This Note argues that the fourth pseudo-hieroglyph from the left in Giorgio vasari’s Chatsworth Allegory of a Dream, previously regarded as a symbol of the sin of pride or else not interpreted, is, in fact, the depiction of a castle in the air (castello in aria). I show that the rare iconography of an upside-down castle was inspired by an illustration from an Italian translation of the dialogues of Lucian of Samosata and give a brief overview of the importance of the motif of the castle in the a…
Read moreThis Note argues that the fourth pseudo-hieroglyph from the left in Giorgio vasari’s Chatsworth Allegory of a Dream, previously regarded as a symbol of the sin of pride or else not interpreted, is, in fact, the depiction of a castle in the air (castello in aria). I show that the rare iconography of an upside-down castle was inspired by an illustration from an Italian translation of the dialogues of Lucian of Samosata and give a brief overview of the importance of the motif of the castle in the air in sixteenth-century Italian culture. I also propose that Vasari’s drawing was a design for a ceiling panel intended for Giovanni Corner’s palace in venice and show its dependence on Francesco Primaticcio’s Allegory of the Nile for the palace of François Ier at Fontainebleau.
