1868); [Michelangelo Guggenheim, Venice, by 1870–72; sold for 50,000 lire to von Aichholz]; Baron Eugen Miller von Aichholz, Palast Aichholz, Vienna (1872–d. "Venetian Paintings in the Metropolitan Museum," May 1–September 2, 1974, no catalogue.
1919; his sale, Hôtel Drouot, Paris, April 15, 1876, no.
The illusionistic architectural framework surrounding the recesses into which the paintings were set dictated the irregular profiles of the canvases, altered when they were removed from the palace in 1872 and restored in the cases of those now in Vienna and New York.
The recesses still survive, making a definitive reconstruction of the arrangement of the cycle possible.
"Tre note Tiepolesche." Rivista di Venezia 14 (August 1935), pp.
Italienische Malerei des siebzehnten und achtzehnten Jahrhunderts.
1854); his nephew, conte Giovanni Querini Stampalia, Ca' Dolfin (1854–d. "Giambattista Tiepolo, 1696–1770," January 24–April 27, 1997, no. Christiansen 1998], writes from Venice that "yesterday [Miller] bought ten large Tiepolo canvases from a dealer here for the price of 46,000 francs". Christiansen 1998], writes that the ten paintings by Tiepolo "are truly done with much spirit and brio but in the end are little more than decoration"; notes that the dealer from whom Miller bought the paintings was Michelangelo Guggenheim. To either side of the main doorway were the two squarish battle scenes, this work and The Capture of Carthage, also in the MMA, while opposite them to either side of the center window were the two narrow canvases depicting The Death of Lucius Junius Brutus and Hannibal Contemplating the Head of Hasdrubal, both in Vienna. (All the banderoles were painted over in the nineteenth century, but some have been uncovered in restoration.)What makes these pictures so compelling as works of art is the manner in which Roman history is treated as staged theater rather than archaeological fact. A sort of triptych appeared on each of the two shorter walls, with the Museum's Triumph of Marius flanked by Fabius Maximus before the Roman Senate and Cincinnatus Offered the Dictatorship, both in the Hermitage, and, opposite, The Tarantine Triumph flanked by Mucius Scaevola before Porsenna and Veturia Pleading with Coriolanus, all in the Hermitage. To a degree, this approach was typically Venetian, but Tiepolo stands apart from his contemporaries in his insistence on narrative clarity and dramatic focus: at no point does he sacrifice intensity of expression to decorative concerns.