Introduction<\/span><\/h2>\n\n\n\n

La Primavera <\/span><\/i>by Italian Renaissance painter Sandro Botticelli is beautiful in its artistic finesse and depiction of moral themes. In spite of its initial ambiguity, the painting conveys complex–and often intentionally contradictory–themes of love, desire, and teleology through its characters and organization. At its foundation, <\/span>La Primavera <\/span><\/i>is simultaneously an idealistic portrayal of marriage\u2019s potential to orient spouses toward contemplation of God and a realistic recognition of carnality and coercion within marriage. The painting\u2019s idealism is revealed incrementally as an unfolding story; the chaste portrayal of the woman in the background reveals the painting\u2019s theme of moderated sexuality within marriage, and the foreground builds upon this theme. Whereas the depiction of the florally-dressed woman on the right as beautiful and peaceful is a celebration of the fecundity and grace within marriage, the women and man on the left represent <\/span>how<\/span><\/i> marriage might attain these ideals by guiding the couple toward God.  On the other hand, <\/span>La Primavera<\/span><\/i> also conveys skepticism about the integrity of marriage in the real world: the inclusion of violence and carnality preceding marriage on the right of the painting and the danger of the loss of chastity on the left side reveal disapproval about the idyllicism often attributed to marriage. Thus, <\/span>La Primavera<\/span><\/i> is neither solely a praise or condemnation of marriage, but a presentation of the complex interplay between its virtues and vices.<\/span><\/span><\/p>\n\n\n\n