Pietro Paolo Raggi

Frankfurt, Schirn Kunsthalle, Kunst in der Republik Genua 1528–1815, September – November 1992, cat. no. 97.

M. Newcome Schleier, in Kunst in der republic Genua 1528–1815, exhibition catalogue, Frankfurt, Schirn Kunsthalle, 1992, p. 182, cat. no. 97, reproduced plate 97.

The canvas has been relined. The paint surface is secure and clean. The colours are strong. Impasto of unusual thickness and quality can be seen particularly in the hair and drapery. Two horizontal seams can be seen: the first running through the centre of the canvas; the second through the upper part. A vertical scene running the height of the canvas can be seen at the far left. Inspection under ultraviolet light reveals systematic infilling of craquelure and scattered retouchings throughout the figures and drapery. The work is offered in a gilt carved frame with black painted sight edge, in good condition.
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This subject is taken from Ovid's Metamorphoses (12: 25–28).  Iphigenia, daughter of the Mycenean king Agamemnon who is seen here at the far right of the composition, was sacrificed to appease Diana and to ensure smooth sailing for the Greek expedition to Troy. The male onlooker beside Agamemnon is based on the antique bust of Vitellius, of which numerous casts were commissioned testifying to the interest in antique statuary in Italy at this time.

Mary Newcome Schleier (see under Literature) notes a pentimento by the artist in the position of Iphigenia that is not visible to the naked eye. She also notes that a painting of this subject is mentioned in the collection of the prominent Genoese family, the Lomellini (see R. Soprani and C.G. Ratti, Vite de' pittori, scultori ed architetti, Genoa 1797, vol. II, p. 122).