1 10 14 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 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/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/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/SCALA_ARCHIVES_10310195612.jpg 37a77c66fee494774ba4fe0ae5397c9b 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 <a href="https://library.artstor.org/#/asset/SCALA_ARCHIVES_10310195612" title="Sacred and Profane Love">Sacred and Profane Love</a> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Barolsky, Paul. "Sacred and Profane Love." Source: Notes in the History of Art 17, no. 3 (1998): 25. Cantelupe, Eugene B. "Titian's Sacred and Profane Love Re-examined." The Art Bulletin 46, no. 2 (1964): 219. Goffen, Rona. "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture." Studies in the History of Art 45 (1993): 124. “Sacred and Profane Love, 1514 by Titian,” Assessed November 16, 2020. <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. “Sacred and Profane Love by Titian,” Assessed November 16, 2020. <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1515 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Image Rights: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. 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 Titian painted Sacred and Profane Love in circa 1515. It was commissioned by Niccoló Aurelio in 1514, a superb chancellor in Venice's city government, on behalf of his matrimony to Laura Bagarotto of Padua [1]. In 1613, this composition was described as "beauty adorned and beauty unadorned," and both figures recommend kinship because they are the identical figure painted twice. If these depicted goddesses actually expressed the idea of Sacred and Profane Love, the left Venus is profane love, and the nude Venus is sacred love. Titian creates two identical Venuses with a Cupid sitting on a sarcophagus shaped fountain in a forest landscape. The sister Venuses, each dominating one half of the painting, express two levels of love, the human and the divine. Each of the elements specifying them contributes to the articulation of this hierarchical relationship [2]. Venus on the left is dressed in a beautiful, baby blue gown with a pink sleeve on her right arm. She is richly dressed, and her gown is commonly recognized as bridal clothing, although in the past, they were said to be typical of a courtesan [3]. She is blonde, sitting on the fountain very peacefully and staring right at the viewer. Venus on the right is nude with a red drape hanging off her shoulder, exposing her body with a white garment across her lap. She is also blonde, holding her weight up with her right hand, and her feet are crossed. She is staring at the other Venus with a pleasant expression on her face. The protagonists are separated by Cupid staring into the fountain and a rose bush in front of the fountain. The center of the painting, containing the two Venuses and Cupid, is more illuminated than the rest of the landscape. The separation of the two Venuses also shows a lighting difference in the background. The background's left side is a cityscape, dark, and crowded; The right side is a pastoral landscape, bright and spacious [4]. The sky is very cloudy, with different shades of blues, and you can see the array of oranges and yellows, depicting a sunset. On this sarcophagus shaped fountain, you can see how the objects carved into the fountain appear to be popping out, expressing a 3D effect. It was noticed a long time ago that Venetian Niccoló Aurelio's coat of arms appears on this sarcophagus, hinting at the commission [5]. [1] Barolsky, Paul. "Sacred and Profane Love." Source: Notes in the History of Art 17, no. 3 (1998): 25. [2] “Sacred and Profane Love, 1514 by Titian,” Assessed November 16, 2020. <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. [3] “Sacred and Profane Love by Titian,” Assessed November 16, 2020. <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. [4] Cantelupe, Eugene B. "Titian's Sacred and Profane Love Re-examined." The Art Bulletin 46, no. 2 (1964): 219. [5] Goffen, Rona. "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture." Studies in the History of Art 45 (1993): 124. Publisher An entity responsible for making the resource available Commissioned by Niccoló Aurelio Image Rights: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612.">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612.</a> https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/David_with_the_Head_of_Goliath/SCALA_ARCHIVES_1039488548.1.jpg 2b3f52f50ddd93cbbc60a2206541d820 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 Description An account of the resource Created by Michelangelo Caravaggio c. 1606-1610, David with the Head of Goliath was created as a gift for the papal court of Rome, specifically for Scipione Borgehese. Caravaggio was accused of murdering Tomassoni in May 1606, and fled from Rome, but spent his time creating this painting as petition for pardon so he could return to Rome. Caravaggio was indeed granted pardon, however, he unfortunately died before word of the pardon reached him [1]. Caravaggio was well-known for his mastery of biblical stories in a rather violent and somber tone, as shown in his creation of David with the Head of