The randral of the painting of Titiana "Love earth and love of heaven." "Love Heaven and Love Earth": what is encrypted on the painting of Titian paintings about the earth and God's love

A long time ago, there was the greatest master of the revival of Titian. He wrote a lot - both religious plots, mythological, and portraits. Sometimes, everything was immediately in the same picture. As, for example, in the case of the "love of earthly and love of heaven." The mixing of symbols and the absence of the copyright name provided the web to the glory of one of the most mysterious in the history of not only Titian himself, but also of world painting.

Titian. Love heaven and love earthly. OK. 1514.
Canvas, oil. 118 × 279 cm
Borghese Gallery, Rome. Wikiglad.
Clickable - 6009px × 2385px

Plot

Let's start with the fact that in history with the plot and the name of this canvase there is nothing exactly defined. The modern name appeared much later than the picture itself, and about who is depicted, and there is no consent in comrades in comrades-art historians. The two main versions do not cancel one other, rather, on the contrary, complement the mosaic of meanings.

So let's start with the earth. It is believed that the canvas written on the request of the Secretary of the Council of the Ten Nikolo Aurelio, who was going to marry a bagarotto laure. The picture was supposed to become a gift to a young wife. In the picture of the wedding symbolism in excess. Girl dressed in white dress; on her head - my own wreath (Venus plant, symbolizing love and loyalty); She covers the cup with his hand (in such vessels, the grooms were handed Wedding gifts to Venetian brides); On it - the belt and gloves (the first is the symbol of marital loyalty, the second is the attribute of the wedding dress, which grooms gave to the engagement as a sign of the seriousness of intentions).

The picture received its name 150 years after writing

The wish of numerous offspring is, of course, in the image of rabbits. And the goddess Venus similar to the bride blesses this union. Cupid here - an intermediary between the goddess and a woman. The landscape is also symbolic: on the one hand, the road to the mountain is a difficult path of prudence and loyalty, on the other, is plain, meaning bodily joy.

If you suddenly managed to think that Laura Bargotto looked like a woman in the picture, then you were mistaken. If it was a portrait, then the nude Venus was written from the las that in those days would damage the reputation of a decent woman. Titian created an idealized image of the newlywed.

Titian. Venus Urbinskaya. 1538.
Venere di Urbino.
Canvas, oil. 119 × 165 cm
Uffizi, Florence. Wikiglad.

Venus Urbinskaya (1538), which after 300 years inspire Edgar Mana on the scandalous "Olympia"

And now about the sublime. Nude Venus - Heavenly, she personifies the desire for the truth, God. Venus is dressed - earthly, its image says that the truth can be learned on the human level through feelings. In the context of the philosophy of the revival of truth and beauty is identical.

We see that Venus is equivalent. That is, the earthly, bodily, and heaven, spiritual, is equally important for a person. After all, through the first, and through the second you can know the truth. Venus Ground holds flowers in Podol, which means a combination of several types of love.

Titian for talent was called Divine

It is indicated on the canvas and what happens to a person for whom love is only bodily enjoyment. On the marble well, we see an image of a horse (a symbol of passion) and a scene of punishment. A man mosted in a mortal joy, waiting for a car.

Context

The picture received its current name in 1693. Prior to this, art historians based on various options for interpretation of the plot and symbols were called the beauty "Beauty Adjacent and Uncooked". Until the XX century, no one especially paid attention to the wedding symbolism. Yes, and the emblem of the Venetian family on the well did not notice. But especially attentive researchers saw that the owner of the coat of arms - Nikolo Aurelio. His marriage on the laure of Bargotto, the young widow from Padua was the subject of the Obid. The reason for this is the difficult past of the bride.

Titian loved women, especially experienced and in the body

The first husband Laura - Padan Aristocrat Francesco Borromeo in the midst of the military conflict of the Venetian Republic with the Sacred Roman Empire spoke on the Emperor's side. But Padua obeyed Venice, because Borromeo was arrested and probably executed by the sentence of the Council of the Ten as a traitor. Many relatives of Laura got into prison and the link. Her father Berticcho Bargotto, Professor of the University, was hanged in front of his wife and children by the same charges, in his case unfair.

