BRONZINO'S LONDON "ALLEGORY": VENUS, CUPID, VIRTUE, AND TIME

Author(s): Iris Cheney

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 BRONZINO'S LONDON ALLEGOR Y: VENUS, CUPID, VIRTUE, AND TIME

Iris Cheney

Much has been written about Bronzino's convenient link to the favorite Medici myth of
Allegory in London's National Gallery (Fig. the Golden Age. Temporal imagery abounds
1). Yet its meaning remains elusive, veiled in in works of art commissioned by Cosimo I.4
a hieroglyphic density of allusion, and its Yet even if we accept the London Allegory
eroticism seems curiously at variance with as the work that Vasari discusses, we should
what we know of the moral probity of its be cautious about the completeness of his
presumed patron, Cosimo I de' Medici.1 description. The painting had left Florence
Early interpretations of the painting by long before he wrote, and Vasari could be
Panofsky and Lossow did consider it in obtuse about allegorical detail even when a
moralizing terms-as an Exposure of Luxury painting was readily accessible to him.5 His
or a Vanitas-but Levey's identification as the failure to mention the figures of Time and his
Triumph of Venus has prevailed. Recent de companion should not lead us to conclude
bate has centered on correcting and refining that they are of no importance.
our understanding of individual figures in the The essential nature of the foreground
court of Venus. scene is not in doubt. The identities of Venus
The London Allegory is generally assumed and Cupid are beyond question, and the
to be the painting that Vasari describes as myrtle and doves at the left are common
Venus and Cupid with various "passioni attributes of Venus. The masks at the right,
d'amore," despite discrepancies in detail.2 symbols of deception or concealed identity,
Vasari discusses the work between two com are relevant to the duality embodied in both
missions that Bronzino carried out for the figures on this side of the picture.
Cosimo I in the 1540s-the frescoes of the Regardless of the exact names we give them,
chapel of Eleonora di Toledo and the designs they represent a combination of pleasure and
for the Joseph tapestries-and said that it was pain. The putto strews rose blossoms but
sent to the French king Francis I.3 Although steps on a thorn. The beautiful girl becomes a
he did not specify the source of the commis monster below the waist; she offers the
sion, the duke of Florence seems the most sweetness of honeycomb but also the stinger
likely donor of a gift to royalty. Furthermore, on her tail. Similarly, the figure to the left of
the painting is rich in Medici symbols such as Venus and Cupid is clearly in anguish no
roses and laurel. Even the golden apple that matter whether it has been produced by
Venus holds as a sign of her victory in the jealousy, envy, strife, or syphilis.
Judgment of Paris looks suspiciously like one Venus herself is both triumphant and
of the palle from the Medici coat of arms. threatened by the very arrow that symbolizes
And Time, as an alter ego of Saturn, was her disarming of Cupid. At the least, the
especially meaningful for Cosimo I. Saturn foreground scene contains an admonition
was the ruling planet of his natal horoscope, about the perils of love. It is also worth
and the agricultural deity Saturn provided a noting that the expensive and exquisitely

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Fig. 1 Bronzino, Allegory. London, National Gallery. Reproduced by courtesy of the Trustees, The
National Gallery, London

