Lot Essay
Overwhelmed with commissions beyond his capacity for inventiveness, Panini invented a standard composition depicted several historical subject. He repeatedly regularly, varying minor details in eacah canvas to distinguish one from the other. As a pendant to his Greek subject 'Alexander at the Tomb of Achilles', Panini selected a subject from Roman legend which would lend itself favorably, 'The Death Leap of Marcus Curtius'. From Byzantine history he depicted 'The Blind Belisarius begging Alms at the Gates of Constantinople.' Thus Panini was able to offer prospective clients who favored narrative paintings a combination of subjects from which to choose. The demand for a pair of paintings being the most common.
In Roman history three legends occur in connection with the hero Marcus Curtius. The first legend states that in the war following the abduction of the Sabine women the powerful henchmen of Romulus came into conflict with those of Titus Tatius, one of whom was a Sabine leader named Marcus Curtius. During the battle he was caught in the midst a swamp, or crevice, in the valley of the Forum Romanum. This spot was later named in his honor, the Lacus Curtius. According to another account the consul C. Curtius had the spot, which had been struck by lightning, enclosed in 445 B.C. by command of the Senate. Seen as an omen, this spot later became worthy of veneration.
The third account, which has become the most enduring legend, relates that in the year 362 B.C. the earth in the Forum gave way and there appeared a great chasm. This could only be filled by casting in to it one of Rome's greatest treasure. Upon hearing this Curtius, a young soldier of noble birth, mounted his steed in full armor. Declaring that Rome possessed no greated treasrue than a brave and gallant citizen, he leaped into the abyss which closed in over him with earth. It is this tale which was popularized by Panini and his contemporaries.
Other version by Panini of the above composition are in the Fitzwilliam, Cambridge (F. Arisi, Gian Paolo Panini, 1986, no. 68); The Lovure, Paris (Arisi, no. 113) the Bellesi Collection, Florence (Arisi, nos. 116 and 117). There is a black chalk drawing for the Fitzwilliam Museum version in the Smith College Museum of Art, MA.
In Roman history three legends occur in connection with the hero Marcus Curtius. The first legend states that in the war following the abduction of the Sabine women the powerful henchmen of Romulus came into conflict with those of Titus Tatius, one of whom was a Sabine leader named Marcus Curtius. During the battle he was caught in the midst a swamp, or crevice, in the valley of the Forum Romanum. This spot was later named in his honor, the Lacus Curtius. According to another account the consul C. Curtius had the spot, which had been struck by lightning, enclosed in 445 B.C. by command of the Senate. Seen as an omen, this spot later became worthy of veneration.
The third account, which has become the most enduring legend, relates that in the year 362 B.C. the earth in the Forum gave way and there appeared a great chasm. This could only be filled by casting in to it one of Rome's greatest treasure. Upon hearing this Curtius, a young soldier of noble birth, mounted his steed in full armor. Declaring that Rome possessed no greated treasrue than a brave and gallant citizen, he leaped into the abyss which closed in over him with earth. It is this tale which was popularized by Panini and his contemporaries.
Other version by Panini of the above composition are in the Fitzwilliam, Cambridge (F. Arisi, Gian Paolo Panini, 1986, no. 68); The Lovure, Paris (Arisi, no. 113) the Bellesi Collection, Florence (Arisi, nos. 116 and 117). There is a black chalk drawing for the Fitzwilliam Museum version in the Smith College Museum of Art, MA.