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Wikimedia Commons · CC0 1.0 · Hover to magnify, click for fullscreen
Original fileThis engraving is the fourth plate of an eight-part frieze based on a lost facade painting by Polidoro da Caravaggio. It depicts the tragic result of Niobe’s hubris, as she and her children are targeted by the arrows of Apollo and Diana. The composition features the dynamic, muscular figures and dramatic tension characteristic of the late 16th-century Haarlem school.
Niobe’s story was a primary classical example of 'hubris,' a theme central to Renaissance moral philosophy and the study of Ovidian Neoplatonism. The dedication to Federico Cesi, founder of the Accademia dei Lincei, links this work to the intellectual transition from Renaissance natural magic to the early modern scientific method.
Ill.mo et ex.mo Domino, Dño Frederico Cesi, Duci de Aquasparte, editum, Summa cum observa HGoltzius exe. Tanta ego, ait, turba natorum instructa meorum Tantalis, et magno felix Amphione coniux, Que fama magnis etiam celestibus æquor, Nempe tibi cedam prolis Latona gemellę. I. S.
Translation
To the most illustrious and most excellent Lord, Lord Federico Cesi, Duke of Acquasparta, published, with the greatest respect, HGoltzius excudit. So great a crowd of children, she says, am I, equipped with my own, a Tantalid, and happy wife to the great Amphion, I who in fame equal even the great celestials, surely I shall yield to you, Latona, for your twin offspring. I. S.
Ovid
This scene is a visual interpretation of the story of Niobe's pride and punishment found in Book VI of the Metamorphoses.
Federico Cesi
The print is dedicated to Cesi, the founder of the Accademia dei Lincei and a pivotal figure in the history of natural philosophy.
Object
Rijksmuseum, Amsterdam
blad: hoogte 290 mm x breedte 401 mm
mythological
Linked Data
AI AI-cataloged fields generated by gemini-3-flash-preview on April 1, 2026. Getty identifiers are AI-inferred and may require verification.