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 14

wrought objects that embellish this scene—the military and athletic victory, of literary and
pillow on which Cupid kneels, the diadem of artistic glory, of perseverance and virtue. Two
Venus, the garment of the serpent girl—are Renaissance traditions of laurel symbolism
strongly reminiscent of the objects scattered may be relevant to Time's companion.
by the retinue of Luxuria in the Psycho Virtue, like the laurel, was perceived as
machia of Prudentius as they flee the attack evergreen. It appears in this role in a device
ing Virtues.6 However alluring Venus and of Lorenzo de' Medici with the inscription
her court may seem in their luminous cave of "ITA UT VIRTUS." And in the lower section
blue drapery, there are hints that their world of an allegorical engraving from the circle of
is dangerous. The juxtaposition of Venus Mantegna, the Virtus Combusta / Virtus
holding the apple and the coiled serpent's tail Deserta, a half-human laurel flourishes on
cannot fail to summon up the image of Eve barren ground despite neglect.10 Virtue with
as temptress. overtones of perseverance would be an ap
What remains to be clarified is the relation propriate companion to Time, especially in
of the foreground scene to the figures behind opposition to the ephemeral nature of love.
the curtain. Time's companion has never A second tradition involves the myth of
been satisfactorily identified in terms either Daphne, who chose to be transformed into a
of her action and expression or of her attri laurel rather than surrender to Apollo's
bute—the laurel before which she stands. amorous pursuit. Here, laurel is associated
Neither has the interaction between this fig specifically with the virtue of Chastity. This is
ure and Time been clearly defined. exemplified in the recommendation to Peru
The woman at the upper left is seen as gino that he include Apollo and Daphne in
Truth by Panofsky, as Night by Friedlaender his Combat of Love and Chastity, executed
as Fraud by Levey, and as Oblivion by Hope. for the studiolo of Isabella d'Este. Virtue as
She has been interpreted as both sharing and Chastity, the natural enemy of Venus, would
opposing the act of unveiling, even as being also serve a logical purpose in the London
the object of unveiling. The problem of iden Allegory}2
tification is complicated by the fact that the The action and expression of the woman at
upper left corner of the painting is very dark. the upper left are also compatible with an
But I do not believe that the face of Time's identification as Virtue. It is clear that she
companion is an empty mask, as Levey sug lifts the curtain; and, as she catches sight of
gests. Although it has a frozen, masklike the perilous world of Lust, she reacts with
quality, there are eyes in the sockets. Neither dismay. Time, whose anxious regard is turned
do I believe that this figure is lacking the toward her rather than toward Venus, has
back of her head, as Hope proposes. It must tens to control the curtain and thereby shield
be a dark cap of hair that partially covers her his companion from the sight of Venus and
ear and to which the scarf billowing above her retinue.13
her head is attached.8 Something—presum If we accept this figure as Virtue with
ably the back of her head-interrupts our view reference to both Perseverance and Chastity,
of the laurel behind her. we can read the Allegory as both Vanitas and
Curiously, this laurel is the one object in Psychomachia. The power of Time over the
the painting that has never been read as an realm of Venus is illustrated by the fact that
attribute of one of the figures.9 Laurel has the foreground figures constitute a cycle of
always been seen as a noble plant, symbol of the Ages of Love. The putto with roses is an

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 15

Fig. 2 Veritas Filia Temporis, printer's

innocent, unaware that he is on the threshold graving on the design of Baccio Bandinelli
of initiation to the pains of love as he steps on (Fig. 3), another artist at the court of Cosimo
a thorn. The serpent child is a precocious I. Dated 1545, it represents a battle between
seductress conscious of the duplicity of her the forces of divine reason and lust. In the
offerings, while Cupid represents unabashed former group, at the left, are Saturn with his
adolescent sexuality. Venus, in her maturity, scythe, a figure virtually interchangeable with
is in full command of her powers; in fact, Time in Cosimo's imagery, and Diana, tradi
power rather than lust seems to be her true tionally associated with Chastity; the oppos
concern. Finally, the toothless hag at the left ing group is led by Venus and Cupid.14 In this
demonstrates the collapse of fleshly beauty, engraving, as in most Renaissance scenes of
the jealousy, pain, and despair occasioned by combat, the action is laid out parallel to the
decay. Time has taken its toll, and, on one picture plane so that an oppositional relation
level, the painting can be seen as a ship is clearly established between the forces
commentary on the transitory nature of of good and evil. In Bronzino's painting, the
sensual pleasure in contrast to the enduring competitors are arranged in layers into depth,
quality of Virtue. and the motif of unveiling replaces that of
On another level, the Allegory operates as a direct combat.
Psychomachia, pitting Virtue and Time The motif of unveiling itself carries com
against Lust. A profitable comparison might plex and contradictory meanings. The lifting
be made with an almost contemporary en of the blue curtain echoes the way in which

