with his physician in private. The three scenes of the second panel are the
following: the wedding of Antiochus and Stratonice, the wedding dance and
finally Stratonice seated at the table accompanied by her ladies-in-waiting. As
was often the case with cassone paintings, most of the scenes concern the
wedding and wedding ceremonies, depicted (of course) in the spirit of Italian
ceremonies of the fifteenth century. In the first scene of the second cassone,
Seleucus plays the role of the wedding celebrant (in those times usually
represented in Italy by a notary), while the newlyweds put wedding rings on
one another’s fingers.33 Neither Plutarch nor other ancient authors mention 33
5. Maesłro di Stratonice,
Antiochus' lllness,
detail of ill. 2
33 For wedding rituals and its iconography in Renaissance Italy cf. Ch. Klapisch-Zuber, Women,
Family and Ritual in Renaissance Italy, Chicago-London 1985; J. Miziołek, Soggetti classici sui
cassoni fiorentini alla vigilia del Rinascimento, Warszawa 1996, pp. 11-23.
131
following: the wedding of Antiochus and Stratonice, the wedding dance and
finally Stratonice seated at the table accompanied by her ladies-in-waiting. As
was often the case with cassone paintings, most of the scenes concern the
wedding and wedding ceremonies, depicted (of course) in the spirit of Italian
ceremonies of the fifteenth century. In the first scene of the second cassone,
Seleucus plays the role of the wedding celebrant (in those times usually
represented in Italy by a notary), while the newlyweds put wedding rings on
one another’s fingers.33 Neither Plutarch nor other ancient authors mention 33
5. Maesłro di Stratonice,
Antiochus' lllness,
detail of ill. 2
33 For wedding rituals and its iconography in Renaissance Italy cf. Ch. Klapisch-Zuber, Women,
Family and Ritual in Renaissance Italy, Chicago-London 1985; J. Miziołek, Soggetti classici sui
cassoni fiorentini alla vigilia del Rinascimento, Warszawa 1996, pp. 11-23.
131