This painting was first given the name Primavera by the Renaissance art historian Giorgio Vasari around 1550, who saw it at Villa Castello, the country house of Cosimo I de' Medici just outside Florence. The work is an allegory celebrating the fertility of spring, via the depiction of a group of figures from classical mythology

On the far right is Zephyrus, the Greek god of the west wind and messenger of spring. He captures the nymph Chloris, whom he marries and transforms into Flora, the goddess of flowers. A garland of flowers is coming out of Chloris’ lips as she morphs into Flora, who stands just to the left; the latter is dressed in an elaborate gown and scattering roses on the ground

Near the center is Venus, a red-draped lady beneath a broken arch formed by the trees. In the air above her is a blindfolded Cupid aiming his bow at a group of dancers clad in diaphanous dresses. They are the Three Graces who traditionally attended Venus. According to Hesiod, the Graces symbolize Splendour, Joy, and Abundance

At the extreme left is Mercury, clothed in red with a sword and a helmet, who raises his wand to dispel some gathering gray clouds and protect the garden, represented here as an orange grove, symbol of the Medici family

Primavera is admired for its large-scale depiction in great details of subjects and symbols from classical antiquity, heretofore unprecedented in Western art. It is said that at least 130 different flowers can be specifically identified here

The work is believed to be commissioned for the marriage of Lorenzo di Pierfrancesco de' Medici, although its exact origin cannot be ascertained