Art/ Collection/ Art Object

The Marriage of Cupid and Psyche

Andrea Schiavone (Andrea Meldola) (Italian, Zadar (Zara) ca. 1510?–1563 Venice)
ca. 1550
Oil on wood, transferred to Masonite
Overall, with corners made up, 51 1/2 x 61 7/8 in. (130.8 x 157.2 cm); painted surface 50 1/2 x 61 1/2 in. (128.3 x 156.2 cm)
Credit Line:
Purchase, Gift of Mary V. T. Eberstadt, by exchange, 1972
Accession Number:
On view at The Met Fifth Avenue in Gallery 607
The painting represents the marriage of Cupid, the son of Venus, with the mortal Psyche, in the presence of Juno, Jupiter, Mars, and other gods of Olympus as narrated by Apuleius in The Golden Ass. Originally an octagon (the four corners are additions), it was the central panel of a ceiling with scenes from the legend of Psyche painted by Schiavone in about 1550 for the Castello di Salvatore di Collalto, in the hills to the north of Venice. Schiavone’s fluid and painterly style and the exaggerated proportions of his figures were inspired by Parmigianino and were in turn important to a younger generation of painters such as Tintoretto.
The Artist: Andrea Meldola, known as Andrea Schiavone, came from a family originating in Meldola, a small town near Forlì in the region of Romagna on Italy’s Adriatic coast. By the mid-fifteenth century, they had moved across the Adriatic to Zadar (or Zara) in Dalmatia, where Andrea’s father became a constable. The term Schiavone (Slavonian) refers to Andrea’s heritage there. It is not clear where the artist trained, but by the mid-1530s he may have been working in Belluno, about one hundred miles north of Venice, and in 1540–41 he was certainly working in that city, where the painter-biographer Giorgio Vasari commissioned a painting from him that was later given to Ottaviano de’ Medici (1484–1546; the picture is now lost). Schiavone was an accomplished draftsman and etcher, as well as painter, and one of his few signed and dated works—the etching of The Rape of Helen (Bartsch XVI, 81)—of 1547, as well as closely related works, show an artist deeply indebted to the examples of Parmigianino and Mannerist artists active at mid-century in Venice, such as Francesco Salviati. The great poet and friend of Titian, Pietro Aretino, wrote an affectionate letter to the artist in 1548, and his mention in Paolo Pino’s treatise Dialogo di pittura the following year demonstrates that Schiavone was a well-known member of the artistic community. Pino links him with the younger Jacopo Tintoretto, chiding each of them for working with too much "prestezza" (quickness)—a reference to the loose, highly pictorial styles they developed. Although Schiavone had a handful of important public and ecclesiastical commissions, such as that for three of the tondos for the ceiling of the Sala d’Oro in the Biblioteca Marciana (1556), he was best known for works on a smaller scale and for domestic settings. Soon before his death in 1563, he was called alongside the greatest painters of the time—Titian, Tintoretto, and Veronese—to give his opinion about a mosaic that had just been carried out in the church of San Marco.

The Painting: One of Schiavone’s most impressive surviving paintings, the Marriage of Cupid and Psyche may have been painted for a ceiling in the Collalto family’s Castello di San Salvatore, near Susegana, where a work of this description was noted by Carlo Ridolfi in 1648. Richard Boyle, 3rd Earl of Burlington, acquired it at an unknown date although most likely during his Grand Tour in Italy in 1714–15, but no record of the purchase exists in the travel accounts of his stay in Venice or following his departure from the city, from February to the end of April 1715, when he arrived at Dover. By about 1740, it hung in the Red Velvet Room at Chiswick House, Burlington’s beautiful Palladian villa on the outskirts of London ("Inventory of paintings at Chiswick House," ca. 1740). With the earl’s daughter’s death in 1754 the painting was inherited by her son, William Cavendish, later the 5th Duke of Devonshire (died 1811), passing to that family, and hung either at Chiswick—it is still recorded in 1761 as in the new dining room there—or at Chatsworth in Derbyshire, until 1958. The panel was originally octagonal in shape, appropriately for a ceiling painting, and it is believed that the corners were added to it in the eighteenth century.