"Allegory of Prudence" (1565-1570). Portraits of Titian, his son Orazio and nephew Marco are connected to the heads of the wolf, lion and dogs, which personifies the past, present and future

Permission to marry a high-ranking venetian official with a widow and daughter of state criminals discussed the Commission led by the Doge, and it was obtained. It is possible that the picture ordered from the most prestigious artist of Venice was supposed to add a marriage of respectableness in the eyes of fellow citizens.

One of the versions, the well is the marble sarcophagus. The relief on the marble depicts the beating of Adonis jealous Mars - the young man died of war from the hands of the war. This is not only an indication of the tragically ending love of the goddess Venus, but also a reminder of the sad past Laura Bargotto.

Fate artist

Venetian Titan Renaissance, who received the nickname of the Divine. Titian challenged life and sensual beauty. In many ways, thanks to him, the color was such as we know it today. If it were not for his genius, the works of the artist would be called boldness and blasphemy. But no one could remain indifferent before the power of Titian's talent. His paintings are full of life, strength, speakers. The canvas on religious plots literally shine and glorify God. Portraits depict complex psychological types. And mythological plots are full of bald and feelings of peace and harmony in a merger with nature.

Self-portrait, 1567.

In 1527, Rome was captured and looted. Art reacted to this with Mechalanchis plots and gloomy paints. Gracing is coming, no salvation - about such moods reigned in Italian art. Titian continued to write a strong, fighter.

For his era, he lived indecently long life. And it died or from the plague, or from old age - there is no consensus. In favor of the second version, the fact that the artist is buried not in the plague cemetery, but with all the honors in the Venice Cathedral of Santa Maria Glorioza Dei Frari.

Titian It is considered one of the greatest painters of the Renaissance. The artist was also not thirty years old when he was recognized as the best in Venice. One of the most famous his pictures is the "Love Heaven and Love Earth" ( AMOR SACRO Y AMOR PROFANO). She trays a lot of hidden symbols and signs, over the decoding of which art historians are fighting until now.

Having wrote a masterpiece, Titian left him without a name. In the Borghese Gallery in Rome, where the picture was posted from the beginning of the XVII century, she had several items: "Beauty Increasing and unwritten" (1613), "Three types of love" (1650), "Divine and Silent Women" (1700), and Finally, the "love of Heaven and Love earth" (1792).

Due to the fact that the author left his picture without a name, art historians have several versions, who are depicted on the canvas. According to one of them, the picture is an allegory of two types of love: vulgar (naked beauty) and heavenly (dressed woman). Both are sitting at the fountain, and Amur is an intermediary between them.

Most researchers adhere to the opinion that this canvas should have become a gift for the wedding of the Secretary of the Council of the Ten Venetian Republic of Nikolo Aurelio and Laura Bargotto. One of the indirect confirmations of this version is the coat of arms of Aurelio, which can be seen on the front wall of the sarcophagus.

In addition, the picture is filled with wedding symbolism. One of the heroines is dressed in a white dress, her head is crowned with a peaceful wreath (sign of love and loyalty). The girl also has a belt and gloves (symbols also associated with the wedding). In the background you can consider rabbits implying the future offspring.

The background in which women are also depicted in themselves. Symbols: a dark mountain road is loyalty and prudence, and a bright plain means bodily entertainment.

Does not quite fit into the picture the well in the form of sarcophagus. In addition, it depicts an antique scene of the beating of Adonis by the God of war Mars. Researchers tend to the version that this is a kind of reference to the affected reputation of the bride Laura Bargotto. Her first husband during the war of the Venetian Republic and the Sacred Roman Empire took the side of the enemy. He was sentenced to death as a traitor. The same fate has suffered and father Laura. So the plot on the sarcophagus could well be a reminder of her past.

Not only Titian filled his cloth with hidden symbols. In the picture of another artist of the Renaissance Sandro Botticelli

Titian perpetuated his name, creating wonderful canvas, embodying the plots from the Bible and mythology. In addition, he was an outstanding portrait. Its brushes belongs more than one hundred caved, many of which are captured by the outstanding personality of his time, and Titian lived in the first half of the XVI century, in Venice. Already by thirty years, he was recognized as the best artist Venice. The kings and the Roman dad ordered him their portraits, not to mention know the caliber smaller. And among all his creative heritage, the picture "Love Heaven and Love Earth" occupies a special place.

