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The Victory of Scipio, from "Speculum Romanae Magnificentiae"

Original title: The Victory of Scipio, from "Speculum Romanae Magnificentiae"

Artist

Master of the Die

Date

16th century

Medium

Engraving; second state

Dimensions

plate: 8 9/16 x 10 in. (21.8 x 25.4 cm) sheet: 19 x 13 3/16 in. (48.3 x 33.5 cm)

Credit line

Harris Brisbane Dick Fund, 1941

kurzbeschreibung

The Master of the Die produced this engraving in the 16th century. Titled 'The Triumph of Scipio', the print presents horsemen, foot soldiers and a city wall in the distance. It is a second-state impression from the collection 'Speculum Romanae Magnificentiae'.

Description

In the foreground, riders press together with shields, banners, lances and sabres; some are in motion, others pause or lie on the ground, likely wounded or fallen. Behind them rises a city wall with towers and watchtowers. A dead lion in the foreground points to an encounter with a wild animal during the battle. The armour and garments of the figures suggest a historical era of the Renaissance. Grey tones predominate, as is typical of engravings; even light emphasises contours and textures.

Context

This sheet belongs to the series 'Speculum Romanae Magnificentiae', a collection of prints published in Rome in the 16th century featuring views and scenes from ancient Rome. The Master of the Die was an engraver who worked after designs by artists such as Raphael. The scene refers to the Roman general Publius Cornelius Scipio Africanus, who was victorious in the Second Punic War. Such prints spread ancient motifs and historical events among educated circles in Europe.

Impact

The dense stacking of figures and precise linework create a lively, dramatic effect. The monochrome grey tonality gives the scene a serious, historical atmosphere reminiscent of ancient reliefs. The movement and stillness of the riders, along with details in armour and architecture, invite close looking.

Technique

In engraving, the design is cut into a metal plate and then printed on paper. The second state shows possible reworking or additions compared with the first impression. Fine lines and hatching produce the grey tones and model the figures and the background.

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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)