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The Allegory of Prudence (c. 1550–1565) is an oil-on-canvas painting attributed to the Italian artist Titian and his assistants. The painting portrays three human heads, each facing in a different direction, above three animal heads (from left to right, a wolf, a lion and a dog). It is in the National Gallery, London. [1]
Prudence (Latin: prudentia, contracted from providentia meaning "seeing ahead, sagacity") is the ability to govern and discipline oneself by the use of reason. [1] It is classically considered to be a virtue , and in particular one of the four cardinal virtues (which are, with the three theological virtues , part of the seven virtues ).
Prudence was assigned to the rulers, to guide their reason. Justice stood above these three to properly regulate the relations among them. Plato sometimes [c] lists holiness (hosiotes, eusebeia, aidos) amongst the cardinal virtues. He especially associates holiness with justice, but leaves their precise relationship unexplained.
Allegorical sculpture are sculptures of personifications of abstract ideas, as in allegory. [1] Common in the western world, for example, are statues of Lady Justice representing justice, traditionally holding scales and a sword, and the statues of Prudence, representing Truth by holding a mirror and squeezing a serpent. [2]
Prominently seated in the center is Prudence. On her breast is an effigy of a winged Gorgon to ward off deceit and fraud. Janus-like, her head has two faces shown in profile. Her youthful feminine face looks forward into a mirror. This is an allegory of wisdom and knowledge of the present.
Sometimes the meaning of an allegory can be lost, even if art historians suspect that the artwork is an allegory of some kind. [21] Allegory has an ability to freeze the temporality of a story, while infusing it with a spiritual context. Medieval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The ...
The Prudence The Falsehood The Four Allegories is a series of four small panel paintings in the Gallerie dell'Accademia , Venice , Italy by the Italian Renaissance master Giovanni Bellini , whose date has been variously argued as different points in the range 1490–1504.
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