41 GIUSEPPE CADES The Roman historian Livy tells us that Tullia was the daughter of Servius Tullius, a Italian, 1750­1799 legendary king of ancient Rome; she persuaded Tarquinius Superbus to have her father Tullia in Her Chariot about to murdered so that he might become king and she queen. Livy describes how, following Ride over the Body of Her Father Servius's assassination in the streets of Rome, Tarquinius had tried to persuade Tullia to Pen and brown ink, heightened with avoid the crowds surrounding the body. But she instructed her driver "to take her to the white and gray bodycolor, over black Esquiline Hill; when the man gave a start of terror, and pulling up the reins pointed out chalk on gray­brown prepared paper 49.5 x 66.4 cm (19½ x 26 3/16 in.) to his mistress the prostrate form of the murdered Servius. Horrible and inhuman was 95.GA.25 the crime that is said to have ensued... for there, crazed by the avenging­spirits, Tullia drove her carriage over her father's corpse, and, herself contaminated and defiled, carried away on her vehicle some of her murdered father's blood." So far as it goes, the drawing accurately reproduces Livy's account, the artist deliberately focusing on the horror of the event to which Tullia, with her commanding gesture and relentless look, alone remains impervious; even her horses shy away from the deed she is about to perform. Especially characteristic of Cades's draftsmanship is the calligraphic pen work and decorative, formal rhythms of the design—particularly well contrived in the interplay of hoofs and feet in the lower center. By the 1770s, Cades was regarded as one of the best history painters in Rome. He was associated with the colony of avant­garde foreign artists, mostly British and Scandinavian, who developed an expressive, proto­Romantic vision of classical antiquity that tended to favor grand, often violent, interpretations of ancient mythological themes from Homer, Norse mythology, or Macpherson's Ossian. ITALIAN SCHOOL 53