Introduction

The identification of the armoured man in Titian's Allegory of Marriage as Alfonso d’Avalos is controversial (Plate 6 and Figure 4.1).

Alfonso III d’Avalos, Marquis of Vasto II and Marquis of Pescara VI (1502–1546), who was a commander in the army of Holy Roman Emperor Charles V, also collected art, wrote poetry and prose and commissioned paintings from Titian. The identification of Alfonso d’Avalos as the major male protagonist in the Allegory of Marriage was current by the seventeenth century. An examination of his military career and reputation may suggest the reason he has long been considered the subject of the painting. Whilst the identity of the armoured man in the Allegory is not easily affirmed, there is a second possible candidate in the person of another military general, Francesco Maria I della Rovere, Duke of Urbino.

This chapter focuses on analyses of the armour in Titian's portraits and how a man in armour would have been interpreted by a contemporary viewer. With even a few visible elements, a technical analysis of the armour in the Allegory of Marriage enables the reconstruction of the rest of the armour that is not shown or is obscured. It is important to be able to read the armour elements that are present and those that are clearly implied. A closer examination of the technical composition of the armour indicates whether a military battle armour is to be worn for foot combat or a cavalry charge.