DOI Page / Citation link:
https://doi.org/10.11588/diglit.31769#0045
case, a figure is even in the process of changing her iden-
tity. The contrast between the comparatively static scene
on the left and the more active scene on the right also re-
flects the literary sources, in that the passage in Ovid’s
Fasti, which relates to the right of the composition, is it-
self much more lively and dramatic than the relevant
sections of Horace, Virgil and Lucretius.
The Ovid text is therefore the most sigmficant source,
for unlike the others it does not merely name the most
ìmportant characters involved but also gives a descrip-
tion of the relevant action in the scene. The transforma-
tion of the nymph Chloris into Flora, described in the
Fasti and dramatically portrayed by Botticelli, shows
clearly that the picture is connected with the subject of
marriage, for Zephyrus not only transforms the once vir-
ginal nymph into Flora, the goddess of spring, but at the
same time takes her as his wife — according to Ovid. In
addition to the marriage itselfi in the relevant passage
Ovid also speaks of the dowry, the property and money
that the bride brought with her into the marriage, which
in quattrocento Florence constituted the most import-
ant status symbol in any wedding. He also describes the
blossoming garden as a metaphor for the fertility which
the bride was expected to bring to the marriage. Later in
the text Flora remarks that, although Zephyrus initially
took her by force (rapina), he more than made amends
for this by his loving behaviour as a husband. She has
no cause for complaint in her marriage bed; it is now
eternally spring for her. She has a wonderful garden in
the lands which she brought with her dowry. Everythmg
is green there all year long — trees and meadows alike
— for her spouse has filled this garden with blossoming
flowers and has made her, Flora, the mistress of this
magnificent display of flowers and blossoms. Thus the
44
tity. The contrast between the comparatively static scene
on the left and the more active scene on the right also re-
flects the literary sources, in that the passage in Ovid’s
Fasti, which relates to the right of the composition, is it-
self much more lively and dramatic than the relevant
sections of Horace, Virgil and Lucretius.
The Ovid text is therefore the most sigmficant source,
for unlike the others it does not merely name the most
ìmportant characters involved but also gives a descrip-
tion of the relevant action in the scene. The transforma-
tion of the nymph Chloris into Flora, described in the
Fasti and dramatically portrayed by Botticelli, shows
clearly that the picture is connected with the subject of
marriage, for Zephyrus not only transforms the once vir-
ginal nymph into Flora, the goddess of spring, but at the
same time takes her as his wife — according to Ovid. In
addition to the marriage itselfi in the relevant passage
Ovid also speaks of the dowry, the property and money
that the bride brought with her into the marriage, which
in quattrocento Florence constituted the most import-
ant status symbol in any wedding. He also describes the
blossoming garden as a metaphor for the fertility which
the bride was expected to bring to the marriage. Later in
the text Flora remarks that, although Zephyrus initially
took her by force (rapina), he more than made amends
for this by his loving behaviour as a husband. She has
no cause for complaint in her marriage bed; it is now
eternally spring for her. She has a wonderful garden in
the lands which she brought with her dowry. Everythmg
is green there all year long — trees and meadows alike
— for her spouse has filled this garden with blossoming
flowers and has made her, Flora, the mistress of this
magnificent display of flowers and blossoms. Thus the
44