2 10 14 https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/Tiziano_-_Amor_Sacro_y_Amor_Profano_[Galeri_a_Borghese_Roma_1514].jpg a2292fce8f059435b77959bde12d4ef0 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 Source A related resource from which the described resource is derived Boston College. “Niccolo Aurelio.” Mapping Titian. Accessed November 16, 2020. http://www.mappingtitian.org/glossaries/22. Galleria Borghese. “Sacred and Profane Love.” Accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Jaffé, David. Titian. London: The National Gallery Company/Yale University Press, 2003. Image Source: Galleria Borghese, accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Publisher An entity responsible for making the resource available Image Source: Galleria Borghese, accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Date A point or period of time associated with an event in the lifecycle of the resource 1514 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: Galleria Borghese, accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 118.0 x 279.0 cm 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 Subject The topic of the resource Two women sit on the edge of a sarcophagus with baby Cupid in between them. Description An account of the resource This early oil painting by Titian features a pastoral setting with a lake and luscious green rolling hills. To one side we can see a church with a grand steeple while the other side is flanked by a castle-like fortification overlooking a village. In the foreground we see two women, one of whom wears a typical Venetian wedding dress while the other is draped with a sheet but largely appears in the nude [1]. The former of these two figures is proper yet composed, the depiction of “profane love.” The latter––”sacred love”–– on the other hand has one arm raised and is contorted, showing her freedom and earthiness. They sit on a sarcophagus that is ornately decorated and that has been converted into a water basin. A depiction of baby Cupid plays with the water between them. Titian employs soft hues to frame his delicate work involving the Venetian standard of beauty: a fair complexion with curly, red hair. It promotes peace and calmness in the audience. But while the majority of the piece uses these tones, they are noticeably interrupted by the harsh whites and boisterous reds of the fabrics, symbols of purity and passion. Thus, it naturally follows that this painting is a celebration of a marriage––namely one that is wholesome and pious yet powerful and strong. The coat of arms highlighted on the sarcophagus reveals that it was commissioned by Niccolò Aurelio, a powerful and elite statesman of Venice, for his bride Laura Bagarotto [2]. Bagarotto was the daughter and former wife of Paduan politicians who were executed for treason by the Republic [3]. Thus this painting, which was completed by one of the most prominent artists in Venice capitalizes on symbols typical of it, reaffirming the loyalty of the new couple to the city and projecting their power onto it. [1] David Jaffé, Titian (London: The National Gallery Company/Yale University Press, 2003), 94. [2] “Sacred and Profane Love,” Galleria Borghese, accessed November 16, 2020, https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. [3] “Niccolo Aurelio,” Boston College, Mapping Titian, accessed November 16, 2020, http://www.mappingtitian.org/glossaries/22. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/sacred_and_profane.png 3e62cad0d103ba02e597409a899feb31 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 Publisher An entity responsible for making the resource available Commissioned by Niccolò Aurelio. Image Source: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612. Date A point or period of time associated with an event in the lifecycle of the resource c. 1515 Contributor An entity responsible for making contributions to the resource Olivia Migli Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 118 x 279 cm. 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 Description An account of the resource Sacred and Profane Love is a piece done by Titian circa 1515 for Niccolò Aurelio [1]. Niccolò Aurelio, secretary of the Venice Council of Ten, commissioned this painting for his marriage to Laura Bagarotto [2]. The painting itself depicts two ladies, the one on the left sitting lower than the one on the right who sits up straight and gazes over to the lady on the left. These two figures are believed to be a bride on the left, adorned in traditional, ceremonial wedding clothes and the almost nude figure on the right illustrates Venus [3]. Venus’ loin is covered by a white cloth and a large, red cloth is draped over her shoulders. Accompanying the bride and Venus is Cupid, who sits in between, and playfully reaches his hand into the fountain shaped sarcophagus staring down into the watery bath. Behind the bride is a hilly landscape that leads up to a castle-like structure off in the distance. On Venus’s side the composition is much less filled and consists of a more serene landscape that includes a blue lake and a hazy village structure. Erwin Panofsky suggests that the subject of this piece relate to the Platonic philosophies seen in many Renaissance works. He suggests that Cupid stirring the water, a source of life, suggests love as the intermediary between heaven and earth [4]. These representative of heaven, Venus, and of earth, the bride, are together and allude to a celebration of love, most likely celebrating the new love of Aurelio and Bagarotto. 1. Titian. Sacred and Profane Love. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. 