BRONZINO`S LONDON ALLEGORY

BRONZINO'S LONDON ALLEGORY: LOVE VERSUS TIME
Lynette M. F. Bosch
-
...Un quadro di singolarebellezza,che
fu mandato in Francia al re Francesco;
dentro al quale era una Venere ignuda
con Cupido que la baciava; ed il Piacere
da un lato e il Giuocco con altre amore,
e dall'altro la Fraude, la Gelosia ed altre
passionid'Amore.
Ever since Vasari thus described Agnolo
Bronzino's Allegory of Venus, Cupid, Time,
and Folly (Fig. 1), iconographers have been
puzzled about the painting's subject.! Since
Vasari does not mention Time and since he
errs on the number of personifications,
scholarshave mistrusted his exposition. Most
modern interpretations concur in identifying
the Allegory's figures as personifications of
Vice or as renditions of abstract emotions? I
propose that the Allegory's figures are gods
and goddessesassociated with Venus and
Cupid, and that the painting illustrates the
battle between Love and Time that is eternally waged in the cycle of the magna anno
described in classicalliterature.
In the Allegory, Venus, Cupid, and Time,
who. is Saturn, are the only readily identifiable figures. The others havebeen the subject
of controversyin the painting's expositoryliterature. Perhapsthe most easilyidentified of
the remaining figures is the putto who stands
next to Venus and Cupid, and is, therefore,
linked to them by his placement, glance,
movement, and attributes. Frequently and
fittingly identified as locus (Mirth),3 he appears wearing a bell anklet expressive of
Mirth's carnival spirit implicit in the merry
music generated by such bracelets.4 Other
attributes-specifically, the roses that he
holds and the thorn on which he steps with
his right foot-indicate additional personae.
The roses are an attribute of Hymen (Wedlock), yet another of Venus's eroti and her
son, fathered by Bacchus. His proximity to
the goddess,the roses he holds, and his gaze
directed at the loving couple suggest his
function here since Hymen was originally the
godling present at sexual unions, an event
implicitly evoked by Venus and Cupid's embrace.5And it should be noted that their embrace is not necessarilyincestuoussince classical mythology did not unanimouslyconsider
Venusand Cupid as mother and son.6
The thorn on which the putto steps suggeststhe pain of love and, by association,re- ~
calls the existence of another cupid, Pothos
(Painful Longing): Pothos had a twin, Hymerus (Desire), who is described by Hesiod
as being Venus and Cupid's constant companion: "Her gods and men call Aphrodite
...and
with her went Eros (Cupid) and
comelydesire (Himerus)" (Hesiod, Theogony
200-205). Hence, the Allegory's putto is an
amalgam of the erotes who form part of
Venus's entourage, although he is perhaps
best identified as Desire, since Bronzino
paints him alongside Venus and Cupid in a
visual presentation that parallels Hesiod's
description.8
Unusual controversyhas focused attention
on the identification of the girl-monster who
appearsbehind the putto.9 She is reminiscent"
of Hesiod's description of the Echidna: "The I
goddessfierce Echidna who is half a nymph i
with glancing eyes and fair cheeks and half c
J
Fig. 1
31
: VERSUS TIME
~
;pecifically, the roses that he
1e thorn on which he steps with
)t-indicate additional personae.
re an attribute of Hymen (Wed1other of Venus's eroti and her
:I by Bacchus. His proximity to
the roses he holds, and his gaze
the loving couple suggest his
~since Hymen was originally the
ent at sexual unions, an event
}ked by Venus and Cupid's emit should be noted that their em.
lecessarilyincestuoussince clasgy did not unanimouslyconsider
upid as mother and son.6
on which the putto steps sug1 of love and, by association,retence of another cupid, Pothos
?;ing)! Pothos had a twin, Hye), who is described by Hesiod
1USand Cupid's constant comgods and men call Aphrodite
1 her went Eros (Cupid) and
(Hinlerus)" (Hesiod, Theogony
nce, the Allegory's putto is an
the erotes who form part of
lrage, although he is perhaps
d as Desire, since Bronzino
)ngside Venus and Cupid in a
tation that parallels Hesiod's
tltroversyhas focused attention
cation ~f the girl-monster who
d the putto.9 She is reminiscent
:scription of the Echidna: "The
Echidna who is half a nymph
eyes and fair cheeks and half
.
