Allegory of March – Triumph of Minerva and Sign of Aries. Frescos in Palazzo Schifanoia (detail) 1470

Editor: So, here we have Francesco del Cossa’s fresco, "Allegory of March – Triumph of Minerva and Sign of Aries," painted around 1470. It’s brimming with figures and activity. I get a festive, theatrical sort of vibe from the entire piece. It's so elaborate! How do you even begin to unpack a scene like this? What leaps out at you? Curator: What strikes me is the layering of worlds. See how earthly pursuits—the craftswomen, the figures in courtly dress—are set against this fantastical, almost dreamlike landscape? It's like Cossa is saying the everyday and the allegorical aren't separate realms, but deeply intertwined, always informing one another. Like how the 'oil painting' feel merges so beautifully into this Fresco. Editor: Yes, I can see that! The landscape definitely has this surreal, almost fairytale quality to it. But why Minerva? And Aries? How do they all connect? Curator: Think of Minerva, the Roman goddess of wisdom and strategic warfare. And Aries, the ram, ruling the month of March. The goddess represented governance in a broader, humanist sense of wisdom guiding policy, whilst Aries represents spring and youthful renewal of the earthly kingdom. It's Cossa cleverly blending earthly renewal with Renaissance civic ideology. Doesn't the idea that earthly leaders draw strength from these ideals just sing? Editor: Wow, I hadn’t considered that, but it's starting to click! And, the detail! There's so much going on – like hidden worlds within worlds. It really speaks to me. Curator: Exactly! I wonder, can art change something like policy nowadays, I hope it will be back again. The fresco really takes you in with its level of beauty and detail. Editor: Yeah, that’s… unexpectedly inspiring. Seeing that connection made, has given me new thoughts! Curator: Precisely. And I’m thinking about springtime policies that support learning; maybe paint that scenario sometime.