painting

Pope Alexander VI Presenting Bishop Jacopo Pesaro to Saint Peter

Jacopo had recaptured the island of Santa Maura in 1502 from the Turks, thereby earning his place in heaven. Pesaro, a bishop and the commander of the papal fleet, kneels before St Peter following his victory. Pope Alexander VI stands behind him, blessing the hero. The composition of the canvas was designed by Giovanni Bellini, the most important artist in Venice at the time. Titian was responsible for its further execution. Noteworthy features include the typically Venetian colours and the brilliant technique. This is a very early Titian, yet it remains typical of the style and working method of the emerging genius.

About this work

Object details

TitlePope Alexander VI Presenting Bishop Jacopo Pesaro to Saint Peter
Date1503-1506
Mediumoil on canvas
Measurements145 × 185 cm
Inventory number357
Inscriptionslower middle: RITRATTO DI VNO DI CA PESARO/ IN VENETIA CHE FV FATTO/ GENERALE DI STA CHIESA

More about this work

Celestial victory In 1502 Jacopo Pesaro recaptured what is now the island of Lefkas from the Turks. It was the highpoint of his career, a victory recalled in this painting by the great artist Titian. Pesaro, the bishop shown kneeling in the foreground, probably ordered it for his palazzo in Venice. Pope Alexander VI presents Pesaro to St Peter, who immediately blesses him. The commissioner of a painting being introduced by their patron saint to holy figures – usually Mary and Jesus – is a very common composition in Venetian art. The pope’s coat of arms is displayed on the eyecatching flag, while the helmet in the foreground and the galleys on the water in the background symbolise Pesaro’s role as commander of the papal fleet. The relief on the base of Peter’s throne probably represents the ancient goddess of love Venus, and her companions. Paphos – today a city in Cyprus, and Pesaro’s bishopric in 1510 – was devoted to her in Graeco-Roman antiquity. Cupid appears in the middle, and immediately above him the keys to the Gates of Heaven, Peter’s customary attribute. The implication is that Christianity has triumphed over ancient paganism (and hence also over the Turkish threat in 1502). This early Titian – in which Peter’s robe, unlike the pope’s magnificent green cope, is in poor condition – is the only painting by him in a Belgian public collection. We know from research that the canvas is Titian’s earliest conservated work. The Venetian master painted it brilliantly, with a spontaneous and economical touch. Rubens, who was a great admirer of Titian, studied the work in depth a century later.