Fig.l Bronzino,Allegory.
NatIonalGallery,London
,
32
again a hu~e"snake: great and awful, with
speckled skin (HesIod, Theogony295-300).
Alt~OUghshe does.n.otconform exactlyto the
Echidna, her rendition would seem to have
been partially inspired by the monster's inherently duplicitous half-appealingand halfloa~hso.mefo~. This pluralit,r. of characterization IS.evocatIveof ~e qualities of the goddess Peltho (PersuasIon), who frequently
promised good but delivered evil!O Peitho
was the daughter of either Tethys and Ocean
or ~~nus!1 H~re~Br?~o
c?ose the la~ter
tra.ditlon for his tnsptrati.onsmce he pamts
Peltho as a younger verSIonof Ve~, both
sharing similar elongated faces, almondshapedeyes,arched brows, prominent noses,
full lips, and center-parted, golden-brown
hair. Both balance analogousattributes-arrow/viper and apple/honeycomb.The honeycomb is an attribute of Venus and is here
held next to her body perhaps as an indication of kinship!2
Opposite Time in the painting's upper section appearsthe woman frequently described
in the literature as a hollow, eyelessmask!3
Friedlaender's early suggestionthat this figure is Night has been lar~ely ignored in the
literature on the Allegory,4 yet this figure's
Night as Cupid's mother since he was "born
according to their person;
of the egg / borne by Night" (Orphic Hymn
duality is, therefore, astute
6). As .such,~ight is the caretaker of Love's
the balance of oppositess~
fecundity,which ensurescontinuity!?
painting.
The proximity of the screaming hag to
The duel between Love
Night and Cupid suggeststhat she could be
tinued in the juxtaposition
~ris ~~trife),. Night's ~a~ghter and Cupid's
masksthat appear in the l(
sISter. ClassIcaldescrIptIonsof Strife depict
doves,symbolic of the care
an emaciated, unkempt harridan who exists
ancethe masksthat represe
to promote Jealousy,Envy, and Hatred, the
Moreover, the two masks.
emotions that have been frequently proposed
young woman, the other a
as the hag'sidentity!9
suggestnot only Love's iIltJ
In summary, Bronzino'sAllegory assembles
all-pervasive power, whicl
the gods of Love beneath Time's threatening
youngand the old the beal
arm, a composition suggestiveof the eternal
Hence, the balan~ of pos
struggle between Love and Time. Classical
elements seen in the arr,
mythology had no doubt about the outcome:
Venus and in the honeyc<
Time will win, returning creation to the origiPeitho as well as in the be
nal Chaos from which the Universe emerged
ures and the uglinessof otl
under the power of Love.20 Yet even as we
part of the classical form
watch, Venus and her allies withstand Time's
continuity.
inexorableforce. Here, Night aids Venus and
The presentation in thc
Cupid as she struggles againstTime. Her adconsistentopposition of net
versarial relationship with him is visible in .forces is suggestive of an
her look, in her scream, and in the clutching
quentlydiscussedin classic
gesture of her hands, which reach for the
of the reversal of polarities
cloth that Time tears away.
the destructionof the UniVI
Strife's participation is also necessaryfor
that would, in turn, be fol
presentationaccords with ancient literary descriptions of Nyx (Night). She is also identified by the masklike face, probably inspired
by the Renaissance tradition that ascribed
masks to Night as her attribute.15 Night was
not represented frequently in classical art,
although her appearancewas described by
the poets as that of a mature woman who
wore a voluminouscloak and whosehead was
veiled!6 And Bronzino's expeditious representation of the figure as a blind mask accords well with Empedocles' description of
"Night, the lonely with her sightless eyes"
(Empedocles,Fragment49). Within the Allegory's
d, hcomposition, Night
h appears
h d, above CupI W ose wmg grazes er an a proXImIty
suggestive of the tradition that identifies
Love's triumph, despite her natural antipathy.,
to Love. As explained by Empedocles, her
existence is essential for the continuity of
creation, which could not exist without the
tensionrepresentedby Cupid and Strife's opposition21 since it is Cupid's (Love's) resistance to her assaultand her persistencethat
preserves the eternal cycle of creation, destruction, and renovation. Or, as HeraclituS
says: "There could be no harmony without
sharps and flats, nor living being without
male and female, which are contraries" (Frogments XLIII). Furthermore, Bronzino sensi- r
tively expresses,without condemning,Venus'S
divided
was
d viinature as it b
d fated tohbe-goode
an e -smce, m 0 e Ience to er natur
and function, she blesses or curses all
.
