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BRONZINO'S LONDON "ALLEGORY": VENUS, CUPID, VIRTUE, AND TIME

Allegory in London's National Gallery (Fig. 1). Yet its meaning remains elusive, veiled in a hieroglyphic density of allusion, and its eroticism seems curiously at variance with what we know of the moral probity of its presumed patron, Cosimo I de' Medici.1 Early interpretations of the painting by Panofsky and Lossow did consider it in moralizing terms-as an Exposure of Luxury or a Vanitas-but Levey's identification as the Triumph of Venus has prevailed. Recent de bate has centered on correcting and refining our understanding of individual figures in the