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gri_2003_m_46_b01_f08_010

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  1. 65303075 - not-logged-in-59a866de62742cc111e1
  2. 65308205 - not-logged-in-98e861c4e0e73aef92a7
  3. 65323009 - Culebra78
  4. 65390819 - pdunk
  5. 65435582 - tbain
  6. WINNER - 65440066 - not-logged-in-e5bc159d6eb8052f32a3
  7. 65441437 - lawofrelativity

65303075 - not-logged-in-59a866de62742cc111e1

Dearest Sylvia,

Of course I shall come on the 10th, but not by bus for that would get to Hastings too late. I shall come by train: which one I shall tell you in my next letter, which will follow this evening.

This is from Erwin Fanovsky's Studies in Iconology, Oxford,, New York, 1940. p150 et seq. Titian's Sacred and Profane Love executed 'not later than 1515 when the influence of Bembo's Asolani was at its height'. The two figures resemble personifications in Ceasa Ripa's Iconological Book. (a) Felicita Eterna and (b) Felicita Breve. The nudity of (a) denotes contempt for earthly perishable things and the flame she carries symolises Love of God; the jewels of (b) and her vessel of gold and gems symbolise a shorter-lived happiness. Thus Titian's nude and richly attired ladies understood to represent 'an antithesis between eternal and temporal values'. The picutre is 'a document...of Neo-platonic humanism' because the 'figures do not express a a contrast between good and evil, but symbolise one principle in two modes of existence and two grades of perfection'. As Ficino puts it: bot are 'honorable and praiseworthy in their own way'. The Vehere Celeste is universal, enternal beauty, but intelligble and lucid - non-medieval. The Vanere Voglare is tangible, perishable beauty, and also the generative force on earth. The landscape background is divided into a dimly lit scene with town and hares (symbols of animal love and fertility) and, behind Felecita Eterna, a more rustic scene, brighter, with sheep and a church. The scheme of composition derives from what Panovsky suggests we call the 'debating picture' which is 'a representation of two allegorical figures symbolising and advocating two divergent moral or theological principles'. The fact that Cupid stirs the water may express the neo-platonic belief that 'love acts as an intermediary between heaven and earth': he isplaced nearest to the terrestrial Venus. 'Titian depicts a wonderful harmony between intelligble and visible beauty'. The correct title is Geminae Veneres, Panovsky concludes, but Sacred and Profane Love is near enough.

Now I must go to the B.M. and read Jonathan Richardson on Painting. Thank you for your letter and do not feel sad, please. I so look forward to seeing you in three days time. I love you,

65308205 - not-logged-in-98e861c4e0e73aef92a7

65323009 - Culebra78

7-9-48

11 mansel road
Wimbledon

Dearest Sylvia,

Of course I shall come on the 10th, but not by bus for that would get me to Hastings too late. I shall come by train: which one I shall tell you in my next letter, which will follow this evening.

This is from Erwin Panovsky's Studies In Iconology, Oxford, New York, 1940. p150 et seq. Titian's Sacred and Profane Love executed "not later than 1515 when the influence of Bembo's Asolani was at its height". The two figures resemble personifications in Cesara Ripa's Iconological Book. (a) Felicita Eterna and (b) Felicita Breve. The nudity of (a) denotes contempt for earthly perishable things and the flame she carries symbolizes love of God; the jewels of (b) and her vessel of gold and gems symbolize a shorter-lied happiness. Thus Titian's nude and richly attired ladies understood to represent "an antithesis between eternal and temporal values'. The picture is "a document...of Neo-platonic humanism" because the "figures do not express a contract between good and evil, but symbolize one principle in two modes of existence and two grades of perfections". As Ficino puts it: both are "honorable and praiseworthy in their own way. The Venere Celeste is universal, eternal beauty, but intelligible and lucid - non-medieval. The Venere Voglare is tangible, perishable beauty, and also the generative force on earth. The landscape background is divided into a dimly lit scene with town and hares (symbols of animal love and fertility) and, behind Felicita Eterna, a more rustic scene, brighter, with sheep and a church. The scheme of composition derives from what Panovsky suggests we call the "debating picture" which is "a representation of two allegorical figures symbolizing and advocating two divergent moral or theological principles". The fact that Cupid stirs the water between the two figures may express the neo-platonic belief that "love acts as an intermediary between heaven and earth": he is placed nearest to the terrestrial Venus. "Titian depicts a wonderful harmony between intelligible and visible beauty". The correct title is Geminae Veneres, Panovsky concludes, but Sacred and Profane Love is near enough.

