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“Divine cuckolds”: Joseph and Vulcan in Renaissance Art
and Literature
1
Francesca Alberti
In Renaissance visual culture, which is heavily indebted to both Christian
tradition and classical mythology, two igures incarnate the paradigm of
husbands. One is Joseph, who took the young Virgin Mary as his spouse
to fulill God’s will.
2
The other is Vulcan, who was given Venus as a wife
in recognition of his skill as a blacksmith. While both of these couples are
frequently referred to in European art and literature with reference to marriage
as a social institution (at least as it was understood in the later Middle Ages
and Renaissance), the two igures of husbands have rarely been compared.
Yet both these husbands have a lot in common: they were usually represented
as unatractive and old while their wives were represented as ideals of female
beauty and perfection in both Christian and pagan traditions.
3
Both husbands
were thus the less fortunate halves of mismatched couples, according to the
logic of contemporary sexual culture, and therefore risked the humiliation
of conjugal inidelity on the part of their wives: they risked being cuckolded.
This essay examines the two igures separately, starting with Joseph and
moving on to Vulcan, in order to demonstrate how both husbands were, in
fact, oten represented as cuckolds. This comparative analysis will also point
out the speciic functions and signiicance of such visual mockery, and will
conclude with an examination of Tintoreto’s Vulcan Surprising Venus and Mars
from a new perspective.
Joseph as a Figure of Ridicule
The feast of Saint Joseph irst appeared in the Roman breviary in 1480 under
Pope Sixtus IV, although it was only oicially established by Pope Gregory
XV in 1621.
4
Since there is not much information about Joseph in the oicial
Gospels, for a long time artists were free to ind inspiration in apocryphal
sources and in popular traditions, such as Miracle Plays.
5
Art historians
7
From Sara F. Matthews-Grieco (ed.), Cuckoldry, Impotence and Adultery
in Europe (15th–17th century), published by Ashgate Publishing.
See: http://www.ashgate.com/isbn/9781472414397
© Francesca Alberti (2014)