Loading summary
Transcript15 lines
- [00:00]
Narrator
There are more ways than ever to listen to History Daily ad free. Listen with Wondry plus in the Wondery app as a member of Noiser plus at noiser.com or in Apple Podcasts. Or you can get all of History Daily plus other fantastic history podcasts@intohristory.com we all know it the the most famous smile in the world. Slightly mischievous, slightly disapproving, entirely enigmatic. It's the Mona Lisa smile, and we know all about the painting's famous creator, Leonardo da Vinci. You may also know about the painting Step from the Louvre in 1911. But what do you know about the woman depicted in the painting? Well, she's probably the Italian noblewoman Lisa del Giocondo, and it's a bit shocking that the most famous painting in the world is of a woman whose name we're not really sure of. Or maybe it's not shocking at all. On today's Saturday matinee, we're bringing you an episode from the podcast Art Muse, which discusses perhaps the second most famous woman in painting whomever is standing in the clamshell of Sandro Botticelli's the Birth of Venus. Art Muse shares the life stories of the women pictured in famous works of art, aiming to reshape the ways in which these well known works are interpreted by paying attention to the women whose images have been immortalized, but whose names and stories have been overlooked. I hope you enjoy While you're listening, be search for and follow artmuse. We put a link in the show notes to make it easy for you. History Daily is sponsored by Express Pros. Managing your workforce can be exhausting, and if you're tired of a costly and lengthy hiring process, simplify and speed up your recruitment with one connection the experts at Express Employment Professionals reduce time to hire, cut down on interviews and lower your recruitment costs. Visit ExpressPros.com today. Express is more efficient than hiring Hiring on your own. Check out ExpressPros.com to see how Express employment professionals can take care of your hiring.
- [02:08]
Advertiser
Craving your next action packed adventure, Audible delivers thrills of every kind on your command. Like Project Hail Mary by Andy Weir, where a lone astronaut must save humanity from extinction. Narrated with stunning intensity by Ray Porter. From electrifying suspense and daring quests to spine tingling horror and romance in far off realms, unleash your adventure aside with gripping titles that'll keep you guessing. Discover exclusive Audible originals, hotly anticipated new releases and must listen bestsellers that hook you from the first minute. Because Audible knows there's no greater thrill than the One that speaks to you. Discover what lies beyond the edge of your seat. Start your free 30 day trial at audible.com wondery us that's audible.com wonderyus what.
- [02:58]
Grace Anna
Is art without the museum? Many of Western art's most famous works are depictions of women. But who were these women? Do they have their own stories to share with the world? Hello and welcome to Art Muse, a podcast that aims to reshape the ways in which we interpret well known works of art by paying dues to the women whose images have been immortalized, but whose names and stories have been wrongfully overlooked. While these women's faces are familiar to viewers around the world, their identities have been largely forgotten. Together, we will explore the important lives and legacy of the female muse and appreciate these works of art from a new perspective through the eyes of the women whose image stares back at us. Is the muse in actuality just as, if not more important than the artists themselves? And I'm your host, Grace Anna. Up above the sea coast, where angry Neptune beats against the rocks. There, like Venus, she was born among the waves. Though this sounds like the creation story of a mythological goddess, these words actually describe the birth of a real woman. Listeners today, I'd like to introduce you to Simonetta Vespucci, a Genoese noblewoman living in Florence during the 15th century. Deemed the most beautiful woman in all of Florence, Simonetta captured the heart of Florence's greatest leaders, artists, poets and intellectuals of her time. Though born in Genoa, Simonetta married a Florentine man named Marco Vespucci at the and moved to Florence shortly after their wedding. It didn't take long for Florence's elite to notice Simonetta's exceptional beauty and character. And soon the city's most powerful men felt weak at their knees in Simonetta's presence. And the most smitten was Giuliano de Medici, the brother of Lorenzo the Magnificent, leader of all of Florence. Giuliano even dedicated a public joust in Simonetta's honor, declaring his admiration for Simonetta in front of thousands of spectators. Unfortunately, Simonetta's life story does not have the fairy tale ending we may have imagined. In 1476, Simonetta fell gravely ill and died at the mere age of 23. Her tragic death left the entire city of Florence in mourning, sharing their communal heartbreak over the loss of the brightest star Florence had ever seen. But Simonetta's death is far from the end of her story. With her death came the birth of the myth of Simonetta, and her legacy quickly began to take on a life of its own, a life that continues to evolve today. Shortly after her death, Florence's best poets began dedicating verses to Simonetta, including Lorenzo the Magnificent. In these poems, Simonetta became synonymous with the glory of Florence itself. Debates surrounding beauty and love always centered on Simonetta as an emblem of the feminine ideal. Though she wasn't alive to witness it herself, Simonetta had become a cultural icon, and Simonetta not only inspired poetry, but the city's greatest painters soon began to paint Simonetta into their works as well. One artist in particular became fixated on Simonetta painting her image time and time again. The artist was the legendary Sandro Botticelli. Though painted after her death, it is believed that Simonetta was the model for Botticelli's two greatest works, the Birth of Venus and Primavera. She is also believed to be the subject of a series of portraits produced by Botticelli's studio, as well as a portrait by another famed artist of their time, Piero di Cosimo. Are these portraits of Simonetta or rather idealized representations of her memory? Are we looking at Simonetta as she was, or has the real Simonetta been lost to male fantasy? Because the only surviving paintings of Simonetta that exist today were painted after her own death? The line between the real and the imagined is thin at best, as is the line between Simonetta's real lived experience of her brief life and the life that her myth has since taken on. Unfortunately, the mythologized version of Simonetta's life has cast a significant shadow over the few existent facts we do have about Simonetta. And the real Simonetta has been lost to centuries of folklore. With no letters written by Simonetta's own hand, no words of her own that still exist, and no surviving portraits from her own lifetime, we are left with the challenge of sharing Simonetta's important life and legacy in the way that she would have wanted. How can we give Simonetta back her own voice? Today, I aim to peel back the many layers of myth and give Simonetta, as a woman in her own right, and not just a projection board for male fantasies over the centuries, the recognition she deserves. So, without further ado, let's dive in. Simonetta Catania was born in the late autumn of 1453. By most accounts, she was born in the city of Genoa, although there is some speculation that she was born in Porto Venere, a coastal city just outside of Genoa. Simonetta was born into an influential Genoese family, and her parents came from distinguished lineages. Her father, Ser Gaspare Cattaneo, was A Genoese nobleman, his ancestors were among the first principal families of Genoa and many of his relatives throughout history were lords and doges. The Cattaneos even earned a special crest of a demi crowned eagle, a crest