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Conclusion

[Titian: Venus and Adonis, 1550's, Oil on canvas] in the context of Ovid's Metamorphosis (Bk X 503-559)

Here we can see a small Cupid-looking figure resting below the trees ever so peacefully. It would be easy to assume that this character is in fact Cupid, considering Cupid is the son of Venus. However, I believe this figure represents a much more accurate depiction of Ovid's original writing. The reference text reads as follows: "Transient time slips by us unnoticed, betrays us, and nothing outpaces the years. That son of his grandfather, sister, now hid in a tree, and now born, then a most beautiful child, then a boy, now a man, now more beautiful than he was before, now interests Venus herself, and avenges his mother’s desire." This description is in reference to not Cupid, but rather Adonis himself. It outlines his physical progression from the boy born from a Myrrh tree by his mother Myrrh, to the bold man that is seeking discovery away from Venus. The figure to the left, I believe based on this passage, represents Adonis as a young child, his innocence and tranquility that he is leaving behind on his journey. The younger version of himself he may be reflecting on in the back of his mind as he embarks, ultimately, to his death.My further evidence that this figure is supposed to represent a younger, past Adonis lies in the garments of the two figures. Both are wearing boot / sock garments that come to a slopped V alone the front calf. Although perhaps insignificant, I believe that this was an intentional detail to create a correlation between the two versions of

The multiple ravenous dogs in this depiction seem to be some-what random, considering in the relevant Metamorphosis passage, the animals discussed include "bristling boars" and "tawny lions." In this sense, this reveals a slight inaccuracy in Titans work. But I would argue that the expression and mannerisms of these dogs are more important to the alignment of the original writing than their species. The part section I am referencing reads as follows: “Neither youth nor beauty, nor the charms that affect Venus, affect lions or bristling boars or the eyes and minds of other wild creatures.” This passage is simply a warning to Adonis about the risks of the journey he is about to take, with this sentence emphasizing that the charm captivating Venus will not appeal to the animals he could face. These dogs depicted clearly are not concerned with Adonis in the slightest, looking forward, sideways, and even up at the sky that Venus neglected. This indifferent demeanor from the animals paints this idea visually. The idea that Adonis remains in a bubble with Venus, a bubble of infatuation and longing, but all aspects of the world outside of this bubble are riddled distraction. Although Adonis is holding these dogs on leash, it does not seem to depict control here but rather overconfidence. Venus warns that "bravery is unsafe when faced with the brave" in reference to the creatures that await Adonis on his journey. Him holding "creators that nature has armed" as if they are his own and not that of the earth, portrays the foolish arrogance that will eventually get him killed by a wild boar.

The light that blankets this painting not only serves as a method to portray Venus' distracted state, but also to beckon the lovers closer. As Venus begs adonis to forego his journey and stay with her in the forest, the world around them assists Venus in these efforts. Venus and her surroundings work hand in hand to create an environment that may entice Adonis to stay, the physical world creating the ambiance, and her words vocalizing these pristine circumstances. She says:"But now, unaccustomed effort tires me, and, look, a poplar tree entices us with its welcome shade, and the turf yields a bed.”This phrase in writing illustrates the conflict of Adonis leaving when all signs seem to point to him staying. Within this painting, this conflicted is portrayed beautifully, especially when looking at this specific line. The rays of light striking the trees on the right, illuminating a perfectly green and luscious bed of grass. The largest white dog looking up to the glowing area, seemingly longing to explore the area.Titian uses numerous devices to create the most ideal seeming area for relaxation. This line is one of my favorite in Metamorphosis, in relation to this artwork. I believe that Titian truly paid attention to Ovid's description of the surrounding scene, rather than just the figures themselves.

One of the most striking aspects of this work is the illumination from the sky above.These intense strokes of light contrast the rich shadows on the left side of the painting so beautifully, aggressively highlighting this portrayal of Heaven.The emphasis and brilliance of the sky seems to be Titians way of portraying Ovid's lines from Metamorphosis: "Now captured by mortal beauty, she cares no more for Cythera’s shores, nor revisits Paphos, surrounded by its deep waters, nor Cnidos, the haunt of fish, nor Amathus, rich in mines: she even forgoes the heavens: preferring Adonis to heaven."Titian is choosing to illustrate this sense of captivation through the beauty of his painted sky, with Venus' eyes fixed directly on Adonis rather than on the glowing foreground behind him. Adonis even stands directly obstructing Venus' view of the sky, further illustrating her disconnect with the world around her when in the presence of Adonis. Titian's depiction of this scene, I believe, truly does portray Venus foregoing the heavens, considering he paints them in a way impossible to ignore, yet, Venus ignores the beauty of the sky to focus on the beauty of Adonis.

Here, in the focal point of the piece, the viewer is captivated by Venus' grasp on Adonis as he tries to leave her. She wraps her arms completely around him, with little care about her surroundings, including the clothes falling off of her own body. She is too considered with maintaining her grip on her lover to bother with things she would normally feel concern about. One such thing is the very nature in which she finds herself in. “She Holds him, and is his companion, and though she is used to always idling in the shade, and, by cultivating it, enhancing her beauty, she roams mountains ridges and forests, and thorny cliff-sides, her clothing caught up to the knee, like Diana.” These lines outline Venus' preference for comfort rather than uncomfortable exploration, but entranced by love she is acting beside herself. In this depiction we see the couple in a forest far from any sort of traditional comfort, a situation in which only love could lead Venus to. Her dedication to her desired companion, Adonis, is tangible through her full-armed grasp around him, and her pleading gaze. A concept that the writing and the painting outline beautifully.

We can see here Adonis wielding a large arrow, reminiscent of that of Cupid. It is aligned here to look as though it is impaling Venus, almost as if this is the moment that Venus is first struck by this specific sort of profound love for Adonis. However, this seems to be a discrepancy between Titians painting and Ovid's writing. " For while the boy, Cupid, with quiver on shoulder, was kissing his mother, he innocently scratched her breast with a loose arrow."This description seems much more passive than what we see in this portrait. It could be the case that Adonis is in fact not holding the arrow that pierced Venus, and that arrow is to equip him for his journey ahead, but with the context that Venus was struck by an arrow to conjure her love for Adonis, this placement is clearly misleading. If this arrow is supposed to be the one that punctured Venus, than it would not make sense to have Adonis holding this arrow in this scene. Furthermore, the bow and arrow seen in the upper left corner contains completely different arrows than the one being held by Adonis. One might think these are Cupid arrows, but the Cupid-like figure is clearly fast asleep and neglectful of his powerful belongings. Overall, this detail seems simply confusing to the overall storyline and skews Titians alignment with Ovid's original writing.

Overall, I believe that Titian majorly adhered to Ovid's writings of Venus and Adonis's saga. Even more so, I believe that Titian integrated all of the detailed aspected outlined by Ovid in Metamorphosis into one cohesive depiction of longing and separation. The way he uses the Cupid-figure as a device to depict the development of Adonis that has led him to make his decision to leave in this moment is so creative and interesting. The expressions of the dogs, and his ability to represent disinterest and distraction in non-human forms allows him to incorporate every layer of this mythological adventure into his piece. Commissioned by King Philip II of Spain during his efforts to try and protect Catholicism in the face of the Protestant Reformation, this piece seems out of the classically-Catholic realm that we may expect from a leader as passionate about Roman Catholicism as Philip II. Still, this piece is a beautiful depiction of desire and yearning for comfort.