Minerva Sending Away Mars from Peace and Prosperity

Minerva Sending Away Mars from Peace and Prosperity is a single painting in a cycle of four paintings that include, Three Graces and Mercury, Bacchus, Ariadne and Venus, Minerva Rejecting Mars and the Forge of Vulcan. [1] These pieces were created from 1576 to 1577 by Jacopo Tintoretto for a commission by one of his patrician patrons, Doge Girolamo Priuli (reg. 1559-67). [1] This work was originally created for the Atrio Quadrato but was later moved to the Sala dell’Anticollegio in the Ducal Palace. [1] The pieces of this cycle, including Minerva Sending Away Mars from Peace and Prosperity, are political allegories that highlight two vital factors of Venice’s government and culture. It illuminates the serene and peaceful nature of the Venetian republic as well as utilizes Renaissance classical revival to convey that Venice is protected by the gods. Specifically, it depicts Venice’s protection from the pagan goddess Minerva by showing the story of Minerva, the goddess of wisdom, protecting the female depictions of Peace and Prosperity, from the approaching god of War, Mars.

The subject matter and manner of style of this painting are directly related to the purpose this piece played in the two rooms it was housed in. Both the Atrio Quadrato and the Sala dell’Anticollegio were intended to be lavishly decorated rooms that would give the space a sense of richness as well as convey Venice’s importance and impress the foreign dignitaries that would visit the Doge’s residence. The use of various richly pigmented blues and numerous hues of white, cream, yellows, and browns draw the viewers’ eyes into the painting and adds a level of depth and detail to this piece. Furthermore, this piece was complemented by the ornately decorated relief-like frames that held it. [1] By combining both factors, this piece appeared highly grandiose to viewers and inspires a sense of awe and wonder. This, in turn, impressed the foreign dignitaries who visited the palace and reminded them of the wealth and power that the republic of Venice possessed. Furthermore, Tintoretto uses heavy forms set in a forward plane in order to control the spatial recession of this piece. This detail helped dramatize the story being conveyed in this piece. This emphasis works in conjunction with Tintoretto’s manipulation of light. Specifically, he casts the figures of Minerva acting as a divine protector with bright, vibrant light and colors as well as the figures of Peace and Prosperity but depicts Mars with shadows and darkness. Tintoretto’s drama through the piece's spatial organization as well as his interplay of light shows viewers, both modern and of the time, the values that the Venetian republic holds dear and the protection given to the city.

Tintoretto combines various stylistic elements to fulfill two main roles in order to influence the viewers of this piece. The first was to impress the viewers of this piece by conveying Venice’s wealth through the grandeur of the piece. The second role was to illuminate the values of the Venetian republic, which were peace and prosperity over the idea of war, as well as remind viewers of Venice’s continual divine protection.

[1] Thomas Nichols, “Tintoretto Family [Robusti],” Grove Art Online, (July 2012): 2-3.

• Nichols, Thomas. "Tintoretto family [Robusti]." Grove Art Online, (July 2012): 2-3. https://doi.org/10.1093/gao/9781884446054.article.T085169.
• Goy, Richard, et al. "Venice." Grove Art Online, (2003). https://doi.org/10.1093/gao/9781884446054.article.T088612.
• Palazzo Ducale. “Venezia - Palazzo Ducale - Tintoretto - Gelatina/ Vetro.” accessed September 12, 2020. http://www.archiviodellacomunicazione.it/sicap/Fotografie/91324/?WEB=MuseiVE.