DOI article:
Jęcki, Krzysztof: Pochodnie Nerona Henryka Siemiradzkiego
DOI Page / Citation link:https://doi.org/10.11588/diglit.19073#0198
Henryk Siemiradzki's Painting "Nero's Torches"
On the basis of the presented sketches and their comparison with the known facts from
the artisfs life, we have succeeded m showing Siemiradzki's work on the painting. As can
be seen from the gathered raaterials, the concept of the work was not established a priori.
There arose a few totally different compositional variants. The main conception and the
meaning evolved with time. Initially, the painter intended to present the burning of mar-
tyrs in the evening setting and to literally visualize darkness. Ultimately, he opted out for
a variant in which only the preparations to the execution are shown and the dusk can be
interpreted only in an allegorical way, as the evil which is present in this world.
Siemiradzki approached the issue of chronology in showing the bas-reliefs in a some-
what arbitrary way. It was not important for him that some of them came from the Flavian
period (e.g. the fragment of the "Triumph of Titus" shown on the painting), others from
the time of Mark Aurelius (the bas-relief "Adventus"), while others even from the time of
Constantine the Great. The artist was well aware of it and he consciously juxtaposed with
each other various objects, sometimes in such a way that one fmds it difficult to conclude
whether one is dealing with a compilation, or else a homogenous monument. The copied
objects are not precise "citations" (e.g. the Arch of Constantine). Although they come from
different places and periods, altogether they make up a fanciful and imaginative whole,
imitating historical probability in a convincing way. The artist had subordinated the prin-
ciple of archeological correctness to the overriding idea of showing in a single place and
time the whole wealth of imperial Rome which arose in the course of centuries. In other
respects, Siemiradzki was also inconsistent.
While remaining faithful to the academic doctrine and applying in practice its guide-
lines, the artist was not at the same time enslaved by these pnnciples. In an extremely
skilful way, he tried to reconcile them with those non-academic values which may have
additionally enriched the visual ąuality of the painting. The factor which determined the
"academic" value of "Nero's Torches" was, among others, the selection of the topie, the
triple unity of time, place and action and the composition of the presented groups of peo-
ple, shown here in studied poses. The elements which constitute a departure from the
accepted convention are among others: an arbitrary approach to historical truth and the
discrepancy between the formal and expressive means which is made up of the martyrs.
The innovative value of the "Candlesticks of Christianity" consists in the intensity of its
color scheme which has been likened to that of Sir Lawrence Alma-Tadema. What is non-
academic is also the artisfs use of photographs during the painting process. the sketchy
presentation of the silhouettes in the upper left corner of the painting and elear traces of
the brush in the way of presenting the fire. However. one should point out that the aspects
defmed as "inconsistencies" or "innovative elements" did not dominate the artisfs form.
They only play an auxiliary role as their function is restricted to several places.
One of the more interesting aspects of the history of this painting is its interpretation
both in respect of its iconography and allegorical significance. The critics who commented
on "Nero's Torches" almost invariably tried to tell the "story" of the painting. Here was
Caesar and his retinue who came to the gardens to see the burning of Christians. Only
190
On the basis of the presented sketches and their comparison with the known facts from
the artisfs life, we have succeeded m showing Siemiradzki's work on the painting. As can
be seen from the gathered raaterials, the concept of the work was not established a priori.
There arose a few totally different compositional variants. The main conception and the
meaning evolved with time. Initially, the painter intended to present the burning of mar-
tyrs in the evening setting and to literally visualize darkness. Ultimately, he opted out for
a variant in which only the preparations to the execution are shown and the dusk can be
interpreted only in an allegorical way, as the evil which is present in this world.
Siemiradzki approached the issue of chronology in showing the bas-reliefs in a some-
what arbitrary way. It was not important for him that some of them came from the Flavian
period (e.g. the fragment of the "Triumph of Titus" shown on the painting), others from
the time of Mark Aurelius (the bas-relief "Adventus"), while others even from the time of
Constantine the Great. The artist was well aware of it and he consciously juxtaposed with
each other various objects, sometimes in such a way that one fmds it difficult to conclude
whether one is dealing with a compilation, or else a homogenous monument. The copied
objects are not precise "citations" (e.g. the Arch of Constantine). Although they come from
different places and periods, altogether they make up a fanciful and imaginative whole,
imitating historical probability in a convincing way. The artist had subordinated the prin-
ciple of archeological correctness to the overriding idea of showing in a single place and
time the whole wealth of imperial Rome which arose in the course of centuries. In other
respects, Siemiradzki was also inconsistent.
While remaining faithful to the academic doctrine and applying in practice its guide-
lines, the artist was not at the same time enslaved by these pnnciples. In an extremely
skilful way, he tried to reconcile them with those non-academic values which may have
additionally enriched the visual ąuality of the painting. The factor which determined the
"academic" value of "Nero's Torches" was, among others, the selection of the topie, the
triple unity of time, place and action and the composition of the presented groups of peo-
ple, shown here in studied poses. The elements which constitute a departure from the
accepted convention are among others: an arbitrary approach to historical truth and the
discrepancy between the formal and expressive means which is made up of the martyrs.
The innovative value of the "Candlesticks of Christianity" consists in the intensity of its
color scheme which has been likened to that of Sir Lawrence Alma-Tadema. What is non-
academic is also the artisfs use of photographs during the painting process. the sketchy
presentation of the silhouettes in the upper left corner of the painting and elear traces of
the brush in the way of presenting the fire. However. one should point out that the aspects
defmed as "inconsistencies" or "innovative elements" did not dominate the artisfs form.
They only play an auxiliary role as their function is restricted to several places.
One of the more interesting aspects of the history of this painting is its interpretation
both in respect of its iconography and allegorical significance. The critics who commented
on "Nero's Torches" almost invariably tried to tell the "story" of the painting. Here was
Caesar and his retinue who came to the gardens to see the burning of Christians. Only
190