Abstract
Recent technical and documentary research on Giovanni Bellini's Feast of the Gods has necessitated a new strategy for the interpretation of its meaning and of its function within the camerino of Alfonso I d'Este of Ferrara. The present article seeks to develop a new interpretation of the painting that takes these discoveries into account. Most significantly, the essay considers Shearman's recent identification of Mario Equicola as the humanist who conceived the subject matter of Bellini's painting and shows that this necessitates an examination of the content of the painting in light of humanist theories of rhetorical invention and literary stylistics, Renaissance art theory and neo-Aristotelian philosophy. It is demonstrated that The Feast of the Gods embodies a natural-philosophical discourse on the Halcyon Days and the time of the winter solstice, which relates it to the themes of love and marriage that are also present in the other works that once adorned Alfonso's camerino.
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