In a big metal vase there is a careful but not symmetrical arrangement of flowers: roses, lilies of various kinds, opulus, bluebells, tulips, etc. Some flowers are lying on the surface on which the vase stands, around the flowers in the vase we see butterflies, dragonflies and a spider letting itself down on a thread. The vase is decorated with a rich relief: the handles are in the shape of snakes, on the front side is a depiction of a mythological scene, in which Venus and Cupid can be recognised; in front of Venus there is another kneeling figure holding a dish. It is not impossible that this is the scene which we know from Apuleus’ Metamorphoses (VI, 16), when Psyche brings Venus water. Stylistically we must connect this painting with the presumed Master of the Vase with Grotesques (Maestro del vaso a grottesche, cf. A. Veca: Parádeisos, catalogue to the exhibition in the Galleria Lorenzelli, Bergamo 1982, p. 211, Fig. XIX–XXII). All the paintings of this master show large bouquets of flowers (very similar to the bouquet on our painting both as regards the arrangement and the choice of flowers) in metal vases which have unusual handles and are decorated with secular or religious scenes, or with landscapes. These paintings reveal the influence of the Flemish floral still life at the turn from the 16th to the 17th century, and here the imperial crown (Fritillaria imperialis) is particularly characteristic; we often find this flower on Flemish paintings, and on our canvas it is at the very top of the composition. Although there have been attempts to connect some pictures from the above mentioned group with Giacomo Recco, Veca is of the opinion that we must seek the artist in Central or Northern Italy. The latter area would appear to be more probable; we know a number of paintings with an analogous composition and with vases of flowers related to this unquestionably Lombard work. Of particular importance in this connection is a large canvas with the figures of Martha and Mary on either side of a vase with flowers; it was on sale on 20 February 1981 at an auction at Christie’s in London (No. 97). Both figures are derived from Bernardino Luini.

On the right side of the pedestal of the vase on our painting, is the inscription BOS 880, for which no satisfactory explanation has yet been found; it was probably added later, perhaps as an inventory mark.