This post presents more details about Vasari’s marriage scene between Henry, Duke of Orleans, and Catherine de’ Medici, and how it was inspired by Sandro Botticelli’s Primavera painting.
The male and female mythology figures, Saturn and his consort sister Ops, placed at the right edge of Vasari’s picture, simulate the pairing of Zephyr and Chloris in Primavera, with one head turned and another looking down, except the male and female roles are reversed. Their disguised identities in both paintings are Leonardo da Vinci and Fioretta Gorini. Yes, Fioretta appears more than once in each work, and there are several references to Leonardo embedded in both, too.
A third level of identities given to the pair is Adam and Eve. This introduces another painter into the scenario, Michelangelo, and is a pointer to one of the ceiling scenes he painted in the Sistine Chapel. I shall post about this connection at another time.
Michelangelo appears in Vasari’s marriage scene and is placed at the extreme left of the painting, depicted as the Archangel Michael – hence the arch shape of the frame next to the figure. Note also the frame’s arch connected to Saturn and Ops, and how it corresponds with the arched trees and figures of Zephyr and Chloris in Primavera.
That representations of Michelangelo and Leonardo da Vinci are placed at opposite walls of the frame is also a pointer to the occasion when both artists were commissioned to paint battle scenes on opposite walls in the Palazzo Vecchio’s Hall of Five Hundred which was later extended and decorated by Giorgio Vasari.
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