Sendes vanligvis innen 5-15 dager
Rather like the Mona Lisa, there has long been a suspicion that there is something disguised in the Primavera. A chance discovery provided the author with the key to unlocking the secret of the 500 year-old masterpiece, opening a window onto the cryptic world of the Renaissance pagan revival. An elite circle of scholars and artists around the Medici, disillusioned with a worldly and corrupted medieval Church, looked for a purer, unadulterated Christianity in the pagan background to their faith. This was a dangerous occupation, risking the ire of the Church and prosecution as heretics. In 1460 an ancient manuscript, said to be from the time of Moses, was brought to Cosimo de'Medici. Its author had been revered among the early Church Fathers as a gentile prophet of Christianity. Here was the evidence they were seeking - that Judaism, Christianity and Islam had a common source. Convinced, the Medici circle of philosophers and poets strove to merge Judaism, Islam and Christianity into a single religion in harmony with Platonism. This 'new learning' from the pre-Christian past had no place for the medieval concept of man as a sinner seeking redemption, but accepted him instead as a spark of the divine. As Burckhardt noted, 'it became the breath of life for all the most instructed minds of Europe'. Expressing this newly discovered 'God-like' being in art ignited the Renaissance. To find the clue, look at the right side of the painting, at the gesture of Chloris, and focus on the flower pattern she indicates. The same gesture is used in a contemporary painting by Botticelli of the Virgin and Child, where the allusion is more explicit. This beautifully illustrated book explains the allegory Botticelli painted as a reminder for its owner of the Medici circle's vision for Christianity.