Simonetta would have grown up associated with. Simonetta's mother, Caterina Volante Spiniola was from a family of equal importance. The Spinola family originally came from a small town near Milan and were distant relatives of the prestigious Visconti family. Immigrating to genoa in the 12th century, the Spinolas became known for their impressive financial projects, but were also distinguished in politics, literature and warfare. In fact, the Palazzo degli Spinola still stands in Genoa today as a reminder of the family's size, worthy legacy and affluence. At the time of Simonetta's childhood, Genoa was known for its wealth and the city was filled with luxurious palaces and villas. Given both of her parents impressive backgrounds, we can only imagine that Simonetta herself grew up in one of these grand palaces. She may have even lived in the Villa Cattaneo, a five story extensive villa with a marble facade so impressive that it became one of the city's greatest wonders. Unfortunately, barely a trace of Simonetta's actual childhood experience exists today, and we are left to imagine what her upbringing in Genoa must have been like. It would be safe to assume that Simonetta was well educated, especially in the delicate intricacies of being a lady of nobility, and that she would have grown up in an extremely opulent environment. But beyond basic speculation, Simonetta's early life is a blank void. How did little Simonetta fill her days? Would she lose herself in play as she whizzed around the mazes of her family's palace? Or did she run along Genoa's coastal ports as she looked out at the sea? Would this little girl have believed that she would one day be painted as Venus being birthed from the waves themselves? And that she would soon become the most beautiful woman to ever walk the streets of Florence, leaving the city's most powerful men speechless in her wake. We do know that in 1457, when Simonetta was only four years old, her family was exiled from Genoa due to political overturn and unrest. Simonetta relocated with her family to Piombino, a small Tuscan coastal city located between Siena and Florence. Simonetta's family likely chose to settle in Piombino because one of their relatives were high up in the city's government and Simonetta and her family were able to stay at the city's court. How did little Simonetta feel Leaving the city she had always called home for a city unknown. Was she sad to leave the grandiose palaces of Genoa behind? Was she worried for her family's safety? Or would she have welcomed the adventure and change of scenery? Did she feel a sense of comfort that her new home still looked out at the same deep sea? Simonetta would spend the next 11 years here in Piombino. It was in this coastal town that Simonetta matured from a young girl to a breathtakingly beautiful adolescent. And it was here that Simonetta would meet the man that would forever change the course of her the young Mario Vespucci. Mario Vespucci was from a prominent Florentine family closely aligned with the Medici. Fun fact. Maria was the cousin of the celebrated Florentine explorer, Amerigo Vespucci, who, as you may have guessed from his name, the country America is named after. The Vespuccis had established themselves in Florence as wine merchants and Marco's father, Piero, was a particularly business savvy man. He was so impressive that the Medicis trusted Piero with a sizable position within the Medici business. And he was eventually appointed as Podesta of Milan, one of the most distinguished positions in northern Italy. To accept the honor, Piero traveled throughout northern Italy with the then 16 year old Marco. Little did Marco know that his path was about to cross with the most beautiful young woman he had ever seen. The woman he would one day call his wife. The meeting of Simonetta and Marco Vespucci is clouded in long held folklore, lore and fantasy. As legend goes, Marco was passing through Piombino with his father on one fateful morning in April of 1469. Marco and his father attended church when Marco noticed an exquisitely charming young woman. Simonetta, who attended church regularly with her parents, must have noticed the young man's stare and given him a sparkling smile back. According to this fable, Simonetta and Marco Vespucci quickly fell in love at first sight and the pair's instant attraction soon turned to a burning passion. By other accounts, Marco became acquainted with Simonetta's father after he was appointed as a clerk nearby. In this version, Simonetta's father brought Marco home to his house one night for dinner. As Marco walked through the door, he was greeted by a shy Simonetta, who batted her eyelashes at him as her cheeks turned crimson with blush. The pair quickly became enamored with each other and Marco had his heart set on marrying Simonetta. Simonetta's mother wasn't convinced at first that Marco would make an adequate partner for her precious daughter. But was soon reassured by the Vespucci's good family name. With her mother's blessing, Simonetta's marriage to Marco was soon after agreed upon. Though these legends make for picturesque stories, the reality of the union of Simonetta and Marco was likely far less romantic. There's no doubt that Marco was a well educated and impressive young man, and that he would have made a favorable impression on both young ladies and their discerning parents. But the marriage of Simonetta and Marco Vespucci was almost certainly less to do with young love and more to do with the union of two powerful families who could offer each other important political advantages. Surviving records indicate that the marriage between Simonetta and Marco Vespucci was arranged by Simonetta's brother in law, who was the Lord of Piombino at the time. Considering Simonetta's beauty, her brother in law could use her as leverage to negotiate Simonetta's entry into a family with close ties to the Medici. Simonetta's marriage to Marca would establish her own family's ties to Florence's ruling family. Their marriage would also create direct ties between the courts of Piombino and Florence. Because the lords of Piombino controlled iron mines and had a close allegiance with Naples, this union was equally advantageous to the Vespuccis and in return, the Medici. In short, the union of Simonetta and Marco Vespucci was almost certainly strategic and politically motivated. But it does beg the how did Simonetta herself feel about Marco Vespucci? Was it love at first sight? Did he win her over with his classy charm? Did she see in him an opportunity for a new life and adventure? Or did the 16 year old Simonetta feel powerless against her family's will? That she had no agency in choosing her own husband or the family that she would soon be entering? That she would have to say goodbye to her own family, the innocence of her childhood and her home for a life unknown? Unfortunately, we do not have any record of Simonetta and Marco's days of courtship. No letters between them exist. And we are left to intuit what these early days in their relationship must have been like for Simonetta. Did they exchange love letters, lavish gifts? Whisper sweet nothings to each other at family banquets? Or was it stilted and awkward? Was Simonetta filled with excitement, ambivalence or dread? We do know that a marriage contract was signed between Simonetta's and Marco's fathers in 1460, although the actual agreement does not survive today. And despite the many myths surrounding Simonetta and her fairy tale romance, There are sadly, no surviving descriptions of the wedding itself either. We do not know if the wedding took place in Genoa, Piombino or Florence, but we can only imagine the extravagant celebrations that must have been held in their honor, attended by some of the most prestigious persons in northern Italy. There would have been an impressive feast, dancing, dazzling outfits. And on her big day, the exceptionally beautiful Simonetta may have begun to catch the eye of more than just her husband. Soon after the wedding, Simonetta would