Marriage in art

1. Marriage in artMarriage in artEugène Buland: Matrimonio Innocente
Over the centuries, "the couple
continues to be a point of reference, even if it
has become more difficult
build and easier to dissolve. "

2. Marriage in ancientMarriage in ancient
GreeceGreece

3. Marriage in Ancient RomeMarriage in Ancient Rome

4. JOHN Stradano,JOHN Stradano,
sabine women bring peace between the Roman husbands and relativessabine women bring peace between the Roman husbands and relatives
sabini, Palazzo Vecchio, Sale of Sabinesabini, Palazzo Vecchio, Sale of Sabine

5. Costumi del 1200Costumi del 1200
the ceremony of athe ceremony of a
wedding.wedding.

6. Giorgio Vasari, The Marriage of
Marseille, Palazzo Vecchio, Sala di
Clemente VII

7. Il matrimonio della Vergine di LucaIl matrimonio della Vergine di Luca
GiordanoGiordano
 In the painting Pope Clement VII, the second pontiffIn the painting Pope Clement VII, the second pontiff
Medici family, celebrates the marriage ofMedici family, celebrates the marriage of
granddaughtergranddaughter
Catherine de 'Medici with Henry of Valois, the futureCatherine de 'Medici with Henry of Valois, the future
king ofking of
France. The scene takes place in Marseille in 1533France. The scene takes place in Marseille in 1533
and is theand is the
crowning of the policy of alliances adopted bycrowning of the policy of alliances adopted by
Clement VII to strengthen the ties of his familyClement VII to strengthen the ties of his family
with the French dynasty. The fresco captures thewith the French dynasty. The fresco captures the
momentmoment
climax of the wedding ceremony, ringing,climax of the wedding ceremony, ringing,
the instrument by which the groom puts the ring onthe instrument by which the groom puts the ring on
his finger for futurehis finger for future
wife. The couple was surrounded by famous amongwife. The couple was surrounded by famous among
witnesses who recognize the king of Francewitnesses who recognize the king of France
Francis I, father of the bridegroom, Maria SalviatiFrancis I, father of the bridegroom, Maria Salviati
and the Queen of Scots behind Caterina. Isand the Queen of Scots behind Caterina. Is
Interestingly, the ceremony,Interestingly, the ceremony,
despite being officiated by a religiousdespite being officiated by a religious
as Pope Clement VII, there is inas Pope Clement VII, there is in
church at the wedding ceremony couldchurch at the wedding ceremony could
be in any place, for examplebe in any place, for example
home of the bridegroom.home of the bridegroom.

8. JACOPO DI DOMENICO FOR PAPI AND SANDROJACOPO DI DOMENICO FOR PAPI AND SANDRO
BOTTICELLI, the wedding feast ofBOTTICELLI, the wedding feast of
Anastasio degli Onesti, the second half of XVAnastasio degli Onesti, the second half of XV
sec. Florence coll. Privatesec. Florence coll. Private
 From the fourteenth century marriageFrom the fourteenth century marriage
impose as a high point inimpose as a high point in
Italian company, a realItalian company, a real
public spectacle through which thepublic spectacle through which the
wealthier citizens display theirwealthier citizens display their
Economic and social prestige.Economic and social prestige.
The high number of guests that couldThe high number of guests that could
take part in the ritual transformed thetake part in the ritual transformed the
Wedding processions in parades likeWedding processions in parades like
those organized by the revenues ofthose organized by the revenues of
powerful.powerful.
The wedding became a moment of affirmationThe wedding became a moment of affirmation
Social Committee for the spouses and theirSocial Committee for the spouses and their
families,families,
including through the use of clothesincluding through the use of clothes
ever more luxurious. The wedding clothesever more luxurious. The wedding clothes
were formed by various headswere formed by various heads
clothing: dresses, overcoats andclothing: dresses, overcoats and
Accessories were generally coordinated;Accessories were generally coordinated;
the red color of nobility, was one ofthe red color of nobility, was one of
favorites, along with all the colorsfavorites, along with all the colors
bright; fabrics - silk, brocade, damask - werebright; fabrics - silk, brocade, damask - were
embellished by embroidery and gold and silver,embellished by embroidery and gold and silver,
especially in'500, a large number of joys. Noespecially in'500, a large number of joys. No
wonder then that the regulations suntuariewonder then that the regulations suntuarie
concerned in particular weddings.concerned in particular weddings.

