APHRODITE AND EROS 181
Venus and Anchises. Fresco from the Galleria of the Farnese Palace, Rome, 1597-1600 by
Annibale Carracci (1560-1609): dimensions of the Galleria, 66 X 211 / 2 ft. The Farnese
Gallery was decorated with Carracci's frescoes of The Loves of the Gods, arranged, like
Ovid's stories in the Metamorphoses, in a complex and logical order. This scene is on the
northeast side of the vault, opposite the scene of Zeus making love to Hera. Balancing
these two scenes (on the southeast and southwest sides of the vault) are two others of
divine lovers, Omphale and Hercules and Diana and Endymion. The Latin inscription
on the footstool, on which the smiling Cupid has placed his foot, means "Whence [came]
the Roman race," alluding to the birth of Aeneas from the consummation that is about
to take place. (Rome, Galleria Farnese.)between Aphrodite and Anchises that needs emphasis in this context, the hymn
is translated in its entirety, thus preserving its integral beauty and power.f
Muse, tell me about the deeds of Cyprian Aphrodite, the golden goddess who
excites sweet desire in the gods and overcomes the races of mortal humans, the
birds of the sky and all animals, as many as are nourished by the land and sea;
all these are touched by beautifully crowned Cytherea.
Yet she is not able to seduce or ensnare the hearts of three goddesses. First
there is the daughter of aegis-bearing Zeus, bright-eyed Athena; for the deeds
of golden Aphrodite give her no pleasure. She enjoys the work of Ares—fights,
battles, and wars—and splendid achievements. She first taught craftsmen on the
earth to make war-chariots and carriages fancy with bronze. She also teaches