have left her family behind and moved with Marco to Florence. It is in Florence that Simonetta would spend the next and final seven years of her brief but impactful life. Due to the Vespucci's wealth and close connection to the Medici, we can imagine that Simonetta would have been welcomed into a comfortable new life in Florence. She would have moved into one of the Vespucci's impressive villas and begun to settle into her duties as the wife and governess of their new home. In her early days, she would have also begun to explore the city of Florence. We can imagine the young Simonetta walking Florence's narrow streets, perhaps stopping to admire Brunelleschi's newly finished dome and strolling across the many bridges that traverse the Arno river as she took in her new surroundings. Would Simonetta have believed that soon the entire city would know her name? It still remains a mystery how the young wife of a relatively unimportant Florentine merchant won the hearts of an entire city, capturing the attention of Florence's most influential gentlemen. How did Simonetta transform herself from a young Genoese bride into a Florentine cultural icon? And how did she catch the eye of both Giuliano and Lorenzo de Medici? How did she become the biggest sensation Florence had ever seen? It seems that not long after Simonetta's arrival in Florence, her unrivaled beauty, beauty and sweet demeanor began to captivate all those lucky enough to come in contact with her. Because of Marco's connection to the Medici, he and Simonetta would have been invited to Florence's grandest balls, attended by the city's most prestigious citizens. Though these parties were filled with well dressed and attractive men and women, no one could compare with Simonetta's dazzling presence. And she soon quickly became known as the most beautiful woman in all of Florence, earning the nickname La Bella Simonetta. As the legend goes, men on the street began to kiss her hand. Soldiers stood in their tracks when she passed them by, and even monks looked up at the heavens in Simonetta's company. And it just so happened that the two Men most enamored with Simonetta were also the two most powerful men in all of Florence, Lorenzo and Giuliano de Medici. The same year that Simonetta moved to Florence, Lorenzo and Giuliano's father passed away, ascending Lorenzo to the head of the Florentine Republic. Lorenzo would later be known as Lorenzo the Magnificent and would go down in history as one of Florence's most important leaders of all time. We can assume that Simonetta was introduced to Lorenzo and Giuliano through her husband. Though it was her own good looks and charm that turned their acquaintance into a near obsession. It was said that Lorenzo was never happier than when he was in Simonetta's presence. He admired her charm and intelligence and would ask Simonetta to sit by his side and read sonnets with him. Lorenzo's evident affection for Simonetta can't all be chalked up to folklore, as we will see after Simonetta's death. And when Lorenzo was in the height of his power, he wrote several poems dedicated to Simonetta that survived today. But it was Lorenzo's younger brother Giuliano who developed an unparalleled passion for Simonetta. She was the apple of his eye, the woman of his dreams. As legend goes, Simonetta first met Giuliano at a feast celebrating Simonetta's marriage and recent arrival in Florence. Almost although meant to honor Simonetta's union with Margot, Giuliano found that his breath had been taken away by Simonetta's awe inspiring beauty. His heart began to pound with desire and soon after, Simonetta was all that Giuliano could think about. One day, Giuliano invited Simonetta to sit under some of his orchard trees with him. As Simonetta sat down, Giuliano, the second most powerful man in all of Florence, collapsed at her feet in adoration amongst the orchard trees. Simonetta and Giuliano must have felt comforted by the privacy of their surroundings, not knowing that a passerby happened to walk by and catch their intimate moment. This passerby was so inspired by the sight of Simonetta and Giuliano that he began to fantasize about their love. And like Giuliano, he also began to dream of Simonetta every night. This passerby was none other than Sandro Botticelli. And it is believed that his later masterpiece, Primavera was inspired by this very scene. Though we cannot confirm these fantastical tales, nor the exact circumstances that Simonetta and Giuliano de Medici met under, there's no denying that Giuliana was taken with Simonetta. And it didn't take long for the city to catch on. Giuliano's growing affection for Simonetta quickly became the leading topic of gossip around Florence, leaving the city abuzz. Giuliano was, after all, not only the most powerful man in Florence after his brother, but but he was also tall and handsome, an impressive poet and a skilled knight. Eager followers began to compare Giuliano's love for Simonetta to that of Marc Anthony and Cleopatra. Of course, we cannot omit the belaring fact that Simonetta was married and that Giuliano likely grew up with Simonetta's husband Marco. It's possible that Giuliano's love for Simonetta was unrequited, or that her status as a married woman gave her an unattainability that fueled Giuliano's flames. It is important that we try our best to see Giuliano's affections for Simonetta within the context of their time. The most plausible explanation for Giuliano's public love for Simonetta, despite her status as a married woman, was that it was seen through the lens of chivalry and courtly love. Under chivalric terms. It was not unusual for an unmarried man to publicly declare his love for a married noble woman. The truth is, we don't know the exact nature of Simonetta and Giuliano's relationship and most importantly, how Simonetta truly felt about Giuliano. There are no surviving letters or first hand accounts indicating Simonetta's own feelings regarding Giuliano. How did Simonetta feel about Giuliano? Was the love unrequited? Or did Simonetta reciprocate Giuliano's feelings towards her? Did she feel guilty about her husband? Or did she find Giuliano's attention exhilarating? And how did Simonetta feel about Lorenzo, leader of all of Florence? Did she enjoy the Medici brothers endearment towards her? Or did Simonetta wish that she could hide from being under the spotlight? And the spotlight was only getting bigger. On January 29, 1475, Lorenzo de Medici hosted a public joust of unprecedented size to celebrate Florence's alliance with Venice and Milan. The joust was meant to showcase the Medici's growing power. Thousands of Florentines, as well as foreigners from other cities packed into Piazza di Santa Croce to witness the spectacle. The star of the event was Giuliano de Medici, who entered to fight in the joust as a knight. And he dedicated his fight to the fairest of the fair, the pride of Florence itself, Simonetta Vespucci. Giuliano not only publicly declared his dedication to Simonetta verbally, but also visually commissioning Botticelli to paint Simonetta's image onto the flag Giuliano carried out into the arena. Below her face were the words La sans pare, French for the unparalleled one, written in the language of love. As the woman of honor, Simonetta likely would have given Giuliano something that would remind him of her, like a scented scarf. And he may have held it to his heart as he looked up at his beloved. Though it was Giuliano fighting in the arena, all eyes would have been on La Bella Simonetta. Juliana went on to win the entire tournament. Tournament. And with his victory, Simonetta was nominated the Queen of Beauty. Giuliano's victory was also Simonetta's own, and she would have been there to witness this momentous moment. How did Simonetta feel as she watched Giuliano fight in her honor? To see her own face on his banner as she watched from high above was seen. Was Simonetta proud as her dedicated knight plunged his way to victory? And did she enjoy the public's attention knowing that all eyes were on her?
- [30:53]
Advertiser
Why are there ridges on Reese's peanut butter cups? Probably so they never slip from her hands. Can you imagine? I'd lose it. Luckily, Reese has thought about that. Wonder what else they think about. Probably chocolate and peanut butter.
- [31:08]
Claude
Claude is the AI assistant from Anthropic that millions of people have turned to just because it feels different. We've all tried AIs that come across a little robotic, but Claude gets it when it comes to empathy and emotional intelligence. That's why Claude has become the if you know, you know, companion for tasks like vision boarding, self reflection, planning a move to a new city, plotting out scenarios for a big life decision, and more. Give Claude a try for free. At Claude.com, that's C-L-A-U-E.com and let us know how you feel the difference.
- [31:46]
Grace Anna
Unfortunately, Botticelli's painted banner does not survive today, but we do have at least one written record of the joust that mentions Simonetta. Explicitly written in 1475, the Medicis historian Poliziano wrote a poem about the joust titled Le Stanzae per Legiostre, in which Simonetta appears twice. As Poliziano wrote of Simonetta, amongst her other excellent gifts, she has so sweet and attractive a manner that all those who have any familiar acquaintance with her or to whom she pays the slightest attention think themselves the sole objects of her affection. Yet no woman really envies her. But all give her unstinted praise. It seems too an extraordinary thing that so many men should love her to distraction without exciting jealousy. Poliziano's descriptions of Simonetta present her as the ideal courtly lady. She is both sensually appealing and virtuous, attractive and respectable, desired but not envied. We see in Poliziano's poems the beginnings of Simonetta being transformed into an icon of both sensual fantasy as well as unparalleled purity. Her legacy, even before her tragic end, was already taking on a life of its own. We can imagine that Poliziano and Simonetta would have known each other personally. As the Medici's own historian, Poliziano was living in the Medici household at the time he wrote this poem. It's more than likely that Simonetta was introduced to Poliziano, if not by Giuliano himself, then certainly through her husband's affiliation with the medicine. This means that when Poliziano wrote these verses on Simonetta, he would have had first hand experience of Simonetta herself. This is especially crucial given that Poliziano's poem is the only poem about Simonetta that was written in her own lifetime. These verses provide a rare insight into Simonetta as a real woman, not just a fictionalized version of her. Poliziana would not have known it at the time, but Simonetta would die just one year after he published these famous lines on her. How did Simonetta herself feel about Poliziano's poem? Was she flattered? Did she enjoy the poem? Or did she feel that Poliziano described her with impossibly high standards? That he had projected a fantasy onto her? Did she feel rightly represented? Though we sadly do not know Simonetta's feelings about Poliziano's poem, it seemed that Giuliano's public display of affection prompted a lot of feelings around Florence regarding his and Simonetta's suspected relationship. Soon after the tournament, the burgeoning love between Simonetta and Giuliano de Medici once again had the entire city abuzz with gossip. And Giuliano certainly fueled the flames by continuing to act as Simonetta's chivalrous lover. Publicly. It was believed by many that after the joust, Simonetta and Giuliano became officially romantically involved. This theory may have been strengthened by the fact that Simonetta and her husband Marco had not produced any offspring, despite having been married for over five years. At the time, childless marriages were viewed suspiciously, and it made the prospect of an affair all the juicier. Of course, there are a multitude of reasons outside of infidelity that could explain Simonetta's lack of children. It's possible that either she or Marco were infertile, or that their union, which folklore painted as love at first sight, was more grimly the result of two families making a political alliance and was loveless and cold. Simonetta and Marco's lack of children is yet another mystery of Simonetta's life that we are left to speculate. Could Simonetta have faced fertility issues? Or did she recoil at the thought of being intimate with Marco? Was she devastated over their inability to have children? Or was it a deliberate choice, an act of defiance? Did Simonetta even want to be a mother? And was her and Juliano's relationship after the joust intimate? Or did it remain within the confines of courtly love? Was it real or performative? Mutual or one sided? We have frustratingly little surviving evidence to answer these questions. We may never know if Simonetta and Giuliano's relationship ever became an official affair, nor how Simonetta really felt about Giuliano and his public acts of affection. Tragically, Simonetta's own voice and feelings have been lost to history. And Simonetta's perspective was also lost to her own tragic end. In April of 1476, Simonetta became gravely ill. The usually bright young woman was suddenly confined to her bed, shaking with weakness, unable to sleep due to persistent coughs, and with a complete lack of appetite. When Lorenzo de Medici, who was away in Pisa on business, got news of Simonetta's illness, he immediately set over his family doctor to Simonetta's side. Though this generous act highlights just how much Simonetta meant to Florence's ruling family, it did cause tension regarding her care, as documented in letters from Simonetta's father in law to Lorenzo, Simonetta's own nurse and the Medici doctor disagreed as to what illness Simonetta was fighting and what her appropriate illness treatment should be. The two argued and debated with one another intensely. Simonetta's nurse believing Simonetta had tuberculosis, and the Medici doctor firmly contesting that diagnosis. In the end, despite their varying opinions, the pair agreed on a treatment plan, knowing that Simonetta's condition was far too severe to waste time over their battling egos, and that more important than the treatment itself, it was imperative that Simonetta remain in a peaceful environment in which she could receive consistent care. As Simonetta's father in law said in a letter, little indeed can be done for her in the matter of medicine, but the greatest care is necessary. Though the treatment seemed to improve Simonetta's condition initially, her father in law, noting that her appetite returned and that she was able to sleep more deeply. Her upswing in health did not last long. Lorenzo and Giuliano de Medici both followed Simonetta's sickness closely and waited for news with bated breath. It was soon clear that Simonetta had only a matter of days. In the dark hours of the night on April 26, Simonetta Vesp Gucci took her final breaths. She passed away at the mere age of 23. At the peak of her youth and potential. How did Simonetta feel as she took her remaining breaths? Did she have any regrets? Did she think about how, just a year before, she watched Giuliano de Medici dedicate a joust in her honor from for all of Florence to see? Who