There is reason to believe that the painting "Love Heaven and Love Earth" was written on the order of Niccolo Aurelio, the secretary of the Council of the Ten Venice Republic. Niccolo married and the picture was assigned the role of a wedding gift. It is worth noting that the modern name of the picture did not immediately - she was named just as not earlier than two centuries later from the date of creation - 1514. In 1608, the picture bought Cardinal Shipionon Borghese, a famous patronage and a collector of art objects. In his catalog, the picture was listed under several names: "Beauty of embellished and unwritten", "three types of love", "Divine and secular women." The name "Love Heaven and Love Earth" appeared in the same catalog in 1792.

The plot of the paintings still causes stormy discussions. There are two main versions. According to the first, in the picture, Venus persuades Copper to help Jason, which is borrowing from the popular book "Hypnerotomachia Poliphili" at the time, which is attributed to the Dominican monk Francesco Column. According to another version, in the picture Titian depicted his own beloved - the beauty of the Violant, portraying it in the earth and divine form. But whatever the initial plot, he was forgotten because it did not have much importance in comparison with the artistic power of the canvas.

It is believed that Titian tried to convey a certain mental state. The landscape made in soft and calm colors, the clear color of the color of beautiful and somewhat cold in tone of clothes, freshness of the naked body - all this creates a feeling of calm joy. The poetic unity and the peaceful mood of the picture in a large extent contributes to the landscape. Spill rays of the setting sun, dark-green crowns of trees, heavy wet clouds over fixed water is miraculously harmonized with the beauty of women.

If you try to interpret characters and signs in the picture, then with confidence you can specify only the coat of arms of Niccolo Aurelio, located on the front wall of the sarcophagus and Amur, definitely symbolizing love. Everything else will remain on the territory of the speculation and guessing, and therefore it is better to leave attempts to put the picture with any meaning and just admire its visual beauty. Perhaps there is internal silence and peacefulness - the true purpose of the picture, because how can I find the best condition to experience the love of earth and heaven?

Currently, the painting "Love earthly and love" is in the collection of Gallery Borghese, in Rome.

September 22, 2018

Gollard-haired beauties Venice

The concept of "Tizian woman" came to us from the XIV century. More precisely - "Venetian", since the state gollard-haired beauties Filled with the belts of the painters of Venice since the time of Karpaccho. The "gold-beaches" of Venetianok was an artificial - compatriot Dzentemon (it is possible that she too) hair simply painted. "Take", - said in one old book, - "Four ounces of the gold masculine, two ounces of gumiarabic, and the ounce of a solid soap, put on fire, let it boil, and then paint your hair in the sun". The hair was acquired by a golden blonde color, a fashion for which came from Northern Europe, where Venetian merchants drove overseas products. If I wanted the hair to become red, part khnu was added. According to the component of the recipe, it was not difficult to track the geography of Venetian trade. Soap came here from the Middle East back in the XII century, and in the next century, the Venetians have established his successful production. Hummirabik was brought from North Africa, Heno - through Persia from distant India. Only weed gold bacheaker grown in Italy everywhere.

The scope of trade relations Venice was huge. At the beginning of the XVI century, she continued to reign on the Mediterranean. New seaside paths were still mastered. Columbus made his first journey to the shores of America recently, in 1492, and Cortez land there in almost thirty years. The Spaniards and the Genoes did not compile the competition of the Venetian Republic - Europe's trade with the East, it was still firmly held in their hands. In the sea, only the Turks-Osmans and the piles of robbing pirates threatened. But for the protection of waterways, Venice created a powerful fleet equal to which there was no time in Europe. He had more than three thousand courts.

The richness of the republic grew. Gold, spices, precious stones, incense, ivory, brocade, silk, porcelain - all species of Eastern luxury were brought to the legs of the winged lion, the coat of arms of Venice, the symbol of Sv.Marka-Evangelist, her heavenly patron. The influence of the East, especially Byzantium, by the time the Turk fell under power, was felt in everything. Venetians especially attracted the magnificity and entertainment of Byzantine traditions. Therefore, they generously gave tribute to all types of celebrations and theatrical ideas from the consecrated church of Christian holidays to the "Engagement with the Sea" ceremony of the Venetian Diges, the head of the republic.

