The Birth of Venus sources and interpretations. Many art historians who specialize in the Italian Renaissance have found Neoplatonic interpretations, of which two different versions have been articulated by Edgar Wind and Ernst Gombrich, to be the key to understanding the painting. Botticelli represented the Neoplatonic idea of divine love in the form of a nude Venus. For Plato – and so for the members of the Florentine Platonic Academy – Venus had two aspects: she was an earthly goddess who aroused humans to physical love or she was a heavenly goddess who inspired intellectual love in them. Plato further argued that contemplation of
Temptations of Christ (Botticelli) Moses, who transmitted the Law, and the young man may symbolically represent Christ, who, according to the Gospels, was wounded and slain for the benefit of mankind, and healed through the Resurrection so that mankind might also be made spiritually clean, and receive salvation. In Christian symbolism, many stories, such as the healing of the leper, are perceived to prefigure the crucifixion and resurrection of Jesus, or other events in his life. Temptations of Christ (Botticelli) The Temptations of Christ is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 and located in the Sistine Chapel, Rome.