Now I must go to the B.M. and read Jonathan Richardson on Painting. Thank you for your letter and do not feel sad, please. I so look forward to seeing you in three days time. I love you,

Lawrence

65390819 - pdunk

9-9-48
11 Mansel Road
Wimbledon
Dearest Sylvia,
Of course I shall come on the 10th, but not by bus for that would get me to Hastings too late. I shall come by train: which one I shall tell you in my next letter, which will follow this evening.

This is from Erwin Panovsky's Studies in Iconology, Oxford, New York, 1940. p150 et seq.
Titian's Sacred and Profane Love executed 'not later than 1515 when the influence of Bembo's Asciani was at its height'. The two figures resemble personifications in Cesara Ripa's Iconological Book. (a) Felicita Eterna and (b) Felicita Breve. The nudity of (a) denotes contempt for earthly perisable things and the flame she carries symbolizes love of God; the jewels of (b) and her vessel of gold and gems symbolize a shorter-lived happiness. Thus Titian's nude and richly attired ladies understood to represent 'an antithesis between eternal and temporal values.' The picture is 'a document ... of Neo-platonic humanism' because 'the figures do not express a contrast between good and evil, but symbolize one principle in two modes of existence and two grades of perfection'. As Ficino puts it, 'both are honorable and praiseworthy in their own ways.
The Venere Celeste is universal, eternal beauty, but intelligible and lucid -- non-medieval. The Venere Voglare is tangible, perishable beauty, and also the generative force on earth. The landscape background is divided into a dimly lit scene with ?? and hares (symbols of animal love and fertility), and behind Felicita Eterna, a more rustic scene, brighter with sheep and a church. The scheme of composition derives from what Panovsky suggests we call the 'debating picture' which is 'a presentation of two allegorical figures symbolizing and advocating two divergent moral or theological principles'. The fact that Cupid stirs the water between the two ?? may express the neo-platonic belief that 'love acts as an intermediary between heaven and earth': he is placed nearest to the terrestrial Venus. 'Titian depicts a wonderful harmony between intelligible and visible beauty.' The correct title is Ceminae Veneres, Panovsky concludes, but Sacred and Profane Love is near enough.
Now I must go to the B.M. and read Jonathan Richardson on Painting. Thank you for your letter and do not feel sad, please. I so look forward to seeing you in three days time. I love you. Sincerely

65435582 - tbain

11 mansel road, Wimbledon. Dearest Sylvia, Of course I shall come on the 10th , but not by bus for that would get me to Hastings too late. I shall come by train: which one I shall tell you in my next letter, which will follow this evening. This is from Erwin Fanovsky's Studies in Iconology, Oxford, New York 1940. P150 et seq. Titaian's Sacred and Profane Love executed 'not later than 1515 when the influence of Bembo's Asclani was at its height'. The two figures resemble personifications in Cesara Ripa's Iconological book. (a) Felicita Eterna and (b) Felicita Breve. The nudity of (a) denotes contempt for the earthly perishable things and the flame she carries for symbolises love of God; the jewels of (b) and her vessel of gold and her gold and gems symbolise a shorter-lived happiness. Thus Titiam's nude and richly attired ladies understood to represent an antithesis between eernal and temporal values. The picture is a 'a document of Neo-platonic humanism' because the figures do not express a contrast between good and evil, but symbolise one principle in two modes of existence and two grades of perfection. As Ficino puts it: both are ' honourable and praiseworthy in their own ways.' The Venere Celeste is universal , eternal beauty, but intelligible and lucid - non medieval. The Venere Voglare is tangible , perishable beauty, and also the generative force on earth. The landscape background is divided into a dimly lit scene with town and hares ( Symbols od animal love and fertility) and behind Felicita Eterna, a more rustic scene , brighter with sheep and a church. The scheme of composition derives from what Panovsky suggests we call the 'debating picture' which is a representation of two allegorical figures symbolising and advocating two divergent or theological principles . The fact that Cupid stirs the water may express the neo platonic belief that love acts as an intermediary between heaven and earth. He is placed nearest to the terrestrial Venus. Titian depicts a wonderful harmony between intelligible and visible beauty. The correct title is Germinae Veneres, Panovsky concludes, but sacred and profane love is near enough. Now I must go to the B.M. and read Jonathan Richardson on painting. Thank you for your letter and do not feel sad please. I so look forward to seeing you in three days time. I love you.

