Apollo and Daphne

     Depicted here is the story of Apollo and Daphne. In the foreground is Apollo, half-naked and only covered by a shimmering green fabric--a feature Dossi incorporated from Titian’s work at the Ferrara court.¹ Following Apollo’s muscular body, the viewer immediately identifies the figure as Apollo as a result of the wreath, as well as the stringed-instrument and bow that he holds (Apollo was also the god of music). It is important to note that this representation of Apollo is novel; usually, the god is depicted in a more stable, less emotional manner. However, the story depicted allows Dossi to change the stance.² Dossi uses the fact that Apollo is the god of music to add drama to the scene through the playing of a lira da braccio, an instrument used in the Renaissance by Italian poets.³ Once the viewer has processed the figure of Apollo, it is noticed that Apollo’s figure is slightly off-centered, with his right leg and arm creating diagonal lines that not only point back to Apollo, but also separate a space of the canvas in the shape of a rough triangle from the rest of the canvas. Within this space is Daphne--yet another proof of the subject matter--in the process of becoming a tree after running away from Apollo. The space contrasts with the space in the rest of the canvas, using bright shades of yellow and green in contrast to the darker hues of blue found in the sky and the darker hues of green and brown in the rest of the canvas. This use of yellow, in conjunction with the rough shape of a triangle, makes the space appear to emanate from Apollo’s armpit in the manner of a sunray--more evidence for the subject matter.
     Given the background of the story, this sunray may have more purpose than just identifying Apollo. Since Daphne is the romantic subject of Apollo, the sunray may emphasize Apollo’s desire for Daphne. As she slowly becomes a tree, the ray becomes smaller, as seen by the small space occupied by Daphne compared to the rest of the canvas. The growing darkness, therefore, may symbolize Apollo’s growing sadness at the inability to have a relationship with Daphne. Since the ray points towards the chest, one can infer that it is a sadness that resides deep within the heart. Through this depiction of Apollo, Dossi Dosso strengthens the notion that he was known for embedding messages through the portrayals of mythological subject matters.

1. Peter Humfrey, "Dosso and Battista Dossi: Trento," The Burlington Magazine 156, no. 1338 (2014): 627-28,  http://www.jstor.org/stable/24241894.
2. William Hansen, Handbook of Classical Mythology, (ABC-CLIO, 2004). http://publisher.abc-clio.com/9781851096343
3. James Melo, ”Ferrara; New York; Los Angeles: Dosso Dossi: Court Painter in Renaissance Ferrara,” Music in Art: International Journal for Music Iconography 23, no. 1 (1998): 103–9, https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site

• Journal Article 1: HUMFREY, PETER. "Dosso and Battista Dossi: Trento." The Burlington Magazine 156, no. 1338 (2014): 627-28. Accessed November 19, 2020. http://www.jstor.org/stable/24241894.

• Journal Article 2: Melo, James. 1998. “Ferrara; New York; Los Angeles: Dosso Dossi: Court Painter in Renaissance Ferrara.” Music in Art: International Journal for Music Iconography 23 (1/2): 103–9. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site

• Book: Hansen, William. Handbook of Classical Mythology. ABC-CLIO, 2004. http://publisher.abc-clio.com/9781851096343

• Museum: “Analysis of Apollo and Daphne Painting by Dosso Dossi in the Borghese Gallery.” Galerie Borghèse, February 14, 2020. https://borghese.gallery/collection/paintings/apollo-and-daphne-dosso-dossi.html.

• Image Source: Dosso Dossi. c. 1525. Apollo and Daphne. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779741.