According to Zagoury, the painting illustrates the equal importance of ingegno, fantasia, and fatica (ingenium, imagination and labor) in artistic creation. This had been the subject of active theoretical discussion between artists and members of the Accademia Fiorentiana in 1547, as show the writings of one of its members, Benedetto Varchi. Based on an anecdote by Vasari, Zagoury also suggested that Vulcain might in fact be a disguised portrait of Michelangelo, and that the painting was intended as 'a gift honouring Michelangelo's exceptional talent' in preparation for his great funeral ceremony in Florence in 1564.