MADRID.- The Museo Nacional del Prado has expanded its galleries with two newly deposited 15th-century paintings, showcasing the story of Cimón and Ifigenia, one of the novellas from Giovanni Boccaccio’s The Decameron. These paintings, created in late-15th century Florence by Spanish artist Johannes Hispanus, bring a unique blend of artistic heritage and cultural storytelling to the museum.

These exceptional paintings not only highlight the talent of a Spanish painter active in Renaissance Italy but also underscore the influence of The Decameron on Renaissance humanism and the Neoplatonic philosophies circulating in Florentine intellectual circles at the time. Visitors can find these works in Gallery 56 B of the Prado’s Villanueva building, displayed alongside The Story of Nastagio degli Onesti, a similar scene from The Decameron reinterpreted by Sandro Botticelli.

Johannes Hispanus, a relatively unknown yet intriguing Spanish painter of northern and central Italy in the late 15th and early 16th centuries, is best known for his Deposition in the Tomb in Milan’s Saibene Collection. These two Prado paintings mark the artist’s early Florentine period, influenced by the workshop of renowned Italian master Perugino. The works convey an enchanting atmosphere, filled with tranquil landscapes that draw viewers into the silent drama of Cimón and Ifigenia.

The subject of Cimón and Ifigenia is particularly rare in the Prado’s collection of 15th-century Italian art, which typically emphasizes religious themes. This secular tale takes viewers back to the vibrant cultural scene of 15th-century Florence, where masters like Piero di Cosimo and Botticelli championed humanist ideals. The story unfolds as Cimón, a noble but unrefined Cypriot, stumbles upon Ifigenia sleeping in a grove. Overwhelmed by her beauty, Cimón resolves to educate and refine himself, transforming into a sophisticated courtier in hopes of winning her favor.

Hispanus captures two pivotal moments in this tale. In the first canvas, Ifigenia appears peacefully asleep, seated on the ground near a fountain, while Cimón looks away, seemingly unaware of her. The second canvas portrays Ifigenia lying semi-nude by a grove, with Cimón gazing upon her with admiration and awe. These compositions evoke the Neoplatonic belief in beauty as a civilizing force, especially the redemptive power of feminine beauty as an ideal of truth and perfection.

The Prado’s new acquisition not only enhances its collection but also offers visitors a glimpse into the Renaissance’s rich tapestry of art, culture, and philosophy. These works invite viewers to experience the evocative power of storytelling through the lens of Italian humanism and Spanish artistic expression in a unique period of cross-cultural exchange.