9, finds a date of 1720–25 plausible; discusses the subject matter and notes its connection with the history of the Dolfin family; mentions and illustrates an etching by Saint-Non after a drawing by Fragonard of part of this composition. "Novità e precisazioni sul Tiepolo—II." Le arti 4 (April–May 1942), pp. 4, 14, 15 (overall and details), dates the ten paintings about 1726–30 and discusses their history; notes the alteration in size of some of the canvases and deduces the original positions of the works from the stucco frames still in situ; identifies the self-portrait of Tiepolo in this picture.
"Una postilla tiepolesca." Ateneo veneto 135 (July–December 1951), pp.
The African king Jugurtha is shown before his captor, the Roman general Gaius Marius. The thirty-year-old Tiepolo included his self-portrait among the figures on the left.
This work depicts the triumphal procession of the Roman general Gaius Marius, in his chariot, with the defeated African king Jugurtha, in chains, walking before him, an event that took place in 104 B. It is from a series of ten monumental canvases of scenes from Roman history that Tiepolo painted for the grand reception room of the Palazzo Dolfin in Venice. 75, calls Tiepolo's paintings in the Ca' Dolfin early works.
To either side of the main doorway were the two squarish battle scenes, The Capture of Carthage and The Battle of Vercellae, both 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.
1919; his sale, Hôtel Drouot, Paris, April 15, 1876, no.
"The Castiglioni Tiepolos at Vienna." Burlington Magazine 58 (April 1931), pp. IB, as "Jugurtha led in triumph before the chariot of Marius". "Il palazzo e la raccolta Castiglioni a Vienna." Illustrazione italiana 52 (March 29, 1925), pp. 261 (photograph of three MMA paintings installed on staircase) and 265, as "Il trionfo di Mario". Venetian Painting of the Seicento and the Settecento. Stefan Mendl, Zürich, later New York and Saranac Lake, N. 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.