323:(trans. by Alfred John Church and William Jackson Brodribb, 1876): "WITHOUT pausing in her winter voyage Agrippina arrived at the island of Corcyra, facing the shores of Calabria. There she spent a few days to compose her mind, for she was wild with grief and knew not how to endure. Meanwhile on hearing of her arrival, all her intimate friends and several officers, every one indeed who had served under Germanicus, many strangers too from the neighbouring towns, some thinking it respectful to the emperor, and still more following their example, thronged eagerly to Brundisium, the nearest and safest landing place for a voyager. As soon as the fleet was seen on the horizon, not only the harbour and the adjacent shores, but the city walls too and the roofs and every place which commanded the most distant prospect were filled with crowds of mourners, who incessantly asked one another, whether, when she landed, they were to receive her in silence or with some utterance of emotion. They were not agreed on what befitted the occasion when the fleet slowly approached, its crew, not joyous as is usual, but wearing all a studied expression of grief. When Agrippina descended from the vessel with her two children, clasping the funeral urn, with eyes riveted to the earth, there was one universal groan. You could not distinguish kinsfolk from strangers, or the laments of men from those of women; only the attendants of Agrippina, worn out as they were by long sorrow, were surpassed by the mourners who now met them, fresh in their grief."
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177:) often compared him to great men like Alexander the Great and hailed his qualities, contrasting them with the "tyrannical" qualities of Tiberius. Agrippina continued to show devotion to Germanicus after his death. Historian Lindsay Powell says she was regarded by the Roman people as, quoting Tacitus, "the glory of the country, the sole surviving offspring of Augustus, the solitary example of the good old times."
216:. She has just arrived in Italy with her children, holding the ashes of her husband the assassinated hero of the Roman Republic. She takes her place in front of the crowd of mourners to lead the procession. Agrippina's likeness is derived from classical friezes found on the
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was a renowned model of noble grief in eighteenth-century neoclassical art. Conventions changed going into the
Victorian period, however, with more expressive renderings of grief coming into vogue than that established by West.
253:
to West over dinner one evening with his own commentary on events, which West depicted in his work. West was enthused for the project as he himself was a neoclassicist. The work was unveiled in 1768 to great approval from
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After
Germanicus' cremation in the forum of Antioch, Agrippina personally carried the ashes of her husband to Rome. The transportation of the ashes witnessed national mourning. She landed at the port of
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publicly draws analogies between the grieving widow at
Brundisium and the mother of King George III. Agrippina's grief at Brundisium was an obscure story in the history of art before this.
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escort was provided by the emperor in light of her rank as the wife of a governor-general. As she passed each town, the people and local magistrates came out to show their respect.
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162:(son of Tiberius), Claudius, and the consuls journeyed to join the procession as well. Once she made it to Rome, her husband's ashes were interred at the
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283:'s inaugural exhibition in 1769. West would continue producing paintings for the king over the coming years, numbering some sixty in all.
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oil-on-canvas painting. West's painting depicts the events from the beginning of
Tacitus' third book as read to him by his client, the
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As a famous general, he was widely popular and regarded as the ideal Roman long after his death. Primary sources (incl.
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258:. This occurs during a propaganda war in the royal court between members with influence over the king's mother,
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Pictorial
Cultures and Political Iconographies: Approaches, Perspectives, Case Studies from Europe and America
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to perform the last rites. The likeness of
Agrippina and her children are based on the frieze of the
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in which the family is depicted. The temples in the background are inspired by those from the
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General
Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian
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146:. Poison was suspected by many, and a trial was held during which Piso committed suicide.
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West meticulously arranges the buildings in the painting's background to recall those of
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and other various funeral steles. She was to embody civic virtue and self-restraint.
