DOI Page / Citation link:
https://doi.org/10.11588/diglit.69192#0074
[ i8 ]
Besides the insidious faille, in some figures,
Venus is represented in others smiling, and in a
wheedling posture. Such, probably, was the
figures of the Venus Erycina, called by Horace,
Erycina Ridens c; and such was the design on the
medal of Aurelius, in which Venus is begging
some favour of Mars d.
Venus is also frequently represented as the ge-
nius of indolence, lying in a languid posture,
on a bed, and generally attended by Cupids to
execute her orders e. On an antient sepulchral
lamp file is yet more indolent; as not only her-
c Hor. i. od. 2. v. 33. Such also was the Venus Appias, a
statue of whom flood near the forum, where the lawyers pleaded,
often alluded to by Ovid. Art. Am. i. v. 88. 1. iii. v. 452.
Rem. Am. v. 660.
d This was inscribed to Veneri Vidtrici, as sure of carrying her
point. Thus also in a statue at Florence, Venus holds one of her
hands round Mars’s neck, and the other on his breast 5 and seems
enticing him to grant her request. PL 1. n. 5. She is represented
an this manner with others, as well as with Mars, Virg. ZEn. viii.
v. 394. In a relievo at Turin Venus is caressing Jupiter in the
same manner as she does Mars in the Florentine statue.
e Some of these figures, possibly, were originally meant for the
goddess Desidia, who might more easily be mistaken sor a Venus
than for a Cupid, as ihe was apt tc be among the antients them-
selves, Ovid. Am. i. el. v. 32. Stat. iv. Sylv. 6. This Venus
appears in one of the finest coloured pictures left us Ijy the antients.
It is in the Barbarini palace at Rome. The air of the head may
be compared with Guido’s, and the colouring with Titian’s. The
lost part, restored by Maratta, (though a noted painter) serves to
do honour to the paintings of the antients. Venus is described
by Statius as in this picture, 1. i, Sylv. v. 56.
ieli^
Besides the insidious faille, in some figures,
Venus is represented in others smiling, and in a
wheedling posture. Such, probably, was the
figures of the Venus Erycina, called by Horace,
Erycina Ridens c; and such was the design on the
medal of Aurelius, in which Venus is begging
some favour of Mars d.
Venus is also frequently represented as the ge-
nius of indolence, lying in a languid posture,
on a bed, and generally attended by Cupids to
execute her orders e. On an antient sepulchral
lamp file is yet more indolent; as not only her-
c Hor. i. od. 2. v. 33. Such also was the Venus Appias, a
statue of whom flood near the forum, where the lawyers pleaded,
often alluded to by Ovid. Art. Am. i. v. 88. 1. iii. v. 452.
Rem. Am. v. 660.
d This was inscribed to Veneri Vidtrici, as sure of carrying her
point. Thus also in a statue at Florence, Venus holds one of her
hands round Mars’s neck, and the other on his breast 5 and seems
enticing him to grant her request. PL 1. n. 5. She is represented
an this manner with others, as well as with Mars, Virg. ZEn. viii.
v. 394. In a relievo at Turin Venus is caressing Jupiter in the
same manner as she does Mars in the Florentine statue.
e Some of these figures, possibly, were originally meant for the
goddess Desidia, who might more easily be mistaken sor a Venus
than for a Cupid, as ihe was apt tc be among the antients them-
selves, Ovid. Am. i. el. v. 32. Stat. iv. Sylv. 6. This Venus
appears in one of the finest coloured pictures left us Ijy the antients.
It is in the Barbarini palace at Rome. The air of the head may
be compared with Guido’s, and the colouring with Titian’s. The
lost part, restored by Maratta, (though a noted painter) serves to
do honour to the paintings of the antients. Venus is described
by Statius as in this picture, 1. i, Sylv. v. 56.
ieli^