A love destined to never be, can be no more than an epic tragedy. The forbidden love between Apollo and Daphne was turned to life by Gian Lorenzo Bernini. Apollo and Daphne was commissioned by Cardinal Borghese in 1622, to replace the Rape of Persephone he had given to his cardinal-nephew Ludovico Ludovisi. Apollo and Daphne is a life-size sculpture made out of marble. This sculpture happened to be the beginning of the collection Ludovisi would later on begin, as well as one of the greatest works of art done by Bernini. Cardinal Scipione’s Borghese is the son of Ortensia Boghese, who was sister Pope Paul V and Francesco Caffarelli. Cardinal Borghese addressed to all expressions of ancient art, renaissance and contemporary, this evoked a golden…show more content… The couplet translates to “those who love to follow fleeting forms of entertainment, in the end are left with bitters leaves in hand.” The association of lust with motion is deeply rooted into Christian theological tradition. Catholic tradition not only emphasizes the sin in concupiscent motion and but also the virtue in divine rest. Bernini was the dominant figure of the Italian baroque. He received his training from his father, Pietru (1562-1629), an accomplished Florentine sculptor. Bernini emphasizes the moralizing of the myth, while implying a Christianized chronology of events both before and after the moment he sculpts. He juxtaposes the concepts of motion and stability. Apollo and Daphne conveys the unstable nature of lust compared with the solidity of love. Steeped in a Christian tradition that associates motion with lust. Bernini has a tradition of moralizing interpretations of Ovid. Ovid wrote the metamorphoses. In many of his stories mythical characters are used to illustrated examples of obedience or disobedience towards, the Gods and for their actions are either rewarded or punished by a final transformation into an animal, vegetable, or astronomical
