Focus on this artwork and explain the Meaning.
To a fifteenth-century audience, the Seven Heavenly Virtues represented a combination of philosophical and religious influences. According to Pseudo-Dionysius, an early Christian writer, the Virtues are "bestowers of grace and valor," represent the "out-pouring of divine energy," and are "possessed of unshakable virility.” During the Renaissance, allegory was used towards the Christian doctrine of salvation. This resulted in a broader application of philosophical systems and social wonders. Botticelli was an admirer of both influences. His works abound with sophisticated reflections of his knowledge and deep appreciation of literature including – besides Dante – the Bible, Livy, Ovid, St. Augustine, Boccaccio, Alberti, and Poliziano. In Renaissance art and culture, personifications that had taken on unclassical appearances during the Middle Ages were restored to classical forms – such as the idealization of the human figure – but also retained some aspects of medieval imagery. The medieval use of differentiated virtues (virtutes) was replaced by that of Virtue in general (with a recollection of the antique virtus), personified first by Hercules, later (c.1510) as a female figure sitting or standing on a rectangular block to emphasize her stability.  This exact personification can be seen in Botticelli's Fortitude Virtue. Even while sitting, Fortitude has a slight contrapposto in her positioning. Her upper body weight is leaning on one arm while she also has one foot slightly shifted forward than the other. This posture creates a forward-moving energy that seems as if she will rise up from her throne and join the observer viewing her.  Botticelli's Virtue also stands out for the different type of marble bench, with its richer engraved decorations.
Poliziano Ovid Virtue Pseudo-Dionysius Renaissance Dante St. Augustine Boccaccio Livy Virtues virtues Alberti