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 16

Fig. 3 Bandinelli, Combat of Reason and Lust

the serpent girl's skirt is raised to show her why do the putto and the serpent girl bear
true nature. In one sense, Time unveils an such a strong resemblance to Bronzino's
unpleasant truth about the treachery and portraits of Cosimo's children?
disappointment of earthly love; yet, at the Bronzino's Allegory is, in fact, a painting
same time, he uncovers a resplendent and about unveiling. The conception of allegorical
triumphant Venus, who by the act of disarm personification here is synthetic, allusive,
ing Cupid reveals a higher identity. The Neo unstable rather than concrete, and static, as it
platonic concept of the two Venuses seems would be a generation later in Ripa's Icono
embodied here in a single figure. logia. Figures, even attributes, are continually
Some aspects of the painting will probably shown to have new meanings as they are read
never be understood since we do not know in new configurations. And interpretations of
the specific circumstances of its creation. the Allegory do not so much displace each
These include its mock-heroic tone and the other as convey a cumulative meaning. A
apparent inclusion of Medici portraits. It is reading of the Allegory that encompasses a
perhaps appropriate that Time should look series of moralizing messages makes it easier
like an older version of Duke Cosimo. But to understand as a product of Cosimo I's

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 17

patronage. Its dense layering of overlapping with the painting and chose to use it as a
meanings is certainly typical of major works diplomatic gift. Even when an erotic theme is
produced at his court during the 1540s, the presented in a partially negative light, it
decorations of the Chapel of Eleonora, and places the spectator in the position of voyeur.
the Sala delle Udienze of the Palazzo Vec Father Time may avert his eyes from Venus;
chio.15 It is also possible to imagine why the owner of the painting could not.
Cosimo may have finally felt uncomfortable

NOTES

1. For the principal discussions of the painting, see Cosimo I de' Medici," Mitteilungen des Kunslhisíor
E. Panofsky, Studies in Iconology (New York: 1939), ischen Instituís in Florenz 15 [1971]:65).
pp. 69-91, and (New York: 1962), p. vii; H. Lossow, 4. J. Cox-Rearick, Dynasty and Destiny in Medici
"Das Londoner Venus-und-Cupido Bild des Agnolo Art: Pon tormo, Leo X and the Two Cosimos (Prince
Bronzino," in Das Werk des Künstlers (n.p.: 1939), I, ton, N.J.: 1984); L. M. F. Bosch, "Time, Truth and
pp. 162-168; A. H. Gilbert and H. W. Janson, "Re Destiny: Some Iconographic Themes in Bronzino's
views: Erwin Panofsky, Studies in Iconology," Art Bul 'Primavera' and 'Giustizia,'" Mitteilungen des Kunst
letin 22 (1940):174-175; C. Gould, London, National historischen Instituís in Florenz 27 (1983):73-82.
Gallery: The Sixteenth Century Italian Schools (Ex 5. A case in point is Francesco Saiviati's Favor in the
cluding the Venetian) (London: 1962), pp. 21-24; Sala delle Udienze of the Palazzo Vecchio, incorrectly
M. Levey, "Sacred and Profane Significance in Two described by Vasarri even though he was in charge of
Paintings by Bronzino," in Studies in Renaissance and the palace decorations when he wrote.
Baroque Art Presented to Anthony Blunt on His Six 6. Lines 433 ff. In this passage, Voluptas wounds
tieth Birthday (London: 1967), pp. 30-33; W. Keach, her feet on thorns in her flight.
"Cupid Disarmed or Venus Wounded?: An Ovidian 7. Friedlaender's proposal was subsequently accepted
Source for Michelangelo and Bronzino," Journal of by Panofsky (1962, p. vii). Panofsky's initial sugges
the Warburg and Courtauld Institutes 41 (1978):327 tion that the painting represents Time and Truth in
331; C. McCorquodale, Bronzino (New York: 1981), the act of unveiling may at least have touched on one
pp. 87-90; G. Smith, "Jealousy, Pleasure and Pain in of the visual sources of Bronzino's composition. As
Agnolo Bronzino's 'Allegory of Venus and Cupid,'" Hope has pointed out, there is a thematic relation
Pantheon 39 (1981): 250—25 8; C. Hope, "Bronzino's between the girl with the serpent's tail and the mon
Allegory in the London National Gallery," Journal of strous Calumny in Francesco Marcolini's printer's
the Warburg and Courtauld Institutes 45 (1982):239 mark Veritas Filia Temporis (Fig. 2). X-rays of the
243; L. M. F. Bosch, "A Mythological Interpretation London Allegory (Smith, Fig. 9) reveal that Time
of Bronzino's London Allegory of Venus, Cupid and originally gripped the hand of Venus. This group of
Time,'" Abstracts and Program Statements for Art Time holding the hand of a nude female with a half
History Sessions, Seventy-fourth Annual Meeting, Col human, half-monstrous figure at one side is so close to
lege Art Association of America, February 13-15, Marcolini's impresa that it is hard to believe that
1986, New York City (New York: 1986), p. 144; J. F. Bronzino did not have it in mind. The impresa first ap
Conway, "Syphilis and Bronzino's London Allegory," peared in Adriaan Willaert's Gnque Messe (Venice:
Journal of the Warburg and Courtauld Institutes 49 1536), which was dedicated to Alessandro de' Medici,
(1986):250-255. so the volume was surely known in the Florentine
2. G. Vasari, Le Vite de 'piú eccellentipittori, scultori court circle.
ed architettori, ed. G. Milanesi (Florence: 1881), VII, 8. I read the round forms at the end of her scarf that
pp. 598-599. overlap her forehead as an ornament, not a wig.
3. The panel was more likely sent to Henry II when 9. It has been ignored by most writers. Smith saw it
Cosimo sought to reestablish diplomatic relations with as part of the setting and indicative of Medici prove
France in 1548 (K. W. Forster, "Metaphors of Rule: nance. For Hope, it was the symbol of enduring poetic
Political Ideology and History in the Portraits of fame which outlives the Love that the poet celebrates.