would she miss the most? Was she afraid? Or was she overcome with a sense of peace? Lorenzo de Medici was informed of Simonetta's death by one of his assistants, who wrote in a letter that survives. The blessed soul of Lady Simonetta has, I have just, just heard, passed into paradise. Her end, it may be said, in truth, is another triumph of death. And indeed, if you had seen her lying dead, she would have seemed to you, my lord, no less beautiful and attractive than when she was in life. Upon receiving the heartbreaking news, Lorenzo wrote in his journal. Suddenly a brilliant star shot out of the horizon and gleaming in the bright sunshine, I knew that it was the blessed Simonetta's spirit which had transformed the shining constellations of the heavens. In the days following her passing, Simonetta was given a grand public funeral. Her body was carried in an open casket from her home all the way to the church of Ognissanti, where she was to be buried. As legend goes, Simonetta was dressed in her favorite golden robe and was placed on the softest of cushions, surrounded by spring flowers. Onlookers remarked that her body looked as flawless as a block of marble. As Simonetta made her final journey to her resting place, she would trailed by a long procession of mourners. At the front, just behind, her husband, Lorenzo and Giuliano de Medici walked silently side by side, as they laid their eyes on la bella Simonetta one last time. Lorenzo de Medici ordered the great bell of Florence's Duomo to be rung in Simonetta's honor and for all of Florence to be reminded of their collective grief. Poets, artists and philosophers alike all began to pay tribute to Simonetta. As Lorenzo de Medici himself wrote in a All of Florence were grieved for her and lamented the bitterness of her death and all the Florentines of talent, as was fitting for such a public bereavement Bereavement variously expressed their grief, some in verse and some in prose and each attempted to praise her according to his own ability. But none mourned Simonetta more deeply than Giuliano de Medici. Swallowed by both shock and grief, Giuliano could not believe that just a year after his victory at the joust, his precious Simonetta was unfairly taken from this world. Friends tried to console Giuliano, priests tried to soothe him by assuring him that Simonetta was watching over him in heaven and poets wrote him heartfelt poems. But Giuliano's heart was broken beyond repair. It is said that his grief was so intense that the death of Simonetta aged the young Giuliano. Remarkably, Botticelli painted a portrait of Giuliano in the period following Simonetta's death. In Botticelli's portrait we see a forlorn Giuliano looking down in dismay. He has the defeated air of a man who has suffered a great loss. And in the corner of the canvas Botticelli included a turtle dove, a sign of both loyalty, a clear allude to Giuliano's all consuming grief for Simonetta. In another surviving letter written by Simonetta's father in law, this time addressed to Giuliano's mother, he described Giuliano's state as inconsolable. As the letter describes when the blessed soul that was your Giuliano used to visit my house. He said to me many times that he was the unhappiest young man not only in Florence but in all of Italy. I had such pity for him. He aroused such sorrow that to make him happy and give me pleasure, both my son Marco and I did all we could to please him as his kindness, correctness and gentle breeding deserved. We gave him all of Simonetta's garments and her portrait. Marco and I did this all with affection. The letter is one of the few direct sources we have attesting to Giuliano's deep love for Simonetta. The fact that Simonetta's husband and father in law gave Giuliano all of Simonetta's clothes is not to be overlooked. It is a testament to both the extent of Giuliano's care for Simonetta and and his immense grief. And more than this, Simonetta's husband clearly had enough respect for Giuliano and his adoration for Simonetta to give him all of her remaining garments. We can imagine Giuliano holding Simonetta's clothing, desperately trying to feel close to her again. It should be noted that the letter also mentions A portrait of Simonetta. This portrait, whom many believe was painted by Botticelli, unfortunately no longer exists today. Giuliano lived the rest of his life in honor of Simonetta's memory, until he met his own tragic end. Exactly two years to the day of Simonetta's death, on April 26, 1478, Giuliano de Medici was attending Sunday service at the Florence Cathedral. What should have been a very typical Sunday service suddenly turned bloody. In the middle of the service, a group of insurgents entered the cathedral and began to attack Lorenzo and Giuliano de Medici. Though Lorenzo managed to escape relatively unscathed, Giuliano received a devastating 19 stabs, one of which was a fatal blow to his head. Giuliano died in a pool of his own blood splayed out on the cathedral's floor. He was only 25 years old at the time of his death. Giuliano was killed in what later would be called the Pazzi Conspiracy, one of the most important and crushing events in all of Florence's history. Giuliano's death took place two years to the exact day of Simonetta's own untimely end. A coincidence that is hard to ignore was Giuliano honoring the second anniversary of Simonetta's death as he walked into church that Sunday, not knowing that he would soon be joining her in heaven? Could their shared day of death have occurred greater spiritual consequence? Were Simonetta and Giuliano's spirits intertwined? Would Simonetta have been waiting, hand stretched out lovingly, to receive Giuliano in heaven? The coincidence was not lost on Giuliano's contemporaries, and the people of Florence began to see Giuliano and Simonetta's deaths as connected. As the city mourned Giuliano, remembrances of Simonetta also began to pour in. With Giuliano's death came a resurgence of commemoration for Simonetta, his beloved, who people believed was finally reunited with Giuliano in heaven. In the years that followed the Pazzi conspiracy, there was a surge of interest in Simonetta. This is particularly intriguing considering that Simonetta's father in law was actually accused of taking part in the conspiracy and was thrown in prison for two years. Might her father in law's implication have had to do with Simonetta? Did he join the insurgents after years of resentment that Giuliano had been involved with his son's wife? Whether her father in law was innocent or not, his connection to the murder of Giuliano had little to no impact on the revival of Simonetta's legacy. Much to the contrary, Giuliano's death only spurred what is now referred to as the cult of Simonetta. A great number of poems about Simonetta written around this time still survive today. In many of these poems, Simonetta is compared to the female figures from the work of both pet Dante. Building on the fantastical nature of these literary traditions. In both Petrarch and Dante's work, stories of beloved noblewoman suffering early deaths were prevalent. And poets drew parallels between the tragic deaths of Dante's Laura and Beatrice and Simonetta's own untimely end. A poet of the time named Bernardo Pulci wrote the following verses on Simonetta. Thus she joins