w of a peaceful, prosperous Florence in the background which Alessandro looks over. The blazing helmet lying on the ground represents eternal peace, which results from Alessandro’s good government and insightful leadership. The vision of the thriving city is paralleled by the image of the dead laurel sprouting new shoots, which is also a metaphor for the regeneration of the Medici family itself. Overall Vasari’s portrait of Alessandro is composed of a plethora of fascinating yet obscure metaphorical references. The purpose of such intensive heraldic imagery is obviously to impress upon viewers the supreme accomplishments of Alessandro as a leader and member of the Medici family. It provides a perfect of example of how in the Renaissance the stereotypical concepts of masculine beauty were primarily defined by the depiction of military success, ambitious leadership and social status. Clearly this energetic, passionate image demands respect from viewers, which is clearly a very different response than the reaction viewers had to the pretty yet visually simple depictions of feminine beauty of the same period. Another interesting example of male beauty depicted in the Renaissance is the portrait of Cosimo de’ Medici as Orpheus. During this time period the mythological character Orpheus was seen to symbolise a number of different roles such as devoted lover, philosopher and discoverer of male homosexual love. In this unusual and intriguing portrait, where Cosimo assumes the role of Orpheus viewers are presented with an image which alludes to Cosimo also possessing such lurid sexual characteristics. Cosimo is shown naked, without the protection of defensive armour or clothing. The expanse of taut, muscular nude flesh combined with the Cosimo’s seductive, over the shoulder gaze accentuates the carnality of the situation. His lithe frame is twisted into a supple pose, celebrating the power and attraction of a young man...