And Venetian women! It's Europe was obliged to fashion on openwork lace, mirrors and gems local production, fur and river pearls from snow-covered Muscovy persian carpets and Chinese porcelain, silver cutlery From Byzantium. No one was famous for such sophistication in choosing incense and cosmeticsNo one had so many silks, brocades and velvet. Nowhere was there such rapid fun, lush lunches and balls, which would rear so much elegantly dressed beauties. And in any city of Italy did not have an artist who would face all this luxury and the magnificence of female youth with such tangible sensuality. In Venice was -

iT. Tiziano Vecellio (1488-90 - 1576)

class \u003d "Hachird"\u003e A native of the Battle Town of Cadore in the Dolomite Alps on the northern outskirts of the Venetian lands, he was brought to Venice in the Ten-year-old age. His studies began at the famous mosaicist Sebastian dzukkato. At that time, he worked on the mosaics of the Cathedral of St. Mark. Little Titiano helped him and retained for life passion for sparkling of paints, scope and scale exercise. The teenager moved to the workshop to brothers Bellini. At first he studied at Gentile, then Giovanni. They fully mastered the picturesque skill and began to give preference to the color as the main expressive painting medium.

"In color, he did not have equal ..." -

write his biographers later. I had a great influence on him Georgeon, His senior workshop comrade. At one time they worked together, and Titian so succeeded in imitating the master From Castelfranko, that often contemporaries confused their work. Yes, and now, centuries later, experts are guessing who of them two is the author of one or another picture. In a word, the young artist quickly absorbed the best thing that the Venetian school had managed to work out by that time.

Creative path of Titiana

At the end of the first decade of the XVI century, Venice expected serious tests. Created by the emperor of the Sacred Roman Empire Maximilian Habsburg Cambragian League catholic states Captured in 1509 Northern Venetian territories. The closest to Venice of the city of Verona, Padova and Vicenza moved to the side of the enemy. With great difficulty venetians managed to return their lands, but victory was given to the price of large losses. Next year, the city has suffered a new misfortune - epidemic of plagueduring which georgeon died.

I left Venice for a while, but, returning, in gratitude for the deliverance from terrible illness, wrote altar image for the city church of Santa Maria della Salute. His name has become famous. Soon he received his first state order on painting by battle scenes of the Hall of the Council of the Ten in the National Palace, where the government of the republic met. The work was a great success. This altar composition has become a real triumph of Titian "Assunta" - "Ascension of Madonna", - Which he wrote on the order of Franciscans for the Church of Santa Maria Dei Frari. Neglecting the existing traditions, he portrayed the Mother of God, rapidly rising in heaven to God's throne surrounded by the whole Somana angels. At the bottom, together with the parishings looked at her shocked apostles. The illusion of the accuracy and solemnity of what is happening is complete due to the exactly verified composition and the original color solution. From this picture began his glory of the best Colorist Italy.

Having watered with reliable support of the Church and the authorities, he became the first challenger to the post of an official artist of the Venetian Republic, which at the time occupied the elderly Giovanni Bellini. It remains to find influential and rich patrons. At that time, the personal representative of the Roman Dad to Venice was appointed cardinal Pietro Btembo. In the youth, Btembo was in the "Circle of Intellectuals" at the courtyard of the Duke of Urbinsky. His among him the main characters mentioned Castiglion in his book "Cortegiano" - "Court". Diversified educated, Btembo wrote poems, poems, works on history and philosophy, translated from Greek and Latin. Titian's "Assunta" made a strong impression on him, he drew attention to the rare talent of a young Venetian. Btembo knew a lot about painting - Rafael grew up in his eyes.

Cardinal took Titian under his patronage. It was he who recommended the artist Aristocrat Nikkolo Aurelio, Secretary of the Council of the Ten Venice Republic. He ordered Titian to his marriage of a large allegorical composition, which later gave the conditional name "Love earthly and heavenly".

Love earth and love heavenly

Love earth and heavenly. 1514-15 Titian (Titiano Vechidelio) (1488/90 - 1576) Borghese Gallery, Rome.

