In classical mythology Anchises was a prince of Dardania who found lasting fame as the mortal lover of the goddess Aphrodite. One day when he was hunting in the forest, she appeared to him disguised as a Phrygian princess. They made love for two weeks straight (!) whereupon she vanished–much to the distress of the besotted prince. Nine months later she reappeared to him in her full glory as the goddess of love…with a baby, Aeneas, who was fated to survive the fall of Troy and found Rome. Here is a splendid, splendid painting of their meeting which was made by William Blake Richmond in 1889/1890 at the zenith of nineteenth century painterly craft.
In the painting, Venus is not working very hard to conceal her godhood (although, uncharacteristically, she is garbed). Flocks of doves spring up at her feet. Sparrows fly everywhere like confetti and the dead winter woods burst into crocuses as she passes. Glowing hawthorn flowers frame her beauty like a halo of stars and a pair of adult lions bound through the woods in front of her to herald her coming. Yet these peripheral details are clearly lost on the gobsmacked Anchises whose focus is squarely on the goddess. His horn hunting bow has dropped to his side (although the top limb juts out in a not-at-all symbolic manner).
This lovely painting is remarkable for the way it merges seemingly incompatible contrasts. The larger-than-life mythical characters somehow fit in with the hyper realism of the forest in early spring. Likewise the glowing white and gold of Venus’ glowing raiment is starkly juxtaposed with the dark earth tones of the mortal world—yet somehow they go together. Her lambent robes seem to form a swirling nebula. Richmond lavished such effort on the details of this picture. Look at each perfect crocus or the endearing little Phrygian hat. You should blow the painting up and look at it full size—it is an appropriate Valentine’s Day treat.