Galleria Borghese logo
Search results for
No results :(

Hints for your search:

  • Search engine results update instantly as soon as you change your search key.
  • If you have entered more than one word, try to simplify the search by writing only one, later you can add other words to filter the results.
  • Omit words with less than 3 characters, as well as common words like "the", "of", "from", as they will not be included in the search.
  • You don't need to enter accents or capitalization.
  • The search for words, even if partially written, will also include the different variants existing in the database.
  • If your search yields no results, try typing just the first few characters of a word to see if it exists in the database.

Amor and Psyche

Zucchi Jacopo

Florence 1540-41 - Rome 1595-96)

It is highly likely that the commissioning of this canvas – the only one signed and dated by the artist – can be connected to the wedding between Ferdinand I de’ Medici and Christina of Lorraine, celebrated in Florence in 1589. Both the date of execution – legible on the quiver at the bottom right – and the actual meaning of the work support this hypothesis, as well as the commission being given to Jacopo Zucchi, a painter who had close ties to the Medici prince for whom he had made several works during his stay in Rome.

The painting depicts the decisive moment in the tale of Cupid and Psyche, from Apuleius’ Metamorphosis, when the maiden, driven by curiosity and encouraged by the evil sisters, decides to learn the identity of the mysterious lover who visits her every day at sunset without showing his face.

Zucchi was renowned for his depictions of mythological subjects. With this work, he proves himself to be a sophisticated painter in step with his times, drawing on Michelangelo Buonarroti and the other Tuscan sculptors of the era, as well as the Nordic tradition in terms of the precision in such details as the flowers, jewellery and fabrics, often painted with the help of his brother Francesco.

Object details

oil on canvas
cm 173 x 130

19th-century frame decorated with four corner palmettes


Rome, Borghese Collection, 1633 (Corradini 1998; Hermann Fiore 2005; Pierguidi 2014); Inv. 1693, room VI, no. 2; Inv. 1790, room VI, no. 27; Inventario Fidecommissario 1833, p. 34; Inv. 1854, room X, no. 6; purchased by Italian state, 1902.

Sulla faretra in basso a destra: "IAC. ZUC. F. FAC. 1589".
  • 1940 Firenze, Palazzo Strozzi;
  • 1952 Napoli, Mostra d'Oltremare;
  • 1992 Canberra, National Gallery of Australia;
  • 1992 Melbourne, National Gallery of Victoria;
  • 1993 Roma, Palazzo Venezia;
  • 1995 Bruxelles, Palais des Beaux-Arts;
  • 1995 Roma, Palazzo delle Esposizioni;
  • 1996-1997 Lecce, Fondazione Memmo;
  • 1999 Roma, Villa Medici;
  • 2005 Firenze, Museo degli Argenti;
  • 2005-2006 Firenze, Museo degli Argenti;
  • 2010 Milano, Palazzo Reale;
  • 2012 Roma, Castel Sant'Angelo;
  • 2013-2014 Parigi, Musée du Luxembourg;
  • 2017-2018 Firenze, Palazzo Strozzi.
Conservation and Diagnostic
  • 2005 Laura Ferretti (pulitura, rimozione vernice alterata e vecchi ritocchi, stuccature, verniciatura).


The painting represents a famous episode narrated by Apuleius in The Golden Ass (Metamorphoses). The extraordinarily beautiful Psyche decides to discover the identity of her young lover by entering his room carrying a razor and an oil lamp. As she approaches the body of the handsome god, she accidently lets fall a drop of boiling oil onto the boy’s shoulder. Upon awakening, he flies away.

Over the centuries, this subject has been treated in different ways by painters. Jacopo Zucchi sets the scene in a luxurious room, framed by a red curtain which highlights the bodies of the two protagonists: Psyche wears only a cord made of pearls and precious stones, while Eros is depicted in a reclining pose which recalls Michelangelo’s River God. As critics have pointed out, the painting has a Florentine air about it, as seen in the elongated bodies, which remind us of Giambologna’s idiom. It further contains allusions to Michelangelo, in particular the feminine figure represented on the headboard of the bed behind the two lovers, which recalls Night, the sculpture executed by Buonarroti to decorate the Medicean tombs in the New Sacristy of San Lorenzo in Florence. In addition, as Kristina Hermann Fiore has observed (2013, p. 45), connections to the Florentine school are evident in the lamp held by Psyche, which is one of the key elements of the painting. It was in fact the symbol of Giorgio Vasari’s Accademia del Disegno, of which Zucchi was a member.

