Carved relief, in the manner of a cameo, showing the head of Porus, in several woods, in a frame of ebonised wood. Italian, dated 1799, signed Giuseppe Arigoni

Carved relief, in the manner of a cameo, showing the head of Porus (here inscribed 'Porrus'), in several woods and ivory, in a frame of ebonized wood.
The helmeted head of the king is shown in profile, facing to the right. It is carved in low relief, probably in ivory, against a roundle of ebony edged with a bead and real framing in boxwood and a narrow fillet of another wood. The helmet is crested with a dragon. To the right, in white lettering is the word 'PORRUS'. The roundel is set into a ground of hardwood (possibly pear or plum) with the grain running vertically. Three spandrel panels are inset into this ground above and below the roundel. These have grounds of ebony and are edged with a plain fillet of boxwood. The two lower ones are set with swags of fruit carved in boxwood, hanging from boxwood ribbon bows and tied at the centre with boxwood ribbons behind the mask of a lion, also in boxwood, this motif set on the walnut ground between the spandrels. Small, formal motifs in boxwood are set either side of the roundel. The upper inset panel spans the roundel and is filled with a boxwood trophiy of arms laid aside (these including a tradtional Turkish mace with fins), with oak leaves (indicating strengh and endurance), over which a roaring lion extends a paw.
The frame is of ebonized pearwood,enclosing the attached frame of the panel, in ebony with a carved sight edge in boxwood. The framed relief is backed with blue paper with an ink inscriiption by the maker.

This carving, and its pair (748-1875) were purchased on 28 June 1875 from Mr JM Whitehead (RF 3717/75). The Art Referees Report, by Sir Matthew Digby Wyatt, written on 29 January, recommended their purchase with the following report: 'These are good specimens of wood carving on a cabinet scale by an Artworkman of the school of Albertolli who excercised so powerful an influence upon ornamental design throughout North Italy at the close of the last century. There have existed at Milan for the last half century various members of the"Arrigoni" family who have continued as dealers in works of Art to show considerable dexterity and good judgments [sic]. These specimens are certainly very delicate and pretty but are somewhat "mesquiso" in style. The touch with the woodcarvers [sic] gouge is better however than usual. I would recommend the purchase of the pair if they could be got for say one hundred and fifty pounds the pair [they had been offered for £200] but I should be disinclined to recommend them at a higher price.' They were purchased for £150 from Mr T.M. Whitehead.

The subject matter of the carvings seems to relate to the overthrow of the Most Serence Republic of Genoa (created 1005) and the establishment of the Ligurian republic on 14 June 1797 by the French Revolutionary army led by Napoleon. The new republic became, in effect, a client state of France. This lasted until 1805, when France absorbed the area into her own territories. The other carving shows Alexander the Great (356-323 BC), ruler of the Kingdom of Macedon in Ancient Greece. By the age of 30 he had created one of the largest empires in the ancient world through his military triumphs, extending as far as Egypt and North-West India. The parallel with Napoleon was clear. This carving shows King Porus (here written 'Porrus'), King of Paurava, who fought against Alexander at the Battle of the Hydaspes River in 326 BC. The sons of Porus all chose death rather than defeat, and although Porus was defeated, the battle was generally accepted to be Alexander's fiercest and led to mutiny amongst his troops. As a result of his brave behaviour, Porus was released and given rewards of land, later joining Alexander in other conquests. The figure of Porus may relate to a member or members of the oligarchy that ruled Genoa, and who supported Napoleon once he had taken power.

This form of carving (known as 'microscultura') was inspired by the work of Giuseppe Maria Bonzanigo (1745-1820), who served for many years as cabinet-maker and carver to the King of Sardinia, producing furniture and carving for the royal palace in Turin from 1773 onwards. In 1787 he was appointed 'sculptor to the King of Sardinia'. A particularly finely carved panel, similar in workmanship to the two panels by Giuseppe Arrigoni (this one and 749-1875) was sold at Sotheby's 'Treasures' sale, 4 July 2018, lot 27. That panel was a self portrait in relief and carried the date 1796, so was completed just before the two V&A panels were made. At the Sotheby's, London 'Treasures' sale, 3 July 2019, a larger portrait of the young General Bonaparte, attributed to Bonzanigo and dated to about 1800, was offered for sale as lot 27. This piece was similar in technique but was 55.5 cm high.

Inscribed on the back of the frame

This panel and its pair (748-1875), dated 1798, are both a demonstration of supremely fine carving and a commentary on contemporary political events in Genoa, Italy. They reflect the popularity of the neo-classical style at the time. The profile of Porus is carved in ivory, probably chosen here to imitate a hardstone cameo, set againt ebony. The other carving is in boxwood against a ground of darker walnut. Porus was a king in the Punjab, India who fought against Alexander the Great in the Battle of the Hydaspes River in June 326 BCE. Porus was defeated but continued as a satrap or viceroy for Alexander.

In 1797 Genoa had been invaded by the French revolutionary army of Napoleon Bonaparte. On 14 June Napoleon overthrew the Most Serene Republic of Genoa, established in 1005, and replaced it with the Ligurian Republic as a state fully under the control of France. Clearly, Alexander (shown on 748-1875) represents the invading Napoleon but we have not yet identified the local leader whom Porus was intended to represent.

749-1875