| Portrait of Marsilio Cassotti and His Bride Faustina | |
| Artist: | Lorenzo Lotto |
| Year: | 1523 |
| Medium: | Oil on canvas |
| Height Metric: | 71 |
| Width Metric: | 84 |
| Metric Unit: | cm |
| Imperial Unit: | in |
| Museum: | Museo del Prado |
| City: | Madrid |
Portrait of Marsilio Cassotti and His Bride Faustina is an oil-on-canvas painting by Lorenzo Lotto, currently housed in the Museo del Prado, in Madrid.[1] The work, signed and dated "L. Lotus Pictor / 1523", was created during Lotto's stay in Bergamo in 1523. Measuring 71 cm by 84 cm, it represents a significant contribution to the Italian tradition of double portrait marriage paintings, a genre previously more common in Northern Europe.[2]
Central to the composition are three figures: Marsilio Cassotti, his bride Faustina, and Cupid, each carrying distinct layers of meaning and contributing to the narrative complexity of the work.[3]
Marsilio occupies a central role not just in the physical composition of the painting but also within its layered narrative. As the groom, Marsilio is depicted in the act of placing a wedding ring on Faustina's finger, a moment frozen in time that symbolizes the beginning of their marital bond. His prominent positioning and the intricate detailing of his attire serve to underscore his importance both within the painting and the societal context it represents.
At the age of 21, Marsilio's marriage to Faustina marked a significant moment of social ascension for the Cassotti family. By aligning themselves with the noble Assonica family through this union, the Cassottis, a family of merchant class, leveraged marriage as a means of elevating their social standing. This strategic social mobility is subtly underscored by Lotto through the luxurious depiction of Marsilio's attire, especially his scuffia. The scuffia, a type of headgear favored in Bergamo and Brescia, is rendered with meticulous care, its leather material embossed in gold with a design of a stylized daisy and bold leaves, symbolizing wealth and status. This headgear, worn beneath a plain black cap, not only serves as a marker of Marsilio's elevated social status post-marriage but also reflects Lotto's attention to detail and dedication to portraying the social nuances of his subjects.
Lotto's commitment to this portrayal was so profound that despite his original expectation of receiving 30 ducats for the painting, he ultimately settled for 20 ducats from Zanin Cassotti, Marsilio's father and the commissioner of the work. This compromise highlights the artist's dedication to his craft and his desire to accurately represent the significance of the marriage, even if it meant accepting less compensation.
Moreover, Marsilio's gaze, directed outward beyond the canvas, engages the viewer directly, inviting them into the narrative unfolding within the painting. This outward gaze symbolizes Marsilio's role as the linchpin of the narrative, bridging the historical moment of his marriage with the viewer's contemporary experience, thus creating a timeless connection. Through Marsilio, Lotto not only explores themes of love and marital commitment but also delves into the social fabric of the time, illustrating how marriages were often strategic tools for social mobility and how these dynamics were intricately woven into the fabric of Renaissance society.
Faustina emerges not only as a bride but as a figure embodying the complex interplay of personal identity and social expectation. Her attire and jewelry, meticulously detailed by Lotto, serve as key elements in understanding her role within the marriage and the broader societal context.
Faustina's dress, a rich red silk gown, adheres to the customs of the time, signaling her status and the ceremonial significance of the occasion. The attention to her clothing goes beyond mere depiction of wealth; it signifies the transition she undergoes from her maiden life into marriage, reflecting the Renaissance practice of using attire as a marker of life's milestones.
More telling, however, is her jewelry, which carries layers of symbolism and personal meaning. The pearl necklace, a traditional emblem of purity, and the gold necklace known as vinculum amoris highlight her bond to Marsilio and her new role within the Cassotti family. The inclusion of a cameo and a coin depicting Faustina the Elder is particularly poignant. These items not only establish a connection to an esteemed figure known for loyalty and virtue but also embed within the portrait a narrative of expected uxorial fidelity and harmony. This choice by Lotto to incorporate such specific and symbolic items into her attire suggests a deliberate intention to communicate the ideals and expectations surrounding marriage during the Renaissance.[4]
Lotto's representation of Faustina, while rich in detail and symbolism, also hints at the constraints placed upon women of her time. Her gaze, directed away from Marsilio and the viewer, might suggest a contemplation of her new life and the responsibilities it entails. This portrayal invites the viewer to consider not just the surface beauty of the bride and her finery but the complex web of societal roles, expectations, and personal identity that she navigates.
Cupid is portrayed with a level of nuance that elevates his role beyond the traditional symbol of romantic love. This depiction of Cupid, particularly through the attributes of the laurel, the yoke, his wings, and his strategic placement in the composition, reveals a deeper commentary on the nature of marriage and the societal expectations it entails.
The laurel branch that Cupid holds, emerging from the yoke, carries significant symbolism. Historically associated with victory and achievement, the laurel in this context could be interpreted as a nod to the triumphs and challenges that marriage brings. The laurel, evergreen and enduring, also symbolizes the permanence and eternal nature of the bond between Marsilio and Faustina, suggesting that the virtues of fidelity and mutual respect are essential for a victorious union.
The yoke that Cupid places upon the couple's shoulders is a powerful metaphor for the bonds of marriage. Traditionally used to couple animals together for labor, the yoke here represents the shared burdens and responsibilities that Marsilio and Faustina must bear together. This symbolic act by Cupid does not merely suggest subjugation but rather emphasizes the importance of cooperation and harmony in navigating the challenges of married life. The uneven height of the yoke, compelling Marsilio to bend towards Faustina, subtly hints at the need for adjustment and compromise within their relationship.[5]
Cupid's wings, rendered in varicolored hues, diverge from the traditional white or cream, possibly reflecting Lotto's exposure to the works of Raphael during his time in Rome. The colorful wings may symbolize the multifaceted nature of love, encompassing passion, sacrifice, and the ongoing effort required to maintain harmony within the marriage.
Lotto's painting is noted for its detailed representation of clothing and jewelry, signifying status and wealth, and for its use of symbolic elements, such as Cupid's yoke, to convey themes of love, commitment, and societal roles. The inclusion of classical and Renaissance ideals, alongside the depiction of psychological depth in its subjects, marks the work as an innovative contribution to its genre.
Bernard Berenson, a noted scholar of Italian Renaissance art, recognized the profound psychological depth in Lotto's portrayal of Marsilio and Faustina. He lauded the work for its "groundbreaking interpretation of psychological states within Italian art," likening its depth and insight to "that of a modern psychological novel." Berenson highlighted the unparalleled clarity and empathy with which Lotto captured the inner worlds of his subjects, underscoring the artist's significant contribution to the portrayal of nuanced human emotion in Renaissance painting.[6]
The painting was commissioned by Zanin Cassotti, Marsilio's father, as a wedding gift for the couple, originally intended for their Bergamo residence. It stayed within the Cassotti family until it was taken to Spain, likely in the 17th century, and was documented in the Alcázar artwork catalogue in 1666. It moved to its current location in the Prado Museum during the 19th century.[7]