Leseprobe

25 continuing liturgical practice in Catholic church ser- vices and, not least, in the rebellion of the counter reformation. White, understood as the embodiment of godly light and the sum of all colors, had the high- est level of significance in the Christian tradition. It represented the divine universe and the infinite love of God, stood for perfection and enlightenment, and finally – in Marian devotion – purity and innocence. In the Roman Catholic Church, its use was restricted to the highest holidays and – going even further – reserved for the Pope as a liturgical color. The white soutane distinguished the Pope as the highest-ranking priest in the Roman church. 4 Pope Paul III (reign: 1534–1549) was painted by Titian wearing a white soutane (sottane) and short red cape (mozzetta), as were other pontiffs. 5 In 1465, Gentile Bellini – Titian’s teacher – portrayed the first Patri- arch of Venice, Laurentius Justinianus (1381–1455; beatified 1524; canonized 1690), as an overpowering figure dressed completely in white. 6 The doges of Venice wore white clothing on special religious holi- days. For example, Cesare Vecellio reported that Doge Lorenzo Celsi (reign: 1361–1365) always dressed in white and that this was generally recognized as being a visible sign of the utmost piousness. 7 Doge Leo­ nardo Loredan (reign: 1501–1521) had Bellini show him in white vestments in his official portrait. Later, the portraits of the doges depicted them in crimson red garments with an ermine collar, which was as big as the papal mozzetta, or in golden regalia. White, gold and crimson were the principle colors of the doge’s garments. The color and value were de- termined in keeping with the significance and specific character of the different state events. Christian sym- bolism considered white and gold to be equal and they occupied the top position in the color hierarchy. In the representation of the Republic of Venice, they pick up the thread of the myth of the foundation of the Serenissima in which the personified Venezia is depicted as a queen, conceived of God in the womb of Mary, born in the Adriatic Sea and destined to be- come the bride of Christ. As a result, the allegorical There can be no doubt that the painter’s loving look at his model – a shy young woman, still unaware of her feminine charms and her future – guided the art- ist’s hand to a certain extent. Her youth and beauty, together with her personal demureness, appear be- fore our eyes in such a manner that can only be de- scribed as being full of charm and grace (fronti­ spiece). The captivating portrait has given rise to many speculations among art historians about the person portrayed. It was variously assumed that she was Titian’s beloved daughter Lavinia from his sec- ond marriage, Emilia the product of a liaison out of wedlock, or even a courtesan. The white robe was usually interpreted as that of a Venetian bride. In the year 1561, Titian sent a letter to Alfonso II d’Este informing him about the portrait of a person “who was the most priceless in the world”. Not only its provenience makes it clear that this corresponds with the female portrait that Scannelli described with such enthusiasm in the year 1565 – “in a graceful pose and the appropriate dignity [...] with a charming gaze and a fan in her hand” – that was then pur- chased from Modena for Dresden in 1746, but also how the artist himself was so successful in conveying the image of his most precious being – quite simply, with charm and dignity – in the “Lady in White”. 1 The color white played in key role in achieving this. Its use in Italy in the early modern period evaded any kind of arbitrariness and fortuity. Here, sacral, civilizatory and socio-esthetic aspects interact with each other. In the discourse on artistic mastery of his time, it was recognized that Titian had an exceptional command of color – meaning of paint application – expressive brushstrokes and of his choice of colors. 2 A “libera- tion and increase in importance” of color had become possible in the age of humanism and, with it, color became legitimized as a means of depiction and in- terpretation of human life. 3 The Christian color canon of the Medieval period remained alive in its symbolic content; this applied especially to the color white on the grounds of the Jutta Charlotte von Bloh Youth, Beauty, Virtue? What does the Costume in Titian’s “Lady in White” tell us?