DOI issue:
Nr. 2-4
DOI article:Miziołek, Jerzy: The story of Antiochus and Stratonice by a pupil of Jacques-Louis David: the painting by Józef Oleszkiewicz in the Lithuanian Art Museum in Vilnius
DOI Page / Citation link:https://doi.org/10.11588/diglit.18948#0135
Valerius Maximus, whose work is the oldest preserved source of the story,
writes that in order to solve the mystery of the illness of his only son Seleucus
called for the mathematician (sic!) Leptinus or for Erasistratus himself.25 26 27 28 For
this author, who knows nothing about the physician’s strategem, the story of
Antiochus and Stratonice is an excellent example of paternal love. The Syrian
king, in spite of his love for his wife, gives her to Antiochus in order to save
his son’s life. Lucian says that Antiochus considered his life a disgrace and
suffered in silence. When Seleucus discovers out the reason for his son’s illness
he gives Antiochus not only his wife but the whole kingdom and himself retires
to Babylon.2'1 30 Like Appian in his History of Romę, Lucian recounts after
Plutarch the story of the physician’s strategem.2 Appian adds that Seleucus
found it difficult to persuade his son and then his beautiful wife to marry. Thus,
Stratonice had in this case something to say in the issue of her successive and
unexpected marriage. It seems worth mentioning that the story in ąuestion is
in large measure historically truth. Admittedly, Erasistratus could not be the
physician who “cured” Antiochus, as he lived some time later, but the marriage
of Seleucus’ son and Stratonice is a historical fact and four children were born
from this marriage.-'
3. Oleszkiewicz’s painting in the context of earlier and contemporary
representations of the theme
The story of Antiochus’ love for his beautiful stepmother was very popular
among neoclassical artists, but its earliest representations are almost three
hundred years older than David’s works. The first known representation of
this theme dates from the end of the third ąuarter of the fifteenth century and
was probably inspired by Plutarch’s story. The first Latin translation of
Plutarch’s Life of Demetrios was published in 1470 in Romę by a well known
printer, Hurlih Han.24 It should be noted, however, that the Greek writer’s
story could have been known in Italy from its Italian translation by Bruni,
circulating in manuscript (it was published as late as in 1817) and from
a version related by Petrarch in his famous Trionfi (The Triumph of Amor)/"
The earliest representation of this theme was produced by a painter from Lucca
known as Maestro di Stratonice, recently identified with Michele Ciampanti
(ill. 3-6).31
25 Valerio Massimo, op. cit., pp. 381-383.
26 Lucian, op. cit., pp. 361-365.
27 Appian, op. cit., pp. 217-233.
28 Stechow, “The Love of...”, op. cit., p. 221 with earlier bibliography on this subject.
29 Vite parallelae di Plutarco, 1470. The passage in ąuestion is cited by M. Caciorgna, “Temi
plutarchei nella pittura del Quattrocento. Neroccio di Bartolomeo de Landi e il Maestro di
Stratonice”, Fontes, I, 1998, 1-2, pp. 177-205, especiałly 198-200.
30 Petrarch, op. cit., p. 15-17; Novella di..., op. cit.
31 For this artist see Francesco di Giorgio Martini e il Rinascimento a Siena 1450-1500, a cura di
L. Bellosi, exh. cat., Siena, Chiesa di San Agostino, Milano 1993, pp. 62-63,524-525, with earlier
bibliography. Cf. also M. Tzartes, “Anagrafe Lucchese - II Michele Ciampanti: il Maestro di
129
writes that in order to solve the mystery of the illness of his only son Seleucus
called for the mathematician (sic!) Leptinus or for Erasistratus himself.25 26 27 28 For
this author, who knows nothing about the physician’s strategem, the story of
Antiochus and Stratonice is an excellent example of paternal love. The Syrian
king, in spite of his love for his wife, gives her to Antiochus in order to save
his son’s life. Lucian says that Antiochus considered his life a disgrace and
suffered in silence. When Seleucus discovers out the reason for his son’s illness
he gives Antiochus not only his wife but the whole kingdom and himself retires
to Babylon.2'1 30 Like Appian in his History of Romę, Lucian recounts after
Plutarch the story of the physician’s strategem.2 Appian adds that Seleucus
found it difficult to persuade his son and then his beautiful wife to marry. Thus,
Stratonice had in this case something to say in the issue of her successive and
unexpected marriage. It seems worth mentioning that the story in ąuestion is
in large measure historically truth. Admittedly, Erasistratus could not be the
physician who “cured” Antiochus, as he lived some time later, but the marriage
of Seleucus’ son and Stratonice is a historical fact and four children were born
from this marriage.-'
3. Oleszkiewicz’s painting in the context of earlier and contemporary
representations of the theme
The story of Antiochus’ love for his beautiful stepmother was very popular
among neoclassical artists, but its earliest representations are almost three
hundred years older than David’s works. The first known representation of
this theme dates from the end of the third ąuarter of the fifteenth century and
was probably inspired by Plutarch’s story. The first Latin translation of
Plutarch’s Life of Demetrios was published in 1470 in Romę by a well known
printer, Hurlih Han.24 It should be noted, however, that the Greek writer’s
story could have been known in Italy from its Italian translation by Bruni,
circulating in manuscript (it was published as late as in 1817) and from
a version related by Petrarch in his famous Trionfi (The Triumph of Amor)/"
The earliest representation of this theme was produced by a painter from Lucca
known as Maestro di Stratonice, recently identified with Michele Ciampanti
(ill. 3-6).31
25 Valerio Massimo, op. cit., pp. 381-383.
26 Lucian, op. cit., pp. 361-365.
27 Appian, op. cit., pp. 217-233.
28 Stechow, “The Love of...”, op. cit., p. 221 with earlier bibliography on this subject.
29 Vite parallelae di Plutarco, 1470. The passage in ąuestion is cited by M. Caciorgna, “Temi
plutarchei nella pittura del Quattrocento. Neroccio di Bartolomeo de Landi e il Maestro di
Stratonice”, Fontes, I, 1998, 1-2, pp. 177-205, especiałly 198-200.
30 Petrarch, op. cit., p. 15-17; Novella di..., op. cit.
31 For this artist see Francesco di Giorgio Martini e il Rinascimento a Siena 1450-1500, a cura di
L. Bellosi, exh. cat., Siena, Chiesa di San Agostino, Milano 1993, pp. 62-63,524-525, with earlier
bibliography. Cf. also M. Tzartes, “Anagrafe Lucchese - II Michele Ciampanti: il Maestro di
129