1196. A COMBAT BETWEEN LOVE AND CHASTITY.
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.