Goliath [2]. In this scene, Carvaggio interprets the traditional Old Testament story of David's battle, and ultimate victory, over Goliath. The painting depicts David with a sword holding the severed head of Goliath by his hair – David looks down at the head with a hardened look of remorse, but soft eyes, potentially expressing his pity at what he was forced to do. David's entire figure, as well as Goliath's head, are both highlighted in a bright tone, while the background is entirely dark. With this highlight, Caravaggio emphasizes the focus on the two main characters, and simultaneously creates a sense of David entering a lighted area – potentially showing him emerging from the darkness in the past, into a better era of light and happiness now that he has slain Goliath. While the painting is a fairly graphic interpretation of the story, the painting still elicits a sentiment of hope and relief. His illustration of David as remorseful suggests that Caravaggio is aware that murder is a sin in the Christian faith, no matter the circumstances. Caravaggio is believed to be projecting his own sentiments about his crimes and his exile onto the painting. David's remorse is reflective of his own regret about his sins, while Goliath's head is said to be a self-portrait of Caravaggio, encompassing his guilt into the punishment of Goliath [3]. While Caravaggio frequently represented Biblical stories in a dark and twisted light, this scene is shown in a more realistic tone, emphasizing Caravaggio's acceptance and apology of his sins, and hope for pardon. [1] "David with the Head of Goliath by Caravaggio", Borghese Gallery, Accessed November 17, 2020, https://borghese.gallery/collection/paintings/david-with-the-head-of-goliath.html. [2] "Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606-1610," Encyclopædia Britannica, Accessed November 17, 2020, https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. [3] Andrew Graham-Dixon, "David with the Head of Goliath," Caravaggio: a Life Sacred and Profane, 2011, 103-107 Creator An entity primarily responsible for making the resource Michelangelo Merisi da Caravaggio Source A related resource from which the described resource is derived Graham-Dixon, Andrew, "David with the Head of Goliath." In Caravaggio: a Life Sacred and Profane, 103-107. New York: W.W. Norton, 2011. <div> “Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606–10.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November 17, 2020. https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. “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.</div> 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 c. 1606-1610 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan 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 cm x 101 cm Type The nature or genre of the resource Oil on canvas 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 Borgehese, Rome, Italy https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/St._Mark_Preaching_in_Alexandria/SCALA_ARCHIVES_1039614920.jpg 34c69f5b81cb9a85e214f1b81926da53 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 St. Mark Preaching in Alexandria Creator An entity primarily responsible for making the resource Gentile Bellini and Giovanni Bellini Contributor An entity responsible for making contributions to the resource Jackson Huether Format The file format, physical medium, or dimensions of the resource Oil on canvas, 347.0 x 770.0 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 Pinacoteca di Brera, Milan, Italy Date A point or period of time associated with an event in the lifecycle of the resource ca. 1504-1507 Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Image Source: Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Description An account of the resource Upon the death of Gentile Bellini in 1507, it was prescribed in his will that his younger brother, Giovanni Bellini, would complete the work St. Mark Preaching in Alexandria commissioned by the Scuola Grande di San Marco [1]. Giovanni’s continuation of the work was confirmed by the Scuola only a few days after his death [1]. The work was a part of a restoration project after a fire had destroyed the Scuola’s hall in 1485 [2]. Saint Mark, the patron saint and esteemed figurehead of Venice, is located preaching on the left side of the scene as members of the confraternity stand behind him [2]. To the right are a group of white veiled Arab women and Turbaned men which dominate the crowd Saint Mark is preaching to [2]. Their clothing exhibits a peculiar attention to detail and texture, as the white fabric seems to flow off of their heads and the robes of the Turbaned men are brightly colored, possibly an illustration of their wealth, success, or commercial prowess. The inclusion of the distinctly Eastern clothing and cultural elements is a reflection of Gentile’s travels to the eastern region, specifically from when he spent time in Constantinople [1]. In the background stands Saint Marks basilica, but it is surrounded by high-walled buildings and minarets [2]. Camels and giraffes in the background further allude to the notion that this scene is of Egyptian origin [2]. The surrounding architecture is used to frame the scene and provide a stage for the unfolding