.
..
..
.
cycleof creation. In Plato':
descriptionof Nature's revc
one cycle, when, as the c:
good becomes evil and e
maintaining the necessary
sites.23
The successive recyclin
anno (the cycleof destructi,
deftly represented by Br°l!
ing's spatial construction:
An earIi er version
.f 0 this articl ,
talk at tbe meetingof tbe ColJ
NewYork, February1986.I e
I
-33
~pid'smother.sin~e he W.as"born
gh
rne. by NIght (Orphic HY11l1l
hich t IS the car~t~erl~f Love's
accordingto their personal destiny. Love's
dualityis, therefore,. astutely represented in
thebalanceof OpposItesseenthroughout the
from the foreground to the background, one
traces t~e path toward destruction fr.om th.e
generatIon composed of Venus, CupId, PeI-
..ensures COntinuI~.
ImIt;Y of the screammg hag to
::u~~ su,ggeststhat she could be
painting.
The duel between Love and Strife is continued in the juxtaposition of the doves and
tho, Strife, and Desire. Behind them, the
cloth shuts off immediate accessto the previous generation of Night and Time, who ap-
~,.~ghts ?a~ghter an~ Cupid's
~I descnptIon~of Strife depiCt
, unkempt harndan who exists
Jealousy,Envy, and Hatred, the
lt ha~erien frequently proposed
masksthat appear in the lower corners. The
doves,symbolic of the caressesof Love, balancethe masksthat representLove'sdeceit.22
Moreover, the two masks-one a beautiful
youngwoman, the other an ugly old man-
pear separatedfrom the older abyss (Chaos)
by the laurel hedge, allusive of regeneration,
since the laurel's almost magical regenerative
properties were well known in the Renaissance, particularly in the Florentine-
dentIty. .,
ry, BronzmosA!legory assembles
...o~~beneath ~Ime's threatening
'OsItionsuggestIve.of the eternal
\'een Love and TIme. Classical
ld no d~ubt abo~t the outcome:
1,retw:nmg creatI.onto the origi)m which the Umverse emerged
Iwer of Lov~.2°: et even as we
; and her allies WIthstandTime's
rce. Here, Ni~t ai~ Venus and
~trugglesagamstTIme. Her adtIonship with him is visible in
ler scream, ~d in the clutching
~r hands, which reach for the
Ie tears away.
ticipation is also necessaryfor
'h, despite her natural antipathy
explained by Empedocles, her
~ssential for the continuity of
~h could not exist without the
.ented by Cupid and Strife's opce it is Cupid's (Love's) resislSSaultand her persistencethat
eternal cycle of creation, derenovation. Or, as Heraclitus
could be -no harmony without
tats, nor living being without
ue, which are contraries" (FragFurthermore, Bronzino sensis, without condemning,Venus's '"'
: a.sit was.fated to be-good
e, m obedIence to her nature
she blesses or curses all
suggestnot only Love's illusions, but also its
all-pervasivepower, which can affect the
youngand the old, the beautiful and the ugly.
Hence,the balance of positive and negative
elements seen in the arrow and apple of
Venus and in the honeycomb and viper of
Peitho as well as in the beauty of some figUtesand the uglinessof others is an intrinsic
part of the classical formula that ensured
continuity.
