File:The art of the Pitti Palace - with a short history of the building of the palace, and its owners, and an appreciation of its treasures (1903) (14595071408).jpg

Identifier: artofpittipalace1903addi (find matches)
Title: The art of the Pitti Palace : with a short history of the building of the palace, and its owners, and an appreciation of its treasures
Year: 1903 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Palazzo Pitti Painting
Publisher: Boston : L.C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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sanest,most practical, and thoroughly good men of histimes. / CHAPTER V, THE HALL OF MARS In the Hall of Mars we may see two of the bestexamples of Rubenss workj exhibiting all histalents, and few of his blemishes. These two pic-tures are Mars Preparing for War (sometimescalled The Consequences of War), and the nobleportrait group of the Rubens Brothers with thephilosophers, Lipsius and Grotius. Examining first the great allegorical painting,Mars Preparing for War, one is struck with thevariety in its action and the breadth of its treatment.It was painted about 1625. It is entirely the workof Rubens, not laid in and painted largely by hispupils, as were many of his pictures. It exhibitsnearly all the characteristics of his style. The cen-tral figure. Mars, clad in armour, with sword andshield, is pressing onward to war, led by one ofthe Furies, Alecto, who, with the torch of Discordextended in her sinewy right hand, grasps and pulls the warrior with her left. Although his steps do 100
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O S3 Pi ^ 111 w •- Ztoc Dall of /IDars loi not falter, and the action of his whole body is for-ward to do the behest of the Fury, yet Mars turnshis head and looks regretfully back at the volup-tuous figure of Venus, who is clinging to him, onthe other side, — a beautiful nude, with all theplump yet pliant qualities of Rubenss women.Venus is attended by Love, who also pleads withMars, but in vain. The arrows and the bow ofCupid lie unheeded on the ground, and otherweapons are to supplant them. Mars treads relentlessly upon an open book, whilebeneath his stalwart form, stretched helpless on theground in the shadow, lies an allegorical figure ofStudy. Harmony, symbolized by a woman bearinga lute, has also been thrown down; his next stepbids fair to encroach upon her. Farther to the right,also dashed to the ground and holding aloft a com-pass, the instrument by which his art is made ofuse, is the figure typical of Architecture. A brokencapital lies at his left hand. Charity, grasping

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