The same creature will merge in the legend of St.
Titian continues the tradition of the l’ Ovide Moralisé, which was a 15th Century French adaptation of Ovid’s verse, in as much it concerns the iconography of the snake with dragon features, representing the lindworm of the Northern European mythology, a bipedal dragon sometimes pictured without wings. In the foreground, a serpentine figure is biting to death Eurydice, who is dressed in a bright white drapery. The author depicts two different chronological moments of the myth. Moreover, Giorgione and Titian worked together influencing each other at the Fondaco dei Tedeschi frescoes between 15 but there are very few remaining parts of these works due to deterioration deteriorated by atmospheric agents. The confusion among the critics is due to the fact that Titian’s earliest style was very similar to Giorgione’s since they both belonged to Giovanni Bellini’s workshop in Venice where they inherited the intuition for the revolution of the color and the representation of the landscape. It already happened with Concerto Campestre (1510) and with several unfinished works by Giorgione completed by Titian after his death such as the Venere dormiente (1508).
It is not the first case of incorrect attribution between the two Venetian painters. The painting was initially attributed to the Venetian painter Giorgio Barbarelli, also known as Giorgione, but in 1927 the Italian critic Roberto Longhi affirmed it as being by Titian himself. Orpheus and Eurydice, Titian Vecellio, Image courtesy of Wikimedia Commons/Public Domain An uncertain attribution In this work, Titian reinterprets the myth of Orpheus and Eurydice by the Metamorphoses (8 AD) of the Roman poet Ovid. Probably painted in about 1512, it was purchased by the collector Guglielmo Lochis and now it is located at the Carrara Academy in Bergamo. The painting of Orpheus and Eurydice belongs to the early activity of Titian Vecellio.
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