Triumph of Love????

#1
Does anyone have any idea what this wood panel might mean?
The description says it is the Procession of Love because everyone is shackled- but they do not note Death hiding in the middle of the procession.
It is supposed to have been influenced by the exotic dress of the Eastern churches who came to the Council of Florence 1439.

http://nga.gov.au/Exhibition/RENAISSANC ... S&ViewID=2

~Lorredan
The Universe is full of magical things patiently waiting for our wits to grow sharper.
Eden Phillpotts

Re: Triumph of Love????

#3
Hi Debra! I am going to get my myopic vision tested. I used to be able to see things.
Yes you are right it is a upturned brim not a mask. Jeepers!
You are right it is creepy - double creepy if it is a marriage chest panel.
Chastity? Or the fact that when the Council of Florence was the Council of Ferrara, one of the rules was about the processions and parades losing their profane jolliness- no dancing- no joking about- no secular plays etc.it was all about not offending the deputations from the Eastern Churches. One group, I think the Russian Amenians or the Minorite catholics from Lebanon, were offended by spectacle of Christ rising to heaven by pulleys and levers; certainly they did not agree with mere humans acting as sacred beings- what they thought might take their place I have no idea. I have been reading all about the carrying on of the Council of 1439- they really did not solve anything, but the fashion changed to an Eastern Look or exotic- it certainly became the time of the Academy of silly hats and shoes. It became the time of dressed Monkeys too, and Jewelled collars for Leopards- How very Cartier :-o
Maybe the only fun was secret hand painted Tarot!
~Lorredan
The Universe is full of magical things patiently waiting for our wits to grow sharper.
Eden Phillpotts

Re: Triumph of Love????

#4
Hello Debra and Lorredan,
thank you for bringing the attention to this wonderful painting!
I think Petrarch makes the identification of the subject clear:

"Pray, of your courtesy, what folk are these?"
"Ere long," he answered, "thou thyself shalt know,
Thyself being one of them: thou knowest not
How firm a bond is being made for thee.
Thy looks shall fade, and white shall be thy hair,
Before the bond I speak of is unloosed,
However much thy neck and feet rebel.
And yet, to satisfy thy youthful wish,
I'll answer, telling of our master first,
Who rives us thus of life and liberty.
For this is he whom the world calleth Love:
Bitter, thou see'st, as thou wilt see more clearly
When he shall be thy lord, as he is ours
Gentle in youth and fierce as he grows old,
As who makes trial knows, and thou shalt know
In less than a thousand years, I prophesy.
Idleness gave him birth, and wantonness,
And he was nursed by sweet and gentle thoughts,
And a vain folk made him their lord and god.
Some of his captives die forthwith; and some
More pitilessly ruled, live out their lives
Under a thousand chains and a thousand keys.
..."



This sentence from the NGA site does not make sense:
“The panel is unlikely to represent the Triumph of love however, as in all depictions of the subject the only person with bound hands is Cupid.”

In the triumph of Love, Love is the winner and the lovers are his captives. Why should triumphant Love be represented with bound hands?

See also this image published by Michael J. Hust on wikimedia.

BTW, Roberto Longhi, who identified the subject of this fragment, was one of the most important Italian art historians. In particular, he rediscovered Caravaggio who had been forgotten for three centuries.

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