Mythological Scene
| Support Type: | Canvas |
| Paint Type: | Oil Paint |
| Current Location: | J.Paul Getty Museum |
| Location History: | Probably in the collection of Spencer Joshua Alwyne Compton, 2nd Marquess of Northampton (Castle Ashby, Northamptonshire, England) until 1851; inherited successively by Charles Douglas Compton, 3rd Marquess of Northampton (1851–1878), William Compton, 4th Marquess of Northampton (by 1894–1897), William George Spencer Scott Compton, 5th Marquess of Northampton (1897–1913), William Bingham Compton, 6th Marquess of Northampton (1913–1978), and Spencer Douglas David Compton, 7th Marquess of Northampton (1978–1983); sold to the J. Paul Getty Museum in 1983. |
Created on canvas in 1524, this painting titled ‘Mythological Scene’ by Renaissance artist - Dossa Dossi is now a part of the J. Paul Getty Museum collection. Dossi has depicted a sleeping woman lying across the lower half of the composition, stretched over a mound of scattered blossoms and her body turned toward the viewer in a pose that has the influence of Giorgione (Sleeping Venus) and the Venetian tradition of the reclining nude. Around her cluster four figures whose identities have puzzled scholars for centuries. An older woman leans over the sleeper protectively, while a younger woman in a green gown wrapped in a red cloak stands apart, her costume suggesting armor and divinity rather than pastoral simplicity. To the right crouches a horned, bearded figure with an animal’s lower body, most likely Pan, gripping his pipes and gazing down at the group with an expression somewhere between curiosity and menace. Above them, in a strip of sky, small winged putti tumble through clouds with bows drawn, a detail borrowed from classical love imagery. Behind the whole scene stretches a Ferrarese-style landscape, complete with a distant walled town and rolling hills rendered with unusual botanical precision, particularly in the citrus tree whose leaves and fruit occupy much of the upper canvas. Cleaning and technical study have shown that Dosso himself once painted over the woman in green, covering her with foliage, only for the alteration to be reversed during a nineteenth century restoration. Scholars on Dosso’s mythological inventions have argued that the artist rarely illustrated a single classical text faithfully, preferring instead to blend sources loosely and let ambiguity do the work of atmosphere. That reading fits this picture well, since proposed identities for the sleeping woman range from the nymph Echo to Antiope, without any interpretation ever settling the question fully.
