightbown, 230; Ettlingers, 144–145
13:
1109:The Last Communion of Saint Jerome
820:, selected & ed. George Bull,
784:History of Italian Renaissance Art
459:List of works by Sandro Botticelli
25:The Barber of Seville § Act 1
14:
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636:Ettlingers, 202–203; Legouix, 114
507:Vasari describes it this way, 155
476:Altrocchi (1921), p. 470 and see
1207:Virgin and Child with Two Angels
1199:Virgin and Child with Two Angels
1101:Lamentation over the Dead Christ
1077:Lamentation over the Dead Christ
1010:The Return of Judith to Bethulia
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812:Sandro Botticelli: Life and Work
734:Deimling, Barbara (1 May 2000).
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1327:Portrait of Giuliano de' Medici
1063:Punishment of the Sons of Korah
737:Sandro Botticelli, 1444/45-1510
721:. Vol. 36. The Association
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681:Vasari, 155; Lightbown, 235–237
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236:recorded details of one in his
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1185:Madonna in Glory with Seraphim
1155:Virgin and Child with an Angel
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273:to hand Syrian cities such as
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1305:Portrait of Smeralda Brandini
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423:, and by 1773 in the Uffizi.
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16:Painting by Sandro Botticelli
1085:Saint Augustine in His Study
1039:Saint Augustine in His Study
832:(in a different translation)
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312:Return of Judith to Betulia
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1244:Madonna of the Pomegranate
1192:Madonna of the Rose Garden
822:Artists of the Renaissance
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23:by Gioachino Rossini, see
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1230:Madonna of the Magnificat
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765:with Helen S. Ettlinger,
579:Altrocchi (1921), p. 455.
561:Altrocchi (1921), p. 455.
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1414:Paintings of Greek myths
996:Sant'Ambrogio Altarpiece
464:
401:ended unhappily, on the
362:Detail, above the throne
244:On the right of it sits
609:'s south door as model.
216:The figures are either
1287:Madonna del Padiglione
1042:(Florence: Ognissanti)
905:Pallas and the Centaur
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258:
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151:Ancient Greek painting
98:The Calumny of Apelles
33:The Calumny of Apelles
1116:The Mystical Nativity
1093:Pala delle Convertite
1070:Cestello Annunciation
1051:Temptations of Christ
1017:Adoration of the Magi
969:The Story of Lucretia
962:The Story of Virginia
932:Illustrations to the
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267:Ptolemy IV Philopator
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138:Leon Battista Alberti
1178:Madonna delle Grazie
1163:Madonna della Loggia
605:on the frame of the
435:Truth and Repentance
289:Borrowings and style
271:Theodotus of Aetolia
1383:Botticelli (crater)
1237:Madonna of the Book
810:Lightbown, Ronald,
627:Lightbown, 231, 235
516:Lightbown, 231, 235
386:Some decades later
330:Andrea del Castagno
283:Alexander the Great
176:The painting is an
111:Italian Renaissance
1378:(2016 documentary)
1376:Botticelli Inferno
1337:(Washington, D.C.)
1137:The Man of Sorrows
1123:Mystic Crucifixion
1088:(Florence: Uffizi)
926:Calumny of Apelles
919:The Birth of Venus
713:Altrocchi, Rudolph
570:Lightbown, 230–231
534:Lightbown, 235–237
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1170:Madonna and Child
867:Sandro Botticelli
763:Leopold Ettlinger
747:978-3-8228-5992-6
189:Mystical Nativity
115:Sandro Botticelli
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780:Hartt, Frederick
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368:Frederick Hartt
298:Mystic Nativity
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317:Birth of Venus
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162:Mars and Venus
103:panel painting
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699:Legouix, 114
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618:Legouix, 114
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1345:(Frankfurt)
1342:Young Woman
740:. Taschen.
395: 1460
225:'s ears of
1398:Categories
1353:(Florence)
1158:(Florence)
1020:(Florence)
806:1904449212
798:Botticelli
792:0500235104
775:0500201536
767:Botticelli
706:References
690:Hartt, 337
663:Hartt, 336
607:Baptistery
447:The victim
410:Savonarola
399:Papal Mint
238:On Calumny
227:King Midas
194:Savonarola
143:De pictura
73:Dimensions
1350:Young Man
1334:Young Man
1312:Young Man
1297:Portraits
1173:(Avignon)
1096:(Trinity)
988:Religious
898:Primavera
891:Fortitude
307:spalliere
279:Seleucids
183:spalliere
171:ekphrasis
156:ekphrasis
1315:(London)
1265:New York
1218:(Boston)
1202:(Naples)
1147:Madonnas
1080:(Munich)
603:Ghiberti
453:See also
349:centaurs
178:allegory
127:Florence
113:painter
89:Florence
81:Location
1368:Related
1260:Glascow
1104:(Milan)
883:Secular
830:on-line
826:Vasari
753:30 June
725:30 June
382:History
372:Calumny
320:. The
302:reliefs
204:Subject
119:Apelles
109:by the
107:tempera
60:1494–95
818:Vasari
804:
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353:Zeuxis
326:fresco
234:Lucian
223:donkey
198:sodomy
167:satyrs
134:Lucian
123:Uffizi
85:Uffizi
65:Medium
47:Artist
465:Notes
246:Midas
101:is a
1060:and
828:Life
802:ISBN
788:ISBN
771:ISBN
755:2010
742:ISBN
727:2010
403:rack
275:Tyre
57:Year
21:aria
351:by
328:by
105:in
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782:,
392:c.
332:.
240::
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129:.
125:,
87:,
859:e
852:t
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27:.
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