Marriage in art Eugène 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. "
Marriage in ancient Greece
Marriage in Ancient Rome
JOHN Stradano, sabine women bring peace between the Roman husbands and relatives sabini, Palazzo Vecchio, Sale of Sabine
Costumi del 1200 the ceremony of a wedding.
Giorgio Vasari, The Marriage of Marseille, Palazzo Vecchio, Sala di Clemente VII
Il matrimonio della Vergine di Luca Giordano
In the painting Pope Clement VII, the second pontiff Medici family, celebrates the marriage of granddaughter Catherine de 'Medici with Henry of Valois, the future king of France. The scene takes place in Marseille in 1533 and is the crowning of the policy of alliances adopted by Clement VII to strengthen the ties of his family with the French dynasty. The fresco captures the moment climax of the wedding ceremony, ringing, the instrument by which the groom puts the ring on his finger for future wife. The couple was surrounded by famous among witnesses who recognize the king of France Francis I, father of the bridegroom, Maria Salviati and the Queen of Scots behind Caterina. Is Interestingly, the ceremony, despite being officiated by a religious as Pope Clement VII, there is in church at the wedding ceremony could be in any place, for example home of the bridegroom.
JACOPO DI DOMENICO FOR PAPI AND SANDRO BOTTICELLI, the wedding feast of Anastasio degli Onesti, the second half of XV sec. Florence coll. Private
From the fourteenth century marriage impose as a high point in Italian company, a real public spectacle through which the wealthier citizens display their Economic and social prestige. The high number of guests that could take part in the ritual transformed the Wedding processions in parades like those organized by the revenues of powerful. The wedding became a moment of affirmation Social Committee for the spouses and their families, including through the use of clothes ever more luxurious. The wedding clothes were formed by various heads clothing: dresses, overcoats and Accessories were generally coordinated; the red color of nobility, was one of favorites, along with all the colors bright; fabrics - silk, brocade, damask - were embellished by embroidery and gold and silver, especially in'500, a large number of joys. No wonder then that the regulations suntuarie concerned in particular weddings.
The Marriage of the Virgin
The Marriage of the Virgin is a painting by the Italian High Renaissance master Raphael , 1504 . It is housed in the Pinacoteca di Brera of Milan .
The panel (signed and dated: RAPHAEL URBINAS MDIIII) was commissioned by the family for the chapel of St Joseph in the church of S. Francesco of the Minorities at Città di Castello , in Umbria . In 1798 the town was forced to donate the painting to General Lechi, a Napoleonic army officer, who sold it to the Milanese art dealer, Sannazzari. Sannazzari bequeathed it to the main hospital of Milan in 1804. Two years later it was acquired by the Academy of Fine Arts and was then exhibited at the
Critics believe the painting to be inspired by two compositions by Perugino : the celebrated from the fresco cycle in the Sistine Chapel and a panel containing the Marriage of the Virgin now in the Museum of Caën .
Sposalizio della Vergine Parrocchiale di Ovada (AL)
Hieronymus Bosch - Le nozze di Cana - 1475.
Portrait of two spouses, Lorenzo Lotto
Jacopo da Empoli, Marriage of Eleonora de Medici and Vincenzo Gonzaga (1600)>> Florence, Galleria degli Uffizi
SCHOOL OF GHIRLANDAIO, Scene from a marriage, Florence, San Martino Bonomini
Domenico Ghirlandaio, Assignment of dowry to girls in need, the second half of the fifteenth century, Florence, oratory of San Martino Bishop
Wedding procession, from "The Story of Buondelmonti Ippolito, chest, sec. XV, Florence
The outfit was brought in large baskets or coffers also known as "Zane, who followed the bride to her new abode, ostentatious for the streets so that everyone could admire the consistency, thus exerting the role, along with clothes, important social indicator. Through the support the family of the bride showed that it had met its obligations, having been a dowry for his daughter who, while excluding dall'eredità, authority to conclude an honorable marriage. In exchange for her husband and his family had to show generosity by offering gifts -- Donora - for the bride, such as the dressing parade, which she wore on her wedding day. The value of such gifts but had to be returned to the family of the husband if the girl, remained widow, called the possession of dowry. The outfit became generally property of her husband and was rarely returned, especially if the woman died without having given the light children very often passed from mother to daughter. The support of the upper classes, which usually were not part of furniture or objects for home, comprised mainly goods for personal use of the new owner: a or two dozen shirts worked - often by the skillful hands of the future bride - handkerchiefs, dryers again, aprons, socks, clogs and slippers, one or more party dresses, belts and ornaments for his head. Not missing objects employed to keep the hands of the bride: whole needed to sew from Conocchia to the world, and objects for body care as mirrors, ribbons and perfume and even soap, equally important was considered the care of the woman in whose accounts were included books of prayers or some sacred image.