A closely related panel of a similar composition, although somewhat smaller and with fewer figures, is now in the Palazzo Strozzi, Florence (Istituto Nazionale di Studi sul Rinascimento; see Additional Images, fig. 1), where it arrived as part of the Contini-Bonacossi bequest. It too was originally octagonal in shape (a third version now in a private collection in Novi Sad seems to be a replica, although perhaps also autograph. Richardson (1980) argued that the painting in Florence was an earlier, autograph composition (ca. 1541–44) that served as the basis of the elaborated scene, which he believed to show an increased spatiality, an enriched harmony, and figures with "a more robust and natural elegance." He dated the painting in New York to about 1549, citing its affinities with the Adoration of the Magi in the Pinacoteca Ambrosiana, Milan.

The dating of both versions of the Marriage remains an open issue, with Ballarin (1996) suggesting that the painting now in New York was done as early as about1540–45. The painting in Florence could have followed it, with the artist clarifying the exchange of rings between the protagonists and making other changes (its current state of conservation must be taken into consideration when attempting to reach a conclusion about its date). However, that it is a simplified version is not open to doubt: three figures have been excluded, and the brilliant ornament of feathers, plumes, jewels, and attributes of the gods that both enliven and bring meaning to the scene have been dropped. Above all, more difficult details, such as the river god who rests on a vessel of gleaming metal, or the movement of Jupiter’s eagle who thrusts its wings under the god’s bent knees, or the figure of Hebe who rushes onto the scene holding high her offerings, have not been attempted in the Florentine painting. The care with which the painting in New York has been thought through suggests that it was done for a prestigious commission, such as that for the counts of Collalto. Despite this, it should be noted that Bellieni (2015) has argued that the painting done for the Castello di San Salvatore in Collalto is instead that now in Florence, stating that its removal from that location would have been easiest either in the late nineteenth century or, indeed, in 1917–18 when the castle was gravely damaged by bombardment. The provenance of the painting in the Palazzo Strozzi could fit in with this scenario, although we have no further evidence about when or where Alessandro Contini-Bonacossi bought it. Any identification of the works commissioned for the room devoted to the story of Psyche in the Castello di San Salvatore must remain tentative therefore, as none of the known versions mentioned above have an unbroken provenance that would make an indisputable case. It is nonetheless likely that this painting and a highly finished drawing of Cupid Presenting Psyche to the Gods (63.93), also in the Metropolitan Museum, are in fact two surviving elements.

Ridolfi’s (1648) passage on the Collalto commission is so central to a discussion of the Marriage of Cupid and Psyche that it is worth summarizing aspects of it. He relates that Schiavone was invited to San Salvatore by the Counts to paint (fresco is the term he uses, probably alluding as well to Schiavone’s work on the exterior of the castle) part of their houses. The first room Ridolfi discusses included four favole (stories), including a Danae. He then continues that Schiavone painted four smaller ceilings: the first was dedicated to the story of Psyche, the middle of which showed her marriage to Cupid, made up of very gracious figures. ("Nel primo divise in più partimenti la favola di Psiche, and in quel di mezzo si sposa ad Amore, ove sono in vero gratiose figure.")

The Subject: The subject is taken from the Latin text of the Metamorphoses, more commonly known as The Golden Ass (books IV–VI), by Lucius Apuleius (born ca. A.D. 123), where it is embedded within the larger narrative of the novel. In the Renaissance, knowledge of the story emerged principally through Giovanni Boccaccio’s Genealogie deorum gentilium (composed 1360s), in which the narrative was developed with precision and in great detail. The popularity of the text as the basis of lively and sensual imagery is seen in a number of famous cycles, several of which, such as that of Giulio Romano in the Palazzo Te in Mantua, and Raphael’s Psyche Presented to the Gods in the Villa Farnesina in Rome, Schiavone might well have known and may have inspired his own interpretation (for an overall history of the imagery in the Renaissance see Sonia Cavicchioli, Le metamorfosi di Psiche: l’iconografia della favola di Apuleio, Venice, 2002, especially p. 34 for Boccaccio; Richardson 1980). The Met’s panel depicts the final scene of the intricate myth, after Psyche has carried out all of the tasks demanded of her by Venus and receives her reward—her reunion with and marriage to Cupid—presided over by the gods. These include Juno, Jupiter astride his eagle, the helmeted Mars, Venus, Hebe, cupbearer to the gods, a river god, and possibly Vesta. At the center of the panel Jupiter passes a ring to Psyche with a gesture that echoes the shape of the ring itself, while Cupid holds a myrtle leaf wreath aloft in honor of the bride. The gently di sotto in su viewpoint, in which the river god’s massive water jar seems to open out over the viewer, provides additional confirmation that it was designed as a ceiling painting.