events. They draw the viewer’s attention to Saint Mark in the foreground, highlighting his importance and power as a saintly figure. Saint Mark Preaching in Alexandria represents a reimagination or refitting of Venetian painting. As a direct inspiration of the Procession in the Piazza San Marco, it illustrates the application of Veneitan places, styles, and ideas onto the Islamic “Other” [3]. However, the serene nature of the scene (groups gathered peacefully, linear order among the participants, and clear skies) can allude to the establishment of peace between Venice and its Muslim neighbors [2]. While Gentile’s original contributions to the work were of mainly Eastern style, Giovanni picked up and finished the work applying, more heavily, a Venetian lens. [1] “'Mark Preaching in Alexandria' by Gentile and Giovanni Bellini,” warfare.ga, accessed November 18, 2020, http://warfare.ga/16/Bellini-Mark_Preaching_in_Alexandria.htm?i=1. [2] “St Mark Preaching in Alexandria,” www.giovannibellini.org, 2018, http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. [3] Carol Richardson, Locating Renaissance Art (New Haven, CT: Yale University Press, 2007), 243. Source A related resource from which the described resource is derived “'Mark Preaching in Alexandria' by Gentile and Giovanni Bellini.” warfare.ga. Accessed November 18, 2020. http://warfare.ga/16/Bellini-Mark_Preaching_in_Alexandria.htm?i=1. Richardson, Carol M. Locating Renaissance Art. New Haven, CT: Yale University Press, 2007. “St Mark Preaching in Alexandria.” www.giovannibellini.org, 2018. http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Image Source: Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Image Source: Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Venus_Blindfolding_Cupid/SCALA_ARCHIVES_1039779964.jpg 0bb4ff908ac2e0dd5e19ed433508c4e6 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 Venus Blindfolding Cupid Description An account of the resource There have been several different interpretations of who the three female figures in this work are, and what they mean. At one point, it was identified as the Three Graces, but later the main figure was identified as Venus, blindfolding her son Cupid [1]. The other two female figures are likely nymphs, though some scholars identify the woman with the bow as another goddess, Diana. The two Cupids are likely Venus’s two sons, Eros and Anteros, who represent two contrasting sides of love [2]. Eros would be the Cupid being blindfolded by Venus [1], representing the blind and sensual part of love, while his brother represents the rational part [2]. The commissioner for this work is unknown, but in the context of this work Venus was likely used as a representation of love in marriage and chastity, so it may have been commissioned in celebration of a marriage. Though this work shows a mythical scene, the figures wear clothing more similar to the fashions of the time it was painted [2]. The colors used are still very rich, but much less bright than some of Titian’s other works. The predominate color is red, both in the sky in the background and the clothing of the two female figures beside Venus. Venus wears a bit of blue, drawing focus to her, and there is a bit of blue seen in the mountains of the background as well. Overall however, the darkness of the painting alongside the more somber and serious gazes of the figures create a sense of sadness and tension in the work, though the subject itself is not necessarily so. This is a different style than many of Titian’s other mythological paintings, such as Bacchus and Ariadne, but is similar to his other works from this time period. In many ways however, this work is similar to Titian’s other paintings, especially in his depictions of the female figure and the impressive sense of movement of each figure. [1] “Venus Blindfolding Cupid: Famous Artwork by Titian.” Galerie Borghèse, February 1, 2020. https://borghese.gallery/collection/paintings/venus-blindfolding-cupid.html. <div>[2] Peter Humfrey, “Italian 16th Century, Titian, Anonymous Artist, Titian/Venus Blindfolding Cupid/c. 1566/1570 or c. 1576/1580,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/41594 </div> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “Venus Blindfolding Cupid: Famous Artwork by Titian.” Galerie Borghèse, February 1, 2020. https://borghese.gallery/collection/paintings/venus-blindfolding-cupid.html. Peter Humfrey, “Italian 16th Century, Titian, Anonymous Artist, Titian/Venus Blindfolding Cupid/c. 1566/1570 or c. 1576/1580,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/41594 “Venus Blindfolding Cupid.” Titian, Paintings, Quotes, and Biography. Accessed November 17, 2020. https://www.titian.org/venus-blindfolding-cupid.jsp. Titian. c. 1565. Venus Blindfolding Cupid. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779964. Publisher An entity responsible for making the resource available Unknown commissioner Titian. c. 1565. Venus Blindfolding Cupid. