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.
XI
The Man with the Glove is so called for lack of a more definite name. Nothing is told by Titian’s biographers about the original of the portrait, and the mystery gives a certain romantic interest to the picture. Not being limited by any actual facts we can invent a story of our own about the person, or as many stories as we like, each according to his fancy.
The sitter certainly makes a good figure for the hero of a romance. He is young and handsome, well dressed, with an unmistakable air of breeding, and singularly expressive eyes. Such eyes usually belong to a shy, sensitive nature, and have a haunting quality like those of some woodland creature.
The title of The Man with the Glove is appropriate in emphasizing an important feature of the costume. In the days of this portrait, gloves were worn only by persons of wealth and distinction, and were a distinguishing mark of elegance. Though somewhat clumsily made, according to our modern notions, they were large enough to preserve the characteristic shape of the hand, and give easy play to the fingers. They formed, too, a poetic element in the social life of the age of chivalry. It was by throwing down his glove (or gauntlet) that one knight challenged another; while a glove was also sometimes a love-token between a knight and his lady.
The glove has its artistic purpose in the picture, casting the left hand into shadow, to contrast with the ungloved right hand. The texture of the leather is skilfully rendered, and harmonizes pleasantly with the serious color scheme of the composition.