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.
