The power of beauty is too easily felt to need an explanation of its causes. At all times and in every nation man has been eager to address his vows to it; and the ancients who deified every object, worshipped it under the name of Venus. They even wished that her empire should be universal, they therefore acknowledged a Sea, a Celestial, and a Terrestial Venus. The Sea Venus received the name of Aphrodite, the Celestial that of Urania, and the Terrestial, the mother of Love and of Pleasures, received an infinite number of additional names, the greater part derived from the places where altars or temples had been raised to her. Larcher, in a work, the sole object of which is Venus, has entered in the most minute details on this subject. In the picture before us, Rubens has represented a Festival in honour of Venus in the island of Cythera : nymphs, satyrs, and fauns are dancing around her statue. Numerous Loves surround it and offer a garland, a priestess is throwing incense on an Acerra placed before the statue. The temple of the Goddess is seen in the back-ground, to the left. The whole of the part on the right hand is filled with trees, through which the setting-sun is discerned. This picture has a most brilliant effect: it forms part of the Gallery of Vienna, and has been engraved by Prenner. Width 11 feet 8 inches; height 7 feet 5 inches. ENLÈVEMENT DE HILAIRE ET PHOEBÉ. On a quelquefois voulu considérer ce tableau comme pouvant être un épisode de l'enlèvement des Sabines; mais rien ne rappelle ici le costume des Romains, et la nudité des deux femmes, ainsi que le petit Amour qui retient l'un des chevaux, doivent faire considérer ce sujet comme représentant une scène de la mythologie. La jeunesse et la vigueur des deux hommes, qui n'ont d'autre coiffure que des cheveux très courts, la présence des deux chevaux en sens inverse, les secours mutuels que se prêtent les deux cavaliers, la présence de l'Amour, et la résistance égale de la part des deux femmes, dont les vêtemens sont tombés par suite de la lutte qu'elles ont eue à soutenir contre leurs ravisseurs; tout indique ici Castor et Pollux enlevant les deux filles de Leucippe, roi de Sicyone; Hilaïre et Phœbé, dont les célèbres jumeaux devinrent amoureux, lors même de la célébration de leurs nôces avec Idas et Lyncée, fils d'Aphareus. On peut remarquer dans l'expression des fils de Léda une passion des plus vives, tandis que les deux filles de Leucippe offrent les caractères d'une résistance très vigoureuse. Ce tableau est remarquable par la couleur des carnations, et par l'éclat de son coloris; le paysage est bien composé. Il a fait partie de l'ancienne galerie de Dusseldorff, et se trouve maintenant dans celle de Munich. Il a été gravé en mezzotinte par Valentin Green. THE RAPE OF HILARIA AND PHOEBE. This picture has sometimes been considered as possibly forming an episode in the Rape of the Sabine women. But nothing here indicates the Roman costume; whilst the nudity of the women, and the little Love, who holds back one of the horses, ought to induce us to believe this subject, to represent a scene from mythology. The youth and strength of the two men, who have no other covering on their heads, but very short hair; the two horses in contrary directions; the mutual assistance, the two riders lend each other; the presence of Cupid; and the same resistance on the part of the two women, whose raiment has fallen, off in the struggle they have held out against their ravishers all indicate Castor and Pollux carrying off Hilaria and Phoebe, the two daughters of Leucippus, king of Sycion. It was at the celebration of the nuptials of these maidens with Idas and Lynceus, the sons of Aphareus, that the famous twins became enamoured of them. : In the expression of the sons of Leda, a most vivid passion may be observed; whilst Leucippus' daughters offer the characteristics of a very determined resistance. This picture is remarkable for its carnations, and the brillancy of its colouring the landscape is well composed. It formed part of the Dusseldorff gallery, but is now in that of Munich. In has been engraved in mezzotinto by Valentine Green. |