Hercules at the Crossroads: Symbolism in Farnese Gallery
Barocci, *Virgin of the People*: Figure in the Background
Entering the lunette is the scene of Ulysses. In front, we have the brothers of Catania and Perseus and Medusa, a symbol of value. The story of these brothers is that during an eruption of Etna, lava invaded the city of Catania, then the two young men took their parents upon their shoulders.
Center of the Vault Box
It is a true picture. It differs from the rest because, instead of being a fresco painting, it is in oil. It’s a box set into the vault. Like all the medallions, a set of moldings are set, and the picture is framed. It was later taken off and moved to the palace of the Farnese in Parma. After that, it passed through different hands. In its place, there will be a copy of the original category.
The Table has Different Titles
These are: *Judgement of Hercules*, *Hercules Between Vice and Virtue*, and *Hercules at the Crossroads* (you have to choose between two figures). These figures are highlighted with the roof, since everything is related because it all refers to virtue, love, and sacred and profane love.
Hercules is always the symbol of value, and therefore the symbol of virtue. For this, he represents choosing between the figure representing virtue and the one representing vice. He is unmoved, looks to the viewer, and is asking for help. He is dressed like in Roman times, with a blue tunic, very severe. He points to a mountain with a road with bends (virtue). Knowledge is represented at his feet by the figure of a man with a book. He has to choose between the difficulties of virtue and a very beautiful set of musical elements together; they represent an easy life and vice. Besides, it offers a jungle to hide behind it all, so you only see good things. This is the interpretation that has occurred.
From the aesthetic point of view, we have a composition in the foreground, monumental figures, to reach back to the Roman world of Rome, which insists on the compositions of the foreground and behind landscapes that appear as a backdrop, where, following what he learned in his earlier period, we return to close the scene, leaving a small line of the horizon where the light is clear that comes from a point on the left. He’s also a clear focus, uniforms, wrapping, etc. It makes the figures very contoured; contoured design is the protagonist and has a large volume. Contrasting the two figures: a red dress more naturalistic (truth) and blue in front of her, where we have a half-naked body proportions that make us refer to the Mannerist proportions (small head, etc.), but remains high against the figure on the left is getting blond hair (Venetian influence). Hence, it also takes the treatment of the slides, which allow practically seeing the nakedness of the figure. But we see differences in the treatment of fabric: very light, they move more easily, which makes the Baroque on movement in this composition very static. On the left figure, clothing lines fall and are static (Roman influence).
The composition is also Classicist: Hercules in the center is static, like a geometric symmetry axis. Mark continued by a central stone and palm; the composition is divided into two almost symmetrical (own classicism). Also, in connection with classicism, we have placed the spotlight on the two figures. Between the two, they create an intermediate space, where Hercules is. The same goes for the man in the corner with the table at the other end, creating a deep level that leads to the main figures.
Relationships
- Hercules: A very static figure. It has influences of sculpture.
- Figure sitting with one leg down his arm forward: Ares Ludovisi Lysippus. The figures of Lysippus play a key role in the evolution of sculpture. Look for movement. It’s something that Michelangelo inherits. Lysippus also created multiple views on the composition of a sculptured figure. We also find precedents in the time of the junipers of John of Bologna. If you look at the arm of Hercules holding his club, we see it repeated in the Farnese Hercules. Even how to represent your hair, very geometric, very tight to the skull despite being curly, we look at the Ares Ludovisi and the Farnese Hercules.
Regarding color, we talked about how color influenced Venetian painting. On reaching Rome, he is influenced by the Roman color, less wealthy and with fewer lighting effects. If we see the blue and red box of Carracci, we’re seeing the blue and red of the *Virgin of the Chair* by Raphael. It is a dry color, which gives the light that becomes clearer, and the darker shade. But there are only slight differences in such light. Turning to Titian, red is a much more vivid color, which gives light to give a more silver and gold effect, giving a cadence in the tones of the influence of light.
On the issue, it is also under Titian and his box of love, sacred and profane love. We see exactly the same issue.