the worth faithful souls. Heaven admires her beauty as whoever saw her first on earth admired her. And thus among the planets heaven and earth, she is so prized that everyone who seeks her is made happy. But Jove has drawn her to his heights. Behold Laura and Beatrice, who make room for her in their eternal cloisters like a new phoenix flown into heaven. In other poems, Simonetta is described as a goddess like figure, a nymph that transforms the land that she walks upon into a garden of delight. Her presence is magical and we see the beginnings of Simonetta being given superhuman qualities. With her arms outstretched, she can open the heavens. With her magnanimous smile, she can outshine even the sun. And as one poem states, even breezes hush to hear her voice. Her teeth are described as pearls and her beauty is otherworldly. In these poems, Simonetta is the epitome of feminine perfection and divinity. We also see in these poems Simonetta being turned into a symbol of Florence's greatness. After the Pazzi conspiracy, the people of Florence needed a symbol of unity to hold onto. And Simonetta was the perfect metaphor for Florence's glory. Poets began to imagine that Simonetta was Florence's representation in heaven and that she was protecting the city from above. And no poet clung onto this idea more than Lorenzo de Medici himself. In his collections of sonnets called Comento, Lorenzo uses the image of Simonetta to signify civic harmony and a new age of cultural achievements under Lorenzo's rule. The resurrection of Simonetta's legacy was simultaneous with the resurrection of Florence's culture, cultural reputation. And in writing his own poems about Simonetta, Lorenzo positioned himself as the great poet of Florence's new golden age. Lorenzo dedicated a quarter of his entire anthology to his poems about Simonetta. And it is these poems that open and close the collection. It's clear that Lorenzo placed a great amount of importance on his poems about Simonetta as the most powerful man in Florence. He did not have the pressure of other poets to impress his superiors. And reeling from the aftermath of the Pazzi conspiracy and the bloody murder of his brother, Lorenzo would have had far greater issues on his mind than Simonetta's death. Lorenzo's decision to write of Simonetta and give her poem such prominence in his work must have come from a place of both immense respect for Simonetta and and his own personal interest. Lorenzo saw in Simonetta a unique opportunity to reclaim his own reputation as both poet and leader. And of course, with this resurgence of interest in Simonetta came not only poems, but some of the greatest painted masterpieces from this period feature Simonetta's image. Most famously, Simonetta is believed to be the model for Botticelli's two most revered works, Birth of Venus and Primavera. She is also believed to be the subject of a number of portraits produced by Botticelli's workshop, as well as a portrait by fellow famed artist Piero di Cosimo. The first work of Botticelli's that we find Simonetta in is his beloved Primavera, painted in 1480. In Primavera we find a luscious scene set in an abundant garden. In the center we see the figure of Venus gazing at the viewer with a tilted head and raised hand. To her left are the three Graces who dance in a circular motion and Mercury, the messenger God who plucks an orange from a tree to Venus. Right we see a nymph named Chloris being transformed into Flora, the goddess of spring. And it is this figure of Flora that Botticelli gave Simonetta's likeness. Garbed in a floral gown that seems to burst with real flowers and vines, Flora reaches into the folds of her dress and grabs a handful of roses. On top of her perfectly wavy hair rests a crown of flowers and around her neck a floral wreath. We are reminded of the poetic verses on Simonetta which describe a goddess like figure who with each step brings life to the soil. Placed in an orange orchard, a well known symbol of the Medici family, we are also reminded of Simon Simonetta's fruitful relationship with Florence's ruling family and perhaps more specifically, of the private moment of affection between Simonetta and Giuliano in the Medici orange orchard that, according to legend, Botticelli stumbled upon. Simonetta. As Flora stares vacantly just beyond the viewer, giving her a distanced feel. Her breathtaking presence is seen, seen and yet is just out of our grasp. Painted four years after her death, Simonetta has an almost angelic like appearance, as if she is not quite of our world. This may have been Botticelli's subtle allusion to Simonetta's own passing. And with her pockets full of roses, she also safeguards the secrets of her own life and leaves us with an insatiable yearning for more. Painted five years later, Botticelli forever immortalized Simonetta again in arguably his most famous work, the Birth of Venus. Here, Simonetta takes center stage as Venus herself. Being birthed from the sea and gently guided to land by the wind, she stands on a giant scallop shell while placing her right hand to her own heart. Her long, billowing hair is caught in a gust of wind as she gathers the ends to politely cover her genitals. Here, Simonetta is every inch the goddess of love. And the goddess of love is every inch Simonetta. Simonetta's unrivaled beauty comes to life as she stands resurrected from the heavens to grace us with her charm. And yet we see the same vacant stare as in Primavera. Simonetta. As Venus stares off to the side, bypassing our gaze, she feels neither here nor there, an almost ghostly presence that once again evades our grasp. In this way, Botticelli's painted portrayals of Simonetta capture the same sense of mystery surrounding her life itself. A life that feels as distant as her stare. A life that we can never fully know. There also exists a series of five portraits made around the same time by Botticelli's studio that are believed to be of Simonetta. In these portraits, Simonetta is portrayed in profile with her hair fashioned ornately. In one, Simonetta is garbed in drapery, giving her a goddess like presence. In another, her hair twists and turns like snakes. And in one more, Simonetta wears a cameo known to have belonged to the Medici, an association that the artist wanted to make clear. Though each portrait differs slightly in some of its detail, there are a number of consistencies that give Simonetta's portrait a signature mark. In all five of Simonetta's portraits, her physical beauty and sexual appeal is undeniable. Her milky, smooth skin looks so soft that you're tempted to stroke her face. Her long, golden auburn hair looks as if it's just been tousled by a gentle wind. And her clothing tastefully frames her feminine curves. Though she is in profile, it feels as though at any moment she might turn towards the viewer. And yet, though she tantalizes us with her beauty, gracefully hinting at her sexuality, she remains both unattainable and aloof. Her clothes, though framing her large bust, are perfectly in place. Her eyes, which glitter with charm, evade our gaze and her stare is once again distant. In these portraits, Simonetta has the unique ability to tempt without being crass, to engage just enough to bait our interest but evade full understanding and to be both sensual and chaste.
