The Extraordinary Nature of Illusion

“W our fi rst encounter with some object surprises us and we fi nd it novel or very different from what we formerly knew or from what we supposed it ought to be, this causes us to wonder and be astonished at it,” wrote 17th-century philosopher René Descartes in his Passions of the Soul. Indeed, astonishment awaits anyone who views for the fi rst time the work of Giuseppe Arcimboldi, Milanese painter extraordinaire, portraitist of emperors, and master of illusion (1). Arcimboldi grew up in a distinguished family. He associated with philosophers and other scholars and knew the son of Bernardino Luini, a student of Leonardo, who had notes and sketchbooks given to him when the master left Milan, site of most of his experiments (2). In writing about the family, historian Paolo Morigia described Giuseppe as “a trustworthy gentleman with an impeccable lifestyle,” who started his artistic career at age 22 designing tapestry and stained glass with his father, also an artist (3). This early work at Milan Cathedral already contained elements found in his unique later style. In the beginning of the 16th century, partly because of a plague epidemic, Milan’s position as leader in the arts was declining. Nonetheless, Arcimboldi’s reputation was strong. “This is a painter with a rare talent, who is also extremely knowledgeable in other disciplines,” wrote Morigia about Arcimboldi’s acceptance of the invitation of Emperor Ferdinand I to go to Prague. “And having proved his worth as an artist and as a bizarre painter, not only in his own country but also abroad, he has been given the highest praise” (3). Arcimboldi fl ourished during his tenure with Ferdinand. “He was liked and treated well and received with great kindness, and the Emperor gave him a good salary worthy of his merits” (3). He came to know the works of such greats as Hieronymus Bosch, Peter Bruegel the Elder, and Albrecht Altdorfer. He painted portraits of the imperial family and the fi rst series of his Four Seasons, composite heads with allegorical meanings. His work continued for succeeding Holy Roman Emperors Maximilian II and Rudolph II. In their courts, “This noble and inspired man fashioned a great number of rare and delicate works of art which caused considerable amazement” (3). Apart from painting, Arcimboldi had other duties. He was designer of costumes, masques, and disguises worn during festivals by impersonators of ancient gods, the liberal arts, or anything else living or mythical. He served as architect, stage designer, engineer, and advisor to Maximilian, who delighted in animals and believed in the healing power of plants. He started a museum to house rare specimens and artifacts from as far away as the newly discovered