X Medea and Venus
(Formerly Called Sacred and Profane Love)
A charming story is told in Ovid’s “Metamorphoses” of Jason’s adventures in search of the golden fleece, and of his love for Medea.17 Jason was a Greek prince, young, handsome, brave, and withal of noble heart. He had journeyed over seas in his good ship Argo, and had at last come to Colchis to win the coveted treasure.
The King Æëtes had no mind to give up the fleece without a struggle, and he set the young hero a hard task. He was ordered to tame two bulls which had feet of brass and breath of flame. When he had yoked these, he was to plough a field and sow it with serpent’s teeth which would yield a crop of armed men to attack him. While Jason turned over in his mind how he should perform these feats, he chanced to meet the king’s beautiful daughter Medea. At once the two fell in love with each other, and Jason’s fortunes took a new turn. Medea possessed certain secrets of enchantment which might be of practical service to her lover in his adventure. She had a magic salve which protected the body from fire and steel. She also knew the charm—and it was merely the throwing of a stone—which would turn the “earth-born crop of foes” from attacking an enemy to attack one another. Finally she had drugs which would put to sleep the dragon guarding the fleece.
To impart these secrets to Jason might seem an easy matter, but Medea did not find it so. She was a loyal daughter, and Jason had come to take her father’s prized possession. She would be a traitor to aid a stranger against her own people. The poet tells how in her trouble the princess sought a quiet spot where she might take counsel with herself.
“In vain,” she cried,
“Medea! dost thou strive! Some deity
Resists thee! Ah, this passion sure, or one
Resembling this, must be what men call love!
Why should my sire’s conditions seem too hard?
And yet too hard they are! Why should I shake
And tremble for the fate of one whom scarce
These eyes have looked on twice? Whence comes this fear
I cannot quell? Unhappy! from thy breast
Dash out these new-lit fires!—Ah! wiser far
If so I could!—But some new power constrains,
And reason this way points, and that way, love.”
The struggle goes on for some time, and the maiden’s heart is torn with conflicting impulses. Summoning up “all images of right and faith and shame and natural duty,” she fancies that her love is conquered. A moment later Jason crosses her path and the day is lost. Together they pledge their vows at the shrine of Hecate, and in due time they sail away in the Argo with the golden fleece.
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.