By Federico Zeri
Sacred and Profane Love (Italian: Amor Sacro e Amor Profano, also known as Venus and the Bride) is an oil portray through Titian, painted circa 1514. The portray is presumed to were commissioned through Niccolò Aurelio, a secretary to the Venetian Council of Ten (so pointed out simply because his coat of palms seems at the sarcophagus or fountain within the centre of the picture) to rejoice his marriage to a tender widow, Laura Bagarotto. It maybe depicts the bride wearing white, sitting beside Cupid and being assisted through Venus in individual.
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Extra resources for Tiziano - Amor sacro e amor profano
It was only later in the Middle Ages that patria, thanks to the reintroduction of Aristotelian categories in juridical and theological thought, reacquired its ancient resonance and was even implemented as a legal concept. 15 In the context of the humanistic revival of the Roman past, therefore, this word was more than a tribute to the world of Cicero and Propertius and had immensely important implications for the definition of individual identities. ” 13 Cicero, De legibus, 2: 5. 14 Debrohun, “Propertius, Umbria, and Rome,” 86–117.
In quoting from Beccadelli’s Hermaphrodite, I have used Holt Parker’s translation. 38 Pontano’s Catullus, however, is not only a model for light-hearted love poetry and epigrams as established by Martial. For an attentive reader of Ovid’s Amores like Pontano, Catullus was also a precursor of Augustan elegy. So, if the common perception of Catullus filtered by Martial influenced Pontano’s poems in hendecasyllables, his poems in elegiac couplets betray a tendency to read the same poet in conjunction with Augustan elegists Tibullus and Propertius.
In inheriting a largely feudal kingdom from their Angevin predecessors, Alfonso and his heirs struggled to control the numerous and proud landowners scattered in their territory. 55 Along with the systematic use of intermarriage, the revival of troubadour poetry imported from the Iberian Peninsula became one among Alfonso’s instruments to gain control over his newly acquired territory, and its legitimate rulers. Of the many authors collected in the Cancionero de Estúñiga, nobody epitomized this political use of troubadour poetry better than Castilian poet Carvajal.