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impressed King George III enough he commissioned West for a painting himself (
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164 cm × 240 cm (64.5 in × 94.5 in)
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The Nation Made Real: Art and
National Identity in Western Europe, 1600-1850
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142:. Germanicus became ill during the dispute and died on 10 October AD 19 in
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Latin
Historiography and Poetry in the Early Empire: Generic Interactions
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in southern Italy where she was met with huge crowds of sympathizers; a
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Picturing a Nation: Art and Social Change in
Nineteenth-century America
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Ruins of the Palace of the Emperor Diocletian, at Spalato, in Dalmatia,
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Reception of the American Loyalists by Great Britain in the Year 1783
560:, translated by Mueller, Hans-Friedrich, Blackwell Publishers, Ltd.,
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Agrippina Landing at Brundisium with the Ashes of Germanicus
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Caesar's Wives: Sex, Power, and Politics in the Roman Empire
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Agrippina Landing in Brundisium with the Ashes of Germanicus
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Agrippina Landing at Brundisium with the Ashes of Germanicus
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Agrippina Landing at Brundisium with the Ashes of Germanicus
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Imperial Women: A Study in Public Images, 40 B.C. – A.D. 68
237:. Robert Adam was an archaeologist who visited the site of
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Colonel Guy Johnson and Karonghyontye (Captain David Hill)
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Germanicus was the intended heir of his adoptive father
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publicized only a few years prior with funding by the
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to study the architecture in-person and recreate it.
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Ruins of the Emperor Diocletian's Palace at Spalato
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848:Benjamin Franklin Drawing Electricity from the Sky
279:). The work would eventually find a place in the
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276:The Departure of Regulus from Rome
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934:Cultural depictions of Germanicus
522:Caligula: The Corruption of Power
293:The painting was later gifted to
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538:Freisenbruch, Annelise (2011),
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104:with the ashes of her husband
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816:Portrait of Dr Richard Price
520:Barrett, Anthony A. (1993),
269:The historical precision of
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76:Yale University Art Gallery
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909:Paintings by Benjamin West
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628:Smith, Anthony D. (2013),
886:Portrait of Benjamin West
878:Portrait of Benjamin West
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866:Benjamin West Birthplace
744:The Departure of Regulus
592:Powell, Lindsay (2015),
301:where it remains today.
832:Death on the Pale Horse
784:The Battle of the Boyne
664:Wood, Susan E. (1999),
792:The Battle of La Hogue
556:Mehl, Andreas (2011),
136:Gnaeus Calpurnius Piso
919:Paintings about death
235:Society of Dilettanti
164:Mausoleum of Augustus
776:Fidelia and Speranza
558:Roman Historiography
840:The Death of Nelson
299:Louis M. Rabinowitz
239:Diocletian's Palace
214:Dr. Robert Drummond
98:Agrippina the Elder
249:Dr. Drummond read
219:Ara Pacis Augustae
210:Archbishop of York
160:Drusus the Younger
138:, the governor of
111:Ara Pacis Augustae
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811:(1783–1811; lost)
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763:(1771–1772)
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471:Wagner 2011
391:Powell 2015
374:Alston 1998
227:Robert Adam
181:Description
120:Robert Adam
903:Categories
880:(Lawrence)
454:Lubin 1994
439:Lubin 1994
347:Smith 2013
331:References
156:praetorian
152:Brundisium
118:(1764) by
106:Germanicus
102:Brundisium
64:Dimensions
851:(c. 1816)
720:Paintings
578:, Brill,
427:Mehl 2011
359:Wood 1999
305:Footnotes
287:Agrippina
271:Agrippina
264:Agrippina
171:Suetonius
80:New Haven
888:(Stuart)
502:(1998),
132:Tiberius
72:Location
859:Related
493:Sources
318:Tacitus
251:Tacitus
245:History
203:⁄
193:⁄
188:is a 64
175:Tacitus
144:Antioch
126:Context
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54:Medium
36:Artist
140:Syria
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198:x 94
173:and
49:1768
46:Year
321:3.1
297:by
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