Romulus' Victory Over Acron

[5] In the painting there is an element of stunted action which creates a somewhat icy and unemotional aspect which is a feature of the new Gothic style that was emerging forcefully in the early 19th century.

Elements of the painting recall the work of Jacques-Louis David, Europe's leading painter at the turn of the century and Ingres' master with whom he studied for four years.

The shield, depicting the she-wolf and infant twins Romulus and Remus characteristic of the Roman foundation myth, is also the same save that Ingres omitted the inscription.

The warrior to the extreme left of the Sabines, whose stance derives from the antique, finds a fairly confirming echo in Ingres' victorious Romulus.

In 1857 it was given by Pope Pius IX to Napoleon III who presented it to the Ecole des Beaux-Arts, where it was hung in the Amphithéatre d'Honneur,[7] until 1969 when it was deposited at the Louvre.

Romulus' Victory Over Acron , 1812, tempera on canvas, 276 x 530cm, "Romulus, then, after making a vow that if he should conquer and overthrow his adversary, he would carry home the man's armour and dedicate it in person to Jupiter, not only conquered and overthrew him, but also routed his army in the battle which followed, and took his city as well" Plutarch, Lives. Romulus . [ 1 ]
Head of a horse of Selene from the east pediment of the Parthenon. Acropolis, Athens, 438–432 BC [ 3 ]
Jacques-Louis David, The Intervention of the Sabine Women , 1799