10. TheThe Marriage of the VirginMarriage of the Virgin
 TheThe Marriage of the VirginMarriage of the Virgin is a paintingis a painting
by the Italian High Renaissance masterby the Italian High Renaissance master
Raphael, 1504. It is housed in theRaphael, 1504. It is housed in the
Pinacoteca di Brera of Milan.Pinacoteca di Brera of Milan.
 The panel (signed and dated: RAPHAELThe panel (signed and dated: RAPHAEL
URBINAS MDIIII) was commissioned byURBINAS MDIIII) was commissioned by
the family for the chapel of St Joseph inthe family for the chapel of St Joseph in
the church of S. Francesco of thethe church of S. Francesco of the
Minorities at Città di Castello, in Umbria.Minorities at Città di Castello, in Umbria.
In 1798 the town was forced to donate theIn 1798 the town was forced to donate the
painting to General Lechi, a Napoleonicpainting to General Lechi, a Napoleonic
army officer, who sold it to the Milanesearmy officer, who sold it to the Milanese
art dealer, Sannazzari. Sannazzariart dealer, Sannazzari. Sannazzari
bequeathed it to the main hospital of Milanbequeathed it to the main hospital of Milan
in 1804. Two years later it was acquired byin 1804. Two years later it was acquired by
the Academy of Fine Arts and was thenthe Academy of Fine Arts and was then
exhibited at theexhibited at the
 Critics believe the painting to be inspiredCritics believe the painting to be inspired
by two compositions by Perugino: theby two compositions by Perugino: the
celebrated from the fresco cycle in thecelebrated from the fresco cycle in the
Sistine Chapel and a panel containing theSistine Chapel and a panel containing the
Marriage of the VirginMarriage of the Virgin now in the Museumnow in the Museum
of Caën.of Caën.

11. Sposalizio della VergineSposalizio della Vergine Parrocchiale di Ovada (AL)Parrocchiale di Ovada (AL)

12. Hieronymus Bosch - Le nozze di Cana - 1475.Hieronymus Bosch - Le nozze di Cana - 1475.

13. Portrait of two spouses, LorenzoPortrait of two spouses, Lorenzo
LottoLotto

14. Jacopo da Empoli, Marriage of Eleonora de Medici and VincenzoJacopo da Empoli, Marriage of Eleonora de Medici and Vincenzo
Gonzaga (1600)>>Gonzaga (1600)>>
Florence, Galleria degli UffiziFlorence, Galleria degli Uffizi

15. SCHOOL OF GHIRLANDAIO, SceneSCHOOL OF GHIRLANDAIO, Scene
from a marriage, Florence, San Martinofrom a marriage, Florence, San Martino
BonominiBonomini

16. Domenico Ghirlandaio, Assignment of dowry toDomenico Ghirlandaio, Assignment of dowry to
girls in need, the second half of the fifteenthgirls in need, the second half of the fifteenth
century,century,
Florence, oratory of San Martino BishopFlorence, oratory of San Martino Bishop