- [59:36]
Advertiser
Here's a tip for growing your business get the VentureX business card from Capital One and start earning unlimited double miles on every purchase. That's right, with unlimited double miles, the more your business spends, the more miles you earn. Plus, the venturex Business Card has no preset spending limit, so your purchasing power can adapt to meet your business needs. The VentureX business card also includes access to over a thousand airport lounges. Just imagine where the VentureX business card from Capital One can take your business. Capital One what's in your wallet? Terms and conditions apply. Find out more@capital1.com venturexbusiness.
- [60:17]
So I just used NerdWallet's Card Finder tool to find a better card for me and listeners. This is genius. All you have to do is answer a few questions and in minutes you'll get matched with recommendations tailored to you. I'm discovering cards I didn't even know existed, and the matching was on point. The best part? No research needed. The nerds already did that for us. So if you, like me, want to easily find the right card for you, go to nerdwallet.com to get matched today. Terms and conditions apply. Credit products subject to lender approval. See nerdwallet.com for details.
- [60:53]
Grace Anna
It is hard for us to know how realistic these portraits are. And if we are looking at the real Simonetta or idealized versions of her memory made over five years after her death, these portraits could very well be posthumous inventions based on Simonetta's large legacy. Though we cannot know how realistic these portraits of Simonetta are, it is clear that Botticelli's studio wanted to convey the impression of a portrait of a specific woman. So how did scholars come to identify Simonetta in Botticelli and his workshop's works? Many have drawn parallels between the poems we know were written about Simonetta and Botticelli's paintings, which were made in the same period of time. These poems and paintings share many of the same imagery, and there is a clear interplay between these written and painted descriptions. As Simonetta was making a splash amongst Florence's creative circles, why wouldn't the city's favorite painter and his workshop also want to join in on the fun? And we do have some more concrete evidence to support Simonetta's identity in Botticelli's works. Giorgio Vasari, whose famous book Lives of the Artists is one of our best primary sources from the Italian Renaissance, describes a portrait by Botticelli of Giuliano de Medici's mistress, which many have assumed to be Simonetta. But perhaps the greatest evidence we have is the personal connection between Botticelli and Simonetta herself. We know that Botticelli's home and workshop were on the very same street where Simonetta lived. Botticelli was working and living just a few times doors down from Simonetta's own home. It is safe to assume that Simonetta and Botticelli would have known each other personally and run into each other regularly. Were Simonetta and Botticelli more than just neighbors? Could Simonetta have caught Botticelli's eye? Could they have befriended each other? Or did Botticelli join the long list of admirers, Simonetta infatuated by her beauty and charm? While we may not know the exact nature of their connection, we do know that Botticelli would have had enough of a direct relationship with Simonetta to motivate her presence in his works. And it evidently motivated more than just these paintings. When Botticelli prepared his will many years later, he specifically asked that he be buried at his greatest muse's feet. Over 30 years after Simonetta's own death, Botticelli was buried in the same church of Ognissanti where both he and Simonetta rest together today. Why would Botticelli ask to be buried alongside Simonetta if she wasn't extremely important to both his life and legacy? There's no denying the immense impact Simonetta must have had on Botticelli's life and career. So much so that after 30 years after her own death, Botticelli wished to rest eternally at her feet, a final and permanent act of devotion. There is another portrait of Simonetta made by fellow artist of the time, Piero di Cosimo, that we can more assuredly identify as Simonetta. The painting depicts a woman in profile with her hair styled with expensive pearls and jewels. Though she wears a shawl around her shoulders, she is bare breasted, making Di Cosimo's portrait of Simonetta the most overtly erotic to date. Upon her neck is not just a golden necklace, but also a snake slithering around her while its tongue juts out of its mouth. She is both divinely beautiful and lethal, enchanting us with her charm and then warning us of the follies of sin, reminding the viewer of the very thin line between our higher and lower tendencies. Though made 14 years after Simonetta's death, the portrait does include an inscription of Simonetta's name on its ledge, confirming her identity as subject. While some scholars have questioned the authenticity of the inscription, proposing that it could have been added much later on, recent technical analysis does verify that the inscription was painted within the same time period as the painting itself, indicating that it very likely is original. That is not to say that di Cosimo's portrait is an accurate portrayal of Simonetta the real woman. Piero di Cosimo was only 15 years old when Simonetta tragically passed away. While it's possible he remembered her image over a decade later, it's more likely that he based his portrait on the poetic and pictorial depictions made in the period after her death, when there was a heightened interest in Simonetta. As with the portraits made by Botticelli's studio, Piero di Cosimo's portrait of Simonetta likely teeters between reality and fantasy. She is both an individual and mythical goddess, factual and fantastical. And we are looking just as much as Simonetta the woman as we are the artist's own imagination, leaving us with the returning who was the real Simonetta? And how can we separate her from these male fantasies? In order to answer this question, we need to distinguish to the best of our ability between the real life of Simonetta Vespucci and the life her myth almost immediately took on following her death. With her death, Simonetta was transformed from a mortal woman to a divine being. As scholar Judith Rachel Allen wrote, Simonetta's death perfected her, freeing her from the taint of earthly sin. And more than this, Simonetta became an important cultural symbol of Florence. Her death took place at an opportune time, when Florence was in desperate need of a cultural revitalization and provided the perfect blank slate onto which poets and artists alike could project their artistic agendas. The though her life came to a tragic end, her death brought with it the birth of