"Camilla and a Satyr"

パラスとケンタウロス フィレンツェ - Google 検索 via kwout

satyr　”eliphas levi” - Google Search via kwout

Baphomet - Wikipedia, the free encyclopedia via kwout

site:tokumei10.blogspot.com Levi - Google 検索 via kwout

Hogwarts Firenze - Google 検索 via kwout

Hogwarts Firenze - Google 検索 via kwout

The “old house” - Sandro Botticelli, Pallas and the Centaur (circa 1482-1485) - Mediateca di Palazzo Medici Riccardi via kwout

Interpretations
Like Botticelli’s other allegorical paintings, Pallas and the centaur too still proves to be difficult to interpret.
At the end of the nineteenth century Ridolfi (1895) recognised in the painting the standard of Giuliano de’ Medici used in the tournament of 1475, showing "Pallas on a device of branches" (Vasari 1568, ed. 1878-1885, III, 1878, p. 312) and registered in Palazzo Medici up to 1598.
The debate on the subject of Botticelli’s canvas then became animated upon the publication of the inventories of the "old house" of 1498-1499, 1503 and 1516, where the work is variously described as (see history) respectively, Camilla and a satyr (sic), generically as two figures and finally as Minerva and the centaur (Shearman 1975; Smith 1975). Some have endorsed the first identification, which is moreover the oldest, seeing in the work the portrayal of the heroine Camilla, daughter of the King of the Volsci, consecrated to Diana, in her capacity as a virtuous and civilising figure (Shearman 1975; Acidini Luchinat 1991). According to Lightbown (1978), the work may have been a tribute offered by Lorenzo di Pierfrancesco to his wife Semiramide, daughter of a king, like Camilla, intent on subduing the lust of her consort with her own chastity.
In general, however, most critics have followed the reading presented in the 1516 inventory, seeing the heroine as Pallas-Minerva, despite the absence of certain characteristic attributes, such as the aegis, helmet and spear. The political reading advanced in the past by critics who saw the painting as a celebration of the diplomatic abilities of the Magnifico (Ridolfi 1895; Horne 1908), has been overtaken by one of a philosophical-moral slant. According to this interpretation, Pallas is the personification of reason engaged in subduing instinct and passion, namely, the centaur (Gombrich 1945, ed. 1978; A. Cecchi in Sandro Botticelli… 2000). Other identifications proposed for Botticelli’s female figure are: the armed Venus of Kythera, girdled with branches of myrtle and not olive (Smith 1975), Chaste Love controlling the carnal passions, Humility victorious over Pride (Acidini Luchinat 1991), a sentinel set to guard the Medici virtues who stops and tames a personification of "primordial coarseness" (Acidini Luchinat 2001).

camilla diana - Google Search via kwout

皇太子はGOD派のようですな。（爆ｗｗｗｗｗｗｗｗｗｗ