François-André Vincent

Framed in wooden carved and gilded frame, nicely mounted. Not seen out of frame. Laid down on mount. In excellent condition - clear and fresh. Two small black ink stains on the wheel resting on the king's dias, but probably from the artist's pen rather than later damage.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Caius Mucius was a young Roman nobleman who, during the siege of Rome by Etruscan forces, penetrated the enemy lines to kill their leader, King Porsena.  He slaughtered by mistake the King's secretary, who was sitting beside him, and was seized to be executed.  To prove to Porsena how little he feared death, he thrust his right hand into the altar fire and let it burn.  Seeing his bravery and endurance, the king released him and Mucius was thereafter known as Mucius Scaevola, or 'left-handed'.

Another drawing for the composition is in the Albertina, Vienna, which appears to have been drawn before the present sheet, is slightly smaller in scale and executed in pen and brown wash.  The composition is essentially the same, but the figures watching the scene are more numerous and animated.  In the present drawing, however, Vincent has made the crowd's gestures more restrained, so that eye is not drawn away from the central figures.  Instead of Porsena being surrounded by his soldiers, here the dias raises him above their level and his awe of Mucius is made clear.  Furthermore, the soldier to the far right of the Albertina drawing points out into the crowd beyond the gate.  In this sheet, he points towards Mucius, so leading the viewer back to the centre of the composition.