Attributed to Nicola da Urbino – Plate Pasiphae Part 1 Louvre

The circular composition presents a scene set within a carefully constructed landscape. A classical temple dominates the central space, its architecture rendered with meticulous detail and bathed in soft light. The structures symmetry and refined proportions suggest a deliberate invocation of Roman or Renaissance ideals of order and harmony. Behind it, a hazy horizon line hints at an expansive vista, though details remain indistinct, creating a sense of depth without overwhelming the foreground action.
To the left of the temple, three figures are engaged with a group of cattle. The central figure, clad in blue robes and adorned with what appears to be a floral crown or headband, gestures towards the animals. This individual’s posture conveys a degree of authority or control over the herd. To their left stands another man, draped in orange-red fabric, observing the interaction with an expression that is difficult to decipher – perhaps concern, amusement, or simply passive observation. A third figure, partially obscured by the central character, appears to be participating in the handling of the cattle.
The animals themselves are depicted as robust and substantial, their forms rendered with a focus on anatomical accuracy. They occupy much of the foreground space, creating a sense of immediacy and drawing the viewers attention to this interaction. One bull lies prone near the bottom edge of the composition, its posture suggesting either rest or submission.
The surrounding landscape is characterized by stylized trees with dark trunks and lush foliage. These elements frame the scene and contribute to the overall feeling of enclosure within a carefully designed environment. The color palette is dominated by earthy tones – greens, browns, blues, and oranges – which lend a sense of naturalism while maintaining a certain level of formality.
Subtextually, the painting seems to explore themes of power, control, and human interaction with nature. The temple’s presence suggests a connection between civilization and the pastoral world, hinting at a narrative that might involve both domesticity and wildness. The gesture of the central figure implies an attempt to tame or direct the natural forces represented by the cattle. The overall impression is one of controlled chaos – a carefully orchestrated scene where human agency interacts with the untamed aspects of the environment. The circular format itself reinforces this sense of completeness and containment, suggesting a self-contained narrative moment.