The presentation in the Allegory of the
consistentopposition of negativeand positive
forces is suggestive of another theme frequentlydiscussedin classicalliterature-that
of the reversal of polarities that would attend
the destruction of the Universe, a destruction
that would, in turn, be followed by another
cycle of creation. In Plato's Laws, there is a
descriptionof Nature's reversal at the end of
one cycle, when, as the cycle begins anew,
good becomes evil and evil good, thereby
maintaining the necessary tension of opposites.23
The successive recycling of the magno
allno (the cycleof destructionand renewal) is
deftly represented by Bronzino in the painting's spatial construction.24 H one moves
Medicean ambiance within which Bronzino
worked.25Movement from the foreground to
the background follows the path of destruction. In reverse,the path of creation develops
as the cyclebeginsanew,and Night and Time
as generators create Love and its court once
more.26Thus, we move within the Allegory's
space in the cycle of the magno anno-back
and forth from the void to Love's triumphant
reign. Classical mythology maintains that the
cyclesare endl.ess,and.in Bronzino's.Alleg?ry
we are clearly m the mIdst of a cycle m which
Time's destructiveforce has been momentariI~ arrested. But for how long can Night resist
TIme's onslaughtand prevent all from plunging into the darknessvisible behind the barrier of laurel? It is preciselythis dilemma that
is captured in the Allegory's frozen figures, as
all stand poised for one moment bef?re ete~nity claims its due. Eventually, TIme will
conquer, and his victory ~ end on~ cycle;
but for now, Venus, CUpId, and theIr co~t
reign triumphant. The intuitive eas~ WIth
which Bronzino here transposes literary
tradition into ~?al fo~ is the very ~ssence
of .the HumamstIC.traditI?n.from which RenaISSance
mythologIcalpamtmgdeveloped.
~~
NOTES
An earlierversionof thisarticlewaspresented
asa
Cox-Rearick
for her supportand criticismduringall
talk at the meetingof the CollegeArt Association, stagesof this study.I ~.o thankAnne Matthe~s,
NewYork, February1986.I especially
thank Janet
Deborah Berendt,Laetltla LaFollette,Cathenne
, 'N
34
I
S~llen,. and Dorothy Limouze. The ideas presented in
this art~cle are part of a la;ger st.udy of Bronzmo's
Allegones of Venus and CupId now m progress.
...festation
1. G!orglo V~
~e Jlite de' piil eccellenti pittori,
sculton ed archltetton, ed. G. M~an:si (F1~:ence:
:906~, ~,
pp. "598-599, .where aItrt amon and
paSSI~nId amore are mentI~n:d but not represent~d.
Vasan places the Allegory WIthin a group of commISsions from Cosimo de' Medici; hence, it is generally assumed that Bronzmo painted it for Cosimo, who sent it
to Francis I of France prior to the latter's death in
1547.
2. For the literature on theAllegory, see Iris Cheney,
"Bronzmo's London Allegory: Venus, Cupid, VIrtue,
and Time," Source 6, no. 2 (Winter 1987):17,n. 1.
3. Identified as Pleasure or Jest by Erwin Panofsky,
Studies in Iconology (New York: 1939), pp. ~9;
Sport by Alan Gilbert, "Book Review of Studies in
Iconology," Art Bulletin 22 (1940):173-174; or Folly by
Michael Levey, "Sacred and Profane Significance in
Two Paintings by Bronzmo," in Studies in Renaissance
and Baroque Art Presented to Anthony Blunt on His
Sutieth Birthday (London: 1967),pp. 30-33.
4. For examples of the use of bell bracelets and their
connotations, see Emmanuele Greco, 1/ Pittore di
Afrodite (Benevento: 1970),Tav. xx, and Gaston Vorberg, GlossariunJ Eroticum (Hanau-Main: 1965), pp.
176-177. For Mirth as one of Venus's attendants, see
Horace, Odes l.vi.65 and I.ii.34-35, as well as Hesiod,
17Ieogony205.
5. For a description of Hymen and his attributes and
function, see Charles Daremberg and Edmund Saglio,
Dictioll1laire des antiquitesgrecques et romaines (Paris:
1887), 1II/2, pp. 333-336.
6. See Robert Graves, 17Ie Greek Myths, 2 vols.
(London: 1959), I, pp. 58-59, for a summary of traditions. Cupid was also the child of Chaos, Night,
Aether, and Day, among others.
7. 011 Pathos, see Pauly-Wissowa,RealenC)'Clopadie
de, klassiscllen Altertumswissenscllaft(Stuttgart: 1953),
XXXI/1, pp. 1178-1182.
8. See also Daremberg and Saglio, VIII/2, pp.
1635-1639, where the personalities of the erotes are
11. According to Hesiod, Theogony345, Peitho was
the daughter of Tethys and Ocean; according to
Servius,Ad. Aeneid 1.724, she was a different mani.
of Venus; and according to Sappho,Fraglllellt
135, she was Venus's child. In Orphic Hymn 55, "To
Aphrodite," she is considered a separatepersonality.
