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Anthony Apesos Titian's Flaying of Marsyas: Colorito Triumphant

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Anthony Apesos Titian's Flaying of Marsyas: Colorito Triumphant Anthony Apesos Titian’s Flaying of Marsyas: Colorito Triumphant I am obsessed with the Titian Apollo and Marsyas. I suspect it’s the greatest picture in the world. Iris Murdoch1 Titian’s painting of The Flaying of Marsyas [Fig. 1], in the arch- bishop’s palace in Kroměříž, is possibly the last work touched by the brush of the master. Although there is no record of the painting until it was in the Arundel collection in England circa 1620, it was probably still in Titian’s studio after he died in 1576.2 The painting depicts the punishment dealt to Marsyas, the loser in a musical contest between him and the god Apollo. In discussions of the painting, two aspects of the painting have occasioned signifcant disagreement: the identifcation of the fgure of Midas as a self-portrait and the question of the fac- ture of the painting as evidence of Titian’s late style or of sim- ple lack of fnish. These two issues are, I will argue, closely linked and can be illuminated by a consideration of Titian’s use of Giulio Romano’s composition of the same subject. My dis- cussion of the identity of Midas, the facture of Titian’s painting and its relation to Giulio’s painting lead to an understanding of the Flaying of Marsyas as a contribution by Titian to the contro- versy between colore and disegno in sixteenth-century Italian art theory. The Textual Sources Titian’s painting, in many ways, follows a painting of the same subject by Giulio Romano. Most previous writers discuss Ti tian’s Anthony Apesos 1. Titian, «Flaying of Marsyas», Kroměříž, National Museum (Muzeum umění Olomouc – Arcidiecézní muzeum Kroměříž) 108 Titian’s Flaying of Marsyas: Colorito Triumphant 2. Venetian School, «Apollo and Marsyas», 1501, New York, The Metropolitan Museum of Art painting, and Giulio’s, with the assumption that the Metamorpho- from wood, bones, or reeds. When the goddess played it before ses of Ovid is the primary textual source.3 However, Ovid’s ver- the other gods they laughed at her. Certain that her musical per- sion is very abbreviated and belies an expectation that the read- formance could not be the source of their derision, Minerva went er comes to his poem already knowing the events that lead up off to make music by herself. She discovered the cause of her to Marsyas’s punishment.4 I will discuss the various sources fellow Olympian’s mirth when, by chance, she saw her refection of the Marsyas story here because this assumption that Ovid while playing. Horrifed to see how her face was distorted as she is the main source for Titian has mislead many commentators, blew into the pipes, she discarded and cursed them. Marsyas as I will show. found the instrument and taught himself to play it and delighted Giulio Romano and Titian had available, directly or through all who heard his music. His pride in his skill lead him to chal- their humanist advisors, the several texts that refer to parts of the lenge Apollo to a musical contest, the winner of which could story that Ovid omits. These include the late classical authors punish the loser in whatever manner he chose. The judge of the younger Philostratus, Nonnus of Panopolis, Fulgentius, Hy- the contest is mentioned in only three versions. Hyginus says ginus, Apollodorus, and Diodorus Siculus5 as well as the later the Muses were asked to judge. Diodorus says the contest oc- mythologers Natale Conti6, Boccaccio7, and Vincenzo Cartari.8 curred in the city of Nysa in Phrygia and was judged by the Ny- These later authors also mention the episode but, only briefy, seans. Only according to Fulgentius is Midas the judge, and for and use those earlier writers as their sources. Perhaps more choosing Marsyas as the better musician, Midas’s ears become important than all of these is the frst Italian version of Ovid’s transformed into those of an ass. Midas is frequently mentioned Metamorphoses published in 1497.9 Written in 1377 by Giovanni by many of these same authors10, including Ovid, as a judge of Bonsignori, this book is a paraphrase which expands the story a different musical contest that was between Apollo and Pan. in Ovid with additions from some of these other sources plus Though that contest did not have the fatal end for the loser, Mi- a few details that seem to be his own invention. The only agree- das’s preference for Pan’s playing did earn the same punish- ment among all of these versions of the myth is that Marsyas lost ment of ass’s ears as it did in Fulgentius account of the contest a musical contest to Apollo for which Apollo punished Marsyas of Marsyas. Only