JOHN FROM SAN GIOVANNI, Contract of Marriage, 1625 ca., Rome, Galleria di Palazzo Corsini.
The scene immortalized by John from St. John describes a marriage celebrated in Tuscan countryside. The framework focuses on "touch of hand" that is the junction the right of married couples, an act that sealed their union, while the notary law of the contract dotale Faced with witnesses. For the less affluent couples, who can not afford the purchase of The or payment of the notary who rogherà the contract, the rite is reduced to a simple public "Touched the hand", although very frequent marriages are illegal concluded without presence of any witness or to minors without parental consent. It is also known as the ceremony takes place in an open area without the presence of a priest: So despite the reform of the wedding rite implemented by the Church with the decrees of Trent, the marriage remains popular, yet in the seventeenth century, a ritual strongly linked to local traditions the oldest.
Pieter Bruegel Il matrimonio contadino, 1568
DAVID TENIERS THE YOUNG, rural Wedding, XVII century
In rural as well as in mountain areas are generally within the bride community, the circle of relatives, friends and neighbors. During the religious service, public meetings or feasts of the country, activities as agricultural harvesting or collection of chestnuts, families may contact between and plan their strategies marriage. The choice of spouse for the lower classes is so limited from the community, the magnitude of knowledge and the possibility of provide a substantial dowry: it is based also on economic and social between husband and wife. After the initial contacts between families or between the two future spouses, an agreement Economic, you need the promise of marriage, which in itself is already a formal bond. After a certain period of time, exchanges of consensus or the statement by the promised to take as husband and wife: This event is often crowned dall'anello wedding. The consensus may be in several places: at the door of the church (in France and Germany), home of the bride (in Florence) but also in the fields, in beer, etc.. Subsequent celebrations linked to passage of his wife in the new dwelling may last several days, but often, especially for the poorest couples and young, are minimized. The blessing of priest, before or after the wedding, is not the case everywhere.
SPOSALIZIO DELLA VERGINE (1502-1504) Pietro Perugino
At the center of the composition the priest Simeon, perfectly placed front marriage to assist Joseph, with the rod flourished, and Mary. A left the group of suitors including some who break the branch, on the right group of women. The scene is set in a large square in the center of which stands a majestic octagonal building, surmounted by a dome and raised on a staircase. Beyond the building that occupies the upper half of the painting, the square merges with a large hilly landscape that sees through the door of the temple. The composition, rigorously symmetrical, is based on the laws of perspective with geometric central vanishing point. All lines in fact converge into a single fire, situated upon the main temple. The paving of the square boxes to the porch steps to the downgrade of the proportions of figures, the same building, helping to create the effect of great depth and balance. Perugino had already experienced this kind of composition depicting the nell'affresco DELIVERY OF KEYS TO SAN PIETRO, executed in the Sistine Chapel in 1482. In the early sixteenth century, the artist and his workshop returning to meditate on the problem of perspective and the temple in central plan. It is no coincidence that in those years Raffaello, recently released dall'atelier peruginesco, has a similar, the Marriage of the Virgin to the church of San Francesco in Citta di Castello, now kept in the Pinacoteca di Brera in Milan. In table raffaellesca, however, the building is a sixteen sides surrounded by an air portico and is removed from prospectively figures of the first floor, creating a more comprehensive and
Lorenzo Lotto, Portrait of Marsilio and Faustina Cassotti, 1523, Madrid, Museo del Prado
the portrait executed by Lorenzo Lotto for the wedding of a young couple (1). The work is the delivery of The (2) to the bride by the husband; it is confirmed dall'abbraccio disrespectful of a Cupid who puts on their shoulders a yoke (3), a symbol of conjugium clear, the marriage bond that will unite them forever. Under no compare any evidence that calls the sanctity of the ceremony. To suggest to the spiritual carnal love which should guide is provided another opera, performed for the occasion ever by Lotto, or the Mystical Marriage of Saint Catherine of Alexandria. The combination of the two paintings therefore intended to invoke the religious value of marriage within the family.
Sir Frank Dicksee:Giulietta e Romeo
Lajos Gulaksi: Paolo e Francesca
Mark Chagall Marriage
GALLERIA GLI ELFI di Stefano Vernillo Matrimonio
Mark Chagall Russian wedding
Yesterday and Today
By comparing the images of a contemporary marriage with the Vasari fresco "The Marriage of Marseille, and in particular with the role of wife, Catherine de 'Medici, we the wedding dress that it does not meet the standards of modern tradition of the dress white with a veil. Depictions of weddings of preindustrial societies confirm that the image of Catherine is no exception, but unlike his habit to respond Royalties suntuari Renaissance, with a different conception of its wedding. The other obvious difference between the two images is the moment immortalized by the painter: In the past, the artists depict a frequent exchange point, noting that the seals wedding, now prefers to photograph the exit from the Church of the marry or kiss that enshrines publicly their union.