The Probable Patrons: Two brothers, Count Collaltino (or Collatino) (1523–1569) and Vinciguerra Collalto (born 1527), were the dominant figures in the family at San Salvatore throughout the years that Schiavone might have painted there, although their father Manfredo lived until 1552 and was also a man of learning, tied to the court of Leo X and great friend of both the humanist and poet Pietro Bembo and the author Pietro Aretino (who later became Vinciguerra’s godfather). Collaltino, the elder son, may well have been the patron of this cycle of paintings that so closely reflects his interests. He was first and foremost a soldier, attached to Alfonso d’Avalos in Milan, and then traveling widely in the service of the kings of England and above all France, participating in the complicated military skirmishes of the mid-century. But he was also a poet and man of letters, and published collections of his poems in Venice in 1545 and 1549. His fame today rests principally on the complicated love affair that he had with the poet Gaspara Stampa, whom he met in Venice in 1548 and whose widely-admired poems (Rime di Madonna Gaspara Stampa, 1554) began with a letter bemoaning her abandonment by him (see Nicola Longo, "Collalto, Collaltino," in Dizionario biografico degli italiani, vol. 26, 1982; and Giampaolo Zagonel, "I fratelli Collaltino e Vinciguerra tra i letterati veneziani intorno alla metà del Cinquecento," in I Collalto: conti di Treviso, patrizi veneti, principi dell’impero, Vittorio Veneto, 1998, pp. 122–23).

By 1543 Collaltino had come into contact with the author Giuseppe Betussi (ca. 1520–1573), a pupil of Aretino, and in 1545 Betussi dedicated I casi degli Uomini illustri di M. Giovanni Boccaccio to his benefactor, saying that the work had been carried out at San Salvatore. Over the next years Betussi used the tranquility of the Castello to undertake numerous studies and translations of Boccaccio’s Latin works, the most significant of which was La geneologia degli dei (1547), also dedicated to Count Collaltino di Collalto; some of the woodcuts at the openings of the chapters may illustrate the castle (Zagonel 1998, pp. 116–19, 125). While there were eight editions of Boccaccio’s Latin text published between 1474 and 1532, Betussi’s was the first translation into Italian (Cavicchioli 2002, p. 141, no. 19). The following year Collaltino appeared as one of the participants in another important dialogue, Marco della Fratta e Montalban’s Il nobile: ragionamenti di nobiltà, set in the count’s Venetian home. The date coincided with the meeting with Gaspara, who accompanied him in 1549 to the Castello, making several additional visits there before their final rupture in 1551 (Collaltino was to marry Giulia Torelli, marchesa di Cassei, in 1557). The only contemporary witness who wrote of Collaltino and Gaspara’s love in a poem set it in the Castello of San Salvatore: "Alto colle famoso al ciel gradito, Quanto ogni altro più be che Italia gira…" (Girolamo Molino as quoted in Zagonel 1998, p. 123).

Although documentary evidence is lacking, Collaltino could have become aware of Schiavone’s art in Venice either in the early or the late 1540s, and the commission for the decoration of the Psyche ceiling, along with that of Danae, the Sleeping Venus, and other mythological figures, could have been conceived in the ambiance described above. For Collaltino these must have been years of intense engagement with the erotic myths described by Boccaccio and studied and translated by Betussi; if the painting was done later in the decade the commission would also have coincided with his highly-charged affair with Stampa, at the moment of his own most vigorous engagement with poetry, and carried out in the beauty of his native hills. If this panel was part of that commission, Schiavone rose to the challenge, creating one of his most distinctive works, with its "unconventional" palette (a term used by Richardson) and striking attention to detail and texture. The elegant choreography of the central figures, so like that found in the artist’s etchings and inspired in turn by Parmigianino, and their luminous flesh tones, cause them to spring forward from the encircling gods and goddesses. This was a panel on which Schiavone lavished his attention and demonstrated his skill at organizing a complex and monumental scene.

