Part 6 (1/2)

Thereupon, he wrought an artist's miracle: he painted pictures of Eleanora as she had looked twenty years before. One of these, and perhaps the most famous, is the Bella of our ill.u.s.tration.[14] The ident.i.ty of the original is hidden under this simple t.i.tle, which is an Italian word, meaning the Beauty. An ancient legend tells of a wonderful fountain, by drinking of which a man, though old, might renew his youth and be, like the G.o.ds, immortal. There were some who went in quest of these waters, among them, as we remember, the Spanish knight, Ponce de Leon, who, thinking to find them north of Cuba, discovered our Florida.

The d.u.c.h.ess of Urbino found such a fountain of youth in the art of t.i.tian. Comparing her actual portrait with the Bella, painted within a few years, it seems as if the lady of the former had quaffed the magic draught which had restored her to her youthful beauty.

[Ill.u.s.tration: Picture from Carbon Print by Braun, Clement & Co.

John Andrew & Son. Sc.

THE BELLA

_Pitti Gallery, Florence_]

The Bella is what is called a half length portrait, the figure standing, tall, slender, and perfectly proportioned. The lady turns her face to meet ours, and whether we move to the right or the left, the eyes of the enchantress seem to follow us. We fall under their spell at the first glance; there is a delightful witchery about them.

The small head is exquisitely modelled, and the hair is coiled about it in close braids to preserve the round contours corresponding to the faultless curves of cheek and chin. The hair is of golden auburn, waving prettily about the face, and escaping here and there in little tendrils.

Over the forehead it forms the same perfect arch which is repeated in the brows. The slender throat is long and round, like the stalk of a flower; the neck and shoulders are white and firm, and shaped in beautiful curves.

The rich costume interests us as indicating the fas.h.i.+ons in the best Venetian society of the early 16th century. Comparing it with that of the Empress Isabella in our other picture,[15] we notice that at the same period the Venetian styles differed considerably from the Spanish, to the advantage of the former. Instead of the stiff Spanish corset which destroyed the natural grace of the figure, the Bella wears a comfortably fitting bodice, from which the skirt falls in full straight folds. The dress is of brownish purple velvet, combined with peac.o.c.k blue brocade.

The sleeves are ornamented with small knots pulled through slashes. A long chain falls across the neck, and jewelled ear-rings hang in the ears.[16]

It is pleasant to a.n.a.lyze the details of the figure and costume, but after all the charm of the picture is in the total impression it conveys. Applied to this lovely vision of womanhood the words of Castiglione seem no flattery. In her are united ”grace, beauty, courtesy, gentleness, and refined manners.” The essence of aristocracy is expressed in her bearing: the pose of the head is that of a princess.

There is no trace of haughtiness in her manner, and no approach to familiarity: she has the perfect equipoise of good breeding.

The picture gives us that sense of a real presence which it was the crowning glory of t.i.tian's art to achieve. The canvas is much injured, but the Bella is still immortally young and beautiful.

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 n.o.ble heart. He had journeyed over seas in his good s.h.i.+p Argo, and had at last come to Colchis to win the coveted treasure.

The King aeetes 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 bra.s.s 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 pa.s.sion 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.

[Ill.u.s.tration: From a carbon print by Braun, Clement & Co.

John Andrew & Son, Sc.

MEDEA AND VENUS