GIOVANNI ANTONIO FUMIANI attrib. to

ALEXANDER THE GREAT AT THE WALLS OF PERSEPOLIS

GIOVANNI ANTONIO FUMIANI
Venezia 1640 – 1710 Venezia

Pen, ink and wash on paper
20.5 x 38.5 cm / 8.1 x 15.2 inches; mat 31.1 x 49.2 cm / 12.2 x 19.4 inches, unframed

PROVENANCE
France, private collection

Alexander the Great at the Walls of Persepolis: The Capture and Destruction of the City

This drawing is a remarkable example of Baroque graphic art, showcasing dramatic contrasts, dynamic movement, and expressive figures. While studying it, I realized that it depicts one of the most pivotal moments in ancient history—the capture and destruction of Persepolis by Alexander the Great.

At the forefront, Alexander is portrayed wielding a sword, leading his army into battle. His soldiers, brandishing spears, march behind him, while in the background, the palace structures are engulfed in flames. To the right, women and children are shown fleeing in despair, mirroring the historical accounts of the city's downfall.

According to Arrian, the city capitulated without resistance:

"When he arrived at Persepolis, the capital of the Persians, he took possession of the treasures there, which were greater than those in Susa, and allowed his army to plunder the city." (Anabasis of Alexander, Book III, Chapter 18)

The ensuing plunder was brutal, a scene mirrored in the drawing’s depiction of chaos among the inhabitants. Subsequently, Alexander decided to set the palace of Xerxes ablaze:

"It is said that he set fire to the palace of Xerxes, to avenge the Greeks, because the Persians had destroyed both temples and cities of the Greeks by fire and sword." (Anabasis of Alexander, Book III, Chapter 18)

The flames consuming the city, as shown in the drawing, symbolize this deliberate act of destruction. Arrian notes that Alexander may have later regretted this action:

"But Alexander immediately repented of his act." (Anabasis of Alexander, Book III, Chapter 18)

The composition captures the essence of these events: the military triumph, the deliberate destruction of a significant city, and the ensuing tragedy for its residents. Unlike more dramatized accounts by other ancient authors, this portrayal emphasizes a calculated decision by the conqueror, with the resulting conflagration symbolizing the fall of the Achaemenid Empire.

This drawing, which is of a considerable size, is still awaiting many discoveries. We have yet to identify the exact fresco or painting for which it was created, leaving room for further research. Additionally, the sheet bears a watermark, though its identification remains challenging. The 18th-century mount surrounding the drawing suggests that it once belonged to an old, yet currently unidentified, collection.