
Read the visual description
This is a drawing of a banquet scene. The scene depicts an elaborately set dining table surrounded by individuals in historical dress engaged in conversation and dining activities. The composition includes decorative walls and arched ceilings. The figures are shown in various poses, some serving wine, others eating, all with intricate garments. The use of shading and line work is meticulous, highlighting expressions and textures, and giving depth to the interior space. The style is reminiscent of a Renaissance or Baroque engraving.
National Gallery of Art · Print
Banquet at the House of Tarquinius Collatinus
Hendrik Goltzius
- Date
- c. 1578
- Medium
- engraving on laid paper
- Dimensions
- sheet (trimmed to plate mark): 20.9 x 24.7 cm (8 1/4 x 9 3/4 in.)
- Classification
- Accession number
- 1982.99.1
- Credit line
- Ailsa Mellon Bruce Fund
- Time span
- 1551 to 1600
- Department
- CG-E
Portfolio and series
- Series
- The Story of Lucretia
Subjects and terms
- Dutch
- classical
- secular
- engraving
- Lucretia
- Tarquin
Provenance
Friedrich Quiring [born 1886], Eberswalde (Lugt 1041c);
Inscription
at left, in image on table cloth, in plate: Phls Galle / excudebat.; below image, in plate: Effera Romanis dum cingitur Ardea signis, / Et patitur longas obsidione moras / Tarquinius iuvenis, socios dapibusque meroque / Accipit, uxorum mutua cura subest. / Quisque suam laudat Regalia protinus omnes / Tecta petunt cernunt pervigilare mero. (While the besieged Ardea is surrounded by Roman legions and has to withstand a lengthy siege, the young Tarquin entertains his friends with a lavish meal; they talk about the love between them and their wives. Each man praises his own wife. They all go straight away to the royal palace and drink wine there all night.) [translation from Leeflang, Huigen, and Ger Luijten. _Hendrick Goltzius (1558-1617): Drawings, Prints and Paintings._ Amsterdam: Rijksmuseum, 2003, p. 40.)]
Watermarks
Dolphin
NGA object ID 61321. Collection metadata is reproduced under CC0. This work is included because its NGA published-image record is marked open access; visitors should recheck the source record before substantial reuse.