Raises methodological issues concerning the interpretation of Bronzino's Allegory (London, National Gallery) by Panofsky and others, and reinterprets the painting in light of Bronzino's activity as a poet, his familiarity with contemporary vernacular poetry, and his response to its challenge to visual representation; suggests that the picture may have to do with Bronzino's relationship to Varchi and his wish to surpass Michelangelo's Venus and Cupid, painted by Pontormo (Florence, Uffizi), with a representation showing the artist's mastery of the language of poetic love.
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