Anacreon: Praise of Bacchus

WHILST our joys with wine we raise,
Youthful Bacchus we will praise.
Bacchus dancing did invent;
Bacchus is on songs intent;
Bacchus teacheth Love to court,
And his mother how to sport;
Graceful confidence he lends;
He oppressive trouble ends;
To the bowl when we repair,
Grief doth vanish into air;
Drink we then, and drown all sorrow;
All our cares not knows the morrow;
Life is dark, let’s dance and play,
They that will be troubled may;
We our joys with wine will raise,
Youthful Bacchus we will praise.

translated by Thomas Stanley, 1651.

Giulio Romano: The Birth of Bacchus, c. 1530.

After the Sack of Rome in 1527 and the death of Leo X, artistic patronage in Rome slackened. Federico Gonzaga sent Baldassare Castiglione to procure Giulio to execute paintings and architectural and engineering projects for the duchy of Mantua. His masterpiece of architecture and fresco painting in that city is the suburban Palazzo Te, with its famous illusionistic frescos. Another product of this era is this painting of the birth of Bacchus, now at the Getty Museum.

The Dionysos Cup

DIONYSOS, a pretty boy, was once captured by pirates, they wanted to enjoy his body, or sell him into slavery, or both. They tried to bind him, but no ropes would hold him, and he made vines grow out of the ship. Scared, they jumped into the water and were turned into dolphins.

There are many variants of this legend, I have restricted myself to the elements found on the famous Dionysos Cup by Exekias. It is a kylix, a flat bowl used for drinking wine (the English word “chalice” is derived from it), about 30cm in diameter. As the wine was drunk away, first the grapes and the dolphins would be uncovered, the ship with Dionysos on it only in the end.

The kylix is dated around 530 BC, a later work by Exekias. It was found in a tomb in Vulci in the mid-19th century and is now in the Staatliche Antikensammlungen in Munich.

Rubens started this painting of Venus, Cupid, Bacchus and Ceres in 1612 and finished it in 1613. It measures 200×141 cm and now hangs in Kassel in the Staatliche Kunstsammlungen.

Rubens executed this painting after his stay with the Gonzaga at Mantua, where he saw the Crouching Venus that later came into the possession of Sir Peter Lely and is now known under his name.

The whole allegory should probably be understood in context, and contrast, with the Sine Cerere et Baccho friget Venus motif: Venus and Cupid (love), Bacchus (wine) and Ceres (food) all contributing to a good life.

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