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The Fall of Simon Magus by Pompeo Batoni

Pompeo Batoni · 1745-01-01

Pompeo Batoni’s The Fall of Simon Magus (1745) in the Cleveland Museum of Art, depicts a tumultuous moment from the Acts of the Apostles: the sorcerer Simon Magus attempting to ascend to the heavens, only to be violently cast down by divine intervention.

Batoni, a leading Italian painter of his era, originally conceived this dramatic oil painting as a *modello*, a preliminary study, for a mosaic altarpiece destined for St. Peter's Basilica in Rome. The version we see here is believed to be a studio copy of that original, which was later installed in the church of Santa Maria degli Angeli.

Observe the masterful use of chiaroscuro, the stark contrast of light and shadow, which emphasizes the musculature of the falling figure and heightens the drama. The chaotic gestures of the onlookers convey both awe and terror, underscoring the triumph of apostolic authority over false prophecy.

Batoni's work, known for its technical brilliance and grand narrative scope, was highly sought after by Grand Tour travelers and royalty alike.

Details

He tried to fly, but was cast down by divine intervention.
He tried to fly, but was cast down by divine intervention.
Batoni originally made this work as a model for a mosaic altarpiece.
Batoni originally made this work as a model for a mosaic altarpiece.
This particular version, however, is a studio copy of that original.
This particular version, however, is a studio copy of that original.
It shows his mastery of light and shadow on the human form.
It shows his mastery of light and shadow on the human form.
This figure anchors the foreground and appears to be a witness or participant, perhaps representing faith or despair.
This figure anchors the foreground and appears to be a witness or participant, perhaps representing faith or despair.
Transcript

This painting depicts the biblical sorcerer, Simon Magus. He tried to fly, but was cast down by divine intervention. It was painted by Pompeo Batoni, a leading artist of his time. Batoni originally made this work as a model for a mosaic altarpiece. This particular version, however, is a studio copy of that original. It shows his mastery of light and shadow on the human form.