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Abstract
The article is devoted to the study of the principles of stage adaptation of the famous painting "Spring" by S. Botticelli (1482, "Uffizi Gallery, Florence") in the context of the theatrical culture of the early Renaissance and Florence, where the artist lived and worked. The interrelations at the level of the structural elements of the composition and the whole are traced. The semantic and artistic consistency of the characters is considered, the methods of forming their images within the framework of S. Botticelli's style are revealed.
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