The Allegory of Venus

The Allegory of Venus is a painting as disturbing as it is erotic; created with oil on canvas
circa 1546 by Agnolo Brozino, the imagery is initially alluring, becoming gradually less so as the
observer becomes aware of its subject matter. At 57 by 45 5/8 inches in size, the painting
resides in The National Gallery in London, but can also be found on page 599 in Jansons
History of Art: The Modern World by Penelope Davies. (Davies, 2012)
Upon first observation, The Allegory of Venus (a work of oil on canvas) is sensual and
dramatic in composition. According to Penelope Davies, author of Jansons History of Art: The
Modern World, Mannerism was identified by its erudite subject matter, beautiful figures, and
deliberately complex compositions that would appeal to sophisticated tastes. (Davies, 2012)
These factors are all present in Brozinos painting, known also by its alternate title, Venus,
Cupid, Folly and Time. (Witcombe) The chaos of many subjects within a compact area draws
the eye of the observer away from the central focus- Venus and Cupid. However, the disturbing
nature of their incestuous pose pulls the attention of the observer back to the two figures. Venus
and Cupid are bathed in light, the angelic tone of their skin contrasting with their uncomfortable
poses. The battle for attention between the two and their surrounding subjects- as well as the
extreme contrasts of light and dark- convey an intensity that reflects the subject matter in the
painting.
The identities of the characters in the painting are often subject to interpretation, but
some are most commonly identified as follows: in the upper right corner is a displeased Father
Time, the upper left corner is occupied by Fraud, behind Cupid is Madness (or Envy), the
young boy to the right of Venus is identified as Folly, and the serpent girl behind Folly has
been labeled as Deceit. (Witcombe) Aside from the characters themselves, there are specific

objects that stand out to the viewer. The pillow beneath Cupid and the curtain behind the scene
are rich in fabric. Along with the intricate masks to the bottom right of the painting and the
golden crown and apple in Venuss possession, it is clear that Brozino is depicting wealth, which
is fitting considering the party by which the painting was commissioned- the Medici family.
(Davies, 2012)
The power of the Medici family in Italy was a significant factor in the rise of Mannerism,
thus, Bronzino integrates their wealth into his artwork. In 1517, Martin Luther posted 95 theses
that expressed doubt regarding the ethics of the Roman Catholic Church to the Wittenberg Castle
Church doors. (Staff, 2009) As the general population began to question the power and prestige
of the Catholic Church, the Protestant Reformation began, changing the standard subject
matter of art. As a result, the Catholic Counter-Reformation movement began in an effort of
the Church to reestablish power. Both movements utilized the stylistic traits of Mannerism, a
form that rose as upheaval spread throughout, and beyond, Italy. Mannerism is characterized as
displaying unusual proportions, untraditional depictions of religions figures/subject matter, and
subject matter recognizable by the educated upper-class. When the Medicis returned to power in
Italy, they commissioned a painting from Agnolo Bronzino. The Allegory of Venus was presented
to Francis the First of France by Duke Cosimo of the Medici family, a potentially backhanded
gift; the symbolism of this irony is subliminal but present. (Davies, 2012)
The painting is riddled with allegory; the apple in Venuss hand, the dove in the lower left
corner, Cupids arrow, and even the characters themselves are all poetically symbolic. There is an
interesting overlap between traditional Christian symbols and the blatant mythological context of
the subject matter. For example, the apple in Venuss hand is significant in Greek/Roman
mythology as representative of beauty, whereas in Christian historical context, it would refer to

Eves forebidden fruit and be symbolic of corrupt desire. This symbolism is enhanced by the
serpent-girl to the right of the pair. She has a sweet and wholesome face, but further inspection
reveals she has the body of a serpent. As was the tale of Adam and Eve, a serpent seemingly
above suspicion was the downfall of their innocence; her presence solidifies that the incestuous
act is one of sin. Furthermore, the dove in the lower left hand corner is a symbol of purity. While
Cupid fondles his mother, and she holds the phallic symbol of his arrow in her hand, Cupid looks
as if he is about to crush the dove with his own foot. Thus, by committing an incestuous act,
Venus and Cupid would be destroying purity. The contorted face behind Cupid is one of the most
significant and debatable symbols within the artwork. Dr. Paul Kiritsis, a folklore and mythology
expert well-regarded for evaluating artwork consistent with such themes interprets this figure to
be Jealousy. He also notes that she seems to be in agony and appears ill, referencing that many
historians believe her to be an illustration of the way syphilis ravages ones body and mind.
(Kiritsis, 2012) Because it is rumored that Francis the First of France died as a result of syphilis,
many argue the presence of this figure was intentional, and the gift of the painting itself a
subliminal insult. (Jokinen, 1996-2010)
Bronzino, in his painting The Allegory of Venus expresses complex and chaotic imagery,
disturbing subject matter, and captures the Mannerism style of the Late Renaissance in
Sixteenth Century Italy. (Davies, 2012) It remains a work of great debate, the mystery
surrounding its symbolism only increasing its allure.

Works Cited
Davies, P. (2012). Janson's History of Art: The Modern World, Eigth Edition, Portable
Edition, Book 4. Upper Saddle River, N.J.: Pearson Prentice Hall.
Jokinen, A. (1996-2010). Francis I. Retrieved October 21, 2015, from
Luminarium.org: http://www.luminarium.org/encyclopedia/francis1.htm
Kiritsis, D. P. (2012, January 9). An Analysis of Agnolo Bronzino's "Allegory" featuring
Aphrodite and Eros. Youtube: https://www.youtube.com/watch?
v=qjhJSfahKQw
Staff, H. (2009). Martin Luther and the 95 Theses. Retrieved October 20, 2015, from
History.com: http://www.history.com/topics/martin-luther-and-the-95-theses
Witcombe, P. C. (n.d.). Venus, Cupid, Folly and Time. Retrieved October 20, 2015,
from Da Vinci's Code: http://witcombe.sbc.edu/davincicode/bronzinoallegory.html