... Order Aurelio was very important for Titian. It was a chance to find "their" regular customers among the most influential people of Venice. Of course, work on the request of the republic was prestigious and created a solid reputation, and Titian was ambitious. He wanted to succeed in life, to achieve what in Rome, according to rumors, reached. Here, in Venice, life also cost a lot of money, it was necessary only to be able to earn them. Monumental church and government orders were well paid, but took away a lot of time. Do not lie down four years under the ceiling, painting it with frescoes, as Florentian did Michelangelo, even if the father is the order of the Pope! For relatively small pictures, it was possible to receive from rich customers three times, four of them against what the scooped state paid, as he received, for example, the late Georgeon. And Niccolo Aurelio was not just rich and impressed. He held a prominent position in the Council of the Republic. He knew all Venice. He had huge ties. If Tizian managed to please Aurelio, then a brilliant perspective opened before him. He walked the word before the Council, and Titian would appoin the official artist of the city, bypassing all his competitors, even Bellini, which was still alive. Aurelio would recommend Titian to his friends, and a stable clientele belonged to the "cream of society" was always the key to successful for any artist.

Difficulty, even some spike, the situation with which Titian faced, receiving an order from Aurelio, consisted of this. Nikcolo was going to marry some laure of bagarotto, young beauty-widow, in which it was long and passionately in love. Laura was the daughter of the famous Paduan lawyer Berticcho Bargotto, who during famous events passed to the party who fought with the Venice of the League. For the treason of the Venice Republic, the Council of Ten sentenced Bertico to the death penalty with the confiscation of property, including the dowry daughter. Together with him was arrested and Francesco Borromeo, husband Laura. Without waiting for the sentence, he died in prison. Evil languages \u200b\u200bwere rumby that the initiator of his arrest was the Secretary of the Council of Nikcolo Aurelio, who wanted to eliminate the hated rival. Three years later, her dowry was returned by the efforts of the same Aurelio Lauree, but the father and her husband could not be returned. Love and gentle care, which was surrounded by Aurelio, a young woman had an action: she replied to him. But the pious Venetian was not easy to decide for marriage with a person involved in the death of people close to her. Aurelio straightly told Titian that his fate was largely depended on what decision would take Laura. The future picture was supposed to influence the decision of the Beauty. The costs did not have.

"Aurelio straight told Titian,
that his fate in many respects depended on
What decision will take Laura.
The future picture was supposed to influence
On the decision of beauty. The costs did not have ... "

Titian has long thought over the plot. He did not receive good classical education, and all his life he had problems with Latin. But years of communicating with Bellini and Georgeon taught him to understand the ancient and modern literature. He turned to the Poem "Alozantse" popular in Venice, the author of which was his patron cardinal Pietro Btembo. There was mentioned the famous Pier of Plato and his theory of sublime "Platonic" love. He himself did not read Plato - did not know the ancient Greek, and above reasoning about disembodied love laughed. Let the refined Florentine talk about her, they, Venetsians, thank God, in the veins flowing blood, and not a driver, diluted by Tuscan wines. But since it became so prestigious, it was possible to write on this topic, just not to forget the "hyperoerocya of the polyfem", the poem Francesco column. Her plot partially used Georgeon in his "Venus". So argued Venetian experts. "Hyperermacium" - "The Battle of Love in the Dreams of the Polyfem" was, as Titian considered, closer to Aurelio in his condition - it was not difficult to guess what dreams were overcome. Titian himself was in love.

... Niccolo Aurelio for a long time could not take her eyes away from almost a three-meter canvas, which had not yet been gravily paints. Two beautiful young women were sitting in the corners of a small marble pool, from which he caught the floating roses little Amur. One of the women, by type of Venetian, in a magnificent wedding dress, with golden hair lying on shoulders, pressed the casket with decorations. Another, completely naked, whose luxurious nudice emphasized the scarlet silk raincoat, kept a bowl with smoking incenses in his hand. Behind the backs of the beauties opened a charming summer landscape: on the left - the castle and the tower on the swords of the hill, on the right - the river valley and the silhouettes of the town behind the paneous strip of trees. Immediately, in the meadow, the flock of sheep passed, she was hunting for rabbits, "Under the Senyu tree" lovers were kissed. The marble pool with its outlines resembled Sarcophag Adonis, the mythical beloved Venus, killed on the hunt for an enraged waveman. On the side wall of the pool, the bas-relief was knocked out with an appropriate scene from Metamorphosis of Ovid and the coat of arms of the genus Aurelio. It was a direct hint that in case of refusal, Niccolo Aurelio could expect just as sad to take into account. The nude beauty, apparently, Venus itself, persuaded the "Venetian" to surrender to the all-configuration feeling of love and promised the quiet joy of marriage, which personified the paintings of peaceful rural life with her, first of all Rabbits - an old fertility symbol. But, it can be seen, "Venetian" with difficulty succumbed to the admonitions of the goddess. Her uncomfortable virtue emphasized the powerful walls of the castle and thistle twig in hands - Sign of marital constancy. At the same time, she at all in no hurry to return the casket with wedding gifts, and this inspired some hope.

