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Bacchus and Ariadne (1522–1523) [1] is an oil painting by Titian.It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts.
This subject exhibits the avaricious King of Phrygia, attired in a blue vesture and a yellow mantle, bending on one knee supplicating Bacchus to take back the power with which he had endowed him, of changing whatever he touched into gold. The deity stands near, holding a cup in one hand, while the other is compassionately extended towards the ...
Daughter of the Titan Coeus and by Jupiter mother of Apollo and Diana, whom she gave birth to in Delos. Latona is the Roman name of the Greek Leto. VI: 159–346, VII: 384 [138] Latreus: Centaur who killed Halesus, but was shortly after killed by Caeneus. XII: 462-493 [139] Lethaea: Wife of Olenus. She boasted that she was more beautiful than ...
Bacchus and Ariadne, c. 1520–1523. National Gallery, London. Another famous painting is Bacchus and Ariadne, depicting Theseus, whose ship is shown in the distance and who has just left Ariadne at Naxos, when Bacchus arrives, jumping from his chariot, drawn by two cheetahs, and falling immediately in love with Ariadne. Bacchus raised her to ...
The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus (1518–1519) and Bacchus and Ariadne (1520–1523) and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.
The clothed figure The Cupid and part of the relief. Sacred and Profane Love (Italian: Amor Sacro e Amor Profano) is an oil painting by Titian, probably painted in 1514, early in his career.
[115] However, when and to what extent there existed any Orphic tradition which included these elements is the subject of open debate. [ 116 ] The 2nd century AD biographer and essayist Plutarch makes a connection between the sparagmos and the punishment of the Titans, but makes no mention of the anthropogony, or Orpheus, or Orphism.
The Apollonius scholia refers to a "Gigantomachia" in which the Titan Cronus (as a horse) sires the centaur Chiron by mating with Philyra (the daughter of two Titans), but the scholiast may be confusing the Titans and Giants. [48] Other possible archaic sources include the lyric poets Alcman (mentioned above) and the sixth-century Ibycus. [49]