Abstract

Jean Delville was a central participant in the Symbolist movement in France and Belgium at the turn of the twentieth century. His monumental work, L’ Ecole de Platon, made its first public appearance at the 1898 Salon d’Art Idealiste in Brussels. Although two contemporary critics showered it with praise, the work has puzzled many viewers. Why, for example, does the central figure (one assumes Plato) bear a striking resemblance to Jesus as he is traditionally depicted? Why are those gathered around Plato (one assumes his students) shown nude or semi-nude, and in this particular arrangement? And how do the unusual colors, flora, and fauna contribute to the message Delville was seeking to convey? I argue that insights into the work can be gained by connecting it with a set of doctrines that go back to the Renaissance philosopher and translator Marsilio Ficino, and beyond Ficino, to the third-century philosopher Plotinus.