https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/06bad0f253f90c7f4322cf6c76aad61a.jpg b7d394986871820d07f1ae2d8e0ae1e2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sacred and Profane Love Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1515 Contributor An entity responsible for making contributions to the resource Riya Mohan Relation A related resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, cm 118x278 Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy Publisher An entity responsible for making the resource available Members of the Aurelio and Bagaretto families Description An account of the resource Sacred and Profane Love was painted by Titian for the occasion of the marriage of Laura Bagarotto and the Secretary of Venice’s Council of Ten, Niccolò Aurelio, both of whom have their family’s coat of arms included in this piece. [1] This piece uses the two women in this piece, the young woman on the left and the nude depiction of Venus on the right, to celebrate the importance of marriage and fertility, respectively. [2] This piece’s celebration of marriage and fertility is indicative of the appreciation and value Venetian’s placed on these two concepts. Though there are many stylistic elements that point towards the idea of marriage in this piece, it is the numerous instances of nuptial symbolism that allows the viewer to understand the nature and content of this piece. For instance, the small crown of myrtle that the woman on the left is holding as well as the buckle of her dress were both considered attributes and symbols of marital love. [1] Furthermore, the idea of fertility can be derived from the inclusion of symbolic elements as well. For instance, on the left side of the piece, there are small depictions of rabbits that have been included. Rabbits, to Venetian culture, were considered as symbols of fertility. The background of this marriage portrait also contributes to this piece in terms of its celebration of marriage and fertility because it depicts a lush, natural landscape that is filled with fertile trees and vividly green grass. The fertility of the environment the two women have been set in is indicative of the fertility celebrated in this piece. Finally, in terms of symbolism, the water in the sarcophagus that is flowing out through a spout in the front of the sarcophagus is also indicative of fertility because water, as the food of life, is yet another symbol of fertility. Beyond symbols of fertility and marriage, Titian utilizes light to connect the two women. Though the type of clothing that each woman wears sets her apart greatly from the other, Titian re-establishes their similarity by casting both of them with bright light and vivid color. By illuminating the two women in this manner, he is emphasizing their importance as respective symbols of nuptials and potency. Through the numerous instances of marital symbolism in this piece, Titian is able to convey the importance that marriage and fertility played with Venetians. With the drastically different depictions of the young woman and Venus in this piece, Titian is reminding viewers of the important role that women played in Venice as wives and mothers as well as how highly these two concepts were valued in the culture. [1] “Sacred and Profan Love,” Galleria Borghese, accessed November 14, 2020, <a href="https://galleriaborghese.beniculturali.it/en/opere/sacred-and-profan-love/">https://galleriaborghese.beniculturali.it/en/opere/sacred-and-profan-love/</a>. [2] Cecil Gould, “Titian”, Grove Art Online, (2003): 2-3. Source A related resource from which the described resource is derived <ul> <li>Humfrey, Peter. Titian. London: Phaidon, 2007.</li> <li>Zuffi, Stefano. Titian. Milan: Arnoldo Mondadori Arte, 1991.</li> <li>Gould, Cecil. "Titian." Grove Art Online. (2003).</li> <li>Galleria Borghese. "Sacred and Profan Love." accessed November 14, 2020. https://galleriaborghese.beniculturali.it/en/opere/sacred-and-profan-love/.</li> </ul>