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Depiction of the Trojan Horse
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Depiction of the Trojan Horse
Trojans pulling the wooden horse into the city. Two rows of bizarrely dressed people and others wearing dog masks pull the horse with ropes. Laocoon stands at the base of the statue of Minerva, and Cassandra kneels before it. Copperplate engraving by Tommaso Piroli from his Antiquities of Herculaneum (Antichita di Ercolano), Rome, 1790
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Media ID 23151626
© Florilegius/Mary Evans
Antichità Antiquities Cassandra Citizens Ercolano Fresco Herculaneum Laocoon Masks Minerva Piroli Pompeii Ropes Tommaso Trojan Troy Walls
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EDITORS COMMENTS
This print depicts the legendary moment when the Trojans, under the deception of the Greek gift, the famous wooden horse, are bringing it into their city. The scene is taken from the Antiquities of Herculaneum, a seminal work by Tommaso Piroli published in Rome in 1790. The image is a meticulously crafted copperplate engraving that brings the ancient world to life. The Trojans, dressed in bizarre costumes, are pulling the horse with ropes, their faces filled with excitement and anticipation. At the base of the statue of Minerva, Laocoon, the priest of Apollo, stands in warning, trying to prevent the Trojans from bringing the horse into their city. Cassandra, the doomed prophetess, is seen kneeling before the horse, her hands raised in supplication. The walls of Troy are in the background, a reminder of the impending doom that awaits the unsuspecting citizens. The inclusion of the statue of Minerva, the goddess of wisdom and war, adds an air of foreboding to the scene. The use of dog masks by some of the Trojans is an intriguing detail, hinting at the role of the goddess Diana's sacred animals in the myth. This print is a stunning example of the classical art and painting that flourished during the 18th century, with its intricate details and masterful use of shading. It offers a glimpse into the rich history and mythology of ancient Greece and Rome, making it a valuable addition to any collection of historical or artistic prints.
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