an immense cultural boom that not only turned Simonetta into a star, but became one of the most creatively abundant periods in Western history. So how do we differentiate the line between myth and fact? How do we attempt to honor Simonetta's own life in the way she herself would have wanted to be remembered? And how do we give Simonetta back agency in the story of her own life? Researchers have begun revisiting what surviving facts we do have about Simonetta in hopes of better understanding her as a historical rather than mythological figure. And some of this new research has brought about experimental and fascinating studies in 2019, a group of medical historians examined the postmortem portraits of Simonetta and proposed that, contrary to long held belief, Simonetta may not have died of tuberculosis after all. These medical historians argue that her portraits actually show evidence that Simonetta suffered from a pituitary adenoma, secreting prolactin, which led to the growth of tumors and eventually her death. This groundbreaking research not only gives us new insight into Simonetta's medical history, but lends to a more in depth understanding of the circumstances surrounding her premature death. And perhaps the most literal way to better understand the real Simonetta is by looking at her own bloodline. When Simonetta Sacristiforo Catania Della Volta was 10 years old, her grandmother gave her a print of Botticelli's Birth of Venus and told her that she was related to the woman in the picture. Simonetta della Volta is indeed the verified descendant of Simonetta Vespucci, not only sharing her first name, but also her beauty. If you look at a picture of Simonetta della Volta, she has an uncanny resemblance to the Simonetta Vespucci captured in the canvases of Botticelli and Di Cosimo, a resemblance not lost on her. As Simonetta della Volta shared, I sometimes imagine Simonetta walking down the same streets that I do now. I find it very interesting that I ended up living in Florence just like she did, since she came from Genoa and in the Borgo 1 Santi area where she is buried. And to deepen the connection, Simonetta della Volta now works in the arts, sharing the same affiliation with the art world that Simonetta Vespucci had herself. But we have only scratched the surface of better understanding Simonetta as a real woman of history and strip away the layers upon layers of myth surrounding her. Simonetta deserves to be honored as a historical figure in her own right. My hope is that further research will be devoted to uncovering information on Simonetta within the context of her own lived experience, and that the answers to so many of our questions today can one day be revealed. So the next time you look at Botticelli's Birth of Venus and Primavera, think of Simonetta Vespucci, of her important family lineages on both her mother and father's side. Of her childhood in Genoa playing amongst the city's grandest palaces. Of her family's exile to Piombino, where Simonetta matured from a girl to woman amongst the coastal sea. Of her politically advantageous marriage to Marco Vespucci, of her move to Florence, where her beauty began to turn heads. Of Simonetta capturing The heart of Florence's two most powerful men, Lorenzo and Giuliano de Medici. Of the public joust that Giuliano fought in Simonetta's honor. Of the mysterious fact that Simonetta never had any children. Of her tragic end, her life, taken cruelly at the mere age of 23. And lastly, of the fortuitous fate her death would bring Simonetta's transformation into star boredom that Simonetta herself was not alive to bear witness to. And though her life is filled with mystery and we are left to intuit many of the details of her lived experience, there is no denying the incredulous impact Simonetta had on the leaders and artists of her time, sparking the cultural boom that we today appreciate as the Italian Renaissance. It is remarkable that the death of a young Genoese woman would inspire Florence's greatest artists and poets so much that they poured their whole energy into creating works centered on her. That some of the most revered works of the period feature Simonetta's image. And whatever the exact nature of Simonetta's relationship with Giuliano and Lorenzo de Medici was, both men clearly held immense respect for her and went out of their way to associate themselves with her. Despite her life being unfairly cut short, her spirit became ingrained in the city's consciousness and her death brought about the birth of one of the greatest periods of creative innovation that the world has ever seen. And though she possessed a once in a century beauty, beauty and charm, Simonetta was no mythological goddess, but rather a real woman who by the magic of her own making, won the hearts of all of Florence and forever changed the course of its history. And as we give Simonetta back her own voice, we are reminded that Simonetta stands for all women throughout history whose voices have been stripped away. Simonetta is one of countless women whose personal stories have been lost to misogyny and male fantasy. As we rightfully return Simonetta to the role of protagonist in her own story, we honor the innumerable other women who deserve that same right. As Edgar Allan Poe once wrote, the death of a beautiful woman is most poetic topic in the world. But today we challenge Poe and shift our focus back to the marvelous life that this beautiful woman once lived. I hope you have enjoyed this episode on Simonetta Vespucci. I've included images, resources and suggestions for further research reading on the artmuse website and Instagram. Artmuse is produced by Kula Production Company. Today's episode was written by me, your host, Grace Anna. Stay tuned as I continue to share the stories of the women behind some of the world's most important works of art. Until next time. Bye for now.
- [75:13]
Meisha Brown
Every big moment starts with a big dream. But what happens when that big dream turns out to be a big flop? From Wondery and Ill Media hi, I'm Meisha Brown, and this is the Big Flop. Every week, comedians join me to chronicle the biggest flubs, fails and blunders of all time. Like quibbing.
- [75:36]
Grace Anna
It's kind of like when you give yourself your own nickname and you try to, like, get other people to do it.
- [75:40]
Meisha Brown
And the 2019 movie adaptation of Cats.
- [75:44]
Advertiser
Like, if I'm watching the dancing and I'm noticing the feet aren't touching the.
- [75:47]
Grace Anna
Ground, there's something wrong with the movie.
- [75:49]
Meisha Brown
Find out what happens when Massive Heights turns into major fiasco. Enjoy the Big Flop on the Wondery app or wherever you get your podcasts. You can listen to the Big Flop early and ad free on Wondery Plus. Get started with your free trial at wondery.com Plus.