Full title | The Intervention of the Sabine Women |
---|---|
Artist | Giulio Licinio |
Artist dates | about 1527; died after 1584 |
Series | Scenes from Ancient Roman History |
Date made | after 1566 |
Medium and support | Oil on canvas, transferred from wood |
Dimensions | 35.6 x 153 cm |
Acquisition credit | Bought, 1860 |
Inventory number | NG644.2 |
Location | Not on display |
Collection | Main Collection |
The Intervention of the Sabine Women is one of a series of paintings that show scenes from ancient Roman history. They were probably intended to be inserted into wall panelling. Three other pictures in the series are in the National Gallery’s collection: The Attack on Cartagena, The Continence of Scipio and The Rape of the Sabines.
Shortly after the foundation of Rome, the Romans tried to negotiate with the neighbouring Sabines to secure wives, but the Sabine men refused to allow their women to marry the Romans. At a festival to Neptune, the Romans grabbed the Sabine women and fought off their menfolk.
This painting shows the episode following the abduction. The Sabine women rush onto the battlefield to hold apart the warring Sabine and Roman armies, imploring their fathers among the Sabines and their husbands among the Romans not to spill each other’s blood. On the left, the Sabines agree to live as one nation with the Romans.
The Intervention of the Sabine Women is one of a series of paintings that show scenes from ancient Roman history. They were made to decorate a room and were originally painted on panel, although they have since been transferred to canvas. Their size and horizontal format suggests they were probably intended to be inserted into wall panelling, as was common practice in Renaissance Venice.
Three other pictures in the series are in the National Gallery’s collection: The Attack on Cartagena, The Continence of Scipio and The Rape of the Sabines. A further two pictures from the series, Coriolanus and Scipio rewarding the Soldiers, are in a private collection.
This painting shows the Sabine women attempting to prevent bloodshed as the Sabine men take revenge upon the Romans. The episode from ancient Roman mythology is related by the Roman author Livy. He tells how, shortly after the foundation of Rome by Romulus and his mainly male followers, the Romans tried to negotiate with the neighbouring Sabines to secure wives. The Sabine men refused, not wishing to further the power of a rival state. The Romans then organised a festival devoted to Neptune, which attracted visitors from surrounding nations, including the Sabines; at the signal from Romulus, the Romans grabbed the Sabine women and fought off their menfolk. Licinio depicted this episode in The Rape of the Sabines. Romulus implored the Sabine women to accept Roman husbands, promising them free will, civic and property rights.
Finally the Sabines declared war, entered the Roman citadel on the Capitoline Hill and overpowered the Romans. The Romans retreated to the gate of the Palatium, where Romulus rallied his troops and led them back into battle. However, when the leader of the Sabines was unhorsed and the Romans appeared to be winning, the Sabine women rushed onto the battlefield to hold apart the warring armies. This is the moment depicted in Licinio’s painting. They implored their fathers among the Sabine forces and their husbands among the Roman troops not to spill each other’s blood, saying it would be better for themselves to be killed than to live widowed or fatherless. The battle came to an end and the Sabines agreed to live as one nation with the Romans. On the left we see the Roman and Sabine leaders making peace with one another.
The subject was popular during the Italian Renaissance for the decoration of marriage chests, known as cassoni, and the decoration of bedrooms, as it stressed the importance of marriage in the continuity of families and nations. It also offered the opportunity, as here, to depict both male and female figures in dynamic poses. As with The Rape of the Sabines, the appearance of this painting is affected by an old discoloured varnish.
Download a low-resolution copy of this image for personal use.
License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library.
License imageThis image is licensed for non-commercial use under a Creative Commons agreement.
Examples of non-commercial use are:
- Research, private study, or for internal circulation within an educational organisation (such as a school, college or university)
- Non-profit publications, personal websites, blogs, and social media
The image file is 800 pixels on the longest side.
As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. Help keep us free by making a donation today.
You must agree to the Creative Commons terms and conditions to download this image.
The Intervention of the Sabine Women
Scenes from Ancient Roman History
These four pictures are from a series of paintings of scenes from ancient Roman history. They were made for the decoration of a room and were originally painted on panel but have since been transferred to canvas. Their size and horizontal format suggests they were probably intended to be inserted into wall panelling, as was common practice in Renaissance Venice.
The pictures in the National Gallery’s collection show: The Attack on Cartagena; The Continence of Scipio; The Rape of the Sabines; and The Intervention of the Sabine Women. Two other pictures from the same series, Coriolanus and Scipio rewarding the Soldiers, are in a private collection.
These four pictures are from a series of paintings by Giulio Licinio showing scenes from ancient Roman history. They were made for the decoration of a room and were originally painted on panel but have since been transferred to canvas. Their size and horizontal format suggests they were probably intended to be inserted into wall panelling, as was common practice in Renaissance Venice.
The Attack on Cartagena depicts a famous Roman victory by Scipio Africanus over the Carthaginians during the Second Punic War. The Continence of Scipio records Scipio’s mercy as a military leader when he refused a ransom for a female prisoner and returned her safely to her family. The Rape of the Sabines shows a scene from ancient Roman legend, when the men of newly founded Rome abducted women from the neighbouring Sabine nation. The Intervention of the Sabine Women depicts the heroic attempt by the Sabine women to end the war between their Sabine fathers and Roman husbands and bring both sides to peace. There are also two other pictures from the same series in a private collection: Coriolanus and Scipio rewarding the Soldiers. There may originally have been more paintings in the series which are lost.
The Rape of the Sabines and the Intervention of the Sabines are both covered with a discoloured varnish which affects their appearance. Licinio’s approach to colour and the original appearance of this series of paintings can be more easily appreciated in The Attack on Cartagena and The Continence of Scipio.




More paintings by Giulio Licinio


