In this case, though, many believe that Alfonso actually went one step further and actually contributed to the painting himself. A more thorough reworking by Titian in about 1529 added more landscape, overpainting the earlier changes. The subjects had been chosen by 1511, by the Renaissance humanist Mario Equicola, then working for the Duke's sister Isabella d'Este, and instructions apparently including some sketches were sent to the artists. [7] The three surviving Titians painted for the room are Bacchus and Ariadne (National Gallery, London), The Bacchanal of the Andrians and The Worship of Venus (both Prado, Madrid).

Probably commissioned by Alfonso I d'Este, Duke of Ferrara [d. 1534);[1] by inheritance to his son, Ercole II d'Este, Duke of Ferrara [d. 1559]; by inheritance to his son, Alfonso II d'Este, Duke of Ferrara [d. 1597]; by inheritance to his cousin, Cesare d'Este, Duke of Ferrara; confiscated 1598 from the Castello at Ferrara by Cardinal Pietro Aldobrandini [d. 1621], Rome, when he was acting as Papal Legate and recorded in his inventory of 1603; by inheritance to his nephew, Cardinal Ippolito Aldobrandini [d. 1638], Rome, and recorded in his inventory of 1626; by inheritance to his niece, Olimpia Aldobrandini Borghese Pamphilj [d. 1681], Rome, and recorded in her pre-1665 inventory and 1682 posthumous inventory; by inheritance to her son, Giovan Battista Pamphilj Aldobrandini [d. 1710], Rome;[2] Aldobrandini heirs, until the line became extinct in 1760;[3] by inheritance 1769 to Paolo Borghese Aldobrandini [d. 1792], Rome; by inheritance to his nephew, Giovan Battista Borghese Aldobrandini [d. 1802], Rome; purchased 1796/1797 by Pietro Camuccini [1761-1833] for the collection of his brother, Vincenzo Camuccini [1771-1844], Rome;[4] presumably by inheritance to Vincenzo's son, Giovanni Battista Camuccini [1819-1904], Rome; sold 1853 with the entire Camuccini collection through Antonio Giacinto Saverio, Count Cabral, Rome,[5] to Algernon Percy, 4th duke of Northumberland [1792-1865], Alnwick Castle, Northumberland; by inheritance to his cousin, George Percy, 5th duke of Northumberland [1778-1867], Alnwick Castle; by inheritance to his son, Algernon George Percy, 6th duke of Northumberland [1810-1899], Alnwick Castle; by inheritance to his son, Henry George Percy, 7th duke of Northumberland 1846-1918], Alnwick Castle; sold 16 June 1916 to (Thomas Agnew & Sons, London) on joint account with (Arthur J. Sulley and Co., London);[6] inheritance from Estate of Peter A.B. Dosso Dossi made an initial alteration to the landscape at left and added the pheasant and bright green foliage to the tree at upper right. Type in your search keywords, then submit or select one of the suggestions. He was perhaps then reluctant to compete with his brother-in-law Andrea Mantegna, who specialized in classical subjects. The decision to cease work in 1514 was due to Bellini's own passing rather than switching to another project and it took around 15 years before Titian and Dosso Dossi took over the piece and finished off elements of the background. The group was separated in 1623, and the Feast left the Aldobrandini family in 1796–97, passing to the Camuccini family. Venetian, 1488/1490 - 1576. Agnew & Sons, Picture Stock Book, 1904-1933, Section 2 [which records paintings purchased jointly by Agnew and a partner]; NGA27/1/1/10, Research Centre, National Gallery, London; copy in NGA curatorial files; digitized and available at https://www.nationalgallery.org.uk/paintings/research/research-centre/agnews-stock-books, accessed 17 May 2017). The ass stands next to Silenus, a woodland deity who used the beast to carry wood, thus wears a keg on his belt because he was a follower of Bacchus, god of wine.

[10] A pheasant in a tree on the right, above Priapus, may have been painted by Alfonso himself, an amateur painter.


The Feast of the Gods was Giovanni Bellini's last great painting and one of only a few that he executed on canvas. It is one of the few mythological pictures by Bellini, who completed it in 1514. The original tonalities and intensity of the colors have recently been restored, and the painting has regained its sense of depth and spaciousness. A more thorough reworking by Titian in about 1529 added more landscape, overpainting the earlier changes.

Bacchus himself, seen as an infant, kneels before them while decanting wine into a crystal pitcher. They were all intended for a single room within one of his properties and several different artists were brought in to complete different elements of this large project. The Feast of the Gods (Italian: Il festino degli dei) is an oil painting by the Italian Renaissance master Giovanni Bellini, with substantial additions in stages to the left and center landscape by Dosso Dossi and Titian.It is one of the few mythological pictures by the Venetian artist.
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[12] The subject had been depicted in the first illustrated edition of Ovid in Italian, published in Venice in 1497. His brother Cardinal Benedetto [d. 1730] also inherited some paintings. It was common for donors to appear within their own paintings during the Renaissance, often as supporting figures, away from the main focus of the piece. [22], Titian's landscape to the left of the painting, The pheasant may have been painted by Duke Alfonso, The label on the tub bears Bellini's name and the date 1514, All have entries in Jaffé, with 3 of the Dossi's, 101–111, Spangenberg, 56; the print is an engraving by. The figures and elements of the bacchanal were untouched by the later artists and remain Bellini’s own. Enjoy. A moment later, he will be foiled by the braying of Silenus' ass and the assembled deities will laugh at Priapus' misadventure. The Feast of the Gods was Giovanni Bellini's last great painting and one of only a few that he executed on canvas.

The painting left Italy for England in 1853 and was bought by the 4th Duke of Northumberland, then sold in 1916 by the 7th Duke to the London dealer Thomas Agnew and Sons. The Feast of Divine Mercy Jesus told St. Faustina several times that He desired a Feast of Divine Mercy to be instituted, and that it should take place on the Sunday following Easter Sunday. According to the tale, the lustful Priapus, god of fertility, stealthily lifts the gown of the sleeping nymph Lotis, as seen in the painting. Based on a narrative by Ovid, it is the earliest of a cycle of paintings, all major works, on mythological subjects produced for Alfonso, I d'Este, the Duke of Ferrara, for his camerino d'alabastro ('chamber of alabaster') in the Castello Estense, Ferrara. [11], The painting shows the incident of the attempted rape of Lotis. Bellini died in 1516, soon after completing the painting, and some years later Dosso Dossi and perhaps Titian modified the landscape on the left to match it to his The Bacchanal of the Andrians (1518–1523), also in Alfonso's Camerino, adding the rocky hill behind the figures and the brighter foliage on a tree at the right. Free, timed passes are required for West Building entry. The subjects had been chosen by 1511, by the Renaissance humanist Mario Equicola, then working for the Duke's sister Isabella d'Este, and instructions apparently including some sketches were sent to the artists. Bellini's The Feast of the Gods stands at 170cm by 188cm which is a fairly standard size for his more signficant commissions. During a festival in honor of Liber that she attended, Priapus tried to rape her while she was asleep, but she was awakened by a sudden cry of Silenus's ass and ran off, leaving Priapus in embarrassment as everyone else woke up too and became aware of his intentions. His two other works for this series that still exist today were Bacchus and Ariadne and The Worship of Venus. Some of Titian's paintings still remain today, with one lost. According to a history of the Widener collection written by Edith Standen, the Widener curator, Joseph Widener "would not have the Bellini listed as having passed through the Carl Hamilton Collection...because, he said, Mr. Hamilton never completed the payments on it." But all the work on the figures remains Bellini's.

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