[Andrea Bayer 2016; adapted from Bayer 2015]
?conti di Collalto, Castello di San Salvatore, Susegana (from about 1550); Richard Boyle, 3rd Earl of Burlington, Chiswick House, near London (by ca. 1740–d. 1753); his daughter, Charlotte Elizabeth Boyle, Marchioness of Hartington, Chiswick House (1753–d. 1754); her son, William Cavendish, later 5th Duke of Devonshire, Chiswick House (1754–d. 1811); the Dukes of Devonshire, Chiswick House and Chatsworth, Derbyshire (1811–1950; inv., 1863); Andrew Cavendish, 11th Duke of Devonshire, Chatsworth (1950–58; his sale, Christie's, London, June 27, 1958, no. 19, for £4,725 to Sperling [Kleinberger]); [Kleinberger, New York, 1958–66; sold to Fleischman]; [Lawrence A. Fleischman, New York, 1966–73; sold to Mont]; [Frederick Mont, New York, 1973; sold to MMA]
Waltham, Mass. Rose Art Museum, Brandeis University. "Major Masters of the Renaissance," May 3–June 9, 1963, no. 18 (lent by F. Kleinberger & Co., New York).

Poughkeepsie. Vassar College Art Gallery. "Sixteenth Century Paintings From American Collections," October 16–November 15, 1964, no. 16 (lent by F. Kleinberger and Co., New York).

New York. The Metropolitan Museum of Art. "Venetian Paintings in the Metropolitan Museum," May 1–September 2, 1974, no catalogue.

Venice. Museo Correr. "'Splendori' del Rinascimento a Venezia: Schiavone tra Parmigianino, Tintoretto e Tiziano," November 28, 2015–April 10, 2016, no. VII.4.

Carlo Ridolfi. Le maraviglie dell'arte. Venice, 1648, part 1, p. 237 [1914 ed., part 1, p. 256], mentions that Schiavone painted a ceiling decorated with scenes from the story of Psyche for the conti Collalti at San Salvatore, and that the center compartment depicted the marriage of Cupid and Psyche, possibly this work.

Inventory of paintings at Chiswick House. ca. 1740 [The Devonshire Collection, Chatsworth, Bakewell, Derbyshire], lists it as "Cupid and Psyche, Andrea Sciavone [sic]" in the Red Velvet Room.

London and its Environs Described. London, 1761, vol. 2, p. 123, lists it as "The Marriage of Cupid, &c.," by Andrea Schiavone, in the new dining room at Chiswick.

[Thomas Martyn]. The English Connoisseur: Containing an Account of Whatever is Curious in Painting, Sculpture, &c. in the Palaces and Seats of the Nobility and Principal Gentry of England, Both in Town and Country. London, 1766, vol. 1, p. 40, lists it as at Chiswick.

Bernhard Berenson. The Venetian Painters of the Renaissance. 3rd ed. New York, 1897, p. 125, lists it as "Marriage of Cupid and Psyche," by Schiavone, in the collection of the Duke of Devonshire, Chatsworth.

Adolfo Venturi. Storia dell'arte italiana. Vol. 9, part 4, La pittura del Cinquecento. Milan, 1929, p. 741 n.

L[ili]. Fröhlich-Bum in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 24, Leipzig, 1930, p. 359, as Venus and Cupid.

Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 518.

Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 446.

Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 159; vol. 2, pl. 1162.

"Forthcoming Sales." Burlington Magazine 100 (June 1958), p. 224.

Creighton Gilbert. Major Masters of the Renaissance. Exh. cat., Rose Art Museum, Brandeis University. Waltham, Mass., 1963, pp. 25–26, no. 18, pl. 18, notes the influence of Parmigianino in the elongated, boneless figures.