12. Graves, I, p. 72, a golden honeycomb was displayed at Venus's shrine on Mount Eryx.
13. See Levey, p. 32, n. 18, and Hope, n. 8, for the
controversy.
14. In the second edition of Studies in Iconology
(New York: 1962),ch. VII, Panofsky published Walter
Friedlaender's opinion that theAllegory's mask-woman
was Night.
15. Guy de Tcrvarent,Attributs et S)'mbolesdans l'aIt
profane 1450-1600(Geneva: 1958),pp. 262-263.
16. A composite picture of Night as represented by
Bronzmo can be compiled from brief descriptions
given in Orphic Hymn 3, "To Night"; Ovid, Fasti
IV.661; Aristophanes, Birds 1330; Homer, 1/iad
XLV.260; Aeschylus, Eumenides 322, 745, 870;
Aeschylus,AgaJllemnon355; and Meleager, Poeln 51.
17. Night's sympathetic relationship with Love is ex.
pressed in Ovid, Alnores l.vii.57: "Night and Love aDd
wine are no counsellors of self-restraint"; Orphic Hymll
55, "To Aphrodite": "You [Aphrodite] couple lovers at
Night."
18. On Eris, see Graves, I, pp. 51, 73, 360; II, pp.45,
269.
19. This figure was identified by Panofsky (1939),p.
88, as Jealousy, Envy, and Despair. Scholars have
agreed-with one exception: J. F. Conway, "Syphilis
and Bronzino's London Allegory," Jounlal of the Warbu'K and Courtauld Institutes 49 (1986):250-255, who
identifies this figure as a man personifying syphilis.
20. A description of Time as the destroyer can be
found in Orphic H)'mn 13,"To Kronos": "You consume
all things. ..unbreakable is the hold you have on the
boundless cosmos..
21. Empedocles' philosophy found throughout his
Fraglllents is that it is the balance of the opposing
(positive = Eros/negative = Strife) forces that main.
tains the universe'scontinuity. See especially Fragl7lent
16- "For even as Love and Strife were strong of yore,
discussed.
9. See Gilbert, 173-174; Levey, pp. 32-33; and
Charles Hope, "Bronzino'sAllegory in the London National Gallery," Journal of the WaltJU'Kand Courtauld
Institutes 45 (1982):239-243,esp. 241-242.
10. On Peitho, see Daremberg and SagIio, V /1-2,
IV/2, p. 1550; Pauly-Wissowa, XIX/2, pp. 194-218;
and O. Jahn, Peitho: Die Gottin den Uberredung
(Greifswald: 1846),as well as Graves, I, pp. 49-50.
they shall have their hereafter; nor I think / shall endless age be emptied of these Twain"-and Fragl7lent
17-"Whiles into one do all through Love unite; /
Whiles too the same are rent through hate of Strif~ the:
Spheres and rose / To her own honors, as the tIlDes
arrived / which unto each in turn, to Strife, to Love, /
Should come by amplest oath and old decrees.. The
same sentiments appear in Aristotle, Metaphysics
I.iv.l-4. Although Empedocles is not a source COP]-
monly cited in Renaissancestudie~
miliar to Plato, Aristotle, Pausani
other authors with whom Renaiss.
acquainted.Hence, his Fragments s
I of the Fragments was published i
compiled from the extant quotation
tion, see Amedeo Perron, Emped(
Fragnlenta(Leipzig: 1910). On the
docles on Greek philosophers, se
Empedocle (Turin: 1916); D. a']
Cosmic Cycle: A Reconsl1uctionfi
aIId Secondary Sources (Cambrid!
PourInterpreterEmpedocle (Paris: 1
22. On the symbolism of the do
deTervarent, p. 262,"Colombes" aD
23. Plato, Laws 1II.51: "During a
!
'I
,,'
Th(
CeI
U
n:
!
