A 1523 double portrait by Lorenzo Lotto depicting the marriage of Marsilio and Faustina Cassotti, featuring allegorical elements and fine Renaissance detail.

Lorenzo Lotto painted this double portrait in 1523 to commemorate the marriage of Marsilio Cassotti and Faustina Cassotti. The composition is notable for its inclusion of Cupid, who stands between the couple, placing a yoke around their necks. This allegorical element acts as a symbol of the matrimonial bond. Lotto, a Venetian painter known for his psychological depth, captures the sitters with a sense of quiet observation. The figures are arranged around a table covered in a patterned textile, which adds texture and colour to the scene.

Faustina wears a crimson gown, while Marsilio is dressed in a dark, sober garment. Their expressions are restrained, reflecting the formal nature of Renaissance portraiture. The inclusion of cherries, held by the husband and offered to the child, carries symbolic weight, often associated with the sweetness of marriage or the fruits of paradise. Through the window, a landscape view provides a sense of depth and atmospheric perspective, typical of the period. The painting is currently held in the collection of the Museo del Prado in Madrid.

Lotto’s technique displays a careful attention to the tactile qualities of the fabrics and the subtle play of light across the faces of the subjects. The work remains a fine example of early sixteenth-century Italian portraiture, demonstrating the artist's ability to integrate narrative allegory with the depiction of real individuals. The presence of the signature 'L. Lotto' in the upper right corner confirms the attribution. This piece offers a glimpse into the social and cultural expectations of the Bergamasque nobility during the early sixteenth century, presented with the technical precision expected of a master of the Venetian school.