17. Wedding procession, from "The Story of Buondelmonti Ippolito, chest, sec. XV, FlorenceWedding procession, from "The Story of Buondelmonti Ippolito, chest, sec. XV, Florence
 The outfit was brought in large baskets or coffers also knownThe outfit was brought in large baskets or coffers also known
as "Zane, who followed theas "Zane, who followed the
bride to her new abode, ostentatious for the streets so thatbride to her new abode, ostentatious for the streets so that
everyone could admire theeveryone could admire the
consistency, thus exerting the role, along with clothes,consistency, thus exerting the role, along with clothes,
important social indicator. Throughimportant social indicator. Through
the support the family of the bride showed that it had met itsthe support the family of the bride showed that it had met its
obligations, having been aobligations, having been a
dowry for his daughter who, while excluding dall'eredità,dowry for his daughter who, while excluding dall'eredità,
authority to conclude an honorableauthority to conclude an honorable
marriage. In exchange for her husband and his family had tomarriage. In exchange for her husband and his family had to
show generosity by offering gifts --show generosity by offering gifts --
Donora - for the bride, such as the dressing parade, which sheDonora - for the bride, such as the dressing parade, which she
wore on her wedding day.wore on her wedding day.
The value of such gifts but had to be returned to the family ofThe value of such gifts but had to be returned to the family of
the husband if thethe husband if the
girl, remained widow, called the possession of dowry. Thegirl, remained widow, called the possession of dowry. The
outfit became generallyoutfit became generally
property of her husband and was rarely returned, especially ifproperty of her husband and was rarely returned, especially if
the woman died without having giventhe woman died without having given
the light children very often passed from mother to daughter.the light children very often passed from mother to daughter.
The support of the upper classes, which usually were not partThe support of the upper classes, which usually were not part
of furniture or objects forof furniture or objects for
home, comprised mainly goods for personal use of the newhome, comprised mainly goods for personal use of the new
owner: aowner: a
or two dozen shirts worked - often by the skillful hands of theor two dozen shirts worked - often by the skillful hands of the
future bride - handkerchiefs,future bride - handkerchiefs,
dryers again, aprons, socks, clogs and slippers, one or moredryers again, aprons, socks, clogs and slippers, one or more
party dresses, belts andparty dresses, belts and
ornaments for his head. Not missing objects employed to keepornaments for his head. Not missing objects employed to keep
the hands of the bride: wholethe hands of the bride: whole
needed to sew from Conocchia to the world, and objects forneeded to sew from Conocchia to the world, and objects for
body care as mirrors,body care as mirrors,
ribbons and perfume and even soap, equally important wasribbons and perfume and even soap, equally important was
considered the care of theconsidered the care of the
woman in whose accounts were included books of prayers orwoman in whose accounts were included books of prayers or
some sacred image.some sacred image.

18. JOHN FROM SAN GIOVANNI, Contract of Marriage, 1625JOHN FROM SAN GIOVANNI, Contract of Marriage, 1625
ca., Rome, Galleria di Palazzo Corsini.ca., Rome, Galleria di Palazzo Corsini.
 The scene immortalized by John from St. JohnThe scene immortalized by John from St. John
describes a marriage celebrated indescribes a marriage celebrated in
Tuscan countryside. The framework focuses onTuscan countryside. The framework focuses on
"touch of hand" that is the junction"touch of hand" that is the junction
the right of married couples, an act that sealed theirthe right of married couples, an act that sealed their
union, while the notary law of the contract dotaleunion, while the notary law of the contract dotale
Faced with witnesses. For the less affluent couples,Faced with witnesses. For the less affluent couples,
who can not afford the purchase of Thewho can not afford the purchase of The
or payment of the notary who rogherà the contract,or payment of the notary who rogherà the contract,
the rite is reduced to a simple publicthe rite is reduced to a simple public
"Touched the hand", although very frequent"Touched the hand", although very frequent
marriages are illegal concluded withoutmarriages are illegal concluded without
presence of any witness or to minors withoutpresence of any witness or to minors without
parental consent.parental consent.
It is also known as the ceremony takes place in anIt is also known as the ceremony takes place in an
open area without the presence of a priest:open area without the presence of a priest:
So despite the reform of the wedding riteSo despite the reform of the wedding rite
implemented by the Church with the decrees ofimplemented by the Church with the decrees of
Trent, theTrent, the
marriage remains popular,marriage remains popular,
yet in the seventeenth century, a ritualyet in the seventeenth century, a ritual
strongly linked to local traditionsstrongly linked to local traditions
the oldest.the oldest.