Pal
stuc
phi
PIe
M
a
Ok
turl
I
II'
i
i
35
,,- ,.".,
to Hesiod, Theogony345, Peitho Was
monly cited in Renaissancestudies, his work was fa.Tethys and Ocean; .according to
miliar to Plato, Aristotle, Pausanias, and numerous
~Id 1.724, sh~ was a different mani.
other authors with whom Renaissancescholars were
;; ~nd a~cordmg to Sappho,Frogllle/lt
acquainted.Hence, his Frogmentssurvived. An edition
IUSS.child. In Orphic Hymn 55, "To I of the Froglllents was published in Venice in 1550,
considered a separatepersonality.
compiled from the extant quotations. On the 1550 edi-
himself goes with the universe as guide in its revolving
course, but at another epoch, when the cycles have at
length reached the measure of his allotted time, he lets
it go, and of its O\\'Daccord it turns backward in the
opposite direction.. The text then describes the effect
that this will have.
~. ~2, a golden honeycomb Was dis.
shrIne on Mount Eryx.
p. 32, n. 18, and Hope, n. 8, for the
tion, see Amedeo PeYTon, Empedoclis et Parmenidis:
Fragnlenta (Leipzig: 1910). On the influence of Empedocles on Greek philosophers, see Ettore Bignone,
24. For a discussion of the magno anno in a
Medicean conte)."!, see Janet Cox-Rearick, Dynasty and
Desti/lY in Medici AJt (Princeton: 1984), pp. 162 and
..'.
Ind edition
of StudIes In Ico/Jology i
,.ch. VII, Panofsky published Walter
won that the Allegory's mask-woman!
Empedocle
(Turin:
1916); D. O'Brien,
Empedocles'
CosmicCycle:
A Reconstmction
fro/n the
Fragllle/lts
and Secondary Sources (Cambridge: 1969); and id.,
four InterpreterEmpedocle (Paris: 1981).
197.
25. See ibid., pp. 17, 26, and 56, and id., La Colleclion de Fron~oisI (Paris: 1972),p. 40.
26. It should be remembered that Aphrodite sprang
22. On the symbolism of the doves and masks, see
de Tervarent,p. 262,"Colombes" and "Masque..
23. Plato, Laws 1lI.51: "During a certain period God
from the foam created by the fall of Saturn's testicles
into the sea following his castration by Zeus as descn"bedby Hesiod, 77leogony188-200.
larent,Attributs et symbolesdans l'QIt
(~eneva: 1958),pp. 262-263.
: picture of Night as represented by
compiled from brief descriptions
H)'111/13, "To Night"; Ovid, Fasti
anes, Birds 1330; Homer, l/iad
flus, Eumenides 322, 745, 870;
IInon 355; and Meleager, Poem 51.
lathetic relationship with Love is ex.
1110res
I.vii.57: "Night and Love and
:lIors of self-restraint"; Orphic Hyml)
': "You [Aphrodite] couple lovers at
:
I
'
Graves, I, pp. 51, 73, 360; II, pp. 45,
I
,,asidentified by Panofsky (1939),p.
::nvy, and Despair. Scholars have
exception: J. F. Conway, "Syphilis
:ldon Allegory," Journal of the Wari Institutes 49 (1986):250-255, who
: as a man personifying syphilis.
1 of Time as the destroyer can be
Inn 13, "To Kronos": "You consume
.
: !1
lit
.,
'j
'~f
"
eakable is the hold you have on the
philosophy
it
is.
found
the
bal~ce
throughout
of
the
in
~mpedocles
Aristotle,
is not
FOR PAPERS
tI~
his
\;. 1
:
oppos~g
egatl~e .= StrIfe) for~es that malncontInUity. ~ee especially Froglllcnt
ove and Strife were strong of yore,
r hereafter.' nor I think / shall endd of these Twain"-and Fragllle/lt
ne do all through Love unite; /
' are rent through hate of Strife the
To he~ own hono~ as the times
) each m turn, to Strife, to Love, /
Iplest oath and old decrees.. The
lppear
CALL
Metaphysics
a source
com-
The
1
Sixteenth
Colloquium
in
Nineteenth-
Century French Studies will be held at the
University of Oklahoma October 11-13, 1990.
.0
Papers are illVlted on all aspects 0 f Frenc h
studies:
art and
art
history, l1Otera ture,
philosophy,
history, history of science, etc.
Please send a half-page
abstract before
March 15 to Dr. Keith Busby, University of
[
)1:
,1
fit,
11;
'ti
J~
J:f
i!f
Okl a homa, M 0 dem Lan gu a ges and Litera-
.I':'
tures,
:1
Norman,
OK
73019.
.
I