Francis L. Richardson. "Andrea Schiavone." PhD diss., Institute of Fine Arts, New York University, 1971, pp. 259, 389, 435–38, 683–84, no. 265, fig. 79, calls it a later, more elaborate version of a painting in the Istituto Nazionale di Studi sul Rinascimento, Palazzo Strozzi, Florence; dates it about 1549–50; believes that either the Florence or MMA picture could be the one mentioned by Ridolfi in 1648.

Pierluigi De Vecchi. "Andrea Schiavone." Kalòs no. 7 (October 1971), p. 77, dates it, along with the Florence picture and other works, close to Schiavone's paintings for the Libreria, Venice, completed by 1556.

Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 51–52, pls. 56, 57 (overall and detail), tentatively date it to the late 1540s or early 1550s, before Schiavone's paintings in the Libreria, Venice; call it almost certainly the painting mentioned by Ridolfi in the Castello di San Salvatore, Collalto; suggest that Schiavone may have been influenced by a ceiling decoration (Palazzo del Te, Mantua) of the same subject painted by Giuliano Romano and pupils in about 1528.

Francis L. Richardson. Cable to Everett Fahy. March 7, 1973, calls it an "autograph Schiavone of highest quality".

Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 93, ill., states definitely that it comes from Collalto and dates it about 1550.

Terisio Pignatti in collaboration with Kenneth Donahue in The Golden Century of Venetian Painting. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1979, p. 90.

Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 276, 280, fig. 504.

Francis L. Richardson. Andrea Schiavone. Oxford, 1980, pp. 39, 42, 159–60, 168–69, no. 280, fig. 110, dates it about 1549.

Rodolfo Pallucchini in Da Tiziano a El Greco: per la storia del manierismo a Venezia. Exh. cat., Palazzo Ducale, Venice. Milan, 1981, p. 25, dates it to the mid-1550s.

Paola Rossi. "Andrea Schiavone e l'introduzione del Parmigianino a Venezia." Cultura e società nel rinascimento: tra riforme a manierismi. Ed. Vittore Branca and Carlo Ossola. Florence, 1984, pp. 196–97, fig. 38, dates it slightly after the Florence picture, which she assigns to the early 1540s, and relates it to Salviati's ceiling frescoes of 1540 in the Palazzo Grimani.

Judith Cohen in Egbert Haverkamp-Begemann with Carolyn Logan. Creative Copies: Interpretative Drawings from Michelangelo to Picasso. Exh. cat., The Drawing Center. New York, 1988, p. 52 n. 3, under no. 9, mentions it in connection with a drawing (MMA 63.93) that she suggests is a study for the ceiling decoration at the castello di San Salvatore mentioned by Ridolfi.

Terisio Pignatti. L'arte veneziana. Venice, 1989, p. 166, ill.

Annalisa Perissa Torrini in Le siècle de Titien: L'âge d'or de la peinture à Venise. Exh. cat., Grand Palais. Paris, 1993, p. 591, under no. 182, dates it about 1550.

Francis L. Richardson in The Dictionary of Art. Ed. Jane Turner. Vol. 28, New York, 1996, p. 82.

Alessandro Ballarin. Jacopo Bassano. Vol. 2, Jacopo Bassano: Tavole. Cittadella (Padua), 1996, part 1, vol. 1, fig. 401; part 1, vol. 2, p. 26, dates it about 1540–45.

Giovanna Nepi Sciré, Cinzia Cremonini, and Daniele Ferrara in Parmigianino e il manierismo europeo. Ed. Lucia Fornari Schianchi and Sylvia Ferino-Pagden. Exh. cat., Galleria Nazionale, Parma. Cinisello Balsamo, Milan, 2003, pp. 121–22, agree with Rossi (1984) in relating it to Salviati's fresco "Apollo Teaching Dance to the Muses" in the palazzo Grimani.

Michel Hochmann. Venise et Rome, 1500–1600: Deux écoles de peinture et leurs échanges. Geneva, 2004, p. 266 n. 80, mentions it as a probably later version of the Florence picture.

Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." Metropolitan Museum of Art Bulletin 63 (Summer 2005), pp. 36–37, fig. 33 (color).

