VENICE: SAINT MARKS, 1797. Napoleon I removing the Greek horses from Saint Marks Basilica in Venice to bring back to Paris, 1797. Line engraving
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VENICE: SAINT MARKS, 1797. Napoleon I removing the Greek horses from Saint Marks Basilica in Venice to bring back to Paris, 1797. Line engraving
Granger holds millions of images spanning more than 25,000 years of world history, from before the Stone Age to the dawn of the Space Age
Media ID 7561287
1797 Basilica Bonaparte Bronze Conquest Dome Greek Mark Plaza Plunder Removal Saint Venetian Venice Loot Troop
VENICE - SAINT MARKS, 1797. Napoleon I's Controversial Plunder of the Greek Horses from Saint Mark's Basilica
EDITORS COMMENTS
. This print captures a pivotal moment in history when Napoleon Bonaparte, the formidable French conqueror, seized the iconic Greek horses from Saint Mark's Basilica in Venice during his campaign in 1797. The line engraving showcases the grandeur of this historic event. Intricately detailed, the image reveals Napoleon and his troops standing triumphantly before the majestic basilica. The imposing dome looms above them as a symbol of Venetian architecture at its finest. Atop it stands a bronze rider - one of four magnificent Greek horses that once adorned this sacred place. The scene depicts both awe-inspiring beauty and controversy as these prized equestrian sculptures were forcibly removed by Bonaparte to be transported back to Paris as spoils of war. This act sparked outrage among Venetians who saw it as an assault on their cultural heritage. The composition expertly conveys the tension between conquest and plunder, with men bustling around, preparing for their loot-filled journey home. It serves as a poignant reminder of how art can become collateral damage during times of conflict. As part of The Granger Collection's Carousel Collection, this print offers viewers a glimpse into an extraordinary historical moment that forever altered Venice's artistic landscape. A testament to power dynamics and cultural appropriation, it invites contemplation on the complexities surrounding art theft
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