19. Pieter BruegelPieter Bruegel
Il matrimonio contadino, 1568Il matrimonio contadino, 1568

20. DAVID TENIERS THE YOUNG, rural Wedding, XVIIDAVID TENIERS THE YOUNG, rural Wedding, XVII
centurycentury In rural as well as in mountain areas are generally withinIn rural as well as in mountain areas are generally within
the bridethe bride
community, the circle of relatives, friends and neighbors.community, the circle of relatives, friends and neighbors.
During the religious service, public meetings or feasts ofDuring the religious service, public meetings or feasts of
the country, activitiesthe country, activities
as agricultural harvesting or collection of chestnuts,as agricultural harvesting or collection of chestnuts,
families may contact betweenfamilies may contact between
and plan their strategies marriage. The choice of spouseand plan their strategies marriage. The choice of spouse
for the lower classes is so limitedfor the lower classes is so limited
from the community, the magnitude of knowledge and thefrom the community, the magnitude of knowledge and the
possibility ofpossibility of
provide a substantial dowry: it is based also on economicprovide a substantial dowry: it is based also on economic
and social between husband andand social between husband and
wife.wife.
After the initial contacts between families or between theAfter the initial contacts between families or between the
two future spouses, an agreementtwo future spouses, an agreement
Economic, you need the promise of marriage, which inEconomic, you need the promise of marriage, which in
itself is already a formal bond.itself is already a formal bond.
After a certain period of time, exchanges of consensus orAfter a certain period of time, exchanges of consensus or
the statement bythe statement by
the promised to take as husband and wife: This event isthe promised to take as husband and wife: This event is
often crowned dall'anellooften crowned dall'anello
wedding.wedding.
The consensus may be in several places: at the door ofThe consensus may be in several places: at the door of
the church (in France andthe church (in France and
Germany), home of the bride (in Florence) but also in theGermany), home of the bride (in Florence) but also in the
fields, in beer, etc.. Subsequentfields, in beer, etc.. Subsequent
celebrations linked to passage of his wife in the newcelebrations linked to passage of his wife in the new
dwelling may last several days, butdwelling may last several days, but
often, especially for the poorest couples and young, areoften, especially for the poorest couples and young, are
minimized. The blessing ofminimized. The blessing of
priest, before or after the wedding, is not the casepriest, before or after the wedding, is not the case
everywhere.everywhere.

21. SPOSALIZIO DELLA VERGINE (1502-1504)SPOSALIZIO DELLA VERGINE (1502-1504)
Pietro PeruginoPietro Perugino
 At the center of the composition the priest Simeon,At the center of the composition the priest Simeon,
perfectly placed front marriage to assist Joseph,perfectly placed front marriage to assist Joseph,
with the rod flourished, and Mary. A left the group ofwith the rod flourished, and Mary. A left the group of
suitors including some who break the branch, onsuitors including some who break the branch, on
the right group of women.the right group of women.
The scene is set in a large square in the center ofThe scene is set in a large square in the center of
which stands a majestic octagonal building,which stands a majestic octagonal building,
surmounted by a dome and raised on a staircase.surmounted by a dome and raised on a staircase.
Beyond the building that occupies the upper half ofBeyond the building that occupies the upper half of
the painting, the square merges with a large hillythe painting, the square merges with a large hilly
landscape that sees through the door of the temple.landscape that sees through the door of the temple.
The composition, rigorously symmetrical, is basedThe composition, rigorously symmetrical, is based
on the laws of perspective with geometric centralon the laws of perspective with geometric central
vanishing point. All lines in fact converge into avanishing point. All lines in fact converge into a
single fire, situated upon the main temple. Thesingle fire, situated upon the main temple. The
paving of the square boxes to the porch steps topaving of the square boxes to the porch steps to
the downgrade of the proportions of figures, thethe downgrade of the proportions of figures, the
same building, helping to create the effect of greatsame building, helping to create the effect of great
depth and balance.depth and balance.
Perugino had already experienced this kind ofPerugino had already experienced this kind of
composition depicting the nell'affresco DELIVERYcomposition depicting the nell'affresco DELIVERY
OF KEYS TO SAN PIETRO, executed in the SistineOF KEYS TO SAN PIETRO, executed in the Sistine
Chapel in 1482.Chapel in 1482.
In the early sixteenth century, the artist and hisIn the early sixteenth century, the artist and his
workshop returning to meditate on the problem ofworkshop returning to meditate on the problem of
perspective and the temple in central plan. It is noperspective and the temple in central plan. It is no
coincidence that in those years Raffaello, recentlycoincidence that in those years Raffaello, recently
released dall'atelier peruginesco, has a similar, thereleased dall'atelier peruginesco, has a similar, the
Marriage of the Virgin to the church of SanMarriage of the Virgin to the church of San
Francesco in Citta di Castello, now kept in theFrancesco in Citta di Castello, now kept in the
Pinacoteca di Brera in Milan. In table raffaellesca,Pinacoteca di Brera in Milan. In table raffaellesca,
however, the building is a sixteen sides surroundedhowever, the building is a sixteen sides surrounded
by an air portico and is removed from prospectivelyby an air portico and is removed from prospectively
figures of the first floor, creating a morefigures of the first floor, creating a more
comprehensive andcomprehensive and