Vittoria Romani. Tiziano e il tardo Rinascimento a Venezia: Jacopo Bassano, Jacopo Tintoretto, Paolo Veronese. Milan, 2007, p. 82, fig. 59 (color), mentions it as possibly having been part of a ceiling decoration and dates it about 1540–45.

Benjamin Couilleaux in Titien, Tintoret, Véronèse . . . Rivalités à Venise. Ed. Vincent Delieuvin et al. Exh. cat., Musée du Louvre. Paris, 2009, p. 338, dates it about 1549.

L. Bortolotti in Dizionario biografico degli italiani. Vol. 73, Rome, 2009, p. 268, refers to it as a later, more elaborate version of the Florence picture, and as a brilliant and inventive re-elaboration of the raphaelesque fresco of "Psyche Presented to the Gods" in the Farnesina in Rome.

Enrico Maria Dal Pozzolo in "Splendori" del rinascimento a Venezia: Schiavone tra Parmigianino, Tintoretto e Tiziano. Ed. Enrico Maria Dal Pozzolo and Lionello Puppi. Exh. cat., Museo Correr, Venice. Milan, 2015, pp. 82, 100, 221, 346, 360.

Andrea Bellieni in "Splendori" del rinascimento a Venezia: Schiavone tra Parmigianino, Tintoretto e Tiziano. Ed. Enrico Maria Dal Pozzolo and Lionello Puppi. Exh. cat., Museo Correr, Venice. Milan, 2015, pp. 130–31, 139 n. 29.

Ljerka Dulibic in "Splendori" del rinascimento a Venezia: Schiavone tra Parmigianino, Tintoretto e Tiziano. Ed. Enrico Maria Dal Pozzolo and Lionello Puppi. Exh. cat., Museo Correr, Venice. Milan, 2015, p. 155.

Andrea Bayer in "Splendori" del rinascimento a Venezia: Schiavone tra Parmigianino, Tintoretto e Tiziano. Ed. Enrico Maria Dal Pozzolo and Lionello Puppi. Exh. cat., Museo Correr, Venice. Milan, 2015, pp. 348–49, no. VII.4, ill. p. 224 and on cover (color, overall and detail).

Francesca Cocchiara in "Splendori" del rinascimento a Venezia: Schiavone tra Parmigianino, Tintoretto e Tiziano. Ed. Enrico Maria Dal Pozzolo and Lionello Puppi. Exh. cat., Museo Correr, Venice. Milan, 2015, pp. 316, 347.

Michel Hochmann. Colorito: La technique des peintres vénitiens à la Renaissance. Turnhout, 2015, p. 288, fig. 144 (color).

Bernard Aikema. "Schiavone." Burlington Magazine 158 (April 2016), p. 318, fig. 98 (color).

Paola Artoni in Andrea Schiavone: ventuno dipinti in infrarosso. Treviso, 2016, p. 18, fig. 1 (infrared reflectogram detail).

Chiara Tranquillità in Andrea Schiavone: ventuno dipinti in infrarosso. Treviso, 2016, pp. 36–39, no. 3, colorpl. 7, pls. 8–9 (infrared reflectogram, overall and detail), states that examination with infrared reflectography revealed a fluid brush underdrawing, without variation between the drawing and the visible painting.

A late-sixteenth-century Venetian frame with a strong carved outer border of fruit.
The subject is taken from "The Golden Ass" (books iv–vi), by Apuleius. The gods depicted surrounding the bridal pair can be identified as (left to right): Juno, Jupiter, Mars, Venus, Hebe, an unidentified river god, and possibly Vesta.

Originally octagonal in shape, the corners were added in the eighteenth century. The work was probably originally part of a ceiling decoration painted by Schiavone in about 1550 for the conti di Collalto, Castello di San Salvatore, Susegana. One of the ceilings depicted the story of Psyche, with the center compartment showing the marriage of Cupid and Psyche (see Ridolfi 1648).

There is an earlier variant of the MMA painting in the Istituto Nazionale di Studi sul Rinascimento, Palazzo Strozzi, Florence (Richardson 1980, no. 256; 130 x 130 cm).

A large drawing (MMA 63.93, Psyche Presented to the Gods) by Schiavone depicts a related subject but with a different composition.
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