Harmony, represented by a woman with an overturned lute and an unravelling pearl headdress, looks anxiously up at the advancing Mars, as does Maternity, who clutches her baby, Fecundity. Under them writhe a cowering mass of bodies representing the joys of peacetime – Harmony, Fecundity, Maternity and Charity. On the right side of the painting, the realities of war are laid bare: the monsters of Plague and Famine bring a black cloud into the sky, and in the distance raging fires appear to burn. Together, the young children represent the innocent who would flourish in peacetime, but will be vulnerable to the dangers that war brings. Three more nude children encourage Venus, including golden-haired, winged Cupid, identified by the arrows at his feet, and baby Asclepius, god of healing, identified by the symbol for medicine: a rod with a snake twisted round it. Below, a child struggles to carry the abandoned orb of rule, representing her lost authority. On the left of the scene, a dishevelled woman symbolising Europe throws her arms up in distress at the prospect of war, her eyes sore from crying. Mars turns his head to look at her, tempted by her great beauty, but the rest of his body stays firm and his sword and shield are thrust forcefully onwards. She attempts to restrain him by grasping his muscular arm. In contrast, Mars’ beautiful lover Venus, the goddess of love, is illuminated with clear sunlight. She urges him on with crazed eyes and holds a fiery torch to light the way in the advancing darkness. Should he continue forward into war, or should he show mercy and retreat? Figures representing different aspects of war and peace surround Mars, encouraging him to follow their example.Īlecto, one of the three goddesses of vengeance (known as the Furies), pulls Mars onwards. Mars, the god of war, is presented with a choice as he marches away from the temple of Janus, the two-headed god who presided over war and peace.
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