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 18

This idea is relevant to the Venus and Cupid that of honey; the smell of roses; the sound of the wailing
Michelangelo designed and Pontormo executed for figure; the touch of thorn, stinger, the cold, round ap
Bartolemeo Bettini, for it was to be displayed with ple; etc.).
portraits of Dante, Petrarch, and Boccaccio. There 14. Adam Bartsch, Le peintre graveur (Leipzig:
is no evidence of a similar intention for the London 1867), XV, p. 262, no. 44. Bronzino's imagination
Allegory. may have been stimulated by the Pimander of Hermes
10. Arthur M. Hind, Early Italian Engraving: A Trismegistus as well as by Prudentius's Psychomachia.
Critical Catalogue with Complete Reproduction of All In Book 13, a list is given of opposing punishments
the Prints Described, published for the National Gal and the powers that will overcome them (M. Ficino,
lery of Art, Washington (London: 1948), pp. 27-29, Opera Omnia [Turin: 1983], II, pp. 855-866; see also
no. 22. For a discussion of this print, see Jay A. Leven Corpus Hermeticum, text established by A. D. Nock,
son, Konrad Oberhuber, and Jacquelyn L. Sheehan, trans. A.-J. Festugiére [Paris: 1960], II, pp. 203-205).
Early Italian Engravings from the National Gallery of In Ficino's slightly jumbled list, the punishments are
Art (Washingon, D.C.: 1973), pp. 22-27. Ignorantia, Tristitia, Inconstantia (for Incontinence),
11. E. Verheyen, The Paintings in the Studiolo of Cupiditas, Luxuria (instead of Concupiscence, which
Isabella d'Este at Mantua (Baltimore: 1971), p. 26. occupied a different place in the list), Injustitia,
See also G. de Tervarent, Attributs et symboles dans Deceptio, Invidia, Fraus, Ira, Temeritas, and Malitia.
I'art profane 1450-1600, 1 (Geneva: 1958), pp. 142 Ficino does not give an opposing power for Luxuria.
143; II (Geneva: 1959), pp. 231-234. This would not The Pimander was published in an Italian translation
be a unique correspondence between the art of Cosi by Tommaso Benci in Florence in 1548 (F. A. Yates,
mo I's court and that of Mantua. He was clearly aware Giordano Bruno and the Hermetic Tradition [Chicago:
of the example set by Gonzaga patronage. 1965], p. 17).
12. In Ripa's Iconología, laurel is an attribute of 15. See, for example, J. Cox-Rearick, "Bronzino's
Castitá Matrimoniale. Crossing of the Red Sea and Moses Appointing Joshua:
13. In fact, Bronzino alludes not just to sight with Prolegomena to the Chapel of Eleonora di Toledo,"
the process of unveiling, but to all the senses (the taste Art Bulletin 69 (1987):45-67.

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