FRANCESCO HAYEZ - VENGEANCE IS SWORN, 1851

This painting is part of a triptych on love and revenge. In this scene, we see what’s happening to the protagonist, Maria, who has just been informed by Rachele that her lover is unfaithful. This is a moment of dramatic tension where Rachel suggests using political denunciation as a tool for revenge.

The composition is dominated by the two almost life-size figures at its center, whose intricate depiction contrasts with the simplistic background hinting at Venetian palaces and a fountain. Hayez shows his mastery in rendering the distinct qualities of diverse types of cloth, from the flowered pattern of the dress, by way of the gleam of the silk, to the transparency of the veil.

This painting sets the stage for the unmasking that will occur over the course of the triptych. Here, the seeds of action are sown; Maria begins to unmask her pain, leading to the decisive actions in the subsequent paintings. This unmasking is not just personal but also social, as it involves using the political system (through anonymous denunciation) to expose a private betrayal.

A Maffei verse was originally carved into the frame: “via dal mio cor si vil pensiero” (banish from my heart so vile a thought). The verse acts as a direct moral counterpoint to the scene depicted in the painting. It suggests an inner conflict or a call for redemption even as Maria is being advised to seek vengeance. This juxtaposition highlights the moral ambiguity of revenge, questioning whether such a "vile thought" should indeed be entertained or if one should strive for moral purity by banishing it.