_Unknown_ (Florentine School; 15th Century).
Probably by some unknown disciple of Botticelli. Formerly
ascribed to Botticelli himself--an ascription which, owing to
the absence of that master's predominating facial type, as well
as to the accuracy of landscape such as he never attempted,
has now been abandoned. But the exquisite workmanship--visible
only in a good light--of the shield and the quiver indicates
the hand of one of the goldsmith painters, whilst the
allegorical invention and the atmosphere of imaginative poetry
have "the true Botticellian ring" (see _Times_, December 22,
1885; see also Morelli's _Borghese Gallery_, p. 87 _n._). The
picture is one of a series which were probably painted for
furniture-panels. The one giving the sequel to our story, and
representing Chastity on a triumphal car, with Love sitting
bound in front, is in the Turin Gallery.
Chastity clothed only in white innocence is assailed by Love. She
receives his arrows on a shield of polished steel; the points of the
arrows break and burst forth into tiny golden flames--each temptation
only causing the sacred fire of Chastity to burn more brightly. The
scene is laid in a romantic landscape where everything is pure and
beautiful. The field is enamelled with flowers--
Where the virgins are soft as the roses they twine;
And all, save the spirit of man, is divine.
Beyond, in the bend of a river, two swans float on its tranquil
surface: a tall oak sapling rises straight and firm, and over all rests
a clear blue sky. The picture recalls the scene in Milton's _Comus_--
My sister is not so defenceless left
As you may imagine; she has a hidden strength,
Which you remember not.
_Second Brother._ What hidden strength,
Unless the strength of Heaven, if you mean that?
_First Brother._ I mean that too, but yet a hidden strength
Which, if Heaven gave it, may be term'd her own.
'Tis Chastity, my brother, Chastity;
She that has that, is clad in complete steel.