Everything in the picture was filled with the overflow of evening light, flickering silk, the radiance of white-pink female bodies. Soft "pastel" colors of the summer evening created a thoughtful-lyrical mood. Love passion flew into tenderness. The captivating "earthly" femininity of Venetian softened the eroticism of the heavenly nudity of the goddess:

"Her smile, grace is lively,
and gold hair, and gentle mouth -
And her whole, beautiful and clean,
He descended from heaven as the embodiment of Paradise.
And I repeat, not tired,
that everything is in the world - Tlen and bustle,
Intenna only this beauty,
Although this woman is mortal "-

so spoke about venetian portuguese poet Antonio Ferreirawho visited Venice at the beginning of the XVI century and conquered by their charm. That he managed in verses, Titian embodied in the picture. The same feelings shared Aurelio. He was very pleased with the work of the artist. On the Laura Barotti The picture, apparently, also made an even-eyed impression, for their wedding took place. Titian gained recognition and customers in the circles of the Venetian aristocracy. He no longer searched for wealthy customers - they themselves honorable him with requests to write portraits and allegories for them.

They were then three in Venice, the most famous representatives of the "Fine Arts": he, Titian, Pietro Aretino, a brilliant pamphletist writer who had an irrepressive character and a juicy stinging language satirika, and Jacopo Sansovino The famous architect, who decorated the shores of the Big Channel facades of his magnificent creations. Friends often gathered in the big house of the artist on Byrri Grande, where he moved immediately after his wife's death. Churchilius died after childbirth, Lavinia, having lived him in marriage only five years and leaving him three children. The second time Titian never married. The house was made by one of the richest and visited in Venice. He loved to live on a wide leg, preferred merry companies, noisy feast, society of beautiful and carefree women. As a true Venetian, he loved the money and all the benefits that they were given: comfort, fashionable clothes, exquisite food, dear baubles. They provided him with relative independence, and he learned to earn them. His brush gave birth to a masterpiece for masterpiece.

He loved to live on a wide leg,
preferred funny companies,
noisy feast
Society beautiful
And carefree women ...

In the middle of the thirties of the sixteenth century in his work, the topic of "love of heaven and earthly", began fifteen years ago by the picture for Niccolo Aurelio. This time his customer became Gwidobaldo della Rovere, the future Duke Urbinsky. For him, he created his "Venus", resolutely rethinking the image of the goddess of beauty to his "Venetian" way. Only composite it resembled "Sleeping Venus" by Georgeon. It was a symbol of sensual carnal love and a happy marriage in the appearance of a real earthly woman. A model that posed Titian for "Venus Urbinskaya", I became his new heart attachment. He wrote a whole series of her portraits, one of which called simply - "La Bella" - "Beauty". The name of this woman is left unknown. With all the openness of his passionate nature, Titian was very delicate in relations with his beloved. His life as an official painter of the Venice republic was in sight of everyone, but he never was noticed in any alkan scandal. He consciously fen my personal life from curious eyes.

Titian has never been fond of the ideas of neoplatonism as Botticelli or the search for perfect beauty as Rafael. He just enjoyed her. Meeting on his way a young beautiful woman, he fell in love with her and turned to the goddess. In this image, it appeared on his canvases, connecting heaven and earthly. It was not important for him to know who she is: Duchess, a simulator, a favorite daughter of a lavinia, a housekeeper in a house or flower room from St. Marka Square. All of them were "Le Belle" for him, "beauties", personified the sensual charm of his beloved Venice, the embodiment of bright life joy. He was an optimist and trusted his feelings without losing the sobriety of pragmatics. Love "Earth and Heavenly" merged in him and his creations together.

Dear friends!

I offer you an "investigation" Pictures of Titian "Love earth and Love Heaven".

It was very interesting and exciting - to travel through Tizian labyrinths.

