Botticelli's La Primavera: A Theological Review

By Donald E. Williams

     La Primavera (Spring), is one of Renaissance painter Sandro Botticelli's most sophisticated and enigmatic works. Largely regarded as a Neo-Platonic work exploring the universal cycles of nature and Spring as a perfect time of peace and serenity, the work has profound theological implications[1]. Interestingly, it reveals illuminating parallels between ancient Greek and Christian ideas of the divine that deepen our understanding of participation in the self -existent life of the Lord.

     Before we explore the theological implications of La Primavera, a description of the movement and characters within the painting is fitting. The setting for the celebration of Spring is a beautiful orange grove. In the center of the painting is Venus, the goddess of love. Above her, is her son Cupid, pointing his arrows at the Three Graces- Chasity, Beauty and Love. Left of the three Graces is the god Mercury, the Roman god of the month of May. He is identifiable by his winged feet. To the far right of Venus are the forest nymph Chloris and Zephyrus, the West Wind. To their left is Flora, the goddess of nature.

     The goddess Venus in the painting is emblematic of more than just amorous love. According to some exegetes, her dominating position in the scene represents the intriguing Neo-platonic idea of Humanitas. This theory postulates that Humanitas, human learning and culture, is the whole of the spiritual activity of man[2]. Venus' raised hand acts as a guide to all characters in the scene, as she points to the three graces- Chasity, Beauty and Love.

     The concept of humanitas, human learning and culture as expressions of spirituality, comports well with Christian theological concepts of the Imago Dei. According to the early church father Athanasius, humanity was created in the perfect image of God. Our spiritual purpose was to be beautiful expressions of the divine. Humanity was created to mirror and participate in the self-existent life the Triune Godhead who created all things ex-nihilo. The sin of Adam and Eve corrupted the image of God within humanity. The image was only restored by salvific work of Christ on the cross.

     Critical to the painting is the inclusion of the Three Graces, well known in the classical world.  The three graces, Chasity, Beauty and Love, serve as emblems of the Immanent Trinity in Christian Theology. According to Christian doctrine, Yahweh, the Creator of the heavens and earth is triune in nature. Although God is One, he is comprised of three divine persons, the Father, Son and Holy Spirit. Jesus the Son, is co-equal and co-eternal with the Father. The Holy Spirit proceeds from the Father. Therefore, the Immanent Trinity describes the dynamic interior life of the triune Godhead. The three graces represent the harmony, rhythm and flow of the Godhead.

     The inclusion of the three graces in the painting further develops the concept of humanitas by illustrating the need for relationship between humankind and the divine. One can imagine the three graces beckoning Venus (emblematic of humanity), to come join in the eternal dance of the Divine. Venus (humanity) in response, points to the triune Godhead as if to show us the way of life.

      The God Mercury in the painting acts as the guardian of the vernal orchard[3]. Identifiable by his winged feet, He stands at the entrance of the orchard, protecting the inhabitants from the danger and threat of intruders. In Roman mythology, Mercury played a multifarious role in the affairs of the gods and humankind. He was god of gymnasts, merchants and commerce. Because of his winged feet, he was quite swift and often served as a messenger for the gods. Perhaps Mercury's most important role was leading departed souls to Avernus, the entrance to the realm of the underworld (Pluto's realm).[4] Considering Mercury's typical role in Roman mythology, how does he function in Botticelli's neo-Platonic representation humanity and our relationship with the divine? Ostensibly, as he stands at the entrance of the orchard, he functions as a protective agent for humanity. As a guardian of humanity from the winds of economic misfortune, he helps ensure prosperity in the vernal wood (world) as humankind participates in the eternal dance of the divine. He represents protection from the forces of darkness and chaos that threaten the peace of the Eden-like orchard where humanity encounters the divine.

     The presence of Zephyrus, the West wind and the forest nymph Chloris are emblematic of spiritual fruitfulness in the Christian experience, made possible by the Holy Spirit (pneuma/wind in Greek). In the Christian canon, the Holy Spirit (Paraclete), the third person of the holy Trinity is often associated with the wind. In Greek Mythology, Zephyrus was god of the west wind. As one of the four seasonal gods of the wind, he married the nymph Chloris and engendered Karpus, fruit[5]. In the painting, Zephyrus represents the continuing work of the Holy Spirit in the lives of humanities (humanity). The Spirit empowers and guides humankind into all truth and opens ours eyes to the ineffable riches of the divine. In the sense, Chloris also represents humankind, humble and clothed in mortal flesh. Her union `with the divine promises the bountiful fruit of the Spirit, love, peace, patience, joy and gentleness.

     La Primavera (Spring) is one of Renaissance painter Sandro Botticelli's most sophisticated and enigmatic works. Largely regarded as a Neo-Platonic work exploring the universal cycles of nature and Spring as a perfect time of peace and serenity, the work has profound theological implications[6]. Interestingly, it reveals profound parallels between ancient Greek and Christian ideas of the divine that deepen our understanding of participating in the divine life of God.

Bibliography

https://www. geometriefluide.com Accessed 10/17/17

https://www. geometriefluide.com Accessed 10/19/17

https://www.talesbeyondbelief.com/ran-gods/mercury.htm Accessed 10/19/17

https://www.theoi.com/Titan/AnemosZephyros.htmlAccessed 10/19/2017

[1]https://www. geometriefluide.com Accessed 10/17/17

[2]https://www. geometriefluide.com Accessed 10/17/17

[3]https://www. geometriefluide.com Accessed 10/19/17

[4]https://www.talesbeyondbelief.com/roman-gods/mercury.htm Accessed 10/19/17

[5]https://www.theoi.com/Titan/AnemosZephyros.htmlAccessed 10/19/2017

[6]https://www. geometriefluide.com Accessed 10/17/17Click here and start typing. Aperiam eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo.