[2] Central to the composition are three figures: Marsilio Cassotti, his bride Faustina, and Cupid, each carrying distinct layers of meaning and contributing to the narrative complexity of the work.

As the groom, Marsilio is depicted in the act of placing a wedding ring on Faustina's finger, a moment frozen in time that symbolizes the beginning of their marital bond.

The scuffia, a type of headgear favored in Bergamo and Brescia, is rendered with meticulous care, its leather material embossed in gold with a design of a stylized daisy and bold leaves, symbolizing wealth and status.

This outward gaze symbolizes Marsilio's role as the linchpin of the narrative, bridging the historical moment of his marriage with the viewer's contemporary experience, thus creating a timeless connection.

This depiction of Cupid, particularly through the attributes of the laurel, the yoke, his wings, and his strategic placement in the composition, reveals a deeper commentary on the nature of marriage and the societal expectations it entails.

The laurel, evergreen and enduring, also symbolizes the permanence and eternal nature of the bond between Marsilio and Faustina, suggesting that the virtues of fidelity and mutual respect are essential for a victorious union.

[5] Cupid's wings, rendered in varicolored hues, diverge from the traditional white or cream, possibly reflecting Lotto's exposure to the works of Raphael during his time in Rome.

Lotto's painting is noted for its detailed representation of clothing and jewelry, signifying status and wealth, and for its use of symbolic elements, such as Cupid's yoke, to convey themes of love, commitment, and societal roles.

Berenson highlighted the unparalleled clarity and empathy with which Lotto captured the inner worlds of his subjects, underscoring the artist's significant contribution to the portrayal of nuanced human emotion in Renaissance painting.