_Borghese Gallery, Rome_]
Our picture illustrates the scene of Medea's temptation at the fountain.
The tempter is love, in the form of Venus, the Greek goddess represented
in the old mythology as the inspirer of the tender passion. She is
accompanied by the little love-god Cupid, the mischievous fellow whose
bow and arrow work so much havoc in human hearts. The perplexed princess
sits beside the fountain, holding her head in the attitude of one
listening. Venus leans towards her from the other side and softly pleads
the lover's cause. Cupid paddles in the water as if quite unconcerned in
the affair, but none can tell what mischief he is plotting.
We notice a distinct resemblance between the faces of the two maidens,
and perhaps this is the painter's way of telling us that Venus is only
Medea's other self: the voice of the tempter speaks from her own heart.
The expression is quite different on the two faces, tender and
persuasive in Venus, dreamy and preoccupied in Medea. If we turn again
to Ovid for the interpretation of the picture, we may fancy that Venus
is describing the proud days when, as Jason's bride, Medea would journey
with him through the cities of Greece. "My head will touch the very
stars with rapture," thought the princess.
The dress of Medea is rich and elegant, but quite simply made; the heavy
folds of the skirt describe long, beautiful lines. In one gloved hand
she holds a bunch of herbs, and the other rests upon a casket.
The figure of Venus is conceived according to classic tradition,
undraped, as the goddess emerged from the sea-foam at her birth. In the
Greek religion the human body was honored as a fit incarnation for the
deities. Sculptors delighted in the long flowing lines and beautiful
curves which could be developed in different poses. Titian's picture
translates the spirit of Greek sculpture, so to speak, into the art of
painting. The figure of Venus may well be compared with the marble Venus
of Milo, in the pure beauty of the face, the exquisite modelling of the
figure, and the sweeping lines of grace described in the attitude.[18]
The painter contrasts the delicate tint of the flesh with the rich
crimson of the mantle which falls from the shoulder.
The landscape is a charming part of the picture, stretching on either
side in sunny vistas, pleasantly diversified with woods and waters,
hills and pasture lands, church and castle.[19] Sunset lights the sky,
and lends its color to the glowing harmonies of the composition.