The point in Titians Assumption of the Virgin

Titians early masterpiece which decorates the altar of Basilica di Santa Maria Gloriosa

dei Frari of Venice, is the perfect object of illustration in the painting-point relation.

The main focal point in this representation of the ascension of Virgin Mary, is the main

character itself. The centre is delimitated by the point where the axes meet, which is at the

exact centre of the image, where the Virgin Mary stands. The centre of interest is situated

on the folding of her garments. The character is pointed out by the use of colour, the red of

the material, where the eye is drawn.

The renascentist painting is divided in three registers: the apostles on the first, Mary

and cherubims on the second, God and the chorus on the third. The first and the second

point to the one in the middle. The general axes of the bodies, the axes of their extremities

and even the direction of their gaze, point toward the Virgin. We can observe a composition

in composition, in the first register, where the apostles create a pyramidal structure that is

pointing toward the central focal point. A pyramidal structured can be seen composed by

the three red elements in the picture. The Virgin Mary and the two apostles.

If we analyse the picture by the composition of the lower two registers, the centre of

interest resulting from the interconnection of the main axes, is the pointed hand of the

Apostol, at the transition between Earth and Heavens. The delimitation is accentuated by

the use of colour as well. The painting has classical harmonious proportions and its

symmetry is intensely visible, the apostles dressed in red, the rows of angels, the Virgin

Mary at the centre of the picture.

In the upper two registers, the circle is present in the form of the sun, the heavenly light

that bathes the Mother of Christ, as she is accepted in the spiritual realm. The arch of the

picture accentuates the shape and the cherubims help it take form even further.

The viewers perspective is one of a long-angle. We see the Virgin Mary, from the

perspective of the mortals. The vanishing point is somewhere in the exterior of the painting.

The hands and eyes of the main character point into the outer dimension of the open

composition. The composition is open, because the characters (the cherubims and the

apostles are not completely included in the picture, leaving the impression that the scene

has a continuation beyond the frame. The leg of the Apostol on the right, points to the not

shown space as well, but it can be seen as a counterpoint also. The complementary colours

are a counterpoint. The contrast between red and blue, shadows and lights, gold and black,

are all contrasts that accentuate the focal points.

The main centre point or focal point is the Virgin Mary, but secondary focal points are

the circle of golden light (which can also be seen as a representation of the Point), the light

that embraces some of the cherubims, the use of colour red and the pointed hand of the

Apostol on the right. This painting has focused all its elements to make the Virgin Mary

the centre of attention.