Gerard can Honthorst, Dutch
Proof That S’Mores Are a Natural Aphrodisiac, ca. 1621
Oil on canvas
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MASTERPIECE #3765
/// In this scene showing The Soldier and
the Girl (now being cupped by his hand),
he’s a red-blooded male
and her love is for sale.
Seems they both have a fun evening planned.
/// Holding tongs she lifts up fiery coal,
and to kindle his candle’s her goal.
Symbolism is clear:
this man “burns” when she’s near,
but is lust worth the risk to his soul?
/// When he sought someone of her profession,
the girl’s looks give a youthful impression.
With no child labor laws
the man’s paws did not pause
doing what we’d now call a transgression.
/// He spoke up as he gave her a pat.
“She’s not THAT young— her chest isn’t flat.
To discover the truth
of her relative youth
I was checking her for ‘baby fat’.”
/// The girl’s loose clothing helps her to tease.
Soldier knows: pay and do what you please.
It’s a contract unspoken.
Though some rules may be broken,
even worse is the risk of disease.
/// G. van Honthorst contrasts light with dark.
Caravaggio’s work set off a spark.
Gerard viewed it in Rome,
then he brought the style home.
Chiaroscuro had made quite a mark.