Although the artist and date are certain – the work was signed and dated on the quiver at the bottom right – the painting has given rise to heated critical debate with regard to how it became part of the Borghese Collection, beginning with the role played by its original owner Aldobrandini. The question was only resolved in 1996, when Ilaria Miarelli Mariani (1996, pp. 185-188) proved beyond a doubt that the contemporary existence of two different paintings of the same subject formed part of the respective collections of the two Roman families. According to this scholar, in fact, it is quite probably that Zucchi’s work already belonged to the core of paintings owned by Cardinal Scipione Borghese; the painting was confused with another by Pietro Aldobrandini, mentioned by Giovanni Battista Agucchi in 1603 and listed in 1626 as belonging to the collection of Olimpia Aldobrandini.

The painting in question, on the other hand, has formed part of the Borghese collection since the 1630s, as is shown by an inventory published by Corradini in 1998; Stefano Pierguidi (2014) more precisely dated its entry into the collection to c.1633, when the work was recorded as ‘a painting of Psyche with Cupid asleep, 6 high and 5 wide. Zucca’. In 1650, Iacomo Manilli gave this description: ‘Psyche with an oil lamp in her hand wishes to see Cupid; it is by Jacomo Zucca’. The author of the 1693 inventory, who erroneously attributes the work, wrote of ‘a sleeping Eros surrounded by flowers with a Venus carrying an oil lamp in one hand and a knife in the other, and a dog resting next to a bow and a quiver: no. 724, with a gilded frame by Scarsellino of Ferrara’.

The commission of the painting is most likely connected to Ferdinando de’ Medici, who originally purchased two other allegories by the same artist, both of which today form part of the Borghese Collection (inv. nos 292 and 293). As critics have noted, Zucchi in fact painted the work for the wedding of the Medicean prince and Christina of Lorraine, which took place in Florence in 1589, two years after the death of Francesco I, an event which forced Ferdinando to leave Rome for good.


