Sacred and Profane Love
|Italian: Amor Sacro e Amor Profano|
|Type||Oil on canvas|
|Dimensions||118 cm × 279 cm (46 in × 110 in)|
|Location||Galleria Borghese, Rome|
Sacred and Profane Love (Italian: Amor Sacro e Amor Profano, also called Venus and the Bride) is an oil painting by Titian, painted circa 1514. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten (so identified because his coat of arms appears on the sarcophagus or fountain in the centre of the image) to celebrate his marriage to a young widow, Laura Bagarotto. It perhaps depicts the bride dressed in white, sitting beside Cupid and being assisted by Venus in person.
Art critics have made several analyses and interpretations, among them are: Ingenious Love and Satisfied Love; Prudery and Love; the wise and foolish virgins; the dressed Aphrodite Pandemos (left) opposite the nude Aphrodite Urania. or that it contains a coded message about Bagarotto's father's innocence. Nadia Gaus notes that while the title might at first lead one to view the left hand woman as the sacred one, further thought leads to the opposite interpretation: the well dressed woman is Profane Love while the nude woman is Sacred Love. The title itself of the painting is uncertain: in 1693 it was listed as Amor Divino e Amor Profano (Divine love and Profane love).
The first record of the work under its popular title is in an inventory of 1693, although scholars now discredit the theory that the two female figures are personifications of the Neoplatonic concepts of sacred and profane love. The art historian Walter Friedländer outlined similarities between the painting and Francesco Colonna's Hypnerotomachia Poliphili and proposed that the two figures represented Polia and Venere, the two female characters in the 1499 romance. It has been suggested that the scholar Pietro Bembo devised the allegorical scheme.
The work was bought in 1608 by the art patron Scipione Borghese and is currently housed with other works from the Borghese collection in the Galleria Borghese in Rome. In 1899, the Rothschilds' offer to buy the work from the gallery for 4 million lira (more than the value of the whole Galleria Borghese building and collections, then valued at 3,600,000 Lira) was refused.
- Nadia Gaus 2004
- "Sacred and Profane Love". Galleria Borghese. Retrieved 29 November 2012.
- Robertson G. Renaissance Studies, Volume 2, Number 2, June 1988 , pp. 268-279(12) Honour, Love and Truth, an Alternative Reading of Titian's Sacred and Profane Love. doi:10.1111/1477-4658.00064
- Calzona, Lucia. "Italica - Rinascimento - Parole chiave / Amor Sacro e Amor Profano di Tiziano" (in Italian). RAI. Retrieved 2009-09-25. "la Pandemos, quella terrena, sarebbe raffigurata nella figura riccamente vestita, mentre l’Urania, quella celeste"
- Gaus, Nadia. "Tiziano Vecellio" (in Italian). Archived from the original on 2008-01-13. "verrebbe subito da pensare che la figura vestita a sinistra rappresenti l’Amore Sacro ... l’altra figura nuda a destra dovrebbe rappresentare l’Amore Profano"
- Jaffé, David; et al. (2003). Titian. London: National Gallery Company.
- Jodra, Serge (2007). "L'Amour sacré et l'Amour profane, de Titien" (in French). Retrieved 2009-09-24. "l'Amour ingénu et l'Amour satisfait; selon les autres, l'Amour et la Pruderie; ou encore la Vierge folle et la Vierge sage"
- Moreno, Paolo; et al. (2001). The Borghese Gallery. Milan: Touring Club Italiano.
- http://www.pauldoughton.com/2011_03_13_archive.html. The definitive precursor to understanding the Sacred and Profane Love's complexity. Titian's Sacred and Profane Love,
- Detailed overview of the history of interpretation of this painting at 3 Pipe Problem