WINNER - 65440066 - not-logged-in-e5bc159d6eb8052f32a3

11 Mansel Road
Wembledon

Dearest Sylvia,

Of course I shall come on the 10th, but not by bus for that would get me to Hastings too late. I shall come by train: which one I shall tell you in my next letter, which will follow this evening.

This is from Erwin Panovsky's Studies in Iconology, Oxford, New York, 1940. p150 et seq.
Titan's Sacred and Profane Love executed 'not later than 1515 when the influence of Bembo's Asolani was at its height'. The two figures resemble personifications in Cesara Ripa's Iconological Book. (a) Felicita Eterna and (b) Felicity Breve. The nudity of (a) denotes contemp for earthly perishable things and the flame she carries symbolises love of God; the jewels of (b) and her vessel of gold and gems symbolise a shorter-lived happiness. Thus Titan's nude and richly attired ladies understood to represent 'an antithesis between eternal and temporal values'. The picture is 'a document...of Neoplatonic humanism' because the 'figures do not express a contrast between good and evil, but symbolise one principle in two modes of existence and two grades of perfection'. As Facino puts it: both are 'honorable and praiseworth in their own way'. The Venere Celeste is universal, eternal beauty, but intelligible and lucid - non-medieval. The Venere Volglare is tangible, prerishable beauty, and also the generative force on earth. The landscape background is divided into a dimly lit scene with town and hares (symbols of animal love and fertility) and, behind Felicita Eterna, a more rustic scene, brighter, with sheep and a church. The scheme of composition derives from what Panovsky suggests we call the 'debating picture' which is 'a representation of two allegorical figures symbolising and advocating two divergent moral or theological principles'. The fact that Cupid stirs the water between the living fecundy may express the neo-platonic belief that 'love acts as an intermediary between heaven and earth': he is placed nearest to the terrestrial Venus. 'Titian depicts a wonderful harmony between intelligible and visible beauty'. The correct title is Geminae Venares, Panovsky concludes, but Sacred and Profane Love is near enough.

Now I must go to the B.M. and read Jonathan Richardson on Painting. Thank you for your letter and do not feel sad, please. I so look forward to seeing you in three days time. I love you, Lawrence

65441437 - lawofrelativity

[7-9-48]
11 mansel road
Wimbledon

Dearest Sylvia,

Of course I shall come on the 10th, but not by bus for that would get me to Hastings too late. I shall come by train: which one I shall tell you in my next letter, which will follow this evening.

This is from Erwin Panovsky's Studies in Iconology, Oxford, New York, 1940. p150 et seq.
Titian's Sacred and Profane love executed 'not later than 1515 when the influence of Bembo's Asolani was at its height'. The two figures re-semble personifications in Cesara Ripa's Icon-ological Book. (a) Felicita Eterna and (b) Felicita Breve. The nudity of (a) denotes contempt for earthly perishable things and the flame she carries symbolises love of God; the jewels of (b) and her vessel of gold and gems symbolise a short-lived happiness. Thus Titian's nude and richly attired ladies understood to represent 'an antithesis between eternal and temporal values'. The picture is a document...of Neo-plat-onic humanism' because the 'figures do not express a contrast between good and evil, but symbolise one principle in two modes of existance and two grades of perfection'. As Ficino puts it: both are 'honorable and praiseworthy in their own way'. The Venere Celeste is universal, eternal beauty, but intelligible and lucid - non-medieval. The Venere Voglare is tangible, perishable beauty, and also the generative force on earth. The landscape background is divided into a dimly lit scene with town and hares (symbols of animal love and fertility) and, behind Felicita Eterna, a more rustic scene, brighter, with sheep and a church. The scheme of composition derives from what Panovsky suggests we call the 'debating picture' which is 'a represent-ation of two allegorical moral or theological prin-ciples'. The fact that Cupid stirs the water between the live jigurds may express the neo-platonic belief that 'love acts as an intermediary between heaven and earth': he is placed nearest to the terrestrial Venus. 'Titian depicts a wonderful harmony between intelligible and visible beauty'. The correct title is Geminae Veneras, Panovsky concludes, but Sacred and Profane Love is near enough.

Now I must go to the B.M. and read Jonathan Richard-son on Painting. Thank you for your letter and do not feel sad, please. I so look forward to seeing you in three days time. I love you,
Lawrence

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