Ovid in the Metamorphoses details the hor- by faying him alive. ror of Marsyas’s death and the pain of his torture. Most make Marsyas’s misfortune was the result of his discovery of the Apollo the executioner, although Philostratus gives the job to musical instrument that was invented by Minerva. This instrument a local henchman and Diodorus says it was a Scythian – which is described either as a fute or dulos and variously fashioned seems confused since the story takes place in Phrygia. The river 109 Anthony Apesos Marsyas is mentioned by Ovid, Hyginus, and Nonnus but each since his own depiction of the story so closely follows Giulio’s give it a different origin: the tears of Marsyas’s friends, Marsyas’s composition. blood or Marsyas himself transformed by Apollo out of pity for Giulio’s composition differs signifcantly from previous paint- his victim, respectively. In three accounts of the contest, Apol- ings of the scene including that of his master Raphael [Fig. 4]: lo, by any standard of sportsmanship, cheats by changing the Giulio shows Apollo taking part in the faying; he includes Midas rules so he can win: Apollodorus and Hyginus have Apollo, after as the judge; he depicts Marsyas upside down. Titian follows losing the contest, begin to play his lyre upside down – which Giulio in each of these as well as in Giulio’s depiction of Marsyas Marsyas could not imitate with the fute; in Diodorus’s version as a goat-legged satyr instead of the more human creature with Apollo responds to losing by singing along with his playing – pointed ears and small horns and human legs of most earlier which Marsyas could not match while playing his instrument. images. It is possible that Paduan bronzes may have been ear- In these tellings, as in all versions, Apollo, of course, is ultimately lier in showing a goat-legged Marsyas, but the chronology is declared the winner. Apollo does not enjoy his triumph, accord- unclear.17 But whether Giulio found inspiration from a Paduan ing to Apollodorus, but smashes his lyre implying that he regret- inkwell or not, Marsyas as satyr is closer to the written accounts ted both his cheating and his cruelty. and also emphasizes his difference from and inferiority to the Most authors do not mention the fate of Marsyas’s hide. sun god. Hyginus says that the skinless body was given to his follower The Apollo of Giulio is an eager but elegant fgure that Olympus for burial, implying that the skin had another destina- ruthlessly pulls off Marsyas’ skin with an effortless two-handed tion; according to Nonnus it was hung from a tree where the movement that closely copies the action actually used in skin- blowing wind would swell it into the shape of his body. Herodo- ning an animal. Apollo’s standing accomplice, who is helping tus says the skin hung still in his day in a market place in Phry- with the skinning, has a brutal expression as he points his knife gia, and Aelian also reports that it hangs there and adds that at Marsyas’s genitals, threatening castration as an added indig- it moves when Phrygian music is played but Apollonian music nity. Behind Apollo, a nearly naked attendant stands holding leaves it motionless. Bonsignori’s paraphrase of The Metamor- Apollo’s lyre so the god can go about his job. Dangling from phoses says the skin was hung in a temple11, and the wood- the tree from which Marsyas is hanged is Marsyas’s instrument, cut that illustrates his retelling of the episode in the 1497 pub- a syrinx or panpipe. It is attached by a corner of its irregular lication is the frst visual depiction of Marsyas’s hanging hide. trapezoid and hangs vertically along the axis of its weight. Since This illustration [Fig. 2] also is the frst to show Apollo as the previous paintings and prints show a fute, dulos, or a bagpipe, executioner.12 this too may be Giulio’s variation or one he took from a Paduan One version of the story that was published after Giulo Ro- bronze; Titian also follows Giulio in this detail.18 mano died, but which Titian certainly knew, was the 1553 Italian paraphrase by his friend Lodovico Dolce. Dolce, like many pre- vious writers, says that Marsyas is deserving of his punishment, and he adds two details to the story to which, as I will show, Tit- ian responds: Marsyas was tied to a laurel tree, the tree beloved by Apollo, and that Marsyas ‘would not and could not put up any resistance’.13 Titian and Giulio Romano Giulio Romano’s fresco, painted in the 1530s, a small decoration among other scenes from the Metamorphoses in the Camera di Ovidio in the Palazzo del Te in Mantua, contains most of the ele- ments that we see in Titian’s picture.14 Central in both pictures is the climax of the story: Apollo skinning Marsyas alive.
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