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Bronzino's so-called London Allegory (c.1545), one of art history's most reinterpreted images, has long been misunderstood as a textually unanchored painting. This has led to varied, contradictory and equally unverifiable interpretations. A rereading of it as referencing Sophocles' and Seneca's Œdipus and Aristotles' Poetics provides the natural key for understanding all its elements and situating it within its particular cultural and political contexts. The fairly new availability of thesedoi:10.6084/m9.figshare.13353266.v3 fatcat:dlkevx4gurggdf33ribx42jn7a