Abstract
The article was written in a response to the study by Lilian Zirpolo Botticellis 'Primavera'. A Lesson for the Bride, Woman's Art Journal 12 (1991/92), pp. 24-28. Although the author acknowledges the importance of Zirpolo's study, he argues issues of the Feminist approach towards the work by Botticelli. He points out that the interpretation of Primavera as an instructive painting for the bride should be confronted with the historical data about the function of the painting. Furthermore the Botticelli's work is far more complex and comprises the wider scope of meanings than just a memento about woman subordination in a marriage. Finally, Zirpolo's interpretation of the unknown picture in the Room as an archetype of Christian Mother and as a complementary lesson for the bride, should be revised. Madonna paintings were commonly present in Florentine rooms and their recipients were not exclusively women.
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