22. Lorenzo Lotto, Portrait of Marsilio andLorenzo Lotto, Portrait of Marsilio and
Faustina Cassotti, 1523, Madrid, Museo delFaustina Cassotti, 1523, Madrid, Museo del
PradoPrado
 the portrait executed by Lorenzo Lotto for thethe portrait executed by Lorenzo Lotto for the
wedding of awedding of a
young couple (1). The work is the delivery of Theyoung couple (1). The work is the delivery of The
(2) to the bride by the(2) to the bride by the
husband; it is confirmed dall'abbracciohusband; it is confirmed dall'abbraccio
disrespectful of a Cupid who puts on theirdisrespectful of a Cupid who puts on their
shoulders a yokeshoulders a yoke
(3), a symbol of conjugium clear, the marriage(3), a symbol of conjugium clear, the marriage
bond that will unite them forever. Under nobond that will unite them forever. Under no
compare any evidence that calls the sanctity ofcompare any evidence that calls the sanctity of
the ceremony. To suggest to the spiritualthe ceremony. To suggest to the spiritual
carnal love which should guide is providedcarnal love which should guide is provided
another opera, performed for the occasion everanother opera, performed for the occasion ever
by Lotto, or the Mystical Marriage of Saintby Lotto, or the Mystical Marriage of Saint
Catherine of Alexandria. The combination of theCatherine of Alexandria. The combination of the
two paintingstwo paintings
therefore intended to invoke the religious value oftherefore intended to invoke the religious value of
marriage within the family.marriage within the family.

23. Sir Frank Dicksee:Giulietta eSir Frank Dicksee:Giulietta e
RomeoRomeo

24. Lajos Gulaksi: Paolo e FrancescaLajos Gulaksi: Paolo e Francesca

25. Mark ChagallMark Chagall
MarriageMarriage

26. GALLERIA GLI ELFI di Stefano VernilloGALLERIA GLI ELFI di Stefano Vernillo
MatrimonioMatrimonio

27. Mark ChagallMark Chagall
Russian weddingRussian wedding

28. Yesterday and TodayYesterday and Today

29.  By comparing the images of a contemporary marriage with the Vasari frescoBy comparing the images of a contemporary marriage with the Vasari fresco
"The"The
Marriage of Marseille, and in particular with the role of wife, Catherine deMarriage of Marseille, and in particular with the role of wife, Catherine de
'Medici, we'Medici, we
the wedding dress that it does not meet the standards of modern tradition ofthe wedding dress that it does not meet the standards of modern tradition of
the dressthe dress
white with a veil. Depictions of weddings of preindustrial societies confirmwhite with a veil. Depictions of weddings of preindustrial societies confirm
thatthat
the image of Catherine is no exception, but unlike his habit to respondthe image of Catherine is no exception, but unlike his habit to respond
Royalties suntuari Renaissance, with a different conception of itsRoyalties suntuari Renaissance, with a different conception of its
wedding.wedding.
The other obvious difference between the two images is the momentThe other obvious difference between the two images is the moment
immortalized by the painter:immortalized by the painter:
In the past, the artists depict a frequent exchange point, noting that theIn the past, the artists depict a frequent exchange point, noting that the
sealsseals
wedding, now prefers to photograph the exit from the Church of the marry orwedding, now prefers to photograph the exit from the Church of the marry or
kiss that enshrineskiss that enshrines
publicly their union.publicly their union.