Here is a small preface. I knew this picture of Titian from ornamental years. From the very early age - I felt it, tamed, absorbed. Even earlier than I started to read - I leafed albums in art, which were in our house. And this picture could not pass by me. Two wonderful young women - as a symbol of eternal beauty and immortality against the background of majestic landscapes. So this picture was kept in my memory.

Businessman, Writer, Writer and Collector Oleg Obtained Under Nick avvakoum. Dedicated this picture with a series of posts:
http://avvakoum.livejournal.com/410978.html

http://avvakoum.livejournal.com/411595.html

http://avvakoum.livejournal.com/412853.html

http://avvakoum.livejournal.com/950485.html

After reading these posts, I thought: maybe my picture has a secret meaning, invisible on the surface, what? I tried to solve it. And I suggest your misfortune about this.

I carefully read Oleg's posts and comments to them. I took some finds and details. Thanks for them. I would be grateful for all the remarks of clarification, additions and objections.

The starting point of my study was the fact that Niccolo Aurelio, secretary of the Council of the Ten Venetian Republic, spoke by the customer of this picture. Council of ten is the control body of powerful Venice, the pearls of the Adriatic. The customer acted clearly not from himself, but from the other forces that wished to remain unknown.
But for the "cover legend" - the picture ordered Aurelio as a gift of the bride - the young widow Laura Raratto, on which he later and married. To strengthen the "legend" on the front wall of the sarcophag, the coat of arms of Aurelio was depicted. But all this "smoke curtain", designed to distract the picture and from the real "customers" from the present meaning. It is curious to note that its name "Love earth and Love Heavenly" painting received almost two centuries after its creation.

Obviously, during the lifetime of Titian, the picture was nameless, or her present name knew only a narrow circle of persons.

What is the riddle of the picture? What did Titian actually depicted? It is necessary to immediately say that the Great Artist was dedicated to the hectare of secret history and secret societies.

Let's turn to the picture itself. What do we see on it?

Two young women are nude and dressed in a magnificent dress sit on the edge of the sarcophagus filled with water, where the cupid launched his hand.

On the back background of love of heaven flowing river.

The river can be interpreted as an underground river Alephios, the allegory of secret "underground legends, a symbol of invisible knowledge transmitted by" dedicated "from generation to generation.

And you can interpret the river - as a heavenly teaching. It should be noted that water has long been symbolizing information, knowledge.

It can be assumed that water from this sacred river is located in the sarcophagus. From the sarcophagus, in turn, a jet of water is poured, a nourishing bush, depicted in the foreground of the picture. That is, in this case, the sarcophagus is a source.

What water-knowledge concentrates in sarcophagus?

We resort to decryption.

Tips here are several. This and the Templar Tower behind the "earthly" woman's back, that is, the teaching of the Templar and the sarcophague itself. Now we will see that it is a sarcophagus, not a pool or fountain, how the paintings are interpreted by some commentators.

Sarcophag - carved stone coffin. And if it is a coffin, then whose remains lie there? And here we have the following "hints". Dish and Cupid. Some commentators point out that the angel crawls flowers out of the water. But the flowers, as you know, float on the surface of the water, and not drown. So, looking for a child in water? To answer enough to look at the dish. Exactly the same dish is depicted on the painting of Titian "Salome with the head of John the Baptist."

It is interesting to note that Titian has three pictures on this topic.

The first one was written a year after the creation of the "love of heaven and love". And the dish there is another. But there is a "tip" in the form of a right hand, wrapped by the scarlet cape. Love earthly - also right scarlet sleeves

But in the picture, written already in 1560, depicted "our" dish.

Curious fact that the picture "Salome" turned out to be a "prophetic" in relation to one iconic historical event. Since 1649, Salome Titsian was in the meeting of the Hampton Court Palace in the UK. And in the same year, the English Monarch Carl I was beheaded.

And on the same picture, where Salome is depicted - you can also see a dish of us.

(In brackets it can be noted that a story is associated with this picture, similar to the one that is described by Oleg with us in post: "Sothesshis deprived the client of money and sleep" http://avvakoum.livejournal.com/1281815.html

Those who want to familiarize themselves with the material relating to the painting of Titian - can pass by reference http://thenews.kz/2010/02/25/267486.html).

So, we have established that for some reason, Titian decided to "decipher the dish, written by him earlier and" link "him with his head of John the Baptist.

