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This article provides an alternative reading of the ceiling’s iconography, one that considers how the room’s primary user, Paola Gonzaga, might have interacted with the frescoes.
Livia (Paola) Gonzaga (August 1508 in Mantua – 11 April 1569 in Mantua) was a Mantuan noblewoman. Biography. Born Livia Osanna Gonzaga, she was the daughter of Francesco II Gonzaga, Marquis of Mantua and Isabella d'Este, daughter of Ercole I d'Este, Duke of Ferrara; and named after an earlier Livia, born in 1503, who died very young. [1] .
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Paola Gonzaga presents a case of one such Paola who determined the theme and iconography of the Camerino woman-a woman whose patronage has all but been lost in the shad- decoration-a room for and about herself. Stimulated by the loss of an ow of her husband in modem literature.
Donna di cultura fece della rocca di Fontanellato un vitale centro artistico e fu committente di celebri opere d'arte, come gli enigmatici affreschi con la Storia di Diana e Atteone dipinti dal Parmigianino nel 1524 e dove venne ritratta in una delle lunette in veste di Cerere, con una spiga e uno scrigno in mano.
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