Titian in the context of "Renaissance art"

History paintings is a genre of Western art that focuses on the depiction of historical, mythological, biblical, or literary subjects, often with a moral or didactic purpose. Considered the most prestigious genre in the academic art hierarchy during the 17th to 19th centuries, history painting aimed to capture significant moments or narratives, emphasizing grandeur, heroism, and moral lessons.

History painting is a genre in painting defined by its subject matter rather than any artistic style or specific period. History paintings depict a moment in a narrative story, most often (but not exclusively) Greek and Roman mythology and Bible stories, opposed to a specific and static subject, as in portrait, still life, and landscape painting. The term is derived from the wider senses of the word historia in Latin and histoire in French, meaning "story" or "narrative", and essentially means "story painting". Most history paintings are not of scenes from history, especially paintings from before about 1850.

Sextus Tarquinius was one of the sons of the last king of Rome, Lucius Tarquinius Superbus. In the original account of the Tarquin dynasty presented by Fabius Pictor, he is the second son, between Titus and Arruns. However, according to Livy and Dionysius of Halicarnassus, he was either the third or first son, respectively. According to Roman tradition, his rape of Lucretia was the precipitating event in the overthrow of the monarchy and the establishment of the Roman Republic.

The Galleria Borghese or Borghese Gallery is an art gallery in Rome, Italy, housed in the former Villa Borghese Pinciana. At the outset, the gallery building was integrated with its gardens, but nowadays the Villa Borghese gardens are considered a separate tourist attraction. The Galleria Borghese houses a substantial part of the Borghese Collection of paintings, sculpture and antiquities, begun by Cardinal Scipione Borghese, the nephew of Pope Paul V (reign 1605–1621). The building was constructed by the architect Flaminio Ponzio, developing sketches by Scipione Borghese himself, who used it as a villa suburbana, a country villa at the edge of Rome.

The museum displays one of the most prestigious art collections in the world, with masterpieces by artists such as Caravaggio, Bernini, Canova, Raphael and Titian. Scipione Borghese was an early patron of Bernini and an avid collector of works by Caravaggio, who is well represented in the collection by his Boy with a Basket of Fruit, St Jerome Writing, Sick Bacchus and others. Additional paintings of note include Titian's Sacred and Profane Love, Raphael's Entombment of Christ and works by Peter Paul Rubens and Federico Barocci. Considered among the greatest masterpieces of Italian art, some of these works show the evolution of art between the Renaissance, the Baroque and the Neoclassicism, artistic movements born in the Italian peninsula and subsequently spread throughout Europe.

Lapis lazuli (UK: /ˌlæpɪs ˈlæz(j)ʊli, ˈlæʒʊ-, -ˌli/; US: /ˈlæz(j)əli, ˈlæʒə-, -ˌliˌ læˈzuːli/) is a deep-blue metamorphic rock used as a semi-precious stone that has been prized since antiquity for its intense color. Its name originates from the Persian word for the gem, lāžward, and serves as the root for the word for "blue" in several languages, including Spanish and Portuguese azul and English azure. Lapis lazuli is a rock composed primarily of the minerals lazurite, pyrite, diopside, and calcite. As early as the 7th millennium BC, lapis lazuli was mined in the Sar-i Sang mines, in Shortugai, and in other mines in Badakhshan province in modern northeast Afghanistan. Lapis lazuli artifacts, dated to 7570 BC, have been found at Bhirrana, which is the oldest site of Indus Valley Civilisation. Lapis was highly valued by the Indus Valley Civilisation (3300–1900 BC). Lapis beads have been found at Neolithic burials in Mehrgarh, the Caucasus, and as far away as Mauritania. It was used in the funeral mask of Tutankhamun (1341–1323 BC).

By the end of the Middle Ages, Europe began importing lapis lazuli to grind it into powder and make ultramarine pigment. Ultramarine was used by some of the most important artists of the Renaissance and Baroque, including Masaccio, Perugino, Titian and Vermeer; it was often reserved for the clothing of the central figures of their paintings, especially the Virgin Mary. Ultramarine has also been found in dental tartar of medieval nuns and scribes, perhaps as a result of licking their painting brushes while producing medieval texts and manuscripts.

The Museo del Prado (/ˈprɑːdoʊ/ PRAH-doh; Spanish pronunciation: [muˈseo ðel ˈpɾaðo]), officially known as Museo Nacional del Prado, is the main Spanish national art museum, located in central Madrid. It houses collections of European art, dating from the 12th century to the early 20th century, based on the former Spanish royal collection, and the single best collection of Spanish art. Founded as a museum of paintings and sculpture in 1819, it also contains important collections of other types of works. The numerous works by Francisco Goya, the single most extensively represented artist, as well as by Hieronymus Bosch, El Greco, Peter Paul Rubens, Titian, and Diego Velázquez, are some of the highlights of the collection. Velázquez and his keen eye and sensibility were also responsible for bringing much of the museum's fine collection of Italian masters to Spain, now one of the largest outside of Italy.

The collection currently comprises around 8,200 drawings, 7,600 paintings, 4,800 prints, and 1,000 sculptures, in addition to many other works of art and historic documents. As of 2012, the museum displayed about 1,300 works in the main buildings, while around 3,100 works were on temporary loan to various museums and official institutions. The remainder were in storage.

Sacred and Profane Love (Italian: Amor Sacro e Amor Profano) is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, Laura Bagarotto. It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus.

The title of the painting is first recorded in 1693, when it was listed in an inventory as Amor Divino e Amor Profano (Divine love and Profane love), and may not represent the original concept at all.

The Franco-Ottoman alliance, also known as the Franco-Turkish alliance, was an alliance established in 1536 between Francis I, King of France and Suleiman I of the Ottoman Empire. The strategic and sometimes tactical alliance was one of the longest-lasting and most important foreign alliances of France, and was particularly influential during the Italian Wars. The Franco-Ottoman military alliance reached its peak with the Invasion of Corsica of 1553 during the reign of Henry II of France.

As the first non-ideological alliance in effect between a Christian and Muslim state, the alliance attracted heavy controversy for its time and caused a scandal throughout Christendom. Carl Jacob Burckhardt (1947) called it "the sacrilegious union of the lily and the crescent". It lasted intermittently for more than two and a half centuries, until the Napoleonic campaign in Ottoman Egypt, in 1798–1801.