Reception of the Ancient Symbolism of Hannibal’s Dream Based on the Example of Jan Miel’s Painting ‘Il Sonno di Annibale fra gl’Iberi’

Abstract

The submitted work is an attempt to interpret the combination of Hannibal’s dream symbolism derived from ancient literary sources with the image depicted in the painting ‘Il Sonno di Annibale fra gl’Iberi’ by Jan Miel, placed in Sala del Consiglio of the Turin Palazzo Reale. These considerations are consistent with the problems of the reception of the ancient motif, creatively used by Christian tradition. The author of the article points out that the individual elements of the painting consist in a coherent entirety and aim at communicating a specific message to the recipient. The motto of the work, ‘Genius quo ducit eundum’, aimed at communicating the work of the divine will, serves this purpose in particular. The author of the article points out that an important role in distributing the story of Hannibal’s dream must have been played by the poem by Silius Italicus, depicting a mature composition of the motifs of ancient literature. The author also wonders for what reason Hannibal became the hero of the work, coming to the conclusion that the Carthaginian included in the Baroque painting is a clear symbol – an opponent of pagan Rome. A hero who opposed the corruption of Rome. Although Livy referred to Hannibal as an unfaithful man, he had never broken his oath to high gods – for he had never become a friend of the Romans. Thus Hannibal becomes a symbol of the lack of consent to acceptance of evil. His determination expressed in Jan Miel’s work appears as an inspiring and necessary component for Europe.