Titian (Pieve di Cadore 1494 - Venice 1576), The Bacchanal of the Andrians, 1523/26, oil on canvas, 175 x 193 cm, Madrid, Prado Museum 

Signs of Hope: The Young. 

The scene that Titian depicts in this magnificent painting is taken from Greek mythology and shows us the feast of the inhabitants of the Aegean island of Andros, so favoured by Bacchus that the wine, a food sacred to him, flowed directly from a stream, as can be seen in the bottom left-hand corner, where a young man is drawing the heady drink with a jug.

Titian's painting - which was part of the cycle of five paintings all dedicated to the stories of the god Bacchus that the Duke of Ferrara Alfonso I d'Este had commissioned from a number of Renaissance painters (Titian, Dosso Dossi and Giovanni Bellini) - was placed with the others in a room in the city castle called the “Camerino delle pitture” (Chamber of Paintings) that soon became famous among all lovers of art and painting in particular.

The celebration we see here does not aim to highlight the episode that gives the painting its name... (in fact, the god Bacchus is absent, and other characters such as the Maenads and Satyrs, who were part of his retinue, do not appear either). Titian seems rather to wish to convey a personal homage to youth, expressed through his magical brushstrokes. The only elderly figure visible is positioned at the margin, reclining on the hill that rises to the right. Each of the characters in the foreground embodies a prototype of beauty. Everyone, both men and women is devoting themselves to light and joyful things: the dancing of the beautiful couple in iridescent blue and pink silk garments on the right, the music and singing of the two young women who with flutes are to perform the canon we see on the score and which is attributed to Adriaen Willaert, a Flemish musician serving the court of Ferrara in the years when Titian painted the picture, the resting of the young woman lying on the right in the foreground (whose nudity in the Renaissance primarily signifies beauty and perfection), the drinking of those holding various beverage containers. There is no crude gesture, there is no semblance of wildness, everything is balanced, everything is measured, everything is beautiful, everything is young.

Our gaze upon the painting becomes a gaze upon the youth of the Renaissance. Certainly here are the privileged young people of the courts and wealthy classes, but let us not underestimate the ability of the great Venetian painter to elevate youth itself to a paradigm, focus of interest and attention of an entire society, speaking to us of beauty, joy and happiness, looking to the future with confidence and optimism!

Signs of hope are also needed by those who are the very embodiment of hope, namely, the young. Sadly, they often see their dreams and aspirations frustrated. We must not disappoint them, for the future depends on their enthusiasm. It is gratifying to see the energy they demonstrate, for example, by rolling up their sleeves and volunteering to help when disasters strike and people are in need. Yet it is sad to see young people who are without hope, who face an uncertain and unpromising future, who lack employment or job security, or realistic prospects after finishing school. Without the hope that their dreams can come true, they will inevitably grow discouraged and listless. Escaping into drugs, risk-taking and the pursuit of momentary pleasure does greater harm to them in particular, since it closes them to life’s beauty and richness, and can lead to depression and even self-destructive actions. For this reason, the Jubilee should inspire the Church to make greater efforts to reach out to them. With renewed passion, let us demonstrate care and concern for adolescents, students and young couples, the rising generation. Let us draw close to the young, for they are the joy and hope of the Church and of the world!

(Francis. Bull of indiction of the ordinary jubilee of the year 2025. Spes non Confundit 12)

(Contribution by Vito Pongolini)