Lucia Calzona - Amore e Psiche by Jacopo Zucchi
  • I. Manilli, Villa Borghese fuori di Porta Pinciana, Roma 1650, p. 115;
  • P. Rossini, II Mercurio Errante (cfr. 1693) 1725, p. 39;
  • G. Piancastelli, Catalogo dei quadri della Galleria Borghese in Archivio Galleria Borghese, 1891, p. 122;
  • A. Venturi, Il Museo e la Galleria Borghese, Roma 1893, p. 25;
  • H. Voss, Jacopo Zucchi, “Zeitschrift für bildende Kunst”, XLVIII, 1913, p. 151 e ss.;
  • H. Voss, Die Molerei der Spätrenaissance in Rom und Florenz, I, Berlin 1920, p. 318;
  • R. Longhi, Precisioni nelle Gallerie Italiane, I: La R. Galleria Borghese, Roma 1928, p. 176;
  • A. Calcagno, Jacopo Zucchi e la sua opera in Roma, “Il Vasari”, V, 1932, p. 59 e ss.;
  • A. Venturi, Storia dell’Arte Italiana, IX, Roma 1933, pp. 388, 392-393;
  • A. De Rinaldis, La Galleria Borghese in Roma (Itinerari dei Musei e Monumenti d’Italia), Roma 1939, p. 26;
  • Catalogo della Mostra del ‘500 toscano in Palazzo Strozzi, Firenze 1940, p. 154;
  • P. Della Pergola, Itinerario della Galleria Borghese, Roma 1951, p. 24;
  • Catalogo della Mostra: Fontainebleau e la Maniera Italiana, Firenze 1952, p. 43;
  • M. Jaffè, Some Unpublished Head-Studies by Peter Paul Rubens, “The Burlington Magazine” XCVI, 1954, p. 302;
  • F.C. Legrand, F. Sluys, Some Little-Known “Arcimboldi”, “The Burlington Magazine”, XCVI, 1954, p. 214;
  • W. Friedländer, Caravaggio Studies, Princeton-New York 1955, p. 63;
  • A. Pigler, Barockthemen. Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts, II, Budapest 1956, p. 18;
  • P. Della Pergola, La Galleria Borghese. I Dipinti, II, Roma 1959, pp. 57-58, n. 84;
  • P. Della Pergola , Gli Inventari Aldobrandini, in “Arte Antica e Moderna”, XII, 1960, pp. 435, 443;
  • P. Della Pergola, Gli Inventari Aldobrandini: l’Inventario del 1682 (II), “Arte Antica e Moderna”, XXI, 1963, pp. 66, 84;
  • C. D’Onofrio, Inventario dei dipinti del cardinal Pietro Aldobrandini compilato da G. B. Agucchi nel 1603, in “Palatino”, VIII, 1964, p. 206;
  • E.P. Pillsbury, Jacopo Zucchi, his Life and Works, Londra 1973, pp. 295-301;
  • E. Bénezit, Dictionaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, Paris 1976, p. 925;
  • C. Beurdeley, L’amour bleu: die homosexuelle Liebe in Kunst und Literatur des Abendlandes, Köln 1977, p. 41;
  • R. Wiecker, Wilhelm Heinses Beschreibung romischer Kunstschatze Palazzo Borghese – Villa Borghese (1781-83), Kopenhagen 1977, pp. 48, 105;
  • M. Collareta, scheda in Palazzo Vecchio: committenza e collezionismo medicei, a cura di P. Barocchi, Firenze 1980, p. 285;
  • J. Lacan, Le seminaire livre VIII. Le transfert, 1960-1961, Paris 1991, p. 272;
  • C. Strinati, Note su Jacopo e Francesco Zucchi, in Villa Medici, a cura di A. Chastel, II, Roma 1991, pp. 564-565;
  • K. Hermann Fiore, scheda in Esso presents: Rubens and the Italian Renaissance, catalogo della mostra (Canberra, Australian National Gallery, 1992; Melbourne, National Gallery of Victoria, 1992), a cura di D. Jaffé, Canberra 1992, n. 26;
  • K. Herrmann Fiore, in Roma di Sisto V: le arti e la cultura, catalogo della mostra (Roma, Museo di Palazzo Venezia, 1993), a cura di M. L. Madonna, Roma 1993, pp. 345-346;
  • I. Miarelli Mariani, scheda in Immagini degli Dei. Mitologia e collezionismo tra Cinquecento e Seicento, catalogo della mostra (Lecce, Fondazione Memmo, 1996-1997), a cura di C. Cieri Via, Milano 1996, pp. 185-188, n. 35;
  • S. Corradini, Un antico inventario della quadreria del Cardinal Borghese, in Bernini scultore: la nascita del barocco in Casa Borghese, catalogo della mostra (Roma, Galleria Borghese, 1998), a cura di A. Coliva, S. Schütze, Roma 1998, n. 208;
  • P. Morel, scheda in Villa Medici: il sogno di un cardinale; collezioni e artisti di Ferdinando de’ Medici, catalogo della mostra (Roma, Villa Medici, 1999-2000), a cura di M. Hochmann, Roma 1999, p. 306;
  • P. Moreno, C. Stefani, Galleria Borghese, a cura di, Milano 2000, p. 192, n. 11;
  • K. Herrmann Fiore, scheda in Maria de’ Medici: (1573 - 1642) una principessa fiorentina sul trono di Francia, catalogo della mostra (Firenze, Museo degli Argenti, 2005), a cura di C. Caneva e F. Solinas, Livorno 2005, p. 84, n. I.30;
  • K. Herrmann Fiore, in Mythologica et Erotica: arte e cultura dall’antichità al XVIII secolo, catalogo della mostra (Firenze, Museo degli Argenti, 2005-2006) a cura di O. Casazza, Livorno 2005, pp. 325-326, n. 204;
  • K. Herrmann Fiore, Galleria Borghese Roma scopre un tesoro. Dalla pinacoteca ai depositi un museo che non ha più segreti, San Giuliano Milanese 2006, p. 11;
  • G. Venturi, F. Cappelletti, Gli dei a corte: letteratura e immagini nella Ferrara estense, Firenze 2009, p. 4;
  • S. Pierguidi, ’In maniera totale di pitture si rivolsero al singolar Museo Borghesiano’. La quadreria Borghese tra il palazzo di Ripetta e la villa Pinciana, in "Journal of the History of Collections", XXVI, 2014, pp. 161-170;
  • A. Fenech Kroke, scheda in Il Cinquecento a Firenze "maniera moderna" e controriforma, catalogo della mostra (Firenze, Palazzo Strozzi, 2017-2018), a cura di C. Falciani, A. Natali, C. Acidini Luchinat, Firenze 2017, pp. 278-279.