As you know, according to the legend, John the Baptist was the first grand magician of Zion's priogen.

It means that the artist in a symbolic form depicted a priogency of Zion; At the same time, the water (the teaching of the sequence of Zion) in turn becomes a power source (knowledge) for the bush. It seems to "give rise" to this bush. At the same time, as I mentioned, behind the "love of the earth" Tamlier Tower ...

So, the key to the rays of the picture is a bush. What is this bush?

This is a five-point rose, something average (or hybrid) roses and rosehip. More precisely, the form of the oldest rose is a doggy dog. As you know, Rosehip is the progenitor of roses.

This five-point rose was the magic plant of Rosenkraucers. If you look closely, you can see that the Kush itself is "drawn" in the form of a cross.

This plant, the leaves of five-point roses were depicted on the symbols of the Order of the Rosenkreyers.

Interestingly, in the Czech Republic, in which various mystical trends were strong, a five-point rose is held every year in Krumlov. This rose is depicted on the flag and the coat of arms of Czech Krumlov.

But on this, the value of five-point roses are not exhausted.

Five-meple rose - this is a rose of tudors,traditional heraldic emblemEngland and Hampshire. It is on the coat of arms of Great Britain and Canada.

And the same five-point rose is depicted on the Tarot map - senior arkan at number 13. Death.

The heraldic five-floor rose was the symbol of the Masters-Apprentices in Masonic teaching.

And the teachings of Rosencresses, as you know, has become the forerunner of Masonry in the form in which it came to our time.

If you hold the "investigation" of the paintings on, then the tree behind the angel can be classified as elm. In the form of the crown, the form of leaves, the density of the crown. Of course, this is just an assumption, but comparing several photos of elm with the image of a tree at the Tiziani Picture, I fully allow this fact.

Then it can be assumed that the picture shows a historical event, known as "Rod Rubbing", when there was a rupture of the Temple with a spier of Zion and the place of the Templars was taken by Rosenkraucers. In any case, many details in the picture, which have already considered by us, are talking about this.

But back to our ladies.

The "earthly" lady holds a five-point rose flower in his hand. The flower is in her hand, but the hand is in the glove, and it still does not touch the flower of the skin, that is, between her and the teachings of Rosenkraucers - obstacle. Disputes causes the subject at hand of the love of the earth. Some say that this is a bowl, others - Mandolin. Although it may be Titian on purpose "encrypted" a bowl. If he wanted to portray Mandolin so that there was no "expanses" for other interpretations, he would have done it. But for some reason, the unequivocal interpretation of the subject at hand of the Love earth is difficult. Thus, Titian "hints" to us on the bowl.

In this case, the following analogies are easily carried out, firstly, with a cup of grail, secondly, bowls were used in Rituals of Rosenkrayers. The subject in the hand of love heaven can be determined as a smoke, which was also used in the ritual rites of Rosenrecusers.

Love earthly looks into the eye to the viewer, and the love of heaven - on her red shoe (or golden-red), more precisely - the tip of the shoes. Once upon a time I read that red shoes - the symbol of the goddess of Isis, a symbol of dedicated to. If you go further, you can draw an analogy with red papal shoes. Also a "high initiation" symbol.

So, with a lot of probability, it can be said that "with" this picture there was a dedication to the members of the Order of Rosenkreyers. The initiation process took place. And it is also likely that this process included the rite kissing the tip of red shoes. Two ladies are similar to each other, they are "connected" by the sarcophagus and are approximate to the viewer equally. They have two legs for two, as the leg of "heavenly love" is hidden from the eye of the viewer, and the second symbolizes the tip of the red shoes. It can be said that in such an encrypted form, the main postulate of hermethyms is concluded: "What is upstairs, toinde, tuning, tinophu". That is, heavenly reflects in the earth, and the earth is in heaven.
I wanted this picture one of the Rothschilds. But his proposal was rejected. The symbol of secret mysteries remains in Italy. In Rome. The city where the Vatican is located is one world management centers.

There are still questions. Is it possible to identify the earthly with Salome, and the love of heaven - with Maria Magdalina (although her hair is not dissolved, as in canonical pictures)?

Or here is a reference to the sixth Arkana Tarot - lovers ...

Not all the puzzles of Titian are still solved, and therefore, we are waiting for new discoveries and finds ...

I will be grateful for all clarifications, additions and comments.