Painting Danaë, Diana, Europa and Venus: Titian and Argensola's A Nuño de Mendoza

摘要: While Spanish literature of the Golden Age is replete with scenes and allusions from classical mythology, art pe­ riod reveals a notable absence mythological, topic most popular in Italian Renaissance art. This paper seeks to explore ten­ sions between Bartolome Leonardo de Argensola's satirical poem A Nuno Mendoza, showing how Titian's becomes, for moralist, symptom decadence effeminacy society. At same time, education antique models utilized by Argensola often undermine his moralistic verse, while use allegorical interpretations paintings subvert con­ trast pagan sensuality as­ cetic teachings Christian writers. painting was part religious nature. Pacheco's dictum that "induce men piety bring them God," not, according Jonathan Brown, mere platitude. Rather, it voiced "a conviction universally held And consensus this goal best achieved through direct, unambiguous, dogmatic imagery inspired intense involvement events New Testament, lives saints, doctrines church" (312). Mythological subjects, on other hand, were "nearly absent" period, since "home market fined mainly an ecclesiastical clientele" (Brown 4). The secular even "immoral" character mythology together pro­ pensity ancients their imitators sculpt or paint these figures as nudes, made clients shun type Indeed, Rosa Lopez Torrijos notes, characteristics subject church's censorship, following dictates Council Trent (19).1 yet, Court, its kings nobles, well aware beauty, value paintings, which depicted mythological subjects partly clothed nude human figures. has been argued many "cloak mythology" revel sensual­ ity sexuality.2 Dana'e, example, commissioned Cardinal Alessandro Farnese Rome, express command