94 - 18TH-CENTURY VENETIAN SCHOOL, 18TH-CENTURY NORTHERN ITALIAN PAINTER

18TH-CENTURY VENETIAN SCHOOL, 18TH-CENTURY NORTHERN ITALIAN PAINTER ALEXANDER THE GREAT TREATED BY THE PHYSICIAN PHILIP Oil on canvas, 170 x 115 cm. The painting depicts the famous episode of Alexander the Great and the physician Philip of Acarnania, as recounted in ancient sources and particularly by Plutarch in his *Life of Alexander*. During his campaign in Asia Minor, Alexander fell seriously ill. The physician Philip, his trusted companion, prepared a healing potion for him. Shortly before taking it, Alexander received a letter from Parmenion warning him to be wary of the physician, who was accused of having been bribed by the Persians to poison him. The king, demonstrating absolute trust in Philip, drank the medicine anyway and at the same time handed the doctor the letter containing the accusation. The composition captures precisely this moment of intense narrative tension: Alexander, half-naked and reclining on the bed, brings the cup to his lips while Philip, standing before him, reads the letter. Surrounding the protagonists is a large gathering of soldiers and dignitaries, while on the right the scene opens out toward the military encampment, bustling with horsemen and armed figures. The scenographic composition—characterized by the large curtain dominating the upper part of the painting, the theatrical quality of the narrative, and the vivid color scheme—appears to be rooted in 18th-century Venetian painting. Particularly effective is the contrast between the shadowy interior of the tent and the luminous landscape opening on the right, a device that lends depth to the scene and accentuates its spectacular character. The subject, an exemplary celebration of the sovereign’s trust, loyalty, and virtues, enjoyed some popularity in European historical painting between the 17th and 18th centuries. CONDITION REPORT Recent relining. Numerous minor retouching interventions are visible under Wood’s light on the figures and backgrounds of the painting, but they are not significant enough to constitute noteworthy restorations; therefore, the painting is in excellent condition.