The Death of Verginia

Francesco de Mura 1696 - 1782

Summary

The story of Verginia is told by Livy (3:48). The beautiful and unworldly daughter of a centurion is kidnapped and sold into slavery by Appius Claudius, one of the Decemviri (the corrupt magistrates of Rome). After obtaining access to Verginia, her father stabs her in the heart to save her from the lust of her vile abductor. On hearing the story, the Roman people rise up and overthrow the Decemviri. Here, de Mura depicts the moment of Verginia's death with great pathos. She lies supported by her maid, while fury and violence erupt around her in a riot of colour and movement that are in stark visual contrast to the pallid, acidic tones of her skin and dress, and to her inert hand on the cold stone steps. De Mura was born and worked in Naples, where he became a leading pupil of Francesco Solimena (1657-1747). Naples was a major destination for British Grand Tourists and De Mura's work is typical of that bought for their collections. He is best known for his large-scale fresco decorations in the vicinity of Naples and for his work in the Palazzo Reale, Turin.

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Grand Tour and Grand Style The Influence of Travel Improvements in European travel during the 1700s had a wide-ranging impact on British culture. A particularly significant influence was the Grand Tour, which became almost obligatory for young gentlemen. Grand Tourists were led across Europe by tutors to study art, history and politics for two or three years. The Grand Tour focused on Italy, particularly Rome, and often incorporated new archaeological sites such as those at Herculaneum and Pompei, near Naples. Ancient antiquities were heavily trafficked across Europe and continental works of art flooded into Britain. A period of especially active collecting took place between the end of the Seven Years War in 1763 and the rise of Napoleon in the 1790s. As more artists and designers also visited the continent their work became increasingly informed by travel. The serious themes of classical antiquity and European art led to a new departure in painting called the Grand Style. This championed classical, historical or literary subjects, and inspired radical changes in portraiture and landscape. Widespread interest in Greek and Roman remains also fostered fresh interpretations of ancient designs by pioneers of decorative art such as Josiah Wedgwood.