2. “Sacred and Profane Love, 1514 by Titian,” Sacred and Profane Love, 1514 by Titian, accessed November 14, 2020, <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. 3. Author: Titian, “Sacred and Profane Love by Titian,” Galerie Borghèse, August 4, 2019, <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. 4. Erwin Panofsky, Studies in Iconology; Humanistic Themes in the Art of the Renaissance (New York: O.U.P., 1939). Source A related resource from which the described resource is derived Panofsky, Erwin. Studies in Iconology; Humanistic Themes in the Art of the Renaissance. New York: O.U.P., 1939. Sacred and Profane Love, 1514 by Titian. Accessed November 14, 2020. https://www.titian.org/sacred-and-profane-love.jsp. Titian, Author: “Sacred and Profane Love by Titian.” Galerie Borghèse, August 4, 2019. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. https:// library.artstor.org/asset/SCALA_ARCHIVES_10310195612. 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> https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/David_with_the_Head_of_Goliath/SCALA_ARCHIVES_1039488548.jpg a49a2cfc1306a303b70a8f715fecb386 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 David with the Head of Goliath Creator An entity primarily responsible for making the resource Michaelangelo Caravaggio (1571-1610) Source A related resource from which the described resource is derived Arenas, Amelia. "Sex, Violence and Faith: The Art of Caravaggio." Arion: A Journal of Humanities and the Classics 23, no. 3 (2016): 35-52. “Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606–10.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November 12, 2020. https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. “David with the Head of Goliath.” Galleria Borghese. Accessed November 12, 2020. https://galleriaborghese.beniculturali.it/en/opere/david-with-the-head-of-goliath/. “David with the Head of Goliath by Caravaggio.” Borghese Gallery. August 2, 2019. https://borghese.gallery/collection/paintings/david-with-the-head-of-goliath.html. D’Errico, Lucia. "Derivative VII: How to Produce a Phantasm? Part I: Gian Lorenzo Bernini." In Powers of Divergence: An Experimental Approach to Music Performance, 88-92. Leuven (Belgium): Leuven University Press, 2018. Image Source: Michelangelo Merisi da Caravaggio. c. 1609-10. David with the Head of Goliath. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488548. Publisher An entity responsible for making the resource available Scipione Borghese Image Source: Michelangelo Merisi da Caravaggio. c. 1609-10. David with the Head of Goliath. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488548. Date A point or period of time associated with an event in the lifecycle of the resource 1610 Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 125.0 cm x 101.0 cm 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 Description An account of the resource Michelangelo Caravaggio, born in Milan, mastered painting biblical stories in a dark and violent light [1]. Caravaggio created David with the Head of Goliath for Scipione Borghese, an Italian cardinal, as a way of asking for forgiveness for murdering Tomassoni in a duel in 1606 [2]. He created the painting as a form of repentance, begging the cardinal to forgive his sins [3]. Caravaggio depicts the classic Old Testament story of David's triumph over Goliath. He paints David holding the head of Goliath against a dark background. He looks down on the head with a sense of remorse consuming him as his face expresses shame. The source of light comes from the side as if a spotlight is hitting the figures. This in turn creates a dramatic effect as it pulls the viewer’s attention solely to David and Goliath’s head. Caravaggio utilizes a dark background to ensure that all of the focus is put on the characters. He uses a neutral color palette, with the clothes loosely hanging from David’s body painted with light colors, not overpowering the scene. The painting is composed using diagonal lines which effectively narrates this biblical story as the viewer reads the artpiece starting from David's face in the top left corner all the way down to Goliath’s head on the bottom right. It is said that Goliath’s head is a self-portrait of Caravaggio, representing his guilt for the crimes he committed [4]. He illustrates this scene in a dramatic and realistic light, rather than the typical heroic narrative. He depicts David as remorseful, highlighting the Christian idea that murder is a sin regardless. The story of David defeating Goliath represents Christian triumph over evil, yet Caravaggio takes a deeper look into this dichotomy of hero versus villain, providing the perspective that maybe David is not the hero he is made out to be in the Bible. Through David with the Head of Goliath, he visualizes the idea that David is still a sinner by killing his opponent, paralleling with his guilt for killing Tomassoni. Caravaggio created the painting with the purpose of underscoring Christian morality and the relationship between sin and remorse while also retelling and illustrating this Biblical story. [1] “David with the Head of Goliath by Caravaggio,” Borghese Gallery, Accessed August 2, 2019, https://borghese.gallery/collection/paintings/david-with-the-head-of-goliath.html. [2] “David with the Head of Goliath,” Galleria Borghese, Accessed November 12, 2020, https://galleriaborghese.beniculturali.it/en/opere/david-with-the-head-of-goliath/. [3] “Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606–10,” Encyclopædia Britannica, Accessed November 12, 2020, https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. [4] Amelia Arenas, "Sex, Violence and Faith: The Art of Caravaggio," Arion: A Journal of Humanities and the Classics 23, no. 3 (2016): 40