DOI Page / Citation link:
https://doi.org/10.11588/diglit.31769#0059
oranges to be seen in the trees: indeed this area appears
fàr from fruitful. It is only to the left of this, in the sec-
tion where the touch of Zephyrus has transformed
Chloris into Flora, that the situation changes — for the
orange grove with its blossoms and fruits begins at pre-
cisely the point where there is a line running from Flora
through the tree behind her. Thus the transformed figure
of Flora marks the start of the “fruit-bearmg” section of
the composition. The goddess of spring may also be
understood as the trunk of the fruit-bearing tree, whose
fertility will come to fulfilment — as mdicated m the
blossoms and fruits — at Lorenzo’s touch. Considering
Ovid and the dynamics of the paintmg, Semiramide Ap-
piam (as Flora) will therefore become the bearer of the
Medici fruits and progeny only at Lorenzo’s touch, fol-
lowing their union as man and wife. This depiction of
the “function” of the bride and married woman would
certainly have been readily understood by viewers of that
time; especially those who would have had access to the
bride’s cavwa. Here, it was the procreation of future
generations rather than sexual desire which was seen as
the real purpose of sexual relations and marriage.44
Attributed to
Niccolò Fiorentino
Portrait Medallion of
Lorenzo il Magnifico
(verso)
58
fàr from fruitful. It is only to the left of this, in the sec-
tion where the touch of Zephyrus has transformed
Chloris into Flora, that the situation changes — for the
orange grove with its blossoms and fruits begins at pre-
cisely the point where there is a line running from Flora
through the tree behind her. Thus the transformed figure
of Flora marks the start of the “fruit-bearmg” section of
the composition. The goddess of spring may also be
understood as the trunk of the fruit-bearing tree, whose
fertility will come to fulfilment — as mdicated m the
blossoms and fruits — at Lorenzo’s touch. Considering
Ovid and the dynamics of the paintmg, Semiramide Ap-
piam (as Flora) will therefore become the bearer of the
Medici fruits and progeny only at Lorenzo’s touch, fol-
lowing their union as man and wife. This depiction of
the “function” of the bride and married woman would
certainly have been readily understood by viewers of that
time; especially those who would have had access to the
bride’s cavwa. Here, it was the procreation of future
generations rather than sexual desire which was seen as
the real purpose of sexual relations and marriage.44
Attributed to
Niccolò Fiorentino
Portrait Medallion of
Lorenzo il Magnifico
(verso)
58