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The Family of Darius before Alexander the Great

The Family of Darius before Alexander the Great

Copy after: Polidoro da Caravaggio (Polidoro Caldara) (in circa 1527-1540)

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Specifications

Title The Family of Darius before Alexander the Great
Material and technique Pen and brown ink
Object type
Drawing > Two-dimensional object > Art object
Location This object is in storage
Dimensions Height 200 mm
Width 404 mm
Artists Copy after: Polidoro da Caravaggio (Polidoro Caldara)
Accession number DN 136/33 (PK)
Credits Gift Dr A.J. Domela Nieuwenhuis, 1923
Department Drawings & Prints
Acquisition date 1923
Creation date in circa 1527-1540
Collector Collector / Adriaan Domela Nieuwenhuis
Provenance Anon., Italy; Dr. Adriaan J. Domela Nieuwenhuis (1850-1935, L.356b), Munich/Rotterdam, donated with his collection in 1923 (Polidoro da Caravaggio)
Research Show research Italian Drawings 1400-1600
Material
Object
Geographical origin Italy > Southern Europe > Europe

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Entry catalogue Italian Drawings 1400-1600

Author: Surya Stemerding

This drawing consists of two scenes that Polidoro da Caravaggio (c. 1499-1543) painted in 1526-27 as part of a fresco cycle for the façade of Palazzo Milesi in Rome. He separated them in the frieze with an ornamental section containing two vases and a cuirass.[1] That section is missing in the drawing, in which the two scenes have been merged into one.[2]

On the left the Persian King Darius III stands before the Macedonian-Greek general Alexander the Great after the Battle of Issos in 333 BC, as described by Plutarch in his Parallel Lives from the end of the first century. The scene is often confused or even equated with depictions of The Magnanimity of Scipio, an event from Roman history that was recorded by Livy. Both stories tell of a general who showed clemency to a defeated enemy by returning a woman who had been seized as a prize of war without raping her. On the right two senators are in conversation with Darius.

The subject of the clemency of classical rulers was a popular one in the sixteenth and seventeenth centuries, which is why these two scenes were among the most copied of Polidoro’s façade frescoes.[3] The Rotterdam copy is a rather inferior work and was probably not made on the spot after the frescoes but after an existing drawing or print. The lines are deeply impressed in the paper and appear to have been indented to prepare the scene for transfer to a print. Judging by the watermark, the copy was made not long after 1527, possibly on paper that had been kept in the artist’s stock.

Footnotes

[1] Maccari/Iannoni 1876, pl. 38.

[2] There is also a similar composite copy after the same frescoes in Rotterdam, inv. DN 135/32. The two drawings differ in style and are very probably not by the same artist.

[3] Paris, Musée du Louvre, inv. RF 506; Windsor, Royal Collection, inv. 905479; New York, Metropolitan Museum of Art, inv. 80.3.21 & 68.123.1; Cambridge (Mass.), Harvard Art Museums/Fogg Museum, inv. 2002.95.50; Chicago, Art Institute, inv. 1922.507; Leone De Castris 2001, pp. 497-98, ill.      

Show research Italian Drawings 1400-1600
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All about the artist

Polidoro da Caravaggio (Polidoro Caldara)

Caravaggio circa 1499 - Messina 1543

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