T03606 AGRIPPINA WITH THE ASHES OF GERMANICUS ? first printed c. 1773
Etching 5 5/8 × 4 3/16 (144 × 106) on hand-made wove paper 6 3/8 × 4 7/8 (161 × 123)
Etched inscription ‘AR [?inv]’ (initials in monogram) below subject and within plate lower left, and ‘[G]ERMANICUS’ round urn of ashes
Purchased (Grant-in-Aid) 1983
Prov: As for T03604
Lit: As for T03604
Runciman's choice of this subject (which derives from Tacitus) may well have been influenced by Gavin Hamilton and by the latter's admiration for Poussin which he encouraged Runciman to share. Poussin had painted ‘The Death of Germanicus’ (Anthony Blunt, The Paintings of Nicolas Poussin: A Critical Catalogue, 1969, pp.112–13, no.156). Hamilton's painting ‘Agrippina Landing at Brindisium with the Ashes of Germanicus’ was exhibited at the RA in 1772, and is now in the Tate's collection (T03365, q.v. in this catalogue, with a summary of Agrippina's story); Runciman's pen and ink drawing of ‘Agrippina's Landing at Brindisium with the Ashes of Germanicus’ was exhibited at the RA in 1781 (374) and is now in the collection of the National Gallery of Scotland.
T03606 does not appear to be related to Runciman's decorative schemes at Penicuik, except perhaps indirectly. As well as painting the ceiling of the Great Room at Penicuik, Runciman was commissioned to paint six large panels for the cupolas surmounting Penicuik's two staircases, and chose to paint scenes from the life of St Margaret of Scotland there. He seems to have been interested in other subjects depicting women in stress behaving nobly.
The Tate Gallery 1982-84: Illustrated Catalogue of Acquisitions, London 1986