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779964. Date A point or period of time associated with an event in the lifecycle of the resource c. 1565 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 116 x 184 cm Type The nature or genre of the resource Oil on Canvas, 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 https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Saint_Mark_Preaching_in_Alexandria/SCALA_ARCHIVES_1039614920.jpg 34c69f5b81cb9a85e214f1b81926da53 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 Saint Mark Preaching in Alexandria Description An account of the resource In this painting, we see Saint Mark preaching in Alexandria. Giovanni and Gentile Bellini pull the focus onto the details of the landscape in multiple ways. First, with regards to the composition of the image, Bellini scattered objects of Venetian and Islamic significance throughout the painting in addition to cramming the landscape with people, not giving anything for viewers to focus on and thus forcing to consider the image in its entirety to discover the meaning behind the painting. Second, he used a variety of colors in the painting, which created a scattered feel to the painting and did not add specific contrast for a viewer’s eye to be drawn to. In addition, Bellini did not point to a specific source of light, rather just making the whole painting uniformly light, which is very different from the normal beam of light that either emanates from or shines on central figures in most religious painting and moves the focus away from the saint himself to include the rest of the painting. Finally, Bellini added texture to most of the figures in the foreground as compared to the background of the painting, which increases the viewer’s focus on the foreground and the objects in the foreground; however, there is not any particularly textured area in the foreground, diffusing the focus throughout the foreground. Now, the question becomes why would the Bellinis want to make the entire landscape the focus of the painting rather than Saint Mark himself? First, the painting contains lots of details that have meaning in Venetian and Islamic culture; for example, the building in the background is the Basilica of San Marco from Venice, but it is surrounded by high-walled buildings with minarets, exemplifying the melding of cultures that is portrayed by Saint Mark’s, the patron saint of Venice, arrival in Alexandria [1]. Tiny details like these are scattered throughout the painting, and Bellini would want to bring attention to them, so the viewer would be able to understand the enhanced meaning of the painting In addition, Brahim Alaoui believes that because Saint Mark’s preaching in Alexandria was a less commonly depicted scene, Bellini was able to incorporate more of his artistic vision, such as by including a famous Venetian building in Alexandria, rather than having to stick to the traditional interpretation of the scene in Jacopo da Varagine’s Golden Legend [2]. Bellini’s ability to include his own artistic narrative is especially important for this painting as it allowed him to infuse socio-political commentary into the painting through the smooth incorporation of both Venetian and Islamic symbols, which perpetuated the idea that Venice, a city under the divine protection of Saint Mark, and Alexandria, an Islamic city, could co-exist and peaceful conversions could take place [3]. The inclusion of the many important symbols necessitated the lack of a clear focus on the central figure as it left room for the viewer to individually understand what the meaning of the painting was, playing into the idea of personal interpretations of religion and religious art that became increasingly popular with the advent of the Renaissance. [1] David Carrier, "A Renaissance Fantasy Image of the Islamic World: Gentile and Giovanni Bellini’s "Saint Mark Preaching In Alexandria"," in Source: Notes in the History of Art 28, no. 1 (United States: The University of Chicago Press, 2008), 16-19. [2] Brahim Alaoui, Deke Dusinberre, Venice and the Islamic World, 828-1797 (United Kingdom: Metropolitan Museum of Art, 2007), 128. [3] "St Mark Preaching In Alexandria By Giovanni Bellini" (2020), Giovannibellini.Org, http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Creator An entity primarily responsible for making the resource Giovanni and Gentile Bellini Source A related resource from which the described resource is derived Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Carrier, David. "A Renaissance Fantasy Image of the Islamic World: Gentile and Giovanni Bellini’s "Saint Mark Preaching In Alexandria"." Source: Notes in the History of Art 28, no. 1 (2008): 16-19. Accessed November 18, 2020. http://www.jstor.org/stable/23207968. Alaoui, Brahim., Dusinberre, Deke. Venice and the Islamic World, 828-1797. United Kingdom: Metropolitan Museum of Art, 2007. "St Mark Preaching In Alexandria By Giovanni Bellini". 2020. Giovannibellini.Org. http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Publisher An entity responsible for making the resource available Scuola Di San Marco, Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Date A point or period of time associated with an event in the lifecycle of the resource 1504-1507 Contributor An entity responsible for making contributions to the resource Rhea Niyyar 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, 347 x 770 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 Pinacoteca di Brera, Milan, Italy. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Finding_of_the_Body_of_Saint_Mark_[Discovery_of_the_Body_of_Saint_Mark]/SCALA_ARCHIVES_1039779478.jpg 73a65e01a4a823118221555deca35820 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 Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark) Subject The topic of the resource Tommaso Rangone, a Venetian patron, commissioned Tintoretto to create a painting cycle that depicted multiple episodes of St.Mark's life. The cycle follows the story of St.Mark's body and how it was found in the city of Alexandria and then returned to the city of Venice. One of the paintings included in the cycle shows the discovery of Saint Mark's body in Alexandria, Egypt and is known as Finding of the Body of Saint Mark. The painting was orignally displayed in the Scuola Grande di San Marco, but it now resides in the Brera Museum of Milan. Description An account of the resource The first thing that viewer's eyes are drawn to is the larger than life man on the left hand side of the painting. He is clothed in blue and light red cloth, with one arm on his hip and one outstretched towards the center of the painting. The cloth that this man is adorned in has been studied by historians and has revealed Tintoretto's technique when achieving perfect coloration.[1] The halo around the man's head allows the audience to determine that this is Saint Mark. As the viewer begins to move around the painting, various figures can be seen strewn across the painting, posed in dramatic position. A seemingly dead body with grey and white skin can be seen lying at the feet of Saint Mark. Kneeling next to the body is a man with grey hair and a beard. He is adorned in a shimmering orange cloak that flows in the traditional Renaissance style. The man, has been identified as Tommaso Rangone, the commissioner of the painting. Four men on the right side of the painting are pulling the body of Saint Mark out of the tomb and lowering it carefully with a sheet. The men are all dressed in shades of red, brown and black that Tintoretto uses to complement the dark color pallete. Towards the bottom of the painting, a small altercation can be seen on the right side. A faceless-man wearing all black is being restrained from a woman dressed in salmon and white. The man restraining the attacker is partially shirtless revealing a carefully porportioned body. The meticulous details on the man show that Tintoretto had an interest in the human body. The background of the painting is truly amazing because of how intricate it is and because of the extra information that it gives us about the painting. For one, the background of the painting is not in Alexandria, but rather the Procuratie in Venice. [2] Tintoretto may have changed the setting to glorify the city of Venice. Furthermore, the lines of the tile flooring are fading, which has allowed scholars to determine that the background was created before the figures. Tintoretto did this so that he could set the stage for his characters and then position them correctly.[3] This unique painting deals with the subject of religion while also glorifying the city of Venice's architecture and its patron saint. [1]Osticioli, I., Pagliai, M., Comelli, D., Schettino, V., & Nevin, A. (2019, June 13). Red lakes from Leonardo's Last Supper and other Old Master Paintings: Micro-Raman spectroscopy of anthraquinone pigments in paint cross-sections. [2]Levey, M. (1965). TINTORETTO AND THE THEME OF MIRACULOUS INTERVENTION. Journal of the Royal Society of Arts, 113(5109), 714. [3]Pham, V. K. (1995). Theatricality in Tintoretto's religious paintings (Master's thesis, Montréal, McGill Univ., Magisterarb, 1995) (pp. 25) Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived References Levey, M. (1965). TINTORETTO AND THE THEME OF MIRACULOUS INTERVENTION. Journal of the Royal Society of Arts, 113(5109), 707-725. Retrieved November 18, 2020, from http://www.jstor.org/stable/41367901 Osticioli, I., Pagliai, M., Comelli, D., Schettino, V., & Nevin, A. (2019, June 13). Red lakes from Leonardo's Last Supper and other Old Master Paintings: Micro-Raman spectroscopy of anthraquinone pigments in paint cross-sections. Retrieved November 18, 2020, from https://www.sciencedirect.com/science/article/pii/S1386142519306638 Pham, V. K. (1995). Theatricality in Tintoretto's religious paintings (Master's thesis, Montréal, McGill Univ., Magisterarb, 1995) (pp. 25-26). McGill University. Tintoretto, J. (1562-66). Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark) [Painting found in Brera Pinacoteca, Milan, Italy]. Retrieved November 18, 2020, from https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039779478 Publisher An entity responsible for making the resource available Tommaso Rangone Jacopo Tintoretto. 1562-66. Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark). painting. Place: Pinacoteca di Brera. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779478. Date A point or period of time associated with an event in the lifecycle of the resource 1562 - 6 Contributor An entity responsible for making contributions to the resource Darien Sansosti 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 396 x 400 cm Type The nature or genre of the resource painting; oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Brera Pinacoteca; Milan, Italy